My Heart on My Sleeve and a Drink in My Hand: Why The Replacements Matter So Much

July 3, 2016 / / No Comments

Summer always reminds me of the Replacements. Wow, talk about your non sequitur lead!

I first heard them during summer break and it’s stayed with me. For the record, here’s their official site. Good luck what that. Being the ‘Mats, though, try Facebook. But probably here.

Who cares? Here’s why: They’re the greatest rock and roll band of the past 30 years.

Did I say best? No. Maybe that’s R.E.M.

Did I say most artistic? Nope. Radiohead.

How about most influential? The Clash.

Most literate? Try some Elvis Costello.

Hardest-rocking Minnesota band? Tell it to Husker Du.

I say “greatest” because what they achieved is multi-dimensional, still accessible, and still hugely influential.

Remember the debate about the Beatles versus the Stones? The general conclusion is the Beatles were the best, the Stones were the greatest.

Not many fledgling musicians sit down thinking, “The Beatles are awesome! I’m just gonna sit down and nail that guitar part from ‘The End.'”

But with The Replacements — like the Stones — their tunes seem gettable. You can play their songs -close enough- right now. In your garage or basement or bedroom.

Nothing too fancy, and it’s a fun kick in the ass.

Musicianship aside, what The Replacements had was attitude: They assumed everybody hated them.

The Stones might have believed they were indeed bad boys. Maybe they were in England, in a particular time and place and social strata. Now they’re landed gentry, but I digress.

The Replacements, however, were full-on fuckups. They knew this. They knew YOU knew this. And they owned it. They never were the starting quarterbacks. Or the popular guys in the parking lot, radios blaring. Of the funny ones, or the best dressed, or anybody’s best friend. They were the losers long before Beck.

In high school, you knew for a fact they would be working at the grocery store down the street in five years.

But early on they record a truly aware song like “Color Me Impressed.”

And then they write a heartbreaker like “Answering Machine.”

See, they became geniuses when they played. You saw what the potential for rock in the 1980s was. Until, of course, they screwed it up by being too hammered, or too angry, or just too damned stubbord to put on a good show. And then you kind of hated them.

But here’ the other thing. The one thing you still can’t look past or chalk up to nostalgia: Paul Westerberg is an amazing songwriter. Maybe the best we’ve seen since Lennon/McCartney. Here’s where I drop in “Unsatisfied.”

I love The Beatles, but some of their songs are distanced and removed (“Eleanore Rigby” anyone?) that in the wrong mood they make me want to chew on a gun barrel. Same with Elvis Costello — huge fan, but damn, “Shipbuilding” and similar.

Westerberg, though, always owned the emotions. He brought them front and center. These were his thoughts, his emotions, his confessions, his celebrations. And you cold take it or leave it, but it was always authentic. Oh look. “Valentine“!

Hell, what does that mean though? Here goes.

Life in Replacements World isnever going to end well. But that doesn’t mean you can’t get excited because it’s Friday night and you’re going to see your favorite band. You hope your major crush will be there. Maybe your crush smiles at you. And maybe, if you’re lucky, when you’re outside taking a smoke break, your crush comes over and asks for a light. And then, and then, and then maybe you say one cool thing. Something you’ve kind of thought about, but not rehearsed. Something that’s maybe funny but also a little edgy. Something that’s exactly right.

And maybe your crush smiles. And after the cigarette, takes your hand and you both go inside.

That’s the Replacements.

What’s also the Replacements is the next morning. When your crush is getting ready to leave. And waiting for you to say something. The next cool thing that will bring them back.

But you say something stupid. Maybe even accidentally insulting. And they storm off.

That’s also the Replacements.

Random Replacements facts:

  • Their first gig was at a church hall. They were immediately banned because of drunken rowdiness.
  • Tommy Stinson dropped out of tenth grade to join the band on tour.
  • They almost weren’t let into their first gig at CBGB’s because of Tommy’s age. Bob Stinson was immediately tossed out by management.
  • The ‘Mats beat out friends Husker Du for a Twin/Tone label contract. Husker Du then grabbed an opening slot with Johnny Thunder that the Replacements wanted.
  • Paul Westerberg said the rest of the band was his toughest audience:  “If it doesn’t rock enough, Bob will scoff at it, and if it isn’t catchy enough, Chris won’t like it, and if it isn’t modern enough, Tommy won’t like it.”

 

Brad Pitt Ain’t a Zombie-Killer

June 27, 2013 / / No Comments

Technically, he’s killing a virus that spreads itself through human hosts.

WorldWarZ

“But wait,” i hear you ask, “those zombies in 28 Days Later and 28 Weeks Later, they went through the same thing. Why aren’t you picking on them?”

Well, they did, and I am, and those weren’t really zombies either.

Call me a traditionalist, but true zombies get infected and/or are dead already, reanimate, and SLOWLY make their way toward your still-beating heart (and brain).

That’s the difference. You might think it’s splitting hairs, but ask yourself: is there such a thing as bad jazz? Or could what you’re listening to be classified as uptempo contemporary adult?

Listen, anything or things moving that fast may as well be robots or sharks or bears or aliens or coordinated groups of mass murderers: it ain’t the same as the slow, plodding actualization of your worst fears about death and mortality, come to remind you that humans can have a REALLY hard time getting along even in the best of times.

But I’ve made a whole presentation about this, years ago, and I stand by George Romero’s viewpoint:

July 13, 2010, Inside the Artist’s Studio Interivew with Molly Matlock.

However, I give massive props to Mr. Pitt and his whole production team for getting a movie like “World War Z” made in the first place, and getting it released as a PG-13 feature.

There are some interesting themes raised in the film, and it’s visually stunning, and parts of it quite intelligent. And I generally like Brad anyway.

But he ain’t fighing real zombies, is all I’m saying.

Before Katniss; Other Teen Dystopia

April 3, 2012 / / No Comments

Yes, The Hunger Games is a box-office phenomenon, and good for them!

The film’s creative team did a good job translating the book to screen (and yes, I know there are some detractors out there, but screw ’em. A film is it’s own separate work of art and has its own needs and requirements). The producers also did a fantastic  job keeping the budget down and production values high. Who can’t appreciate a film that can succeed artistically and financially, right?

But this isn’t the first teen-dystopia film. Not by a long shot. A really quick, top-of-my-head review would include Lindsay Anderson’s “If…“ with an incredibly young Malcolm McDowell; Michael Anderson’s “Logan’s Run“ with Michael York; and Stanley Kubrick’s “A Clockwork Orange“, with a not-as-young Malcolm McDowell. I could go on and mention Peter Brooks’ “Lord of the Flies“, and even “Children of the Corn,” but we’re getting younger and younger with these films. (And, with that last mention, crappier and crappier.)

The film I’m REALLY here to talk about is arguably the best teen-dystopia film ever made. You’ve probably never seen it, possibly never heard of it, and that’s a crying shame. It’s a disturbing, exciting and even hilarious work of genius by one of Japan’s premier directors, and he regarded it as his warning cry to younger generations.

That film is “Battle Royale” by Kinji Fukasaku. It came out in 2000, never got a real US release, but it will knock you on your ass. It’s been release on Blu-Ray recently, although you can also find regular DVD versions. The story takes place in a near-future totalitarian Japan that keeps its population in line and entertained by a yearly battle to the death of an entire randomly-selected school class. The set up takes place in just minutes, and the students literally have to come out of the room fighting. Beyond that, it’s a gigantic bloody game of hide-and-seek among the adolescent characters.

I first saw the film on DVD, with my nephew. We had no idea what to expect, and our jaws dropped in awe, terror and admiration as the movie played out. At the end, he turned to me and said, “That was the best movie EVER!”, so we promptly turned around and screened it again. It’s that damn good.

Even though the film won several awards and was the buzz on the festival circuit, word was an American release wasn’t possible so soon after the 1999 Columbine massacre. It looks like an American version is in development, but that’s been a rumor with different production houses for years now.

Do yourself a favor and check out the original, on Blu-ray or regular DVD. Keep in mind this film ISN’T for young children, and it’s in Japanese with subtitles. Oh, and under no circumstances should you check out the sequel. The director died while production was under way, and the film was completed by his son. It’s not good; really not good at all.  Trust me on this.

All that said, I can’t recommend “Battle Royale” highly enough. Here’s the trailer:

Wesley Wolfe: “Only Ray of Sunshine”

March 31, 2011 / / No Comments

First the clip, then the story (but for this one, I recommend clicking on the “Vimeo” link in the bottom right, so you can see this video in its full glory. There are a lot of moving parts…):

The song is “Only Ray of Sunshine”, from Wesley Wolfe’s Storage album (Odessa Records, 2010).

Wes is a really nice guy — soft-spoken, polite, and hard working.

Why, exactly, would his video have a lot of bad cops doing a lot of bad things as one poor couple sat there bound (and the female, hooded)?

Because we talked him into it. Half-kidding — it started from a germ of an idea about this sweet little love song and how to shake up the visuals. Showing a couple in the park holding hands wasn’t going to cut it. The project needed the Creato Destructo Imagery edge.

“It started out as a concept about a guy tied up in a trunk being dropped off mysteriously in front of a woman already tied up — basically the action at the core of the produced video,” said director Jerry Stifelman. “Then we had a creative session with Wes, who came up with the idea of making everyone cops, based on the lyric, ‘We are all criminals disguised as cops.’  Then we all came up with having all the cops being as uncoplike as possible… I love working with an artist to bring the video even closer to the essence of the song.”

As producer, it was a great moment when we really connected with the talent on the concept. Truly, this was an idea that hasn’t been done many times over in a music video.

But also as producer, I began tugging at what hair I have left — there were so many questions:
– Where are we going to find all these people?
– How are we going to find (and pay for) the cop uniforms and accessories (badges, caps, etc.) for all these people?
– WHERE can we pull this off?
– We’re in a small town. This really has to be done in public to visually “sell” the concept. What will our REAL cops think?

The good news is Wesley is well liked, so we were able to draft a lot of his friends, fans and family. And the good folks at Odessa Records also joined in. Then, we worked our own lists of good-humored friends, and supporters of Creato Destructo, and got enough bodies to approach a visual critical mass the video scenarion needed.

In terms of the uniforms, accessories, and other things that were needed — hire us and we’ll tell you all about it. (But one thing that worked in our favor was Halloween.)

We also benefitted from the great talent at Playmakers Repertory Company and the affiliated UNC Department of Dramatic Art. Not only were we able to “seed” trained actors into the bad-cop group — we also found standout talent Kelsey Didion, who earned my undying loyalty to her acting skills by sitting there, for hours, bound and hooded on a cold and windy day. (Kelsey, I hope someday to see you win an Oscar…)

And for location, well… we’ll have to protect the names of innocent property owners.

But enough from me. What does Wesley Wolfe think about the video?

“Jerry, James and Tracy are the kind of people I love to work with. People that have the need to create, and find any way possible to do so,” Wolfe said. “They let no obstacle — especially the all-mighty one, budget, stop them. Through ingenuity and resourcefulness they have found away to put on bigtime productions with little budget…

“I feel fortunate to be a part of their collection of work. I have only heard great thing from people that have seen it. My closest friends we’re blown away by the video. The production value speaks for itself.”

So far, so good. How did he feel about the process of taking his song (a highly personal thing), and handing it over to others, to translate it into a video that wasn’t necessarily… his?

“Another thing I admire is how open and flexible Jerry was to ideas and changes in post production. He truly treated this project as a collaboration. I have no doubts that my ideas and thoughts were taken into consideration, and not just tossed to the side. Something rare in any art project,  especially when all I had to do was just show up for the shoot,” Wolfe said.

Aren’t those some production values? Damn right!  Even though I personally was still anxious on shoot day — because we had so many extras to manage — it was an amazing experience to watch as each person put on a uniform shirt, pinned on a badge, and donned headgear. They became bad cops right in front of our eyes, and it went from concept to stunning reality in just a few minutes.

The experience is well described by our own Tracey Oliveto:

“This shoot was really fun because once everyone was dressed and given their marks, it was like a big outdoor party. I couldn’t stop smiling at the image of 30 or more people dressed in uniforms, doing their thing in the sunshine and it definitely makes you stop and think about the roles we all play in life,” stated Oliveto, Creato Destructo’s associate creative director. “It was quite a spectacle and drew curious attention from passersby. Of course, James gave our Carrboro (police department), a heads up – after all,  it could have looked like some kind of conspiracy.”

Tto be honest, we had a few uneasy weeks as the local police tried to figure out if we were making fun of them, or cops in general, or if it was some kind of weird art project. This being Carrboro/Chapel Hill, it appears they settled on “weird art project” and decided not to pursue the matter any further…

All that said, the last words belong to Wolfe:

“I was nervous at first about being on camera. I really don’t like posing for pictures or seeing video of myself. They talked me into it, I trusted them fully, and I don’t regret it one bit… All in all, a great experience.”

We’ll be happy to do it again, Wes!

Wes Snaps Pic

Wesley Wolfe (left) photographs the anarchic chaos.

Big Star Third: “Kangaroo”

March 23, 2011 / / No Comments

First the clip, then the story:

This is another song from the “Big Star Third” performance collective. The song is “Kangaroo”, written by Alex Chilton.

This version is sung by Durham’s Brett Harris. His recent album, Man of Few Words, is getting great reviews.

And as mentioned earlier, this is an  ongoing concert series by a diverse community of musicians performing the whole of Third/Sister Lovers, working from scores re-created by composer Carl Marsh. Chris Stamey (the dB’s) provides additional orchestration and serves as the series producer.

This video captures the performance at the historic Playmakers Theater on the University of North Carolina campus, February 2011.

The next performance of Big Star’s Third/Sister Lovers will be on Saturday, March 26, at Mason Hall in NYC, 8 p.m.

The NYC concert will include the rhythm section of Jody Stephens (the only remaining original Big Star member), Mike Mills (REM), Will Rigby and Charles Cleaver. They will be joined by Stamey, Michael Stipe, Matthew Sweet, M. Ward, Norman Blake (Teenage Fan Club), Ira Kaplan (Yo La Tengo), Mitch Easter, Tift Merritt, plus special guests Lost In Trees, with Jane Scarpantoni, Django Haskins (The Old Ceremony), Brett Harris, Sidney Dixon and Matt McMichaels.

Video by CreatoDestructo Imagery; Jerry Stifelman directing, James Hyatt 1st AD and Shay Stifelman, camera par excellence.

Big Star’s Third, “Holocaust”, new video

March 3, 2011 / / 2 Comments

First the clip, then the story:


This is a passion project. This is a labor of true love.

This  is the song “Holocaust,” from Big Star’s Third/Sister Lovers album, performed recently by a group of local and nationally-known musicians coming together because of a shared love and shared inspiration.

Time has proven Third/Sister Lovers reputation as a beautiful, haunting masterpiece – and a fitting tribute to the talents of songwriter, Alex Chilton. The group’s influence has continued on, to this: “Big Star Third,” a ongoing concert series by a diverse community of musicians performing the whole of Third, working from scores re-created by composer Carl Marsh. Chris Stamey (the dB’s) provides additional orchestration and serves as the series producer.

This video captures two separate performances, in December 2010 and February 2011. Players included Big Star’s own Jody Stephens, Mike Mills (R.E.M.), Mitch Easter (Let’s Active), Stamey, and members of the Love Language, Megafaun, The Rosebuds, Lost in the Trees, The Old Ceremony, Birds and Arrows, Mayflies USA, the Tomahawks and the NC Symphony.

Video by CreatoDestructo Imagery.

The next performance of Big Star’s Third/Sister Lovers will be on Saturday, March 26, at Mason Hall in NYC, 8 p.m.

The NC core group from the Cat’s Cradle show, complete with the rhythm section of Jody Stephens, Mike Mills, Will Rigby, Charles Cleaver, and Mitch Easter, will be joined by Tift Merritt, Matthew Sweet, M. Ward, Norman Blake (Teenage Fan Club), Ira Kaplan (Yo La Tengo) and others to be announced shortly.

Sundance 2011: Documentary Roundup

February 4, 2011 / / No Comments

First, a clip, then some comments:

The above is a backgrounder for the “Hot Coffee” documentary, more on it later.

And yes, I’m behind in terms of Sundance 2011 updates and coverage. I was surprised by some Internet access issues, but I also should have taken into account the weird day-to-day schedules that are the Sundance Film Festival.

At least I didn’t have to deal with intimate strangers in my condo, as did this journalist.

(Most of) The Winners

Documentaries are the hidden gem of the Sundance Film Festival. Sure, you get the occasional breakout hit such as “Supersize Me” or “Bowling for Columbine” — but there are a lot of other great documentaries that essentially go on to possible but unlikely theatrical distribution ; with most relegated to PBS, cable or online.

That’s a shame. The documentary programs (U.S. and World Cinema) essentially match the structure of Sundance’s feature film organization: films in competition, films that are premiers but not in competition, then other slots for those that are hard to peg or need some additional support (such as Spotlight, NEXT, Park City at Midnight, depending on the year and selections).

And it’s a shame these docs don’t get their fair share of attention. They’re generally of a far higher quality than the features, and they don’t suffer from the same tension of art-vs-commerce in terms of featuring celebrity/name actors versus just great acting talent that the fictional pieces have to balance.

Yak yak yak. Here’s a short list of docs that won awards at the 2011 festival, so they’ll likely be distributed in some form, this year:

How To Die in Oregon, directed by Peter D. Richardson. This won the Grand Jury Prize. It’s a study of how that state’s assisted-suicide rules affect the lives of terminally ill patients, their families, and the physicians involved. Gripping, ultimately affirming.

Hell and Back Again, directed by Danfung Dennis. This is a joint U.S./United Kingdom production, and won both the World Cinema Grand Jury Prize and World Cinema Cinematography Award. To the point, though, it’s about the journey of North Carolina soldier Sgt. Nathan Harris, shot by the Taliban in Afghanistan. His recovery has been long and grueling, and supposedly reveals the cost we’re paying in lives lost and lives damaged in this ongoing conflict.

Buck, directed by Cindy Meehl. This won the Documentary Audience Award, and profiles the trainer that inspired “The Horse Whisperer,” Buck Brannaman.

Project Nim, directed by James Marsh. This won the World Cinema Directing Award, and is from the same team that brought us “Man on Wire”!! Nim is a chimpanzee that, beginning in the 1970s, was taught sign language in an attempt to see if we could have true cross-species communications. Things… evolve from there.

Documentaries that need some championing

(As in, they may be harder to find after Sundance).

The Green Wave, directed by Ali Samadi Ahadi. The first major documentary about the short-lived, violently-crushed democracy movement in Iran, 2009, following what likely was an election stolen from Mir Hossein Mousavi.

The iranian director combines live action and animation to tell this heartbreaking story, while also offering up hopeful possibilities for the future.

The Last Mountain, directed by Bill Haney. It’s about the practice of mountaintop coal removal, specifically in West Virginia. But If this doc is even halfway competently done, it should ring alarm bells nationwide in terms of the short- and long-term damage this practice does to the environment, the community and the local and regional economies.

Hot Coffee,  directed by Susan Saladoff. It’s about the McDonald’s hot-coffee lawsuit, but DON’T roll your eyes. It tells the story after the story you think you know. McDonald’s and other large corporations have used this case as an example of how tort law needs to be reformed — but it’s a slick spin job on their part. Hearing how average citizens have tried to get their cases to trail could make this a crowd-pleaser.

Probably coming to your town or television…

Documentaries that, while still good, probably have a great shot at widespread distribution —

Miss Representation, directed by Jennifer Siebel Newsom. This focuses on how women are portrayed in the media, and in our culture at large. It features interviews with Katie Couric, Condoleeza Rice, Nancy Pelosi, Gloria Steinem and Rachel Maddow, to name just a few. Trust me, you’ll get a chance to see this one.

Page One: A Year Inside ‘The New York Times’, directed by Andrew Rossi. A fascinating account of how arguably the world’s best newspaper is dealing with the change from print to online — but not just in terms of delivery modes, ad charges, and balance sheets. What happens if The Paper of Record loses the economic and cultural battle, and we lose one of the great investigative reporting resources the nation has ever known. Is a replacement model even possibly in this day and age? Are essentially unedited/lightly curated online resources such as Wikileaks even near what the NYT brings to the table?

One way or the other, this will get some form of distribution.

Troubadors, directed by Morgan Neville. The story centers on James Taylor and Carole King to discuss the larger story of 1970s Los Angeles-based singer/songwriters. Could be just great, likely will get distribution, but other docs deserve more championing.

Sundance 2011: Day 7

January 27, 2011 / / No Comments

Quick hits, because local wireless is overwhelmed by Sundance attendees:

“HERE” is gorgeously shot, but an inexplicable two full hours. The male and female leads are compelling, and good actors.

The story is incredibly thin, and so little happens you wonder if a 90-minute version would have saved this.

“Beats, Rhymes & Life: The Travels of A Tribe Called Quest” is directed by Michael Rapaport. Yes, that actor.

And it’s good! The first half is raucous and fun. The second half drags with some extended personal drama, but as a whole, this is well worth checking out.

Sundance 2011: Days 1 & 2

January 21, 2011 / / 1 Comment

First, a clip, then some stories:

This is an interview with first-time director Elgin James, whose film “Little Birds” is in the Dramatic Feature competition at the 2011 Sundance Film Festival.

“Little Birds” is also the film Robert Redford hopes will win the competition, not that there’ll be any undue influence with the judges or anything. Has Redford come out and said that? Not in so many words, but the will and intent is there.

What Elgin James’ film represents is a shifting of the festival’s  focus by Redford and Sundance’s leadership (speculation on my part).  James is a product of the Sundance Institute’s filmmaker lab, and “Little Birds” is one of six films in competition this year that came out of the labs.

— In previous years, it wasn’t a given that being selected for the directing, screenwriting or producing workshops held by the Institute would be in any way a ticket into the festival itself.

(Background: the two things are essentially separate entities. The Sundance Institute is actually based in Sundance, Utah, not Park City, although it also has offices in Los Angeles and New York. The festival is an offshoot of the Institute, but it’s firmly based in Park City, although there are some screenings in Salt Lake City, and this is the second year the Festival is conducting a multi-city, same-day screening of feature entries. This year it’ll be Jan. 27.)

Back to topic, it had actually become kind of a knock on the prestige of Sundance that much of its carefully selected and nurtured talent hadn’t really broken out into successful (read, “popular”) careers — although Institute folks will tell you that’s not their focus at all — but these “homegrown” films weren’t even represented significantly in past festivals.

For whatever reason — perhaps it’s a great, breakout collection of young filmmakers this time, perhaps not — one of the narratives of 2011 is this is the year of Institute-nurtured films competing with the rest of the world.

How will they do? The festival just started, so there are 9 more days for word-of-mouth to generate, but “Little Birds” has buzz. Is it buzz based on a great film? Too early to say.

Other “homegrown” Sundance films include “Here” by director Braden King; “Circumstance” by director Maryam Keshavarz; “On the Ice” by director Andrew O. MacLean; “Pariah” by director Dee Rees; and “Martha Marcy May Marlene” directed by Sean Durkin.

So break out your scorecards and start taking notes. We know at least the first storyline of SFF 2011.

And the Best Mockumentary of 2010 is…

January 20, 2011 / / No Comments

First, the clip, then the story:

You might have already seen “Exit Through the Gift Shop”, the film by famed street artist/social provacateur Banksy.

For a film placed in the documentary category, it’s done well at the box office: nearly $5 million worldwide so far, which places it in the Top 40 gross of all documentaries released theatrically. (Trivia: “Farenheit 9/11”, “March of the Penguins” and “Earth” are the top performing docs. I knew you’d wonder…)

I got on the “Exit” tangent because I mentioned to a friend recently that I’d hoped to be blown away by “The Philosopher Kings” — but wasn’t.

They followed with “Hey, you know what’s a great documentary? ‘Exit Through the Gift Shop’. That was a great documentary.”

After I stopped pulling out my hair, I mustered a “You really thought that was a straight-up doc?”, and got just a quizzical look in return.

— Don’t get me wrong. If you haven’t seen this film, definitely check it out. It’s incredibly entertaining. But while the filmmakers themselves will be loathe to ever tell the whole and full story about how it was made, I’ll bet everything in my 401(k) that it ain’t what many believe it to be: a real documentary.

It IS a fascinating look at the history of street art (think Banksy, of course, but also Shepard Fairey, Space Invader and Zevs, to name a few); Andy Warhol and his continued influence on contemporary art and contemporary society; and then, essentially a one-sided pissing match between the street-art community and contemporary, famous and well-paid “established” artists. Guess who comes out on top?

Oh, and this fight is cleverly wrapped inside another “fight” between alleged original director
“Thierry Guetta” and Banksy himself — who claims he had to take the project over because of “Guetta’s” incompetence as a filmmaker. Incompetence like this, which I challenge you to match yourselves:

Anyway, Banksy says you can, at home, in a couple hours or so. and that’s why he took over the project.

But let’s move on to the REAL controversy.

— Will “Exit Through the Gift Shop” get nominated in the Best Documentary category at this year’s Oscars? (It’s on the short list of 15 docs, although only 5 will make the final selection…)

— If it does, is that like Milli Vanilli getting nominated for and winning a Grammy? Okay, assume Fab Morvan and Rob Pilatus actually were self-aware and in control of their careers, if you wanted to make it a better comparison.

— What if it actually wins the Oscar for Best Doc? (“Waiting for ‘Superman'” will take it, although “Client 9: The Rise and Fall of Eliot Spencer”, “Inside Job” and “Restrepro” are better, but far more political and therefore problematic.)

Oh, and just so you know, “Exit” was nominated for the 2010 International Documentary Association’s “Distinguished Feature” award (it lost to “Waste Land”), and is also up for the “Independent Spirit Award” sponsored by IFC.

It could win (the event is Feb. 26), but if I were Banksy, I’d keep a wide berth from Sebastian Junger if “Restrepro” loses to him. Something about all that time spent at a forward operation base in Afghanistan, real bullets, real death, etc…