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Eclipse IDE
1503 Solutions and counting.
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'Iron Man 3': Tony Stark As Home-Brew Hero.
Director and co-writer Shane Black kicks Tony Stark, played by Robert Downey Jr., out of his comfort zone — a choice that has Stark functioning as a lone gumshoe, thinking like a garage mechanic and, when necessary, straight-up MacGyvering a fix.
Related Topics
Other segments from the episode on May 3, 2013
May 3, 2013
Guest: Bradley Cooper
DAVID BIANCULLI, HOST:This is FRESH AIR. I'm David Bianculli, editor of the website TV Worth Watching, sitting in for Terry Gross. Our guest today, Bradley Cooper, has managed to avoid typecasting while achieving Hollywood stardom. He became famous for his role in "The Hangover," a comedy franchise that unveils its third edition later this month.
He was nominated for an Oscar for his dramatic work in "Silver Linings Playbook," which just came out on DVD. People magazine voted him the Sexiest Man Alive in 2011, but he's not just cast for his good looks. He also starred in "Limitless" and "The Words," playing writers in both films. And in "The Place Beyond The Pines," in theaters now and co-starring Ryan Gosling, Cooper plays Avery, a cop with a wife and son who has gotten some acclaim for his police work.
He soon discovers corruption in various levels in the city police department. At first he tries to tell the police chief but is told not to make waves. In this scene he takes the evidence of corruption to the reluctant DA, played by Bruce Greenwood.
BRUCE GREENWOOD: (As Bill Killcullen) Got any idea what this means? Are you ready to do it? Are you, son, are you really ready?
BRADLEY COOPER: (As Avery) I'm going to need your assurance you're going to follow through.
GREENWOOD: (As Bill) Really?
COOPER: (As Avery) And I'm going to want full immunity when you do.
GREENWOOD: (As Bill) You can't just walk in here and tell me what the (beep) to do. You understand?
COOPER: (As Avery) And when you do, I want to be made assistant district attorney. I have a law degree, and I passed the bar.
GREENWOOD: (As Bill) I don't have a spot for you right now.
COOPER: (As Avery) Make a spot.
GREENWOOD: (As Bill) I won't do that. I can't just snap my fingers and make you assistant DA.
COOPER: (As Avery) You can say no. You can say no, I'll walk out this door, I'll walk over to the Gazette, I'll tell them everything I know, including this conversation.
GREENWOOD: (As Bill) Listen, you're not going anywhere.
COOPER: (As Avery) All three things.
GREENWOOD: (As Bill) All right. I'm not going to promise you how long you're going to stay there. You're not going to shake my (beep) hand, pal.
BIANCULLI: Bradley Cooper grew up in a suburb of Philadelphia, FRESH AIR's hometown. Terry interviewed him when "Silver Linings Playbook," Directed by David O. Russell, came out last year. In that film, Cooper plays Pat Solitano, who was diagnosed with bipolar disorder after violently reacting to his wife having an affair. When the film begins, he's being released from a psychiatric institution.
He's obsessed with winning his wife back, even though she has a restraining order against him. Pat's father, a smalltime bookie who takes bets on football, is so volatile, he's not the best role model for dealing with anxiety. In this scene, it's an Eagles game day. Pat's mother, played by Jacki Weaver, is making snacks. His father, played by Robert De Niro, is on edge. And Pat is preparing to go running. He's hyper and unusually happy, thinking he's about to get a message to his ex.
JACKI WEAVER: (As Dolores) I'm making crabby snacks and home-mades.
COOPER: (As Pat) Yeah, come on, Dad. Be nice. Come one, she's making crabby snacks and home-mades. Come on, Dad.
ROBERT DE NIRO: (As Pat, Sr.) What are you so up about?
WEAVER: (As Dolores) You're very happy.
COOPER: (As Pat) I'm happy.
NIRO: (As Pat, Sr.) No. You're so up, up, up, up.
COOPER: (As Pat) Isn't that a good thing?
NIRO: (As Pat, Sr.) No. You're just up, up, up, up. I don't know what that is. Are you taking the proper dosage of your medication?
COOPER: (As Pat) Am I taking the right dose? Of course I am.
NIRO: (As Pat, Sr.) OK. Are you taking a little bit too many or something?
COOPER: (As Pat) No. If I was taking that, I would be on the floor, Dad.
Bradley Cooper, welcome to FRESH AIR, and congratulations on your Oscar nomination. So let's start with "Silver Linings Playbook" and figuring out how to play this character. This character is bipolar, which is pretty serious, but the film's a comedy. So how did you figure out how to play him?
COOPER: First of all, it's an honor to be here on this show.
GROSS: Oh, thank you. Honor to have you.
COOPER: Yeah, a massive honor. It's almost surreal that I'm actually hearing your voice and talking with you.
GROSS: Oh, really?
COOPER: Well, normally I'm just listening to you talk with somebody else.
COOPER: The thing about this movie and this character, Pat Solitano, was just to play him as real and as authentic as we could. And we never discussed the idea of whether it was going to be a comedic tone or a dramatic tone. It was all about being a real tone.
So for me, I just focused on that, and then musicality of the way David directs and the actors that he asked to come together, that sort of dictated the comedy and the drama. And I think it's all based on the characters.
For example, if you have two characters that have no filter and are going to have a discussion about the medicines that they take, chances are comedy could, you know, be a byproduct. And that sort of occurred when Tiffany Maxwell and Pat Solitano have that discussion around the dining room table about Klonopin and trazodone and all of the various drugs that they take.
GROSS: So, you know, you're talking about the music of David O. Russell's writing and directing, and one of the things he does in this film - there's a lot of not only overlapping dialogue, but overlapping, like, screaming and hysteria...
GROSS: ...like with you and De Niro, who plays your father, and then the character, you know, who - the actress who plays your mother chiming in.
COOPER: Jacki Weaver, yeah.
GROSS: Yeah, she's great - and the neighbors shouting. So I'm wondering how all of that is orchestrated, like what it looks like on the script and what kind of direction David Russell gives you when everybody's kind of hysterical at the same time.
COOPER: You know, a scene where Robert De Niro and my character, when Pat Solitano and Pat, Sr. are yelling at each other - for example, in the parlay scene - there's a lot of overlapping screaming. And the dialogue, I think, as written, was just that, you know, what did you do? You know, as Pat comes in, the father said what did you do? You blew it. You know, you spiked the ball at the one yard line.
But because David really cares about the idea of interaction in real time, once I opened that door, Bob was unleashed onto me, and whatever happened happened. And what happened was he started to scream at me in such an authentic way, and I immediately started to cry.
And like a hyena, I sounded, that was sort of shot. And in the editing room, we had to - because we wanted to salvage Bob's performance, because it was so wonderful, we had to constantly take out this sort of crying hyena over my back, which was me crying as Bob was calling me a loser.
GROSS: What was wrong with your crying? I mean, you said you wanted to be authentic, and you were crying.
COOPER: It was authentic, but, you know, sometimes you realize that things just don't work cinematically. For example, when I read the letter, Nikki's letter, we did one take where David and I found something very sort of real for me, and it unleashed, you know, a very emotional reaction, and I cried through the whole letter. And I remember when we were shooting it, and Jennifer sort of - you know, because she's watching it. And she just said Bradley, oh, my God.
And I thought, wow, that was just insane. And then when we got to the editing room and you watched that take, it's just very unpleasant to observe. And you realize, oh, that just doesn't work. That just - you know, less is more. And I think that that is - that also is true for the laugh, the crying hyena part of that parlay scene.
I think it just would have overpowered what Bob was doing, and it just - it sounded so crazy, that it just works much better without it.
GROSS: Do you cry like a hyena in real life?
COOPER: You know what? I guess I have to say yes, because I did then, and that wasn't really acting, you know. I mean, it was happening. There - I think I weep in many different fashions.
GROSS: I feel like I'm at my most hideous when I cry, because I think my whole face goes into, like, spasms. It's not a delicate sight.
COOPER: Yes. Me, too. Yeah. It's not - like, some people just - you know, you see them cry, and it's kind of just wonderfully sort of angelic. No, no, for me, it looks like there's something very, very disturbing happening inside of me.
GROSS: Now, you mentioned when we were in the editing room, and actors are usually not in the editing room.
COOPER: Yeah, that's correct. I hit the jackpot with this movie, because David O. Russell and I, from the get-go, connected in a huge way. And it really felt like he made me his partner through the filming of the movie, and that bled into the post-production.
And he really - it - I've always sort of, when I start a project, sort of say the same to the director that, you know, look. I don't think like an actor, and I can really be an asset if you want me to, you know, help you tell the story, because I truly don't - I'm not going to try to protect my performance. I'm going to try to help you tell the best story.
And that's not from any sort of selfless endeavor. I do believe it. I'd rather be bad in a great movie than great in a bad movie. It's always about the movie. And, you know, very often, directors sort of hear - it comes in one ear, and out the other. But he really sort of, I think, saw that, oh, wow. This guy is my partner on the field, and he's not - his primary objective is not to serve his own self. It's for the film.
And that was wonderful. And so he invited me in the editing room, and it was almost like I had a - I went to film school with this film, and I was able to, you know, become executive producer of it, which all that really did was them just sort of bestowing a title onto me so I don't have to apologize before every sort of suggestion I tend to, you know, share.
GROSS: You had used the expression unleashing De Niro, that they unleashed De Niro on me. Is there something you could put your finger on that you learned from working with him?
COOPER: Oh, gosh, so much, Terry, so much. And - well not - first of all, just the basics, which he taught me through example more than a sort of didactic approach of, you know, sort of sitting me down, just, you know, don't act. Trust what is happening, and don't push it.
And I've always sort of thought, as I've been acting the last 12 years, I've thought, well, the one thing I do have is this ability to make things seem like they're just - that I'm not acting. I've always felt like I can sort of make lines that have been written come out of my mouth in a very realistic way. And then I sort of - then I met Robert De Niro and did the movie "Limitless" with him, and I realized that that wasn't the case.
COOPER: And that happened. I still remember the table read for "Limitless," and he comes in on about page 25. And first of all, he's sitting next to me, which was just incredibly intimidating. And I'm - the beginning of the movie is basically my character talking, and there's a lot of voice-over.
And then, all of a sudden, he says something to me, and I stopped the reading. And I turned to him and I said: I'm sorry. What was that? And I realized he was actually saying his first line, but it was so grounded, as if he wasn't acting.
And I realized, oh, I've just been acting, you know, just, you know, my tail off for the past 20 minutes. And here's an example of somebody, you know, saying what they mean and meaning what they say.
BIANCULLI: Bradley Cooper, speaking to Terry Gross last year. More after a break; this is FRESH AIR.
BIANCULLI: This is FRESH AIR. Let's get back to Terry's 2012 interview with actor Bradley Cooper. His movie "The Place Beyond The Pines" is in theaters now, and his "Silver Linings Playbook" has just come out on DVD.
GROSS: What made you want to act?
COOPER: Well, it crystallized for me in "The Elephant Man." I mean, it literally was the - you know, I watched the film, the movie ended, and I either turned to my father or myself and thought: I want to be an actor. And that never changed up until today, you know, never.
And it was almost like a party trick for my parents or my cousins or my sister to say, hey, look at little Bradley - he knows what he wants to do when he grows up already. And then I would say I want to be an actor, and everybody would laugh.
But before that, I definitely became completely entranced by television and film growing up. I mean, you know, Saturdays, you know - and PBS was a huge thing and watching, you know, "Gomer Pyle" and "Mr. Ed" and the "Colgate Comedy Hour" and Sid Caesar and "The Show of Shows." I mean, these were all TV shows that I watched all the time, and "The Jeffersons."
And then films, my father would show me movies all the time, when I was very young, from like 10, 11, 12. He would show me "Loneliness of the Long-Distance Runner," "Hiroshima, Mon Amour," "Deer Hunter" - I mean movies that just, you know, you wouldn't normally show a kid. But I...
GROSS: These are grim movies for a kid.
COOPER: These are grim movies, but I think maybe he saw I had so...
GROSS: How old were you?
COOPER: I was, you know, very young, before my teens, you know, 10, 11, 12. But I had such a hunger for it. And I think that was prompted by knowing that he was so moved by it, and I always wanted to emulate him. But then that sort of parlayed into me enjoying it on my own.
And I always had a real hunger to be older when I was young. You know, I always wanted to be older than I was. So I think that also was an engine to try to learn about things that probably kids my age wouldn't normally want to learn.
GROSS: So when you were watching films with your father, was he a good guide? Would he, like, tell you things to watch out for and talk about the performances or, you know, discuss the implications of the story with you?
No. It was much more like two sort of kids with popcorn in front of them, enjoying the film. That was always the great thing about my dad, is I always felt like I was - he was my friend. And the only thing I can really remember specifically is we used to have this game that we would have called Would You Put Him in the Movie, or Her in the Movie.
COOPER: And we would have this - the ultimate film that would have the best actors. And the way that we would rate performances in movies is: Would they be worthy of the movie? And so we would be watching a scene, and so I'd turn to him and say: Would you put him in? And then he'd say: Maybe not. So that was the barometer.
But outside of that, there was no sort of intellectual discussion about: You see, son, this is how, you know, you set up the protagonist - or nothing like that.
GROSS: So who was in the movie?
COOPER: De Niro was definitely in the movie. Albert Finney was a - he had a big role in the movie. He may have been the lead in the movie. But it would change. I think the character would have many different - it was a long movie, God, and I don't know, the budget would probably have been insane with all the talent. Peter O'Toole was in the movie, Glenda Jackson, Julie Christie, Omar Sharif, a lot of people, Richard Pryor, Gene Wilder, Shelley Duvall, Jack Nicholson - yeah, tons of people.
GROSS: Sounds like an Altman film.
COOPER: Yeah, it does, yeah, exactly.
GROSS: So let's talk about "The Elephant Man" because you said this is the movie that really made you want to be an actor. And this is a movie directed by David Lynch, and it's based on the true story of John Merrick, who was born with a lot of physical deformities and became a specimen in - an exhibit in a freak show.
But I don't know much about the story of the real John Merrick, but the way he is in the movie, he's a beautiful, sensitive soul with a very kind of, like, artistic spirit. But instead of being able to show that artistic spirit to others, his deformities are what is on display in this freak show. And it's so - well, tell us what you love about this film.
COOPER: It was his innocence, or rather his joy of life, despite all of the maladies, both physical and situational, that affected him. And I remember just sort of scenes like when they finally give him - when Anne Bancroft's character, Mrs. Kendal, give him his little sort of dope kit, and he's sitting there, like, brushing the hair, and it's just so - with his new outfit on, or, you know, how much he was - how gentle he was.
It just sort of killed me as a kid thinking how this man felt so much joy, despite everything that was going on with his life. I think that's what happened. But I just know that I couldn't - I mean, that movie really just - I was sidelined for days afterwards. You know, everything that David Lynch was able to do, the fact that he chose to shoot it in black and white, that carnival music, the "Adagio for Strings."
GROSS: That music's great, yeah.
COOPER: Yeah, I mean, it just - I mean, it's just about a perfect movie, you know. In 1980, I remember he made that. And, you know, and I had - I didn't know anything at that point. I just knew that I wanted to affect people the way I was affected. That was the crystallization.
It was when Anthony Hopkins, when Treves walks into that cave-like carnie exhibit, and he's told to wait. And he - and Merrick is called out. And you just stay on Treves' face as he sees Merrick. It's just such a powerful moment, and I just thought, wow, this is what I want to be a part of. This is - there's something about this medium that I just, I don't know, I need to be inside that and living in it.
GROSS: So you did your master's thesis on "The Elephant Man," but I think that means you acted in a performance of it? Like, what does it mean?
COOPER: That's correct, yeah. It was a three-year master's degree in fine arts, and then - and it culminated in your thesis, which was I think an eight-performance run of a play or a section of a play that you would, you know, rehearse.
And at that time, I had discovered that Bernard Pomerance had wrote a play, which I had no idea, and that John Merrick was an actual man, Joseph Carey Merrick, who lived in the late 1800s in London and died at the age of 26 and was a real go-getter, in fact.
And that's maybe the major difference between John Merrick in David Lynch's film and the man that I at least studied and got to know. Who knows what the truth is? But it definitely seems like, well, one of the things about him is what a survivor he was.
You know, he wasn't plucked away and put in this carnie exhibit. He actually sought out this guy Ross - that wasn't his name, though, in real life - this promoter and said, you know, I think that we can make money together. And he left his home at 12 years old.
His mother had died, and his father remarried to a woman who had children who really just made fun of him all the time, and he just couldn't take it anymore, and he left. And this is a guy who, as a kid at 12 years old, who, you know, was born normal, and as the years progressed, started to, you know, realize that something was happening to him physically.
And he just had this will to survive that is just daunting to me. So I just find him to be such a fascinating, fascinating person. And then Bernard Pomerance wrote this play, and I thought, you know what? Let me take a stab at proposing it to my grad school, that I would do it. And they quite frankly tried to sort of gently suggest that I do something else, like, you know, "Cat on a Hot Tin Roof" or something.
And I thought, no, I really want to do "The Elephant Man." And they begrudgingly allowed it. And then it went really well. And then, you know, hibernating for 10 years, and now I'm 37 years old, and I am thinking gosh, I really want to try to do this again.
And he died at 26, so I better do it now. And I said, look, we're going to do it at Williamstown, which is this theater festival where you can kind of try out and do things without any repercussions, basically.
And then we did it this summer, and it really was, Terry, pretty magical. And never did I think that we would then, you know, segue that into hopefully doing it on Broadway, but it looks like we're going to do it next spring for about six months, which is just wonderful.
BIANCULLI: Bradley Cooper speaking to Terry Gross in 2012. We'll continue their conversation in the second half of the show. I'm David Bianculli, and this is FRESH AIR.
BIANCULLI: This is FRESH AIR. I'm David Bianculli, in for Terry Gross, back with more of Terry's conversation with actor Bradley Cooper. His new movie, "The Place Beyond the Pines," is in theaters now, and his next movie, "The Hangover Part 3," opens later this month. Terry spoke with Bradley Cooper last year when "Silver Linings Playbook" was released. It's now out on DVD.
GROSS: So when you were growing up in Jenkintown, which is a suburb of Philadelphia, you grew up right near a movie theater. How close was it to you?
COOPER: It was literally in my backyard. The only thing between the movie theater and our backdoor was a train tracks. There was a thing called the Fairway. It was an old golf course that they then made into a road that they kept the name, and then there was a shopping center. And so I would just go outside, you know, through my garage, cross the train tracks and walk to the movie theater every free chance I had.
GROSS: Oh wow. You're so lucky.
COOPER: Yeah.
GROSS: So did they show good movies? I mean was it first-run movies or...
COOPER: Yeah, it was first-run movies. And back then movies stayed in theaters for six months. Her member "Platoon" was there forever and "Stand By Me" was there forever and "Yentil." Yeah.
GROSS: But that's bad because you can't see anything else if it's there forever.
COOPER: It's bad if you don't like the movie. Yeah.
GROSS: So what did you see there? Like what was the first movie you saw in a movie theater?
COOPER: Oh, gosh. I think it was probably "Star Wars." I'm pretty positive it was "Star Wars." But then the movies I remember seeing there, "Rocky." But I also, I remember seeing "Rocky III" in Atlantic City, and that was coming out on the boardwalk afterwards and trying to like, you know, box like Sylvester Stallone. But "Platoon" and "Stand By Me" are two movies I think I saw probably 30 times in that movie theater, especially "Stand By Me" because, you know, train tracks were right outside my backyard so I could reenact scenes, you know, right after coming out of the movie theater.
GROSS: When you were on FRESH AIR once before, you spoke with Dave Davies. And you told Dave for one of your auditions that well, but I think they didn't really want you to audition for the film but you auditioned anyways, and you sent an audition that you filmed in your kitchen.
GROSS: And I, I would like to hear more about that audition.
COOPER: Well, I mean I did that many times. I was going to grad school and I was looking up, because I don't know if it's like SAG. There's some sort of thing that you're obligated to put out additions, like the casting directors are or something but there would be, you know, calls for I remember "The Patriot" for the Heath Ledger role or "Armageddon" for the Ben Affleck role when I was in grad school. And so I would be privy to these auditions so I would put myself on tape. I had like a camcorder and I would put myself on tape. And I didn't have anybody to read with so I would actually read the other character's lines and leave space on the tape recorder and then say my line.
COOPER: And I did that - honestly, Terry - probably 200 to 250 times over the course of two years while I was in school. And then I would just hand-deliver the tape to whatever casting address there was. And this sort of pitifully sort of heart-warming notion is that I actually when I thought I did a good job I thought oh, there's a chance I could get the role.
COOPER: It was pretty funny. But it was a great learning experience to actually, you know, I remember my audition for "Armageddon."
COOPER: Oh, no- no, it wasn't "Armageddon," for the other one, "Pearl Harbor," I remember. And, you know, and since knowing Ben Affleck now I sort of told him about it and we were laughing.
GROSS: Oh, you could carry a film like with that kind of budget even though nobody knew who you were. Yeah.
COOPER: Right.
GROSS: So did you ever get any kind of response to one of the kitchen tapes?
COOPER: I put myself on tape for a movie called "Case 39" when I was in Philadelphia taking care of my father, had something happen to him and I got that role. And I remember that was the first time that it worked. And I thought that was just incredible. And then a couple other times I got to meet Robert De Niro through doing that. I put myself on tape to play his son and my mother read his lines and he asked to see me when he was coming through L.A., just because he had seen the tape. And this speaks to his character because he, the whole reason he wanted to meet me was to just say that keep doing what I'm doing. I walked in his room and he said, you know, you're not going to get this but I just wanted to tell you that I, I see it, and I see you and, yeah.
GROSS: That's so nice.
COOPER: Oh, it was incredible. I mean for a guy like that to take time out to do that. First of all, to watch some tape and then ask to see the guy. I mean that's pretty, that's pretty impressive.
GROSS: Your father, who you just mentioned, died in 2011 of cancer. What was going on in your life professionally then? I know you spent, you moved back to the Philadelphia area to be with your parents during the last months of his life.
COOPER: Yeah. Which was a huge privilege. God. I mean that's an example of, the good part about being an actor, you know, the bad part is there's no consistency, there's no comfort in knowing you always have a job but the good part is you can take chunks of time off. We were trying to get a movie to shoot in Philadelphia because I knew he was, he had been diagnosed with lung cancer when we were shooting "Hangover 1." I remember we were in Las Vegas during the press junket and I got a call when I was in the van from the doctor saying the cancer has come back and it's really bad and he probably has nine, he probably has a year. And I just, yeah, I - we had thought he had kicked stage one lung cancer and so this was a shock. And then so from that moment on which, you know, there was another two years before he died, you know, I just tried to make as much as I could time to be with him. So this movie "Limitless" we shot in Philadelphia and then after that I stayed in Philadelphia.
And actually, I remember I had a great opportunity to do a movie and it was a sort of a five-minute decision to not do it and I just stayed at home and moved back into my parent's house. And it's interesting what an environment can do to the mind. I really did forget that I had a whole life in LA. I sort of reverted back to when I was in high school living in my room, hanging out with, you know, whatever friends from high school still lived in the neighborhood and, you know, it was just crazy for those six months. And then I went to, I had to go to Thailand to shoot "Hangover 2" for 10 weeks and, which was very difficult because I did not want to go. I was terrified that he was going to die while I was away. And then I came back on New Year's Eve and flew right to Philadelphia and he died January 15th. And I got to take him actually to an Eagles game, the playoffs the weekend before died. He hit his head on Tuesday, died on Saturday and I took him to the game that Sunday.
GROSS: Did you feel like he was waiting for you to come back?
COOPER: Yes. Absolutely. Unconsciously. The thing about my father was he was so such a hard head and he never thought he was going to die. We never had a discussion about, you know, this is what's going to happen after. It was always, you know what? I think it's, I feel good about it. And, you know, we did all these, you know, compassionate use cases of taking and not taking the placebo and doing these drugs that were, you know, we looked at every possibility to try to kick this thing. There was never any notion that, you know what, it beat me, up until the end. So that was interesting in that sense. He did not want to die at all.
GROSS: Isn't it remarkable that even, even when you were in a your 30s and a successful actor in a hit film, you go back to the bedroom you grew up in and you feel like you're in high school again living with your parents.
COOPER: Yeah it's something. It's - yeah, It's crazy.
GROSS: Were you able to deal with that? I mean because that could be - what's the word I'm looking for? That could be so like, stultifying. I mean it can really cramp your sense of who you are as your own person when you're back in that bedroom and feeling like you're in high school again, even though you're not and even if your parents recognize that you're not and even though you're there to help them.
COOPER: Yeah. It was such a unique situation though, also because the dynamics between me and my father had just so oddly changed, you know, where I was, you know, taking, washing, you know how it is?
GROSS: Yeah. Yeah.
COOPER: I mean it's like he couldn't do anything. You know, I was doing everything that a nurse would do. And, you know, so that was the - I think that was even more daunting than the fact that I was living in my bedroom that I grew up in. I mean it was my relationship to him and that was the thing that was kind of stultifying - to use the word that you used. But it was beautiful. I have to say, Terry. I felt like I got, I became much more in touch with myself during that time period. And certainly, the moment he took his last breath was one of the biggest gifts I've ever been given in my whole life. Everything, there was a shift that occurred in that moment in that and it was immediate and the repercussions of it occurred, you know, every moment afterwards. I just stopped caring about so many things that I had given importance to and the level of perspective that I gained from that experience was massive. And I take it to today to talking to you right now. The man I was before that moment is much different than right now.
BIANCULLI: Bradley Cooper speaking to Terry Gross. More after a break. This is FRESH AIR.
BIANCULLI: This is FRESH AIR. Let's get back to Terry's 2012 interview with actor Bradley Cooper. His new movie "Silver Linings Playbook" has just come out on DVD. And in his new film, "The Place Beyond the Pines," he plays a policeman who has uncovered corruption in the department. As a kid, Bradley Cooper had a chance to see cops and firemen up close.
GROSS: You have one grandfather who was a cop and another who was a fireman?
COOPER: Correct. Yeah.
GROSS: Did that make you, well, first of all, so many kids want to grow up to be cops or fireman - or at least they used to.
COOPER: Yeah.
GROSS: Did you have any aspirations in that direction at any point?
COOPER: I wanted to be a soldier; that was my thing. I was obsessed with Vietnam when I was a kid and I tried to...
GROSS: Oh, well, that's because you saw "Platoon?" No, not "Platoon." "The Deer Hunter."
COOPER: Yeah.
GROSS: Is it because of "The Deer Hunter?"
COOPER: It was all of them. Yeah, it was "Deer Hunter," "Apocalypse Now," "Platoon," it was a triple threat. And I...
GROSS: I can't imagine wanting to go to Vietnam or wanting to be a soldier after those films. They were just like such grim portrayals of war and of the Vietnam War. Like why would you...
COOPER: I think it was...
GROSS: Why would you want to do that afterwards?
BIANCULLI: Yeah, I don't know what that says about my psychology. But I think it - well, I know what it felt like. It was the men in the movie felt like they understood something about life that others didn't and I wanted to go through that experience so I would have that knowledge. And I remember articulating that to my father and that's why I wanted him to allow me to go to Valley Forge Military Academy.
GROSS: Really?
COOPER: And I looked it up on the Yellow Pages and found the number and I begged him to enroll me into the military academy. And he said, over my dead body will I ever have my son go there. He was in the Army Reserves and he was, you know, grew up very sort of in the, you know, in a very strict household. And, but he was a sort of a bit of an anarchist himself, a rebel, and he was not elated with the idea of me going into the military. So, yeah, there was a bit of a thing between us. But, yeah, that's why I wanted to. And, you know, I loved and I loved everything about it, the uniform, the guns, everything. You know, so cop or fireman was not really something - also because it was very, something that I knew. You know, I would spend a lot of time with my grandfather and both, mainly my mother's father, who was a cop and also my father's father I knew well, so it wasn't as much as the other the way a soldier was, you know, that was something that was beyond something that I knew about.
GROSS: Would your grandfather - who was a cop, who it sounds like you knew pretty well - take you in the police car with and or on the beat with him?
COOPER: He, at that time, he was a beat cop for 35 years so by the time I was born in 1975, he had already retired. And he had a garlic business. He had a garlic business that he ran out of his basement in South Philly and then or I don't know, it was Pennhurst Street and then also he was a cop. So all I had were stories by the time I was born. I still have his baton actually, in my closet that he had. And, you know, he had his gun and his bullets and the coffee mug in the counter, you know, the whole thing.
GROSS: Was he a cop when Frank Rizzo was the commissioner?
COOPER: Yes. That's exactly right. Yes. Yes he was a...
GROSS: Oh you must have some good stories.
COOPER: Oh wow, that's so great that you said that. Yeah, Frank Rizzo was like one of his heroes. He always, he loved Frank Rizzo and who then became the mayor but he was the commissioner when my grandfather was a cop. That's fantastic that you just said that name, Frank Rizzo. Wow.
GROSS: So was he in any of the confrontations with students or hippies from the '60s and early '70s?
COOPER: You know, he talked one time about he never, he always was proud of the fact that he never pulled a - he never shot his gun and only pulled it once in 35 years. And there was one occurrence where it was a protest and somebody had, you know, sort of barricaded a building and he sort of talked the guy out of it. That was the only sort of famous story that we were regaled with.
GROSS: Nice ending.
COOPER: Yes. Very nice ending. Yeah. And he was really special, my grandfather. You know, those, you know, those neighborhoods were very segregated and racism was ramped. And he was, he, you know, growing up where he did, he would have none of it. Anybody that would come into the house that would say any slanderous remark about any ethnicity he would kick them out of the house immediately. And I never realized how sort of unique that was back then but that's how I grew up and that really just something that he felt.
GROSS: That's great.
COOPER: Yeah. It really - I mean it was really something, especially for growing up in Philadelphia, to have that was really, really interesting.
GROSS: How did that affect your attitude? Because sometimes, like, there's this conflict between wanting to be polite and wanting to say, I'm sorry, you cannot talk that way.
COOPER: Yeah. Politeness was not his - was not one of his, you know, gifts. He was a straight talker and did not mind confrontation. So I grew up, you know - you know, there was a way to talk and a way not to talk.
GROSS: So a question on a lighter note than what we've been talking about. I have to ask you the Sexiest Man Alive question, as I know everybody does.
COOPER: Oh, I'm so glad.
GROSS: Yeah. I'm sure.
COOPER: I was waiting for it.
GROSS: Yeah, you're thrilled. But here is my question. You know, there are certain kind of, like, sexy man poses that I think are just, like, hysterically funny. And so, like, there's the sexy man pose where there's a kind of like - this is particularly true of, like, fashion models, like clothes models, and they're staring at the camera like I am so attractive.
I really can't believe how attractive I am. And they have this, like, passionate look in their eyes, but you think what's going on in their mind is, if I could make love to anyone in the world, it would be to myself because I'm that good looking.
GROSS: And then there's that kind of, like, sexy man pose where, like, he's running his fingers through his hair, thinking, ladies - or some men - you'd like to be doing this too, wouldn't you? And then there's, like, I think my t-shirt's a little too tight kind of pose. So, like, when you're asked to - are you asked to do, like, you know, the sexy man poses for photographers?
COOPER: I mean as you've described each one, I remember those ones being taken of me.
COOPER: Literally, I remember them exactly. I remember I was doing this shoot years ago and we were outside and I could not see because the sun was right in my eyes and the look was that look that's the first one you described.
GROSS: The I am so handsome?
COOPER: Yes. But all I was doing was desperately trying to keep my eyes open and it was very arduous. And then the hands through the hair is - I definitely have done that a lot, but that was because I absolutely hate having my photograph taken.
I mean it is a - it is like torture and I just - and so they can sense that, the photographers. So they ask me to do stuff and I've only learned recently that I can actually say no and just, you know, sorry, but you're just going to have to take it the way it is.
You know, starting out, I would do anything they said, you know, jump up and down and do whatever - whatever they - you know, grab a mandolin, whatever you're going to do. And so I definitely - for some reason hair and the - the hands in the hair I think they like because I was doing something and it sort of took me out of my head maybe. But yeah. I am - that kind of stuff makes me feel sick to my stomach.
GROSS: What have you said no to?
COOPER: Oh, gosh, I won't jump on a trampoline anymore. I think that I've sort of ruled out.
GROSS: What's the point of the trampoline?
COOPER: You know, I think they like, you know, motion, you know, movement.
GROSS: Right, right.
COOPER: Anything movement. You know, the old - you know, would you mind, you know - the looking off and then putting your eyes back to camera. That thing? No. That's no bueno. Do you know what I'm talking about? Like, your face is away...
GROSS: I think so.
COOPER: ...but then your eyes come back.
GROSS: Right.
COOPER: You know, almost that look.
GROSS: And what's that supposed to signify?
COOPER: I don't know.
COOPER: Like, I don't know, but it looks just so awful. And then there's the other one of, like, you know, sort of, you know, holding onto your body or something. You're like putting your hand - you're resting your head on your hands or something. That whole thing, you know.
GROSS: Yeah. Mm-hmm.
COOPER: They often do that. You know, would you mind just doing that? Especially when you go to - promoting a movie in a foreign country, they hate me because they'll often take stills after the interview and then they'll say, could you please put your hand - I said, no, I'm sorry. No? You can't do this? No, no, sorry.
And also, if you ever smile, ever, that's the one they're going to use, and I remember my friend and I - I agreed to do this magazine and I was very excited because my friend, who's a great photographer, I said you have to do it with him. And so they said OK. And we said, OK, no smiling. And one click he did of me smiling after a whole day and that was the cover. Yep.
GROSS: Well, this is has really been great. So I really want to thank you a lot.
COOPER: All right.
GROSS: It was really a pleasure.
COOPER: Oh, well, it's a real honor for me, Terry. I have to tell you, a real honor to be here, and thank you.
BIANCULLI: Actor Bradley Cooper speaking to Terry Gross last year. "Silver Linings Playbook" for which his co-star Jennifer Lawrence won an Oscar as Best Actress, is now out on DVD. His new movie, "The Place Beyond the Pines" is in theaters now and his latest film in the "Hangover" franchise premieres later this month. Cooper also is developing and starring in "American Sniper" a film about recently murdered U.S. veteran Chris Kyle with Steven Spielberg directing.
DAVID BIANCULLI, HOST:This is FRESH AIR. I'm David Bianculli. Film critic David Edelstein has a review of "Iron Man 3" starring Robert Downey Jr. as the man in the metal suit, Gwyneth Paltrow as his long-suffering assistant-turned-girlfriend, and a cast that includes Don Cheadle and Guy Pearce.
DAVID EDELSTEIN, BYLINE: The third time might be the charm for some things, but the number three after a movie title is typically shorthand for a deal with the devil. The studio thinks there's more money to be squeezed from a particular property, and voila: "Spider-Man 3," "Superman III," "The Godfather," God help us, "Part III." OK, "The Godfather's" a special case.
Most other threes, though, are what happens when a too-thin plot meets a too-fat budget. "Iron Man 3" conquers the curse of the three in a novel way: It pretty much takes Iron Man out of the equation. He's in there, obviously - people would tear down the theater if he weren't.
But Robert Downey Jr.'s billionaire industrialist Tony Stark doesn't spend much time in that computer-generated Iron Man suit, which means fewer cut-ins of Downey's little head inside, reacting to battles that we know - no matter how much we want to believe - have no actual human component whatsoever.
The excellent idea of director Shane Black, who co-wrote the script with Drew Pearce, is to kick Stark out of his comfort zone. Instead of throwing money at every problem, Stark has to function as a lone gumshoe, think like a garage mechanic, and when necessary, jury-rig something crude - or, as we like to say nowadays, "MacGyver" it.
Black directed Downey in 2005, in one of the actor's first post-prison vehicles - "Kiss Kiss Bang Bang," a good, tense Hollywood private-eye spoof. He knows Downey's best characters have a morbid edge, a mixture of arrogance and self-disgust.
"Iron Man 3" begins with a flashback: Stark is telling his story, explaining how his bad behavior created the demons that would change his life. There was a conference in 1999, he was trying to seduce a botanist played by Rebecca Hall, and he boorishly blew off a long-haired, partially paralyzed science nerd named Aldrich Killian, played by Guy Pearce. Killian did not, to say the least, forget the slight.
Stark behaves no more wisely a decade later. After an explosion in a shopping mall credited to a terrorist mastermind called The Mandarin, he sends a message via TV news cameras.
ROBERT DOWNEY JR.: (as Tony Stark) Here's a little holiday greeting I've been wanting to send to the Mandarin. I just didn't know how to phrase it until now. My name is Tony Stark and I'm not afraid of you. I know you're a coward. So I've decided that you just died, pal. I'm going to come get the body. There's no politics here, it's just good old fashioned revenge. There's no Pentagon. It's just you and me. And on the off chance you're a man here's my home address: 10880 Malibu Point, 90265. I'll leave the door unlocked.
EDELSTEIN: It turns out The Mandarin - or whoever's behind him - didn't need the door unlocked since his attack helicopters fire missiles through the windows of Stark's high-tech cliff-side manse. The bombardment has been the stuff of trailers and TV spots for the past six months, and I can only add that it's even more impressive in 3-D.
That it's fun to see Stark's girlfriend, Pepper Potts, played by Gwyneth Paltrow, in the Iron Man suit briefly - or at least to her little head inside, pretending she's in it - and that the shot where the camera seems to plummet alongside Stark and what's left of his house is not just a wowza(ph) but a triple-decker wowza with cheese.
Thereafter, Stark is on his own, without an Iron Man suit or most other superhero paraphernalia, and he's still having anxiety attacks from that battle with the giants from the realm of Asgard in last summer's "The Avengers." It takes a precocious Tennessee adolescent named Harley, played by Ty Simpkins, to push Stark to rediscover his inner garage-workshop tinkerer.
As to the nature of the supervillain and his literally fire-breathing minions, I won't spoil anything. I couldn't if I wanted to, come to think of it, since I never fully understood their powers. I didn't care, though: "Iron Man 3" has one rollicking set piece after another, and unusually good performances from Downey, Pearce, Don Cheadle as Stark's gung-ho buddy Colonel Rhodes, and especially Ben Kingsley as The Mandarin, the true nature of whom I shall not reveal.
Unlike most comic-book directors, Shane Black doesn't stint on killing. An attack on Air Force One has the high body count of the movie "Air Force One." It must be said, that the timing wouldn't seem to be great for a popcorn blockbuster featuring explosions in American cities. But for better or worse, this kind of picture always seems to get a pass. The audience needs its fix; nothing gets between us and our superheroes.
BIANCULLI: David Edelstein is film critic for New York Magazine.
Transcripts are created on a rush deadline, and accuracy and availability may vary. This text may not be in its final form and may be updated or revised in the future. Please be aware that the authoritative record of Fresh Air interviews and reviews are the audio recordings of each segment.

subset: commoncrawl


text:
I call this cake "revisited" although it is not entirely exact, but I could not think of a better way to say it. I made this cake for the first time last year, posted this pretty picture and promised to write down the recipe on this blog and never did. I have received many requests for it over the past few
I have also received many requests to post the how-to's of making the caramel corkscrews I used for the Espresso Chocolate Trios and the Chocolate Crepe Cake. I hope the explanations and drawing at the end of this post will unleash the caramel playing gene in you. Just take your time, be patient and the good thing is that even if you mess up, you can still it it!
Chocolate Peanut Butter Banana Cake, adapted from Marcel Desnaulniers
2 cups all purpose flour
1 tsp. baking powder
1 tsp. baking soda
1/2 tsp.salt
3-4 medium ripe banana,peeled and diced
1 cups sugar
2 large eggs
1/2 cup boiling water
1/2 cup dark rum
1 cup unsalted peanuts for the garnish (optional)
1 3/4 cup smooth peanut butter
1/2 cup powdered sugar
4 oz semisweet chocolate, melted
12 oz. semisweet chocolate
4 oz. unsweetened chocolate
2 cups heavy cream
2 Tb. sugar
Sift together the flour, baking powder, baking soda and salt. Set aside.
Cream the butter and sugar together until light and fluffy. Add the eggs, one at a time, beating well after each addition. Add the banana pieces at medium speed, until just incorporated. Add the sifted dry ingredients, mix well. Add the boiling water on low speed. Once incorporated, add the rum, also on low speed. Run a rubber spatula around the side and bottom of the mixer to make sure that all the ingredients are well incorporated.
Divide the batter among the prepared pans and bake 25-30minutes, rotating the pans if necessary. Let them cool to room temperature. Invert the cakes and peel of the parchment paper.
If you wish to decorated the cake with the peanuts, save about a dozen for the top of the cake, chop the rest coarsely and press them on the sides of the cake. Use the reserved ganache to pipe swirlies on top of the cake.
Caramel Corkscrews:
Start with a basic 2 step dry-method caramel:
Over medium high heat, melt 1/2 cup of sugar in a heavy bottom saucepan until golden brown. Immediately add another 1/2 cup of sugar and stir untill all the sugar mixes and melt and becomes dark golden brown. In this particular method,it is ok to stir the sugar,but with a wooden spoon and very slowly. It goes from a semi-liquid golden to a dark brown caramel. It will coagulate but becomes smoother as it melts. This method is very convenient for reheating as you need when your working caramel becomes too stiff, without adding any more color. Remove from the heat and let it cool to a consistency of thick glue. Too thin and it will make pretty strands, too thick and you can play with pulled sugar.
For the corkscrews, I lightly oiled a metal skewer, held it in my left hand (I am right handed),I dipped a wooden spoon into the hot caramel with the other hand and twirled the caramel around the metal skewer, starting from part closer to my wrist and twirled my way up the skewer. Let it dry a minute and let it slide off onto a lightly oiled parchment paper lined baking sheet. Make sure the caramel is thick enough to play with. One easy cooling method is to put your pan into a larger one filled with ice as soon as your caramel has taken on the right color on the stove. If it gets too thick, simply reheat on low for a minute. Oh, and have scissors near by in case those caramel strands start taking on a life of their own!
Last but not least, I want to share with you a cool event that Kristen from Dine and Dish started about a month ago. She asked for volunteers veteran bloggers to adopt new bloggers. I remembered how strange and weird it was to start blogging. Finding your voice, your style, deciding on how much of your privacy to give, getting comfortable. I needed help with the basic styling, the basic editing, the basic everything (but now I have a computer Guru!).
I read and read "blogging 101", scratched my forehead and pulled my hair....not really but close. I really found my groove last year and I thought that Kristen's event was a great way to help new bloggers find their skin or to simply give them a virtual high five for pursuing their dreams.
So, after this long paragraph, let me introduce you to Dana who writes Proof Of The Pudding and Evelin who is the voice behind Bounteous Bites, and I could not be happier to adopt them.
I "met" Dana in November when I stumbled upon her wonderful pear cake that I have made so many times since then, changing the fruits, extracts,.... everybody should have a base cake like this one!
I discovered Evelin through her 2007 blogging recap and started reading through her archives days before Kristen mentioned not having enough veterans for a few bloggers. I volunteered to take adopt another one (what I would do for cake?!!) and when I read it was Evelin, I was tickled pink. Karma/Fate is pretty powerful wouldn't you say?!...or Kristen has psychic powers to have matched me with Dana and Evelin!
Tonight I am actually wondering how to dunk Dana's bagels into Evelin pear and fennel soup...


text:
Rebellion ends at the moment of embrace. There's only so long you can convincingly rage against the machine, when your rage is what fuels it. This moment is where we find Eminem and M.I.A., each with a new album — his "The Marshall Mathers LP 2," hers "Matangi" — and engaged in alternate versions of "This Is 40."
The barbarians have become brands capable of altering corporate bottom lines. Eminem has hawked oceans of Brisk Iced Tea, fleets of Chryslers and more records than any living rapper. An Oscar gleams on the 41-year old's mantel in his Kmart mansion in suburban Detroit. Mathangi "Maya" Arulpragasam, 38, has similarly turned cultural sedition into immense success. The daughter of a revolutionary displaced by the Sri Lankan civil war has her own Versace line. Her young son is a scion to the Seagram's liquor fortune.
Eminem may shout out his underground bona fides on the new album's "Legacy," but he's as responsible as anyone for the mainstreaming of hip-hop. The first "Marshall Mathers LP" transcended genre. It was wincingly profane, emotionally unnerving and captured the millennial zeitgeist. As Eminem put it: The underground spun around and did a 360.
You could use the same phrase to describe M.I.A. flipping off 111 million viewers during the 2012 Super Bowl halftime show. The act earned her a $1.5 million lawsuit from the NFL. A response comes on "Matangi's" "Boom Skit," in which she assails those angry that she tried to "steal Madonna's crown." Her politics are muddled, but the message is clear: neither truffle fries nor television time mitigate her desire to savage those "who don't get our underground."
Eminem's definition of "underground" specifically referred to a schism in hip-hop culture; M.I.A.'s encompasses the global disenfranchised. The first "Marshall Mathers LP" became a touchstone because Eminem spoke for the millions who dressed, walked and talked like him. "Matangi" implicitly reproaches that same fair-haired, light-eyed majority — or anyone reaping the dividends of economic inequality. While their creative differences might be stark, both spend much of their latest records exploring what's left to rebel against.
M.I.A.'s fourth album is a dialectic disguised as a dance party. In interviews given last year, she blamed delays on record label executives dismayed at her shift towards positivity. Still, there's plenty of vitriol aimed at multinational oligarchs, government surveillance and those "whose guns point the wrong way."
"ATENTion" spotlights the plight of dispossessed refugees, complete with an uncredited writing assist from WikiLeaks founder and M.I.A. comrade Julian Assange. There's "Bring the Noize," which takes its name from Public Enemy, and rants against banks, bad tattoos and how she's the "overweight, heavyweight, female Slick Rick."
But "Matangi" also doubles as an exploration of metaphysical and carnal concerns. Its title comes from the Hindu tantric goddess of speech, music and knowledge. There are two songs with the lecherous crooner the Weeknd. The opener is "Karmaggedon," which reconciles her sky-is-falling past with a nascent desire for inner peace.
Even at her most mellow, M.I.A. remains a pop subversive. Whether you buy into the quasi-revolutionary rhetoric or not, she resists initiation into the realm of top 40 cliche. There are no melodramatic ballads, cynical radio grabs or cameos from the hot rapper du jour. "Matangi" is a pan-global, post-Internet tantrum of bhangra beats, hip-hop, Bollywood music, dancehall, EDM and the occasional jazz harp. While it can get tedious, it finds M.I.A. refining her sound and self-identity. It's engaging but still keeps you at arm's length. It's club music for those who can't countenance (or afford) the bottle-service scam. The influences are acknowledged without nostalgia. What's left to rebel against is converted into a multimedia art experiment.
Eminem's aims are comparatively vague. "I'm all out of Backstreet Boys to attack," he laments on "Evil Twin," a rare highlight from "MMLP2." The semi-sequel finds him at a crossroads, scanning the horizon of broken-up boy bands and faded pop stars he once reviled. "Who's left? Lady Gaga? Mess with the Bieber? Nah," he continues.
It's an honest admission that the war is over. Yet much of the album ironically finds him lobbing stale and dated pop culture salvos towards a world where CNN brings next-day analysis of Miley Cyrus twerking. He's the last one making jokes about Kevin Federline, Lorena Bobbitt and O.J. Simpson.
On the first "Marshall Mathers LP," Eminem used his whiteness to incisively examine deeper racial hypocrisies. Its successor finds him adrift in a world where the other most popular white rapper advocates for same-sex marriage and grandpa sweaters.
The same homophobic slurs, mommy issues and violent threats toward women remain. But whereas Eminem once used them in service of jokes and cohesive narratives, he now uses them as a trigger for nostalgia.
The Rick Rubin-produced lead single "Berzerk" intimated that "MMLP2"³ would be Eminem's throwback album, but Rubin's contributions seem to mostly comprise exhuming old Zombies and Joe Walsh loops over which Eminem can express his confusion about Facebook and Internet downloading. Eminem's syllable manipulation and rhyming agility remain staggering. But success has validated his worst musical decisions and Sam's Club tastes.
Kendrick Lamar is the album's lone hip-hop guest, and the dream collaboration is squandered on awkward sex jokes on "Love Game." The beat for "Rap God" sounds made for a rave in a straight-to-DVD vampire movie. If "Survival" feels made to cross-promote a video game for hyper-violent adolescents, that's because it was ("Call of Duty: Ghosts").
The album opens with a seven-minute plus sequel to "Stan"; it replaces the original's psychological unraveling with sub-"Saw" schlock. Nate Ruess of fun., Skyler Gray and Rihanna pop up elsewhere to belt Eminem's hokey, group-therapy choruses. The Dr. Dre beats are gone, substituted with monotonous martial drums and squealing rock-rap guitars for the Nickelback demographic.
Since "Lose Yourself," Eminem has increasingly incorporated atonal, nasally hooks and grumpy-dad growls. But they lack build and pacing — crescendos come as randomly as a mad dog barking at a ghost. He mistakes architectural complexity for advancement. The raps are technical metal guitar solos that go nowhere. The flows are dazzling but lack the elasticity and playful wit of Eminem's early brilliance.
Albert Camus described a rebel as a "man who says no." "MMLP2"³ is the sound of Eminem saying yes. In 2000, he was the monster. In 2013, he's "friends with the monsters under his bed." Marshall Mathers may still command a nation of millions, but he's lost the ability to see their faces.
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Wright hits school record nine triples as Saints sink Sault
SAULT STE. MARIE — Sault High threw every defense in the book at St. Ignace's Kelley Wright.
"We used a 1-2-2 zone, a 1-3-1, a 2-3, a box-and-one and man-to-man," Blue Devils coach Pat Bennin said. "And at halftime we were talking about going triangle-and-two."
Even if they had, it's doubtful they could have stopped Wright, who broke a school record with nine 3-pointers and scored 29 points in the Saints' 84-47 win over the Blue Devils on Thursday.
"I felt it in warmups, I was feeling the stroke so I took the shots," Wright said. "I've always liked this gym, and obviously I can shoot well here."
Wright shot 9-for-11 from 3-point range and had five assists. The nine triples broke a school record of eight, shared by Holly Cole and Amy Therrian.
Wright hit her first five 3-point attemps, all in the first quarter, as the Saints (16-0) took a 31-15 lead. From there, Wright hit one triple in the second quarter, two in the third and one on the first possession of the fourth before getting pulled with the game out of hand.
But get this: Wright is actually a better passer than a shooter. All sorts of passes, no-look dishes while driving, fast cross-court bullets, long lobs (her coaches would like to see more bounce passes), and the occasional behind-the-back one, so much so that there were a handful of turnovers caused by teammates not expecting the passes coming to them.
"You've got to have eyes in the back of your head when she's passing," Saints coach Dorene Ingalls said. "She loves to pass, loves the assist. We're actually trying to get her to be a bit selfish. But when you have a kid who's able to hit and nine 3s and wants to pass, that's a pretty awesome thing to have."
As a player with college aspirations, Wright knows she has to fight her instinct to pass and become more assertive offensively.
"I would love to pass as much as I could," Wright said. "But to get forward in my career, I need to shoot. But if I have the chance to pass, odds are I'm going to pass."
With all those tools in the toolbox, Bennin was helpless to stop her.
"I had nothing left (defensively)," he said. "It's as good of a St. Ignace team I've seen, and if Wright's shooting like that... I'll be honest, it's fun to watch them play."
Sarah Cullip had 17 points and four blocks, Abbey Ostman had 10 points and seven rebounds, and Emily Hinsman had 10 points and five assists.
Jessica Parmer led the Blue Devils (10-5) with 11 points, Emma Roque had eight points and Anne Diepenhorst had eight points and eight rebounds.
"We weren't trying to run with them," Bennin said. "The bottom line, St. Ignace can make any game into a track meet."
ST. IGNACE — Cullip 17, Ostman 10, Chambers 2, LaVake 4, Wright 29, Belleville 4, Brown 8, Hinsman 10. FT: 5-13. F: 16. 3PFG: 11 (Wright 9, Cullip 1, LaVake 1).
SAULT HIGH — Roque 8, Methner 4, Brosco 2, Krull 3, Parmer 11, Swan 2, Fitzpatrick 5, Diepenhorst 8, Beaumont 4. FT: 6-10. F: 20. 3PFG: 3 (Roque 1, Krull 1, Parmer 1).


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We need sidewalks on East State Street
Sooner or later it was bound to happen. The lack of sidewalks along East State Street near the Illinois Tollway has led to the death of one pedestrian and left another in critical condition.
These were two of four businessmen from Shanghai, China, who had gotten off the O'Hare bus at the Clock Tower stop. According to the Register Star, "Weixue Liu, 27, of Shanghai, China, was pronounced dead at 11:38 p.m. Monday in the emergency room at OSF Saint Anthony Medical Center. ... His colleague, Zhang Xin, 36, of Shanghai, China, remained in critical condition, police said." The men were walking along East State to their hotel.
The official cause of this tragedy is a hit-and-run driver. The larger explanation is that these men, who were in Rockford to meet with officials of UTC Aerospace Systems about a joint aviation project, ventured into the hodgepodge of roadways, hotels, a busy intercity bus station, restaurants, convention centers and a tollway interchange.
When people on foot go into this no man's land, they take their lives into their hands. Those of us who live here know that. We stay in our cars.
These men were just walking to their hotel. Rockford's hotel neighborhood looks like the hotels were dropped willy-nilly out of the sky by an Oklahoma twister. How would you find yours?
It's well past time to start asking why such a poorly planned area was allowed to happen. There was no overall development plan that said hotels go here, restaurants go here, bus stations go here, and all will be connected by pedestrian paths that keep walkers away from the roadside.
This incident should send a message to business travelers and others that if you come to Rockford on the airport bus and have not arranged for someone to drive you to your hotel, you will risk your life if you walk anywhere. Can we please build some sidewalks before this happens again?
I can't resist having some fun with FOX talk show host Megyn Kelly's insistence that both Santa Claus and Jesus Christ are white.
Santa Claus American-style has little to do with St. Nicholas, a fourth-century Greek bishop. Our modern Santa was first drawn by 19th-century political cartoonist Thomas Nast of Harper's Weekly. His political cartoons could be so devastating to politicians that the much-used word "nasty" comes from his name!
Refining "The Night Before Christmas" author Clement Moore's concept of Santa as "a right jolly old elf," Nast gave us Santa as a fat man in a red suit, his workshop at the North Pole, reading letters from children, and Santa keeping "naughty and nice" lists, like today's NSA.
Nast's roly-poly Santa went mass market thanks in part to Coca-Cola ad man Haddon Sundblom in the 1930s.
Rudolph, the red-nosed commander of the Airborne Reindeer Squadron, was conjured up in 1939 by Bob May, an ad man at Montgomery Ward in Chicago. May almost named him Reginald!
And Jesus did not look like that picture of the long-haired Norwegian hippie knocking at a door to see if anyone's home. Jesus the human was a Palestinian Jew. This Mediterranean man was the product of co-mingled ethnicities and races in the crossroads of the ancient world. He most likely had curly hair, a beard, cafe au lait skin and brown eyes.
Chuck Sweeny: 815-987-1366; email@example.com; @chucksweeny


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The Situation of Caring
Posted by The Situationist Staff on October 1, 2009
From the University of Rochester (press release):
Want to be a better person? Commune with nature.
Paying attention to the natural world not only makes you feel better, it makes you behave better, finds a new study to be published October 1 in the Personality and Social Psychology Bulletin.
"Stopping to experience our natural surroundings can have social as well as personal benefits," says Richard Ryan, coauthor and professor of psychology, psychiatry and education at the University of Rochester. While the salubrious effects of nature are well documented, from increasing happiness and physical health to lowering stress, this study shows that the benefits extend to a person's values and actions. Exposure to natural as opposed to man-made environments leads people to value community and close relationships and to be more generous with money, find Ryan and his team of researchers at the University of Rochester.
The paper includes four experiments in which 370 participants were exposed to either natural or man-made settings. Participants were encouraged to attend to their environments by noticing colors and textures and imagining sounds and smells. In three of the studies, participants were shown a selection of four images on a 19 inch computer screen for two minutes each. Half of the subject viewed buildings, roads, and other cityscapes; the other half observed landscapes, lakes, and deserts. The urban and nature images were matched for color, complexity, layout, and lighting. In a fourth study, participants were simply assigned at random to work in a lab with or without plants. Participants then answered a questionnaire assessing the importance of four life aspirations: wealth and fame ("to be financially successful" and "to be admired by many people") and connectedness and community ("to have deep enduring relationships" and "to work toward the betterment of society").
Across all four studies, people exposed to natural elements rated close relationships and community higher than they had previously. The questionnaire also measured how immersed viewers were in their environments and found that the more deeply engaged subjects were with natural settings, the more they valued community and closeness. By contrast, the more intensely participants focused on artificial elements, the higher they rated wealth and fame.
To test generosity, two of the studies gave participants a $5 prize with the instructions that the money could be kept or given to a second anonymous participant, who would then be given an additional $5. The second participant could choose to return the prize money or keep it. Thus, subjects had nothing to gain if they chose to trust the other participant, and risked losing their money.
The result? People who were in contact with nature were more willing to open their wallets and share. As with aspirations, the higher the immersion in nature, the more likely subjects were to be generous with their winnings.
Why should nature make us more charitable and concerned about others? One answer, says coauthor Andrew Przybylski, is that nature helps to connect people to their authentic selves. For example, study participants who focused on landscapes and plants reported a greater sense of personal autonomy ("Right now, I feel like I can be myself"). For humans, says Przybylski, our authentic selves are inherently communal because humans evolved in hunter and gatherer societies that depended on mutuality for survival.
In addition, write the authors, the richness and complexity of natural environments may encourage introspection and the lack of man-made structures provide a safe haven from the man-made pressures of society. "Nature in a way strips away the artifices of society that alienate us from one another," says Przybylski.
Lead author Netta Weinstein says that the findings highlight the importance of creating green spaces in cities and have implication for planners and architects. Incorporating parks and other representations of nature into urban environments may help build a stronger sense of community among residents, she explains. By contrast, "to the extent that our links with nature are disrupted, we may also lose some connection with each other," the authors warn. This alienation may help explain other research showing that urban as compared to rural dwellers show more reservation, indifference, and estrangement from others.
On a personal level, Weinstein says the take home message from the research is clear: "We are influenced by our environment in ways that we are not aware of," she says. Because of the hidden benefits of connecting with nature, people should take advantage of opportunities to get away from built environments and, when inside, they should surround themselves with plants, natural objects, and images of the natural world. "The more you appreciate nature, the more you can benefit," she says.
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To watch portions of an interview of Richard Ryan, click on the video below.
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To read a sample of related Situationist posts, see "New Study Looks at the Roots of Empathy," "Well-Being Is a Walk in the Park," and "Some Situational Sources of Longer Life."
4 Responses to "The Situation of Caring"
October 1, 2009 at 10:27 am
[…] (Full story here.) […]
October 1, 2009 at 9:09 pm
[…] The Situationist: The Situation of Caring- Pay attention to the natural world This is an impressive article. Being in, and paying attention to the natural world makes you feel better, behave better, value community and close relationships and be generous with your money. Not any abstract idea, but findings of research. Reverse is the case if you immerse yourself in man-made objects. (tags: nature altruism psychology philosophy ethics generosity) […]
October 5, 2009 at 12:38 pm
The pleasant experience is one of pleasant people. Disturbed people may have a different experience.
But some prominent scientists look to sentient machines as the future of the human race, because being bound to habitable planets like the earth will keep us nomads for unending eons.