What Speakers Can Learn from Show Biz Veterans

Recently, I have read a couple of memoirs from the world of show business, specifically comedians. One is Growing Up Laughing: My Story and The Story of Funny by Marlo Thomas, her remembrances of growing up in show business, mostly as the daughter of the great comic and actor Danny Thomas. The other book is by my idol, Dick Van Dyke, titled My Lucky Life In and Out of Show Business. I have been more influenced by professional comedians, TV stars and comic actors in my own speaking career than by any other single group of role models. Even though the two books are ostensibly "light reading," I took some worthwhile points from them:

• There is no substitute for rehearsal. Marlo talks about how her dad would go over his material ad nauseum until he had all the timing and nuances down. In his day, Danny Thomas was one of the most preeminent and successful storytellers in entertainment, probably comparable to Jerry Seinfeld in a way. This was why: He left nothing to chance.
• Play to your strengths. Thomas profiles 20 different comics and actors in her book, and they are each unique. Steven Wright depends on wordplay. Don Rickles is successful in his 80s as a master of the putdown. Both George Lopez and Chris Rock make their ethnicity relevant to their entire audience. Conversely, Jay Leno gently plays "Everyman." Dick Van Dyke made his talent for physical comedy the tent pole of his career. As a speaker, find your brand and stick to it rather than adjusting your style to the latest fashions.
• Build on those strengths. Van Dyke talks about how a friend arranged an audition for the Broadway classic musical, Bye Bye Birdie. When he auditioned for the show's director, Gower Champion, Van Dyke did a little soft shoe and a song. Champion told him on the spot that he got the job, but Van Dyke admitted that he could not dance. Champion -- a great musical director -- assured him that all was okay. This was because Champion saw how Van Dyke could move well enough on the stage to make the choreography work. Obviously, he was right, as Van Dyke went on to win a Tony Award for his role and went on to reprise the role in the movie version. We shouldn't be fearful of our limitations; instead, we need to build on them.
  
• Be as timeless as possible. How is it that The Dick Van Dyke Show, a black & white series that is approaching its 50th anniversary, remains so popular today? Van Dyke observes that Carl Reiner, the creative talent behind the seminal series, tried his best to avoid specific topical references, such as personalities of the day or specific events. In that way, the themes are what carry the show. While that may not seem practical today (after all, can we really avoid discussing topics such as AIDS, the economy or record employment?), we should espouse timeless principles, such as ethics, continual improvement, or caring for others.
  

Short-Term Thinking Leads to Long-Term Losses

I know two businesses that have made decisions based on today, and I predict their actions will come back to haunt them tomorrow.

Both have decided to stop their marketing communications for distinctly different reasons. One suffered a big loss recently when it lost a competitive bid that would put the company in a strong competitive position for years to come. The other company curtailed their marketing when a few projects came in unexpectedly as a result of referrals. Company #1 canceled their marketing because they perceive they do not need it. Company #2 says they cannot afford it. Both of them are likely to pay for these decisions later.

What happens to #1 when there are no fortuitous references in the future? There must be work in your pipeline. Similarly, #2 will also not build customers over the long haul with this type of thinking.

(Businesses are not the only entities guilty of this type of thinking. Certainly, many of our current government concerns have arisen because of the lack of forethought given to expenditures versus outlays. Many Americans do not have proper retirements planned because they did not plan in advance. Even much of our personal health problems can arise from seeing only the immediate.)

Jonathan Swift once said that vision is the art of seeing the invisible. Marketing and similar planning looks for those invisible tomorrows before they become the dire todays.

How Do You Love the Audience? Let Me Count the Ways!

My mantra about every aspect of our public speaking is: "It's all about your audience; it's not about you." That includes your relationship with your audience. Here are some tips on actions that have worked for me.

REACH OUT AHEAD OF TIME. Just last night, I spoke to a group of people in career transition. The sign-up system allowed me to see each participant as they enrolled. I sent each of them an email telling how much I appreciated that they had signed up, how much I looked forward to meeting them, and how I wanted to serve their needs.

BE THERE AS THEY ARRIVE. I had to set up the room, so I got there ahead of the audience. As each arrived, I gave them a copy of my handout, and engaged them in a short conversation. (Those who had received my introductory email felt as though they already knew me.)

SAY GOODBYE TO AS MANY PEOPLE AS YOU ARE ABLE. At the end of the presentation, I stood at the front of the room and shook everyone's hands. I thanked them for coming, and I asked how the presentation met their needs. I asked them to send feedback. (In this case, the organization that hired me had a feedback mechanism, so it was an easy request to make.

REACH OUT AFTERWARDS, JUST AS YOU DO PRIOR TO THE EVENT. I sent an email to everyone who signed up, which was relatively easy, because I had created a .txt file that I would paste into each message. (I personalized them each a little, such as thanking someone for a provocative question asked or for buying my book.)

Grand entrances are for rock star divas or ham actors. The more we connect with our audiences, the more effectively we are likely to help fulfill their objectives.

35 (no make that 36) Years of "Nashville"

As a self-styled film historian and film buff, I tend to know many trivial facts about films, so imagine my surprise and embarrassment when I completed writing this piece and discovered that the premise was all wrong. Let me first explain the raison d'etre of my post.

People often ask me my opinions on the best films ever. I cite many of the usual suspects, such as Citizen Kane (top of the list), It's a Wonderful Life, Chaplin's Modern Times and The Gold Rush, and not too many other surprises. However, when I was asked to name my Top Five, I raised many eyebrows when I included Robert Altman's Nashville.
Yes, that's right, Nashville! Want to make something of it? I think this is a groundbreaking film whose influences have spread far and wide, yet few people acknowledge them. Or, more significant, are not aware of them.
I wrote this thinking that I was honoring the 35th anniversary of the premiere of the film. However, I discovered that it opened on June 11, 1975. So I'm a year late. Still, I'd like to explain why I love this film so much and still consider it one of the best ever.
Let's begin with the setting. Altman was way ahead of the curve in picking the country music capital as the focal point of his film. You would be hard pressed to think of any significant films that were similarly centered. We see people in the recording studios, in clubs, at outdoor performances. It was as though he was clairvoyant in seeing what a cultural force country music would become, and he took us right to its epicenter.
This was no whitewash. An older woman I knew bristled at the portrayal, complaining "That's not what country music is about." Sorry, Ma'am, but these characters are Americans, capable of being as venal, petty, shallow and competitive as the rest of us. If the New York theater could have the vipers of All About Eve and early television could portray the Andy Griffith's ascendant evil in A Face in the Crowd, then country music was entitled to its Nashville.
Altman was also a master at pulling great performances out of a. huge casts and, b. previously unheralded actors. Look at the people in this film! Keith Carradine, Geraldine Chaplin, Barbara Harris, Ned Beatty, Scott Glenn, Jeff Goldblum, Keenan Wynn... I could go on. Altman took a popular TV-sketch comedienne named Lily Tomlin (heard of her?) and guided her to an Oscar nomination. Same for Ronee Blakely, who came out of nowhere to channel Loretta Lynn in her fictional character, Barbara Jean. Comic Henry Gibson was known mostly as a member of the cast of Laugh-In, the seminal NBC variety show, but he was brilliant as the duplicitous Haven Hamilton under Altman's direction. A native of Philadelphia, of all places, Gibson was entirely believable as the corn-pone crank and hypocrite. (Altman, et al, even knew to take a little-known bit that Gibson had performed years earlier on The Dick Van Dyke Show and turn it into Hamilton's so-called "signature" song, "Keep A-Goin'.")
Do you like parallel plots, kept straight by canny editing and the power of narrative? Altman pioneered this style in Nashville, and the technique was used brilliantly in much '80s television, notably Hill Street Blues and St. Elsewhere. It is amazing how these nearly 30 characters wander the landscape of this movies, seemingly disconnected in a head-scratching way, and yet they come together in the climactic scene set at Nashville's Parthenon. All the characters fulfill their destinies in this one dramatic moment, whether it was Barbara Jean's tragic end, Haven Hamilton's unmasking of sorts (best use of a toupee ever), but best exemplified by Barbara Harris seizing the occasion to make her long-awaited start turn.
I saw Bridesmaids recently (very funny, entertaining movie, by the way), and I howled at the use of overlapping dialogue in scenes, such as when Kristen Wiig's character stumbles through the plane under the influence of a sedative. But I also remembered that Altman pioneered the use of such speechifying with his multi-track sound on Nashville and his subsequent films.
It is bewildering to me that the film is so widely forgotten today, as it generated much discussion, disdain and appreciation in its day. It was nominated for five Oscars (picture, director, Tomlin and Blakely for supporting actress) but took home just one for Keith Caradine's song, "I'm Easy." It was the New Film Critics' Best Film of the year, as well as winning best director, and the National Board of Review and the National Society of Film Critics also honored it as the best. Yet I hear very few people mention Nashville today, and when I mention it as one of my all-time favorites, the usual responses range from mild surprise to recriminations from someone who tells me that their audience booed the film
If you get a chance, I suggest you revisit this gem. Tell me what you think, even if you don't like it. I won't agree with you, but that's okay; it don't worry me. :-)

PS. For a fine retrospective of this film, I refer you to a piece by Ray Sawhill of Salon.com, titled A Movie Called Nashville.

Short, Sweet and Wright Writing

"I remember when the candle shop burned down. Everyone stood around singing 'Happy Birthday.'"

-- Steven Wright

Did you ever consider how much work it takes to write a joke like that?

I was reading a book by Marlo Thomas that my wife gave me for Christmas titled Growing Up Laughing: My Story and the Story of Funny. It is a memoir based on her life as the daughter of legendary comedian and TV star, Danny Thomas. It is mostly about what defines the elusive quality of "funny." It's one of those tomes that's good to read in bed just before the lights go out, as it is not very demanding, and it puts you in a good mood to sleep. Many chapters are Ms. Thomas's interviews with a wide variety of comics and actors, ranging from Tina Fey to Ben & Jerry Stiller to Don Rickles. However, the chapter on comic Steven Wright stopped me in my tracks. While the old veteran Henny Youngman was known as "The King of the One-Liners," Wright deserves that title much more. Youngman more often than not had a long build-up to a powerful punchline. Wright tells his jokes in three sentences at most.

"I had a friend who was a clown.
When he died, all his friends
went to the funeral in one car."

Reading about Wright reminded me how much hard work there is in concise writing. There is an apocryphal story that George Bernard Shaw once told a friend that he wrote him a five-page letter because he didn't have time to write him a one-page letter. Wright says in Thomas's interview that "something in my mind starts to edit down the joke so I can get the point across with the fewest amount of words....I don't like big, long set-ups."
And really, how much do any of us like hearing those same set-ups? Wouldn't you rather have someone get right to the point? So it is with our own writing, especially in speeches.
I relearned that lesson last year when I was in a Toastmaster speech competition. There was one contestant who was quite impressive in her manner, her confidence and her diction. Her speech was very literate, and she delivered it beautifully, with the skill of an actress. However, she didn't even place in the competition, while I came in second with a memoir about the time I had to speak to my son about sex.
After the competition on how well she did in her first contest. (She was in her first year of Toastmasters.) "But I have some advice for you that may help you in the future, " I said. She stopped me before I could continue.
"I think I know what you are going to say," she said to me. "I was struck by the simplicity of your language." And there it was. The audience couldn't quite wrap their heads around her message, while mine was easier to discern.

"I intend to live forever. So far, so good."

One way to learn concision is to seek out and read succinct writing. Hemingway is the master. He once boasted that he could write a novel in just six words:

For Sale:
Baby Shoes.
Never Used.

For a better example, read A Clean, Well-Lighted Place, which one college professor described to me as "the perfect short story. A better example still is Robert Frost's The Death of the Hired Man. In a long poem -- not even a short story -- he lays out the final years of a day laborer in stunningly vivid detail.

"How do you tell when you're out of invisible ink?"

Think about applying such discipline to your own writing. When you are reviewing a piece, try taking out just unnecessary word. Then try a second. Use your Twitter, too. It is amazing what you can get across in just 140 characters. But don't be fooled; just because it's shorter doesn't mean that it's easier.

"I'm writing a book. I've got the page numbers done."

One Picture Tells a 118-year-old Story

I offer up this graphic from GE's 2010 annual reports as a terrific example of making a point clearly with a single graphic. Inside the front cover, it says that "GE's product and services offerings are aligned with human needs and growth opportunities around the world. As global population has grown over the past 118 years, GE's revenues has grown at an even faster rate."
This cover illustrates the point beautifully. It is clear that the world population, shown by the light blue, is outpaced by the GE revenues, symbolized by the darker blue.
GE's annual reports in recent years have set standards for clear yet concise communication. This graphic is just one example.
You can access this graphic and the whole annual report online by clicking here.

Talking to 9th Graders About Careers? Not So Easy, But Rewarding Nonetheless

About six weeks ago, I heard from Carolyn Geers, Programs and Community Affairs Coordinator for Philadelphia Children’s Foundation (PCF). She had received my name through my Temple University MBA Alumni Association. It seemed that PCF has Guest Speakers program, and it's designed to expand students’ awareness of their career choices awareness. "By hearing from local working adults, the eyes of Philadelphia students will be opened to the variety of options available to them." Ms. Geers told me. Additionally, the program will inform students of what is required in education andexperience to become successful in a particular career. Ultimately, PCF is designed to exposing students to people, places, and occupations outside of their neighborhood to prepare for a successful future.

I agreed to speak to a 9th grade English class at Frankford High School, which is in the northeast part of the city. My topic was careers in corporate communications. What sealed the deal was that they were able to support my audio-visual needs, because no self-respecting speaker will appear without PowerPoint. (Working without PowerPoint leaves you vulnerable and exposes all your weaknesses, like Angelina Jolie without makeup.I kid, of course; in this case, I wanted PowerPoint as a crutch.) So we were set.

I showed up around 8:30 for the 9:00 a.m presentation, which was important since I and all the students needed to go through the scanning device. (What did I know? I haven't been in a city high school for decades!)

When I made it to the room, the kids barely acknowledged me, though I believe that it was largely due to shyness rather than rudeness, unfamiliarity with social graces rather than gracelessness. There was one exception. His name was Khalid. When he saw me setting up my little video camera, he got out of his seat, came back and introduced himself like a gentleman, offering me his hand. Don't think that this young man was a modern-day Arnold Horshack. He was obviously pretty cool, polished and taking charge of his life. I'm sure his lunch table is the place to be, and I can already picture him going far in this world.

After a brief introduction, I asked them all if they would like a job where they could give speeches? (Little interest.) Make movies or videos? (Hm, a smattering of enthusiasm.) Work on Facebook and Twitter during the day? Write advertisements? (Blank stares, which took me by surprise. I guess they couldn't imaging doing those things for a living.)

"How would you like a job where you could be on television, on the radio or in the newspapers?" Hands shot up! Being famous really appealed to this group.
I welcomed them to the world of corporate communications. I told them that businesses and other organizations to get their messages out, both the on the outside and the inside. I gave them lots of examples of how the work could be done: Public relations. Marketing. Advertising. Social Media. (However, I was a little presumptuous about what young people would know. They didn't understand the term "social media." To them, media are their music files and nothing more. One guessed that "social media are when people like the music that you make, and they stand around and listen to it." Sorry, he did not win the Samsonite luggage for that guess.)
I emphasized strongly that if they wanted to bring their 9th grade English to the working world that they needed to learn not only to write And communicate, but also about the business world and what motivates others. I advised them that they could learn this by studying English, journalism, and study the liberal arts. (Another explanation: They liked the idea that instead of studying one topic that they could become knowledgeable in many topics!) I emphasized most strongly that it is important to learn the basics of proper English, including sentence structure, the parts of speech and grammar.

Then I showed samples of my own work. They liked that I had traveled to other countries to produce videos and write annual reports. They thought it was neat that, when I wrote about health care for General Electric, I researched the topic by witnessing a coronary bypass in the operating room. And they were fascinated by the imaginary settings that could be created by Photo Shop and other means.
___________________________________________________________________
It was not so important that I told the students HOW to enter this occupation as it was that I told them that I believed that they could do it all.
___________________________________________________________________

Jameer and I talked about Twitter. I told him that people would know who he was from his Tweets. ("Once you succeeded because of what you knew," I advised. "Then it was because of WHO you knew. Today it is because of WHO knows YOU.")
There weren't too many questions; the shyness continued. The teachers in the room brought up some topics that kept the conversation going. Then I closed with pictures of people who achieved their goals through effective, even great, communication. I talked about how Steve Jobs sold innovation to the American people. I discussed how Dr. Martin Luther King changed society with his messages. (I encouraged them to read more than his "I've got a Dream" speech.) I reminded them of how Barack Obama used strong speaking skills to win the Presidency, most improbably.
And they laughed when I said that I think one of the greatest communicators and marketers right now is Lady Gaga, with her ability to get people to notice her. (They were probably surprised that I even knew who she was.)

I was disappointed when I was done. Their indifference was what I expected, but I had hoped for more. But the three teachers disabused me of that notion. They said that the mere fact that the students were quiet, not disruptive and not talking to their classmates was evidence that they were listening. In fact, the evaluation forms showed that the kids actually liked the presentation. They appreciated that I told them which schools offer the programs that are pertinent to this vocation, and they liked actually seeing samples of corporate communications. (PowerPoint DOES work!)

I intend to do this again. I hope that I can make a difference to young people who may not otherwise be exposed to such career options. (I wished that I had exposure to communications professionals when I was in high school.) Most important, I believe that I gave them hope. Apparently, it was not so important that I told them HOW to enter this occupation as I told them that I believed that they could do it all. I also gave them my contact information so they could send me questions or request information if they want.

Luckily, there are many volunteers for PCF. If there is such a program in your own community, I encourage you to take part. We don't know what difference we can make in a young person's life. In the meantime, I am keeping my eye out for a couple of the kids I met today.

PS. If you are reading this in Philly and want to help, here are links to the program, check out "Philadelphia Children's Foundation" on Facebook.

How to Act When Your Audience Doesn't React

I received a kind invitation to speak to a group of leaders in Toastmasters International in Pennsylvania. The subject was how to recruit in light of the changing economy and demographics of the membership and the potential membership. I hit the floor with high energy (I was feeling good, even after a 50-mile drive). I told the audience that, while my speech is normally about six steps to follow when facing and beating change -- "My "Six P's" -- I would deal with just three of them, given the short time I was allotted. Then I launched into my speech.

However, a problem common to all speakers came up. The audience just stared at me. They were not engaged. The presentation seemed to have no relevance to them. I was concerned because I had only 20 minutes to serve them, so it was imperative for me to solve this problem. Here are steps that I believe help in this situation.

1. DON'T PANIC. This is the first lesson to learn, and it's hard. I once heard an exchange between ventriloquist Edgar Bergen and his puppet partner, Charlie McCarthy, in which Bergen said in exasperation, "This is the most stupid conversation I have ever been involved in." McCarthy responded, "Well, I can account for only half of it." Remember that the audience is also responsible to some extent for the success of this session, so don't presume it is ALL your fault when there is a problem.

2. THINK OF HOW TO DEVIATE FROM YOUR PLANNED SCRIPT. Given the advice above, what I was saying was obviously not working. I had to find out what they wanted.

3. STEP CLOSER TO THE AUDIENCE. If you are physically nearer to your listeners, they are more apt to accept you. (However, watch the line between become more familiar and invading their personal space.) They are more likely to feel a kinship with you. This is a corollary to my advice that you should introduce yourself to your audience before the program starts, shaking hands and learning their names. (Yes, I did that on this day, but apparently it wasn't enough.)

4. ENGAGE IN A CONVERSATION. Ask rhetorical questions. Probe to find out what they want. Make them part of the event.

5. GO BACK TO "PLAN A" AT SOME POINT. You can't improvise the entire event. When you feel you have righted the ship, sail on your original course.

The talk continued, and I felt I maintained my dignity and composure in the end. I observed that subsequent speakers were having the same problems energizing the audience, so I felt more comfortable. Still, I received positive feedback in the end. I sold a few books, and later that day, I got a nice email from one of the attendees, who apologized for having to leave early. "Thanks for spending time with us today," he concluded. "Your presentation skills are exceptional ." Then Amazon contacted me afterward to say that there was a flurry of orders and my book is now of stock.

Hm, I guess it pulled it out in the end.

Ranking the 2011 Oscar Contenders -- My Own Choices for "Best Film"

Wow, what a variety of films in the following list of Best Picture nominees. Consider the different story lines: A film that takes place largely in a dream. A classic western. A young man and woman conflicted about their biological heritage. A woman of privilege faces adversity. A beloved yet shy figure faces a personal struggle. Characters face the consequences of being separated from home. A snapshot of the issues of the time. Simple country folks fight the economic odds against them. A struggle to regain riches that were taken.

Yes, this year's nominees share many of the qualities of the 1939 nominees described above. Those movies were, respectively, The Wizard of Oz; Stagecoach; Wuthering Heights; Dark Victory; Goodbye, Mr. Chips; Love Affair; Ninotchka; Mr. Smith Goes to Washington; Of Mice and Men; and Gone with the Wind.

Is this year’s crop of contenders for the top prize also classics? Only time will tell. However, while I felt that last year's list was a bit padded, I believe the 2010 nominees are of sufficient quality that the Academy needs not be embarrassed that they doubled the number of competitors for the awards that will be given this Sunday, February 27.

Here is how I rank the ten nominated films, in descending order. These are not my predictions, but my judgment as to their quality, innovation and uniquely cinematic quality. In other words, when I evaluate a film according to these three standards, I expect to see a work that contains a high level of competence in its craft, a film that is unlike others I have seen, and a work that I could not experience in another medium. As Roger Ebert has demanded, I think the best film of the year should make me look at film differently.

10. True Grit — Joel and Ethan Coen made a few improvements in this remake. The setting and lighting of their Old West looks more realistic. The stilted and more proper language of Charles Portis's eponymous novel (the source of the material) lends a new authenticity. The Coens restored Portis's sobering, original ending, and the casting of Matt Damon as Texas Ranger LaBoeuf was a winner (immeasurably better than the execrable Glen Campbell). They also discovered the remarkable Hailee Steinfeld to play Mattie Ross. In a just world, she would win best supporting actress over The Fighter’s Melissa Leo, she of the braying "pahk the cah in Hahvahd Yahd" accent. Though I like this film, it is last on my list simply because it is a remake, one that does not add much cinematically to its predecessor. I look for more in a "best film."

9. The Kids Are All Right — This is an entertaining, insightful portrayal of a family far from the nuclear stereotype we abandoned as “the norm.” Laser and Joni, the son and daughter of Nic and Jules (Annette Bening and Julianne Moore), find Paul (Mark Ruffalo), their biological father, and this discovery creates a series of events that raises many questions about identity. Jules learns a new trade with Paul and then a new way to love (an aberration that is never really explained well, which weakens the story). Meanwhile, the controlling yet fragile Nic sees her whole world crumbling. The performances and the story-telling are all well-drawn, natural and effortless. A nice film with a somewhat unorthodox story that somehow did not excite me. (Alert: If anyone can upset favorite Natalie Portman for Best Actress, it would be Bening. )

8. The Fighter — Dicky Eklund was a promising middleweight before his undisciplined ways led him to crack addiction. His half-brother, Micky Ward, wants to win the title Dicky never could. The Fighter’s major characters are all endearing in their own ways. Producer Mark Wahlberg plays Micky with the same earnestness it must have taken to green light this film. Amy Adams brings a previously unseen toughness to Charlene, Micky's barkeep girl. Melissa Leo, as the boys’ slatternly mother, keeps her seemingly endless brood of loser children on a tight leash. Christian Bale is likely to win an Oscar more for the volume of his over-the-top portrayal of Dicky than for its quality. While this film is entertaining and well-intentioned, I felt that I have seen this all before in films, whether boxers, runners or otherwise.

7. The Social Network — The Social Network successfully captures our zeitgeist by telling the story of the creation of Facebook. David Fincher, displaying his versatility as a director, tells this story with more zip than it deserves … which brings me to what really bothers me about this film. Aaron Sorkin's wordy script begins with a scene well-acted by Jesse Eisenberg, as Mark Zuckerberg, and Rooney Mara, as girlfriend Erica Albright. Sitting in a bar, Erica tells Zuckerberg that he is a self-centered jerk who will always be lonely. This scene establishes Zuckerberg's character, and it is totally false, a contrivance. I believe that artistic license is one thing, but character assassination is quite another. It has made me wonder how much more of this film I can believe, and that doubt pushes The Social Network down my list.

6. Winter's Bone —Ree, at 17, bears the burden of the world. She is raising two younger siblings in loco parentis for their mentally ill mother, while her meth-making father is on the lam. We soon learn that he used the family home for collateral on his bail bond, on which he will soon default. As Ree's family stands to lose their only piece of paradise in a hardscrabble world, she decides to look for him. Her search sets off a series of setbacks and resistance that test her will and her resilience. Jennifer Lawrence (as Ree) and John Hawkes (as Teardrop, her father's brother) give star-making performances. Yet the main character in this small gem may be the unforgiving Missouri setting. Director Debra Granik gives Winter's Bone a gun-metal patina that embodies the monochromatic lives of its inhabitants. Like last year’s Precious, it is an unflinching glimpse into the lives of people we rarely see.

5. Black Swan — This was hands down the most daring film I saw this year. It is clear from the start that ballerina Nina Sayers is insane as she drives toward her goal to be cast in the lead of Swan Lake. Director Darren Aronofsky leads us into Nina's psyche, blurring the distinctions between delusions and reality with a cinematic slights of hand -- an errant reflection here, an ambiguous love scene there. Like a shadow boxer, Aronofsky feints, bobs and weaves enigmatically from start to finish. My one considerable reservation about Black Swan is its relentless pace, which becomes exhausting to the point of tedium. (Spielberg, for example, knew to lighten Jaws with occasional humor.) Still, I'll take this film over any safe rom-com or Blind Side that comes along. I’d rather be challenged than patronized.

4. The King's Speech — What a lovely film! Prince Albert of England needs a speech therapist because he is incapacitated by his stammer. Enter the uncertified, yet eminently qualified, Lionel Logue, who begins to succeed where others have failed Albert. The story takes an historic turn when Albert is thrust onto the throne after his ne'er-do-well brother, King Edward, abdicates for the sake of the harlot he loved. Albert wonders aloud how he could lead a nation when he cannot even speak to them. Tom Hooper’s direction is spare and subtle, evident in sly camera angles and tracking shots that symbolize Albert's personal journey. This film excels mainly in its performances: Helena Bonham Carter exuding loving concern as the Queen Mum; Geoffrey Rush as Logue, so devoted to Albert's well-being that he would never capitalize on his patient's royal stature; and Colin Firth as Prince Albert cum King George, in the performance of his career. The King's Speech covers a wide variety of themes (personal validation, integrity, courage, self- actualization), but ultimately I believe it is about the value of loyalty and friendship. I expect that the very accessibility of this film will lead it to the Oscar.

3. 127 Hours — Here is a surefire formula for box office poison: Lead a hiker to a ravine, trap him, and then wait for him to escape by cutting off his arm. Oh, by the way, the audience knows the story already. But under the inestimable Danny Boyle, this film, like its main character, emerges triumphant. Boyle takes us from an adventurer’s world of pools and landscapes to a view of the visceral. While Boyle captures the vast beauty of the expanses of Utah, he also narrows his focus to the small space occupied by Aron Ralston (played gloriously by James Franco). From there, both men go even more deeply into the soul of a troubled man who finds his way out of more than one confinement. The unfilmable becomes gloriously cinematic because of Boyle's guidance and Franco’s contribution. It is a breath-taking cinematic achievement that I am confident will stand the test of time.

2. Toy Story 3 — While I believed this franchise had nowhere to go, the brilliantly creative minds of Pixar resuscitated these characters, which were nearly abandoned by both their onscreen owners and their audience. Woody (Tom Hanks) and his cohort seem to have reached the end of the line as their now grown up owner, Andy, goes off to college. In a Keystone Kops-like turn of events, the toys mistakenly end up in a day care center instead of the attic, as was intended. At first, their new home looks heavenly. They even find a new leader at the day care, the seemingly avuncular bear toy, Lotso, brilliantly voiced by Ned Beatty. But all is not as it seems, and Woody leads the other toys to escape, a new adventure that is, at turns, exciting, frightening, funny, tense, creepy and more. Critic James Agee once wrote in a famous essay that the most remarkable thing about Disney's Snow White and the Seven Dwarfs was not that it had moving images, but that it had images that moved people. The same could be said about Toy Story 3, as it leads us to its well-earned heart-warming and touching conclusion. I don't care that it is a cartoon.

1. Inception — To paraphrase the old radio show, The Shadow, who knows what evil lurks in the hearts of men? Inception does. Director/screenwriter Christopher Nolan created a unique concept for his film: A process called "Inception' gives a person the ability to invade another's dreams in order to learn what is contained in that person's deepest thoughts. Furthermore, Inception also allows its users to implant thoughts that will influence the mind of the encroached.
Fantasy is difficult to pull off in film, as evidenced by the sheer number of expendable movies of this type that hit our multiplexes and quickly disappear with nary a trace of impact. It requires a great director to make them work, such as William Friedkin (The Exorcist), Stanley Kubrick (2001: A Space Odyssey and A Clockwork Orange), and Peter Jackson (The Lord of the Rings trilogy). In Inception, Christopher Nolan has produced a stunning piece of work that once again displays his mastery of film, and that is why I pick it as the best film of the Oscar nominees.
Nolan's visual imagery seems sprung from the mind of M.C. Escher. Staircases tilt into circular, never-ending designs. Cityscapes bend improbably toward the screen, and reflections give way to new realities, all without the slightest hint of artifice. Nolan is also solidly in command of the various crafts that go into film-making, using them not merely to dazzle, but also to inform his story. The sound design matches what we would expect to hear when a street tilts perpendicularly, with all the asphalt and infrastructure giving way to this freak of nature. The art direction created environs that confuse us, because they seem so real yet bear a touch of the incredible. There is particular attention to the cinematography as we enter a variety of dreams, each distinguishable from the others because of their unique color palette, whether it is the stark white of a hidden snow resort of the beige of concrete. (As my daughter pointed out to me, Nolan deserves an Oscar for the hallway fight scene alone.) The fabulous editing makes all of these elements blend together (or perhaps more accurately, helps them coexist distinctly so that the viewer is not confused). Not the least of Nolan’s talents is his ability to draw outstanding performances from his cast (Leonard DiCaprio, Marion Cotillard, Joseph Gordon-Levitt, Ellen Page, Ken Watanabe, Cillian Murphy and the much-missed Pete Postlethwaite). As the actors bounce from scene to scene, they all seem to stay in the same film because Nolan can coordinate their performances — an overlooked skill in a medium that nowadays often depends too heavily on the technical. Inception also stays cohesive with the help of Hans Zimmer's evocative and insistent score, which creates a wall-to-wall bed that unifies the film.
Nolan also serves as the anti-James Cameron, as he has the ability to create a literate and labyrinthine screenplay that intertwines with a love story. (For further evidence of his skills, I highly recommend his masterpiece, Memento.) Inception has a Nashville-like ability to tell several stories at once, and Nolan knows how to write images to accomplish this. He doesn't talk his audience to death as Aaron Sorkin does in The Social Network.
For all the artsy-fartsy references to directors as the "sole creative force" behind a film, Nolan's omission from the Best Director nominees is evidence that many film snobs wouldn't know an auteur if one fell on them. This oversight shows how inadequate the Academy (and other award bodies) can be in evaluating the ability to helm a film. It is no wonder that Inception was the highest-grossing live-action film of the year, as its visual artistry was able to cross both cultural and language barriers not only in America but around the world. Not only do I consider Inception the best of this lot, but I also believe it is a singular achievement in creating a uniquely cinematic film.

This is the way I saw them. I have no illusions that my number one will be the winner come the Oscars telecast. But I also doubt that I will be disappointed by the outcome, as most of the films on the list of nominees would deserve to be called “the best.” While the 2011 nominees are likely not destined to contain the number of classics that 1939 list did, I'll take it. A few more years like this one, and the Academy will look awfully smart for having double their number of contenders.

From Business World to World Events, The (Social) Medium Is Indeed the Message

In his centenary year, Marshall McLuhan is as relevant as ever. For example, I just returned from a meeting at The Philadelphia Business Journal, where I spoke to the staff about possible speaking engagements. The hot topic that many hopefuls were proposing were the social media or Web 2.0, the media that are "pushed" to audiences.

However, far from the Philly business world, we are seeing those same social media helping to foment democracies in the Middle East. Whereas the Federalist Papers and other pamphlets fueled the American revolution, and in the way megaphones stoked American students in the 1960s and '70s, protesters in Egypt, Bahrain, Tunisia and other countries are organizing through Facebook and Twitter. Furthermore, these same media are allowing the world to see what is happening in these countries, uncensored and free, in many senses of that word. Both the facts and the spirits of these events are spreading.These events demonstrate just how much ahead of his time McLuhan was. He defined media as "any extension of ourselves," and that included new technologies. Though he was writing in the mid-20th century, he was analyzing not only traditional media, (print, radio, TV), but also computers, which at that time were pretty much limited to entire floors of corporate buildings. He understood early that the structures of these media would affect how we perceive the world around us.

For those of us who are promoting ourselves or our organizations, the social media/web 2.0 must be considered part of the mix, if they're not already. We are seeing how the traditional media are chasing the "new" media to get their leads or fill in the facts of a story. Certainly the people of the Middle East get it, and their worlds are reshaping as surely as they did when the Communism fell. It is exciting to see, and we can. Lucky us.