Monday, July 21, 2014

Discovering the Magic City's Musical Bermuda Triangle With Otto von Schirach‏

Otto von Schirach

By Danny DeGennaro and Sean Tuohy

Miami is, by its very nature, scuzzy, gaudy, intoxicating, and driven by hedonistic, selfish principles. One can either denounce the city, or draw inspiration from it. Otto von Schirach, like some ultra-zealous sexual anthropologist, drinks deeply from Miami's sewer water reservoir.

That his songs deal with debauchery isn't to say they aren't sincere. On the contrary, von Schirach's obsession with putting the squish and the viscera back into music and art is indicative of someone who's honestly interested in exploring the physical and psychological impact of relationships. For every errant beat, every tempo change, every breakneck yelp, the listener is pushed into self-awareness. His music demands user input, particularly when there's a funky ass break. Booties will most definitely shake. When von Schirach cites a Prince song, it's not to debase the original; it's to elevate it, to demonstrate that the high and the low aren't far apart, but one in the same.

I'll never forget my first real foray into Miami. I was outside of a tattoo parlor that was selling beer inside. My friend and I were both too young to drink by about a year, so we moped around the entrance, taking hateful swigs of rum out of a bottle we had brought. We got in my car and drove to get Mexican food while I played "Subatomic Disco Divas" at a volume that could induce spontaneous bowel movements. Otto von Schirach's music, for me, will always be a hazy ride up I-95 with all sense of responsibility blissfully, temporarily forgotten.

Do yourself a favor, read Sean Tuohy's interview with von Schirach and then gobble up all of his work if you haven't already.

Sean Tuohy: Who influenced you early on in your career?

OVS: Cuban Folklore and Miami Nights, Morton Subotnick, Eazy E, Impetigo, Tom Waits, Vic da Kid. Too many to choose.

ST: When did you know that music was going be your calling? 

OVS: In 1989 when I DJ'ed my first house party. It was around midnight and the wall of woofer was sizzling. I put the needle on the record, and felt the earth shake.

ST: How did you get your start in the music business?

OVS: I started selling beats in the neighborhood, but before that I was a DJ for house parties.

ST: Your music is a very  unique sound that can be difficult to describe to someone who have never heard it before. How do you describe your own music to people?

OVS: A journey to the center of the Bermuda Triangle where you find sound vibrations that make you feel groovy.

ST: What drove you to create your avant-booty bass music?

OVS: I wanted to see earthlings freak their booty in a very avant-garde way!

ST: What is your creative process like? Do you have any rituals?

OVS: There are many secrets to the triangle. I use rituals. They help me express more emotion and capture more magic in the recordings.

ST: You are deeply connected to your hometown of Miami. Do you draw any inspiration for your music from the Magic City?

OVS: So much...

ST: What effect, if any,  did your cultural background have on your music?

OVS: Being raised Cuban, with big hints of Germanic blood, gave me a proper dose of weird.

ST: Besides your one of kind sound you have some of the most interesting song titles. Where do you come with song titles? 

OVS: Usually, the song tells me its name as I create it. The songs usually tell me some bizarre, unique name, so I just roll with it.

ST: You have this over the top on stage personality that really brings your live show to a whole another level. How much of that is you and how much of that is an act?

OVS: It's all real. That's all me. I also do gardening at home. That is also me. I do jujitsu. That is also me. I like to do many things. I am blessed.

ST: What does the future hold for Otto von Schirach?  Maybe run for mayor of Miami?

OVS: Good idea!

ST: If you had the chance to share the stage with any artist who it be?

OVS: Bruce Haack, Madonna.

ST: Can you tell us one random fact about yourself?

OVS: I study the art and lifestyle of living raw.

ST: You helped crave out a Miami identity with your music and your work with the Miami Bass Warriors. How does that make you feel as a Miami native?

OVS: Blessed.

To learn more about Otto von Schirach, visit his official website, like his Facebook page, or follow him on Twitter @ottovonschirach.

Friday, July 18, 2014

Badass Writer Of The Week: Troy Duffy

Troy Duffy

By Sean Tuohy

There are few writers that have the ability to change the pop-culture landscape with one story and there are even fewer who can keep their original storytelling skills after becoming successful. Writer-director Troy Duffy has been not only been able to keep his own voice, but he has also grown as a storyteller. Duffy hit the landscape hard with his first film "The Boondock Saints" and has been hitting harder ever since. Duffy followed up with "The Boondock Saints 2" in 2009 and he is currently working on the third (and possibly the final) installment of "The Boondock Saints" saga.

As a die hard fan of the McManus  brothers exploits, it was an honor to talk to the man who brought the the characters to life. Duffy has been honest and true to his word, which comes through in his writing. He does not shy away from hot button topics and has no problem comforting issues, usually using his brand of wit and humor. Because of his honesty and his original storytelling, Duffy is a true Badass Writer.

Duffy sat down with this giddy fan boy to about writing, the future of "The Boondock Saints," and to give some sage advice to writers.

Sean Tuohy: When did you start writing films?

Troy Duffy: Mid-1996. I wrote “The Boondock Saints” as my first script.

ST: What type of films influenced you early on?

TD: Godfather. “Apocalypse Now.” “Jaws.” “Deliverance.” “Highlander.” “Reservoir Dogs.” “Ghost Busters.” “Man Bites Dog.” “Nil By Mouth.” A bunch more...

ST: “The Boondock Saints” became a cult hit that is quoted left and right. What does it feel like to hear people quote your writing?

TD: Having people quote your film is better than winning an award of some kind. It simultaneously infers that they paid attention and were emotionally affected at the same time. It means something to them. It can also make you feel like some subversive cult leader at times which is thrilling.

ST: “The Boondock Saints” is heavily connected to the city of Boston. What attracted you to Beantown so much?

TD: I am from that area. A New Englander through and through. It is also a very unique community filled with unique people. And let's face it, the place just looks cool.

ST: Besides screenwriting you also write music, do you approach these two art forms differently?

TD: Music is more focused. Spectral inspirations that must be snatched from the sky while it is within arm's reach for a fleeting moment or two. Writing scripts is a much more organizational process for me. Cutting and pasting and making “magic” mistakes here and there.

ST: One of the things that stands out about your writing is your dialog, it is very strong, snappy, and fitting to the characters. How do you write your dialogue? Do you say it out loud while typing or act it out?

TD: Just comes. One of the holes writers can fall into is that every character starts to sound like them. I try to separate. What would a guy like this say not what would I say. I act stuff out all the time. I talk to myself constantly even in public. It's very embarrassing for my wife. She'll tap me on the shoulder and say, "You're doing it again. People think you're crazy."

ST: What is your writing process like?

TD: It can be many things. Some scripts are a long slog. Some come right away. For instance, there is a television show that I am writing called “Kingdom Come.” It is based on the French pirate Jean Lafitte out of New Orleans at the turn of the 19th Century. Much research into that time and place had to be done and then it all started to take shape. So, that one was a longer process but very exciting. Conversely, “The Good King” (black comedy), which my friend Gordon Clark and I wrote together poured out virtually instantaneously.

ST: Are there any updates regarding the next “Boondock Saints" movie?

TD: Yes. The script is coming along. It will be called “Boondock III, Legion.” I will be doing an in depth video presentation on the script and things surrounding this movie on my site in the coming weeks.

ST: What does the future hold for Troy Duffy?

TD: Being a daddy for one. My little Gracie is 10 months old and holds my unruly heart in her little baby fat hand. “Kingdom Come.” “Good King.” “BDS3.” A new artist I recently directed a music video for featuring my buddy Slash called “Bang Bang.” I love this girl. Gonna put some of her tunes in the third “Boondock Saints” movie. A group of friends and I are going to manage her as an artist. Should be interesting. She's a handful...maybe two.

ST: What advice do you give to up-and-coming writers?

TD: Read. Know the difference between shit writing and average writing. Know the difference between average and good. Know the difference between good and great. Know the difference between great and brilliant...then never say anything is brilliant.

ST: Can you tell us one random fact about yourself?

TD: Through my research into Lafitte, I recently got into Absinthe. Great night cap. Fucking delicious.

To learn more about Troy Duffy, follow him on Twitter @troyduffy.

For more literary badassery, check out our Badass Writers of the Week page.

Monday, July 14, 2014

Character Driven: 10 Questions With Author Ben Schwartz

Ben Schwartz

By Daniel Ford

During my most recent trip to RiverRun Bookstore in Portsmouth, N.H., I picked up a copy of Ben Schwartz’s The Drift of Things, which won the silver medal in the 2014 Piscataqua Press Novel Contest.

I reached out to Schwartz for an interview before I had even finished the book and was delayed sending him my questions because I was so engrossed in his story. The Drift of Things is packed with heart and features some of the best dialogue you’ll read this summer (after you buy the book immediately after reading this).

As an up-and-coming writer, Schwartz lent some valuable insights into the writing process, how to develop characters, and why deadlines are important.

Daniel Ford: When did you start writing? Was it something that came to you naturally or was it developed over time?

Ben Schwartz: I've always enjoyed writing, but more in an abstract sense—as in, that would be a fun thing to do. During and after college I had written some poems and decent enough short stories, but nothing bigger. As I started to finally attempt a novel, I decided I needed a little more guidance or inspiration or something. That's when I enrolled in an MFA program, which was great, both for the instruction and the deadlines. Deadlines help. My writing definitely developed much faster when I was doing it constantly.

DF: What is your writing process like? Do you outline? Listen to music?

BS: It's pretty simple. I don't outline, though I do have ideas scrawled through a notebook. I'm a high school teacher and am married with two boys. So pretty much everything I write is after everyone goes to bed, sitting in the dark. The toughest part was editing out lines or entire chapters that I loved, but didn't fit in with the rest of the book. I kept finding myself trying to structure a whole scene around squeezing in one good line, and that doesn't work. It's forced. The lines which I ended up liking best were the ones that just kind of appeared.

I always listen to music when I write. I have a hard time listening to new music while writing, because I pay too much attention to the lyrics. So it's usually one band for an entire piece of writing, even if they're not my absolute favorite. It also helps pick up where I left off if I start with the same song I finished with the night before. When I wrote The Drift of Things, I listened very heavily to The Hold Steady. I like their lyrics a lot, and in retrospect, it seems many of their themes wound up in the novel.

DF: Your novel The Drift of Things features witty dialogue between characters that genuinely seem to care about each other on a deep level. How did you go about developing that dialogue style and how do you go about developing your characters?

BS: Dialogue is tough. I tried very hard to make it both true and useful. I feel dialogue should really serve no other purpose then to either reveal something about the speaker or move the story along—without seeming heavy-handed. I think a few well-placed spoken lines can serve to negate the need for excessive narration.

My dialogue really came from getting to know the characters very well. As it developed I did a lot of going back and changing tone or vocabulary. I had a professor who said very rarely do you need more than "said" after a line. If you do, they didn't say the right thing. That influenced me to really make the dialogue speak for itself, so to speak.

As far as characters, I started with some very vague ideas about their past, how it relates to their present, and how they reconcile the two. Sarcasm comes probably too naturally for me, and that seeps into the characters. It sounds pat, but I found I really have to let the characters grow on their own. Sometimes they'd surprise me, I didn't expect them to put themselves into that situation, but it worked.

DF: The heart of your novel is the relationship between your main character and his father. Do you have a similar relationship with your father or did those two characters come from another place or your imagination?

BS: I definitely don't have the same relationship with my father as Norm does with Blake. My mother's alive for one thing, nor were my parents together growing up. I think I needed Norm to see someone, more similar to himself than he realizes, who spent his whole life in the town which now terrifies Norm. Their relationship certainly grows over the course of the book. But, as far as where that came from, I guess it came from them. I ended up caring a lot about them. That seems to show in the way they feel about each other.

DF: How much of yourself—and the people you have daily interactions with—did you put into your main characters?

BS: A lot. None of the main characters are me, or anyone specific, but they certainly say things that I would. Or would like to. Many of the minor characters, especially the students, are taken more directly from actual experiences. The more horrifying student-based events are all based in reality. I like paying a lot of attention to people around me, how I would describe them, what their motivations are. Sometimes small pieces of those thoughts end up in my writing.

DF: When you first finished The Drift of Things, which served as your thesis for your MFA program at Southern New Hampshire University, did you know you had something good, or did you have to go through multiple rounds of edits before you had something you felt comfortable sending out into the world?

BS: The Drift of Things was edited so many times that I think I could recite it. The original "finished" version had a different first chapter which I cut. Which was hard, because I liked it a lot. It may end up as a short story. I did like the book, and felt comfortable, probably more comfortable than I should have, sending it out to agents. I've experimented with a different ending, but have ended up sticking pretty true to the original.

DF: What went through your mind when you won the silver medal in the 2014 Piscataqua Press Novel Contest?

BS: It was great. I had received so many outright rejections, and a few interested nibbles, from agents that I was just really glad that that process was over. Piscataqua Press has been great to work with, and I like the small press. I was able to make final decisions on the cover and layout that I may not have been able to with a larger press.

DF: So now that you have a novel under your belt, what’s next for you?

BS: Another one, I guess. I have a few beginnings and ideas. I need to give myself some deadlines, and maybe some more willpower.

DF: What advice would you give to up-and-coming writers?

BS: First off, I am very far from being an established writer and still hope to be up-and-coming. Advice, though? Write a lot. Often. Get to know your characters to the point where in the early morning you're confused about whether or not they're real. Write badly. My favorite writer's quote about writing comes from William Stafford. He wrote for hours every morning. Someone asked him what he did when he didn't like what he wrote, he said, "I lower my standards."

DF: Can you tell us one random fact about yourself?

BS: I've purchased Speedos from a Speedo vending machine. Then I wore them.

To learn more about Ben Schwartz, visit his official website.

Friday, July 11, 2014

Happy Hour Friday: 3 Movie-Themed Drinking Games to Enjoy With Your Drunkest Friends

By Sean Tuohy

What is better than sitting around with your friends and drinking some beer and watching a movie? Maybe having a real life, but since none of us on the Internet can do that let's play some drinking games! The games below are our favorite movie-themed drinking games. All you need is booze, a DVD, and some friends who don't mind when you throw up on their shoes.

Feel free to share your own drinking game in the comments section or tweet us @WritersBone.


"Die Hard"

Watching this classic action thriller in your boxers is more fun when you're blasted.

Booze needed: Beer, whiskey, Jägermeister


  • Drink beer any time "Christmas" is said
  • Take a shot of whiskey whenever Bruce Willis kills a terrorist
  • Take a shot of Jägermeister whenever the German terrorist kills someone
  • Drink beer whenever something blows up
  • Chug a beer when you hear the catch phrase "Yippee Kay Yay"

"The Notebook"

Most men need copious amounts of alcohol to get through "The Notebook."

Booze needed: Wine coolers, fruit-flavored vodka


  • Drink a wine cooler any time the two main characters kiss
  • Down a shot of vodka when they kiss in the rain
  • Chug a wine cooler whenever the old woman gets lost
  • Take three shots of vodka during the "sex scene"

"Super Troopers"

First off,  I made this game up with my friends when we were still high school. This cop comedy is great, but its even better with a lot of barley and hops.

Booze needed: Beer. A lot of beer.


  • Drink any time "cup the balls" is said
  • Drink any time "meow" is said
  • Drink whenever you see a naked body
  • Drink when you hear the word "enhance"

Also check out:

How I Went From A Self-Conscious Writer to A Conscious Writer

By Sean Tuohy

I have major difficulties reading and writing. Words get tangled together in an unholy mess on the page when I read. When I write there are several dozen spelling errors and grammar mistakes(In the first draft of these piece there several dozen mistakes that needed to be corrected). Sometimes I see so many red underlined words on my computer screen that I'm scared my Spell Check is going to be so overworked it will give up.

Despite all this, I am still a writer and storyteller. The only difference between myself and most other writers that populate the landscape is I have to work a hell of a lot harder than the next writer to create something that reads smoothly. To put it in the simplest terms my brain is wired differently than everyone else's. I don't take in knowledge and sort it in my mind the same way as other people.

As a kid, this made me very self-conscious. I was different from everyone else, I was a freak, I had "issues." While my fellow classmates stayed in class and read books with the teacher and talked about what they just read, I was pulled out of the classroom and put in a "special classroom" with a "special teacher" and read easier books that were several levels below my grade level.

I was lucky enough to attend school in one of the best public school systems in the country during my early years. Once I was in middle school I began catching up with my classmates, and started reading for myself. I also discovered a love for movies. I would watch the same movie over and over and over again until the tape broke (VHSs were still very much a thing back then), but I also would have the closed captions on so I could read along with the actors speaking. This helped me improve my reading and spelling. After that, I found my love for spy thrillers and hard boiled detective novels, which I ate up, not realizing how these pulpy books were improving my reading and writing skills.

I still very much felt like a freak. Although I began writing, screenplays and short stories, pumping them out like crazy, I never let anyone read them for fear they would see the God-awful spelling mistakes and look at me as if I was a moron. So I kept writing in private and sometimes I would share something with a friend of mine or a close family member. The writing stayed private, it stayed close to me.

As we've mentioned several times on the website and podcast, that is the worst thing in the world to do as a writer. You will never grow as a writer if you never allow people to read your work. You won't know your strengths and weaknesses unless someone tells you. Whatever you write you should have another pair of eyes looking at it. To do this you need to believe in yourself and your work. Believe that what you are doing is good enough for people to read, believe that you have the skills to write a compelling story, and believe in yourself as a writer and you will succeed.

I lacked that completely. I had no trust in myself, my writing, or my skills because of my "issue." This started to change once I wrote a 20-page script about two best friends sitting around talking about movies, girls, and sex. It was a Kevin Smith rip off, but I believed in it. I knew it was funny and I knew people, my friends, would like it if they read it. Guess what? They did read it and they did find it funny. Somehow, I found the courage to share the script. The first few moments of them reading were the most stressful moments in my teenage life. In my mind, I pictured people reading the script and laughing at how badly it was written and me running off crying. Well, that didn't happen. They read the script and laughed because they found the subject matter funny and it was well written. I can remember being in math class and this kid named Robert howling with laughter as he read it. It felt great to have people read my work and really enjoy it. I’m sure people noticed the mistakes, but it didn't take away from the script. To them it was still good despite the mistakes.

We all have something that holds us back from going after our dreams, some force that hinders us from obtaining the greatness we all want. For me, it was my "issues" with reading and writing, but I've learned to let them go. I still have a lot of problems reading and writing, but it no longer holds me back or makes me feel freakish. To be honest, it makes me feel special. I embrace my weirdly wired brain because it allows me to see things that other people don't get to see, write things no one else has written before, and allows me to be me. Find what holds you back from becoming that amazing writer or whatever you want to be and embrace it. Embrace your fear and faults. Embrace who you are and you will succeed 

A final word on this topic:

Thursday, July 10, 2014

The 10 Best Summer Songs of 2014

Enjoy the following music here.

By Robert Masiello

You know those people who say that summer is over after the Fourth of July? I want to punch those people. For Christ’s sake, I just finished digging my car out of the snowbanks a week or two ago. So even though the holiday has come and gone, here’s a playlist of 2014’s best summer songs.

“Don’t Tell ‘Em”

Remember Snap!’s early-1990s single “Rhythm is a Dancer”? Producers DJ Mustard and Mick Schultz have teamed with Jeremih and YG to spin it into a throbbing hip-hop jam. This re-do is, thankfully, neither kitschy nor self-important. It respects its source while thoroughly modernizing it and deserves to be a hit on its own terms, not solely for the nostalgia factor.


To those who don’t know better, Sia’s monster single “Chandelier” will be just another balls-to-the-wall party anthem. But listen closely, and it is easy to hear the deep pathos buried in her lyrics. This is not a track that glorifies partying. “I’m holding on for dear life, won’t look down, won’t open my eyes” she sings, teetering on the brink of sanity. Adding to the lyrical intensity is a killer hook that makes it possibly the best pop song since “We Found Love.” Oh, and did I mention that her vocal performance is one of the year’s best?

“Give Thanks”

Jamaican dancehall artist Popcaan’s debut full-length "Where We Come From" could have been an artistic flop destined for frat party soundtracks, but instead breathes life into the genre. While often inscrutable, the lyrics still convey empathy, and the beats are electrifying. “Give Thanks” is Popcaan’s tribute to the protective power of music that somehow transcends cliché. With smut like “Rude” by Magic! creeping onto airwaves, it’s easy to forget that reggae can have a heart like this.

“Can’t Do Without You”

If Caribou's previous album "Swim" found him transitioning from psychedelic pop to house and techno, new track “Can’t Do Without You” indicates that his upcoming album will continue that trend. The track is euphoric, and demonstrates that there is still magic to be found in sampling and repetition. Unabashedly blissful, Caribou’s latest would be equally appropriate at a sunny cookout or strobe-lit club.

“Do It Again”

Oh Robyn, we’ve missed you. Back after a four-year hiatus, Robyn still has the uncanny ability to break your heart and get your foot tapping at the same time. Her new collaborative mini-album with Royksopp is better than it has any right to be. Sometimes when an artist returns after a break, it feels like a desperate attempt to regain relevance. On the contrary, “Do It Again” will remind you why you loved her in the first place.


Folk musicians Amelia Randall Meath and Nicholas Sanborn have joined forces to create the electro-pop duo Sylvan Esso. The resulting tunes are as warm and enveloping as one would expect from former folkies now dabbling in synths. On “Coffee,” Meath sings longingly about dancing with her partner, and the ambiance is all twilight and red wine. It’s a genuinely sexy song, best reserved for after the guests have left.


The Antlers, masters of sadness, on a summer playlist? First time for everything. This sublime cut off their latest LP "Familiars" begins at a deliberate pace before blossoming into a jazzy, soulful number. Songwriter Peter Silberman weaves a narrative that’s equal parts wistful and disconcerting, while his bandmates embellish the track with a triumphant brass arrangement. “All I know is, this year will be the year we win,” he bellows, and even though it’s hard to believe him, the best summers are often buoyed by a certain naïve optimism.

“Fruit Tree”

James Kelly used to be the frontman of the black-metal band Altar of Plagues, but his solo project WIFE has allowed him to explore his electronic and experimental leanings. Produced by The Haxan Cloak, WIFE’s debut LP "What’s Between" is a shadowy, often claustrophobic affair. But Kelly finds beauty and depth in the blackness. Penultimate track “Fruit Tree” is the album’s catchiest number, with a distinctly tropical vibe. In different hands, this song could be a pop smash. As it stands, it’s an oddball ditty that works because of, not in spite of, its ghostly production.

“Jerk Ribs”

Nothing brought you more joy than hearing “Milkshake” at a high school dance, but you have since forgotten about poor Kelis. While she will probably never be able to shake the one-hit wonder designation, Kelis has actually spent the past few years churning out respectable albums. Her latest release Food is cloaked in southern charm, with Kelis’ voice reaching expressive depths. It’s a shame that the rhythmic single “Jerk Ribs” won’t likely be a Top40 hit, as it would be a brilliant foil to the staid collection of songs currently topping the charts.

“You Can”

Whether or not you follow soccer (I don’t), I think we can all agree that World Cup songs are predictably dreadful. Tearjerker’s anthemic “You Can” would make an infinitely better World Cup song than anything Pitbull regurgitates. The track is an extended climax, ceaselessly building upon itself but never collapsing under its own weight. “You can’t bring it back, but you can make it last” the band howls, sounding more like a prayer than a chorus. It’s pensive, empowering, and irresistibly catchy.

Also check out:

Wednesday, July 9, 2014

Fortune and Glory: 10 Whip-Cracking, Blaster-Wielding, and Terrorist-Throwing Scenes That Define Harrison Ford’s Badassery

A celebration of Harrison Ford's badassery.

By Daniel Ford

What better way to cheer Harrison Ford up as he convalesces from an injury he sustained on the set of the new “Star Wars” film (which I’m sure was the result of kicking ass on the deck of the Millennium Falcon) than to round up 10 scenes that define his movie badassery.

Feel free to share your favorite Harrison Ford moments in the comment section or tweet us @WritersBone.

“Don’t Call Me Junior”

Okay, don’t call you Junior. So sorry. Continue killing Nazis.

“I Know”

An asshole to the end. Perfect line for Han Solo’s character. He very well could not survive this. Those could be his last words. “I know.” What a dick. I love it.

“I Didn’t Kill My Wife”

Ford delivers this line with all the earnestness and truth his character has. That’s what makes Tommy Lee Jones’ “I don’t care” all the more withering and heartbreaking. I’d jump off the dam after that exchange for sure.


The best part is that Ford allegedly improvised this scene because he had caught the flu and half-jokingly asked Spielberg if he could just shoot the guy. I would say that turned out well for us all.

“It’s Over”

It takes a real badass to stop someone without a weapon. All Ford does is point a finger and “it’s over.” So maybe he’s got a few witnesses/human shields behind him helping his cause, but still.

Right and Wrong

You know what weapon is Harrison Ford’s best ally? The truth.

“Too Cold, Huh?”

Anyone else still have nightmares about Ford playing the creepy villain in this movie? Good, glad I’m not the only one. *shivers*

“News Is A Sacred Temple”

“Morning Glory” is an underrated movie in my book. The best part of this scene is his complete and utter distain for Rachel McAdams character and what she represents. Ford fully inhabits his old-man crustiness. He is also carrying a shotgun the entire time. Brilliant. He also later makes a frittata later in the movie, has lunch with Dick Cheney, and spars with Diane Keaton.

“Is He Nuts?”

We’ve now officially seen Ford use every weapon imaginable (This German dubbed version really adds something. "Oh Scheisse!").

The Original Terrorist Defense

Have you noticed Ford’s body of work includes some of the most re-watchable movies of all time? How many times have you seen this scene? How many times have you cheered? Yeah, that’s what I thought.


The best “son of a bitch” of all time. I listen to this several times a day.