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    Profile Preview

    Making the music happen: Profile listens to Houston Symphony GM Steven Brosvik

    Sarah Rufca
    May 13, 2010 | 12:29 pm

    Anyone who has attempted to travel with four or more people (or at least one child) understands the importance of Steve Brosvik's job. As the general manager of the Houston Symphony, he executes the day-to-day operations — including the Herculean task of getting the hundred or so musicians, conductors and instruments to New York this January for a performance at Carnegie Hall.

    "Steve has got an important balance between the business and the creative," says Greg Scheinman, whose interview with Brosvik is the subject of this week's Profile (which airs tonight at 10:30 on Channel 8, Houston PBS). "His job is to make life as easy for musicians as possible so they can do their job, to put out the best musical show they can. Steve handles the operations, the staff, anything needed to put the symphony on track for success.

    "Doing something like the New York trip, something they call a company move, if you think about the size and scope of the symphony, the people and all kinds of instruments and youve got to coordinate, it's an unbelievable task," Scheinman continues. "Plus you're dealing with climate changes and humidity that these delicate and expensive instruments react to. They have to be very well taken care of ... and so do musicians! It's a big, big undertaking."

    Scheinman notes that despite the logistical difficulties, the New York performances had no room for error.

    "The symphony can do hundreds of shows over a year, and if you see them all you notice the difference between a stellar show, and, you know ... you can't be on your game every day," Schienman says. "But if you aren' t putting on your very best show in New York, that's the impression you're going to leave about the Houston Symphony. And maybe someone's flight was delayed or your instruments were late and you didn't have enough time to practice, but nobody knows that.

    "All people care about is what they see on stage, and you have to show them that the Houston Symphony is one of best in the world."

    For the Profile interview, Scheinman followed Brosvik through his day at Jones Hall.

    "We toured Jones Hall, and it was just fascinating. Steve is there all day — he's one of the first people to arrive and the last to leave," Schienman says. "They have business hours, but they also have rehearsal hours and shows in the evenings. It's a long day dealing with business stuff during the day and staff and other issues at night.

    "One of the coolest things was standing on the stage at Jones Hall and looking out. That's a pretty amazing feeling. If you need to be recharged a little bit, he can get up from his desk and walk out on the stage — that'll recharge your batteries pretty quick."

    But it's not all business as usual — Brosvik's years as a musician play a crucial role in his job.

    "Steve was a musician at first, and we talked about the opportunity to bring his background into operations," Scheinman says." He can appreciate what musicians are going through, because he is a musician himself. He went from playing to being a music business major in college, with the idea of, 'I know what I love, and if I can combine that with business acumen ....' You see it in sports, if there's a coach theres never played the game, they get a little slack. If you'd never played music there might be some understanding issues. He can speak the language of the conductors."

    With the interview having taken place before the hiring of new Houston Symphony CEO Mark Hanson, Brosvik talked about what a new CEO meant for him and the symphony.

    "What he said was that they were looking for full-time CEO , but his job is to execute overall vision," Schienman says. "From the CEO perspective there's planning, but his job is to implement that plan, be fiscally responsible and get it done day to day so that plan is executed. He seemed excited for the change and a more permanent person to dictate the direction the symphony was to go in."

    CultureMap is the official online home of Profile — and you can watch exclusive clips of all the episodes in the series (season one and the current season two) on our special Profile page.

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    Movie Review

    Meta-comedy remake Anaconda coils itself into an unfunny mess

    Alex Bentley
    Dec 26, 2025 | 2:30 pm
    Jack Black and Paul Rudd in Anaconda
    Photo by Matt Grace
    Jack Black and Paul Rudd in Anaconda.

    In Hollywood’s never-ending quest to take advantage of existing intellectual property, seemingly no older movie is off limits, even if the original was not well-regarded. That’s certainly the case with 1997’s Anaconda, which is best known for being a lesser entry on the filmography of Ice Cube and Jennifer Lopez, as well as some horrendous accent work by Jon Voight.

    The idea behind the new meta-sequel Anaconda is arguably a good one. Four friends — Doug (Jack Black), Griff (Paul Rudd), Claire (Thandiwe Newton), and Kenny (Steve Zahn) — who made homemade movies when they were teenagers decide to remake Anaconda on a shoestring budget. Egged on by Griff, an actor who can’t catch a break, the four of them pull together enough money to fly down to Brazil, hire a boat, and film a script written by Doug.

    Naturally, almost nothing goes as planned in the Amazon, including losing their trained snake and running headlong into a criminal enterprise. Soon enough, everything else takes second place to the presence of a giant anaconda that is stalking them and anyone else who crosses its path.

    Written and directed by Tom Gormican, with help from co-writer Kevin Etten, the film is designed to be an outrageous comedy peppered with laugh-out-loud moments that cover up the fact that there’s really no story. That would be all well and good … if anything the film had to offer was truly funny. Only a few scenes elicit any honest laughter, and so instead the audience is fed half-baked jokes, a story with no focus, and actors who ham it up to get any kind of reaction.

    The biggest problem is that the meta-ness of the film goes too far. None of the core four characters possess any interesting traits, and their blandness is transferred over to the actors playing them. And so even as they face some harrowing situations or ones that could be funny, it’s difficult to care about anything they do since the filmmakers never make the basic effort of making the audience care about them.

    It’s weird to say in a movie called Anaconda, but it becomes much too focused on the snake in the second half of the film. If the goal is to be a straight-up comedy, then everything up to and including the snake attacks should be serving that objective. But most of the time the attacks are either random or moments when the characters are already scared, and so any humor that could be mined all but disappears.

    Black and Rudd are comedy all-stars who can typically be counted on to elevate even subpar material. That’s not the case here, as each only scores on a few occasions, with Black’s physicality being the funniest thing in the movie. Newton is not a good fit with this type of movie, and she isn’t done any favors by some seriously bad wigs. Zahn used to be the go-to guy for funny sidekicks, but he brings little to the table in this role.

    Any attempt at rebooting/remaking an old piece of IP should make a concerted effort to differentiate itself from the original, and in that way, the new Anaconda succeeds. Unfortunately, that’s its only success, as the filmmakers can never find the right balance to turn it into the bawdy comedy they seemed to want.

    ---

    Anaconda is now playing in theaters.

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