BrockBlog

Leadership Problems and Solutions, Part II: The Toronto Blue Jays

2009-10-09T23:54:00.000-05:00

The Toronto Blue Jays organization is certainly a wicked problem to which there is no clear solution. The problem has many symptoms: inconsistent performance, poor performance under pressure, and high rates of injury. Rumours suggest that some workout habits that leave a lot to be desired. On-field results appear to have impacted the balance sheet and the team suffers from low attendance and a budget where revenues hardly approach expenses.

This all stemmed of a leadership failure, endemic throughout the entire chain of command. Perhaps the best case scenario for the team was a .500 season, but the Blue Jays squandered an early lead and finished well below that mark. The expected win-loss statistic predicted an even better record (84-78). The unsatisfactory outcome was due to a flawed process.

Rogers Communication, the distant ownership, provided insufficient financial support. Paul Beeston, the interim president, was hampered by his recent arrival. J.P. Ricciardi, the arrogant General Manager, misallocated resources with little return and announced decisions through the media. He publically shopped the team’s best player, putting Roy Halladay in an impossible situation.
Dissent within the coaching staff seeped into the clubhouse. The team’s highest paid player did not contribute at a level to suit his salary and clean-up position in the batting order. Rumours suggest that his workout habits and mental training routine leave a lot to be desired. At the end of the season, certain individuals chose to pour gasoline on the fire and Ricciardi was dismissed.

What next?

The status quo is not a feasible option. Halladay would likely demand a trade although he has the dignity and professionalism to keep his opinion behind closed doors. The Blue Jays would be required to sign a corner outfielder or third baseman to provide more power, retain key everyday players such as Marco Scutaro and Rod Barajas, and strengthen the bullpen. The team would hope for the best from their many injured pitchers. Whether it’s a coach or a teammate, a trainer or a psychologist, someone would have to get through to Vernon Wells.
Starting from scratch would consume too many resources, in terms of time and money. Should the team trade Halladay for draft picks, buy out Vernon Wells, and let all of their free agents leave, it would take at least five years to become competitive. Blowing it all up would cost about a million dollars in salary for buy outs. Toronto fans have already become restless and such an action would stretch their patience beyond its limit.

There are plenty of alternatives in between those two extremes. The problem would continue to simmer and might boil over irrespective of any action plan but change is required. Changes made to the organization are as important as how new G.M. Alex Anthopoulos revamps the roster.
The owners and team president must provide clear direction. Beeston must state “This is who we are. This is what we hope to accomplish. Here is what we are willing to spend.” He needs to set standards for how team members should act and how they must support each other.

Anthopolous should model the club’s new standards. The front office must spend judiciously in the short-term and make long-term commitments. If it is possible to extend Halladay, it should be done. The pitcher would likely want to see other personnel moves, which is reasonable because the team has a marginal talent level that cannot compete in the American League East Division for an entire season. The team’s scouting staff has not been accurately assessing players and their weakness must be addressed. The Blue Jays experience too many injuries; there is a problem with their training techniques.
Perhaps most importantly, the coaching staff needs to work together. If there is a rift, it should be repaired because any dissention will spread to the team. Brad Arnsberg, the pitching coach, seems to be an expert in his field and should be retained. It is unacceptable for coaches to poison the locker room where they coach.
I think that Cito Gaston and all the coaches from the two World Series should re-evaluate their coaching styles. As the Coaches Association of Canada said, coach is a balance between looking inwards and looking forwards.
Perhaps coaches could play the percentages more, search for areas where the team can improve their technical skills, or hire a younger assistant coach to better relate with players. It has been reported that Cito Gaston has difficulty communicating with younger players. While it is true to today’s Blue Jays are not veteran professionals such as Dave Stewart and Paul Molitor, there have been positive results from Halladay’s elite example. It is not an impossible dream.
Gaston should touch base with players on a daily basis to ensure they remain motivated. Although rookies such as Travis Snider will make errors, they will learn when they play alongside veterans and become regular Major Leaguers. Aaron Hill and Adam Lind experienced breakthrough seasons but Gaston should work with them to determine their new goals and how they can raise their games to the next level. Somehow, he must turn Wells into an asset; no team would acquire the twenty-three million dollar player on waivers now.

Better players will make a difference but better leadership is a necessity.

Leadership Problems and Solutions, Part I: Integrity and Leadership

2009-10-05T22:54:00.003-05:00

Integrity is integral to a play: every player, coach, and staff member must say was that mean, do what they said they would, and acknowledge what they have done. Trust is a cornerstone of all team standards, the foundation of great success.

It is not a matter of morality. (Nevertheless, all teams should not only follow what defines ethical behavior in their respective societies but go above and beyond in order to set the example.) Integrity is not synonymous with judging between right and wrong (Christensen, Fall 2009, p. 16). Camus a dit que «l’honnêté n’a pas besoin de règles» (Camus, 2004, p. 96). Integrity doesn’t need rules, only consistency.

Participation on a team is a promise to multiple individuals:

Players Promise…

to teammates: “I will be there for you when you need me. I will follow the standards that we agreed to. I will always be honest with you.”
to coaches: “I will always be open with you. I will do what I say I will.”
to themselves: “I will keep my words. I will self-evaluate myself sincerely after each performance. I will be at peace with myself.”

Coaches Promise…

to players: “I will be clear and direct with you. I will set my expectations at the beginning of the year and be true to them. All decisions will be transparent.”
to all team members: “I will treat everyone fairly and consistently. I will hold everyone accountable to what they say.”
to recruits: “I will not guarantee anything beyond a fair opportunity and make no enticements.”
to the community: “When a member of the team that I am coaching says something, you can rely on it.”
to themselves: “I will keep to the timelines to which I agreed. I will not ask anyone to do anything that I would not feel comfortable doing myself. I will self-evaluate myself continually and sincerely.”

John Wooden placed integrity near the top of his Pyramid of Success. Coach Wooden would say: “Make your ‘yes’ mean yes and your ‘no’ mean no.” Even the bench players on his team, who may have been frustrated by their lack of court time respected his principles. Andy Hill was one such player and he feels that this clarity allowed the U.C.L.A. teams to function better because everyone understood their role and importance to the team (Hill & Wooden, 2001, pp. 88-90).

Integrity is not an outdated idea. Mike Krzyzewski feels that it leads to positive results on the court and positive feelings away from it. To him, it is bad to let others down but it is even worse to let oneself down. Coach Krzyzewski believes that anyone can recover from a bad game or a mistake but that it takes much longer to recover from a lapse of integrity (Krzyzewski, 2006, pp. 97-8).

The 2008 Redeem Team won an Olympic Gold Medal, in good part because they made a commitment to their country and each other. Players and coaches created a set of standards and every team member held each other accountable (Krzyzewski, 2009, pp. 67-84).

“The Celtic Way” defined the National Basketball Association in the 1960s as Boston won eleven out of thirteen championships and modeled the way on and off the court. Despite his influence, “The Celtic Way” did not mean that Red Auerbach managed the team like a tyrant or that he was not open to suggestions from the players. Auerbach was committed to winning and he believed that the best way to achieve this goal was to treat everyone consistently, irrespective of their race or previous role on the team.

The coach would say: “I never believed in handling players. You handle animals. I treated my players like people. I respected their intelligence. I was straight with them and they were straight with me. I didn’t lie to them and they didn’t lie to me. There was no double standard” (Whalen, 2005, p. 20).

Bill Russell, who followed him as coach of the team took integrity to an extreme. Russell would say that “a man without integrity, belief or self-respect is not a man. And a man who won’t express his convictions has no convictions” (Whalen, 2005, p. 52).

If a team member senses that any relationship is dishonest, it may lead to lower satisfaction or even reduced performance from peak performers. If a person is dishonest with themselves or others, they can suffer stress along with impaired performance. There is a risk that the dishonest behavior - or the subsequent sentiments of guilt or depression - will contaminate other team members, especially those in the social network of the player or coach who has been dishonest (Messick & Tenbrunsel, 1996, p. 55).

Designing simple team standards of integrity at the beginning of the season and enforcing accountability throughout the season is one of the best methods for a coach to avoid this guilt among team members.

The final step is convincing all team members of the importance of integrity. The coach could simply recruit like-minded personnel but that may dilute the talent level and impede creativity. So at some point, the coach must solicit buy-in from all stake holders.

As a rationalist and believer in Occam’s Razor, I prefer a simple intellectual approach. Integrity is important to team success but it is even more important to one’s character. Even a single lapse can cause lasting damage. Adolescents have high social needs so some players may be susceptible to peer pressure. Others may be open to an appeal to emotion or have high needs for a trusting and safe environment. This is when the coach must lead.

Maintaining integrity consistently is one of the most difficult tasks that a human can undertake. But it is essential for success in sport, or any other team endeavour.

Works Cited:

Camus, A. (2004). L'homme absurde. In A. Camus, Le mythe de Sisyphe (pp. 94-126). Paris: Éditions Gallimard.
Christensen, K. (Fall 2009). Integrity: Without It, Nothing Works. Rotman , 16-20.
Hill, A., & Wooden, J. (2001). Be Quick - But Don't Hurry. New York City: Simon and Schuster.
Krzyzewski, M. (2006). Beyond Basketball. New York City: Hachette Group U.S.A.
Krzyzewski, M. (2009). The Gold Standard. New York City: Hachette Book Group.
Messick, D. M., & Tenbrunsel, A. E. (1996). Codes of Conduct. New York City: Russell Sage Foundation.
Whalen, T. J. (2005). Dynasty's End: Bill Russell and the 1968-69 World Champion Boston Celtics. Boston: Northeastern University Press.

The Hidden Fortress

2009-09-29T01:14:00.003-05:00

The Hidden Fortress is a great action comedy movie that puts all others to shame. It’s scandalous that today’s audiences have to tolerate clichéd Lethal Weapon-type dialogue and excessive explosions; this film shows that a director can do both well, along with the usual Akira Kurosawa theme of how does one act morally in an immoral world.

Is the ultimate goal profit or the greater good? Each character tries to discover this during the film. Is the ultimate goal DVD sales, audience enjoyment, or greater a work that stands out as one of the greatest of all time? Kurosawa accomplishes all three.

Action and comedy are perfectly balanced. When this film was made, Kurosawa had already proven his ability to conceive great action sequences, build suspense over the course of a film, create emotional close shots between characters, and manipulate light and shadow expertly. In this work, he displays that he can write and direct humourous comedy scenes. He also permits the audience to infer certain details, rather than dumbing down the plot to the lowest common denominator.

The story is told from the point of view of a hapless duo (Tahei and Matashichi) engender audience sympathy despite their crooked nature because of their hilarious exchanges. The protagonists continually argue with each other yet each is enitrely dependent on the other. Those scoundrels walk the line between complete cowardice, utter idiocy, and giddy greed. They move from one misadventure to another following a selfish quest to profit by any means necessary during an ongoing war.

I believe that Kurosawa pioneered the idea of screen wipes as a transition from one scene to another. Unlike George Lucas, he makes the wipe part of the scene, allowing the briefest snapshots (such as when the two jackanapes are pursued for stealing rice) to make the film more dynamic. The score suits the action beautifully. The scene when a mob of destitute prisoners of war escape and overwhelm the organized Samurai army is a great example of Kurosawa’s grand vision, as is the sword fight on horseback.

Tahei and Matashichi follow a general (Toshirô Mifune) and a princess through enemy lines, although they are unaware of their stature at the time. The beggars initially join the gang and face danger for the promise of gold but at the end receive self-satisfaction because they contributed to a good cause, despite the lack of reward.

This film should be screen at the Bloor Cinema; I think the audience would feel comfortable laughing at the many light-hearted moments. Although I complimented Mifune during a previous post for his great range, he seems to find a way to work the same laugh into every film. The Hidden Fortress is highly recommended (and totally ridiculous). ****

Red Beard

2009-09-28T20:21:00.000-05:00

Akira Kurosawa’s last black and white film, Red Beard, follows a storyline similar to Bernard Émond’s La Donation. The themes are similar, although the Japanese work develops more slowly and is more lyrical. A doctor with aspirations of serving Japan’s royal court is sent to a small clinic in a poor village. Unlike Dr. Dion, who chose to accept a one month posting in Normétal, Dr. Yasumoto is tricked into reporting to the iconic Dr. Niide (a.k.a. “Red Beard”) and initially refuses the position. Over time, he comes to respect Red Beard, his pragmatic viewpoint, and his effective manner of dealing with patients.

The deliberate camera work is patient and affords many opportunities for symbolism. The backdrop for the opening credits is the rooftops of the clinic and the town, showing how society looks down on the poor. Kurosawa often lights the scene so the shadows of the doctors, nurses, and patients are visible. It’s as if their physical bodies are complemented by their spiritual souls. As he does in all of his films, the weather represents when the plot becomes complicated in addition to the conflict inside Dr. Yamoto. Snow falls to show when his conscience is clear.

Everyone in the film comes from a different background, some with skeletons - literally - in the closet. Everyone has a second chance to redeem themselves. Life may not be fair but one can only carry on and do their best. Red Beard’s devotion to the citizens of the small town convinces Dr. Yamoto to change his career path; although he understands that he will have no money and no honour, he still wishes to serve the poor. Seeing the progress of the ill patients inspires him to help more.

To me, the most memorable moment is when the doctors make a house call to a girls with syphilis. The family and neighbours refuse to send her to the clinic. Red Beard bluntly tells them: “A bad doctor can kill you. I won’t kill you but I will break some arms and legs.” The men subsequently step outside and the doctor gives the intransigent strangers a thorough beating to straighten them out. Then he orders his two interns to bandage the injured and find a cart to carry the seriously wounded to the clinic. “I might have gone too far,” Red Beard reflects.

The film develops characters slowly and consistently. There are comedic moments, emotional scenes, and even though it is not The Seven Samurai, a clever action sequence. Similar to how Torn Curtain was the end of an amazing filmmaking partnership (Hitchcock and Hermann), Red Beard is the last time that Kurosawa worked with Toshirô Mifune. Mifune played so many iconic roles (the businessman, the beggar, the bandit) yet he always altered his performance so that he was not merely portraying an archetype. In this film, he could have made Red Beard the stereotypical mentor but his gruff but sensitive mannerism and steely eyes (Christian Bale could learn from this) shaped a truly memorable character.

Double Bill at the Bloor Cinema, Part I: Late Hitchcock

2009-09-27T12:02:00.000-05:00

One of the prominent aspects Vertigo and Psycho, as with all Alfred Hitchcock films, is the musical scores by Bernard Hermann. It’s not so much the intensity of the music during climatic moments - although that aspect is present as well - but the many other scenes when a more low-key score builds the tension and foreshadows what is to occur later. For every scene at the top of a church bell tower or in a shower, there are several scene on the roads of California that serve as rising action. The audience knows something is about the go wrong but they are left in suspense, adding significance to the event when it occurs. Hermann’s music is beautiful, yet very tense.

It is unfortunate that the prints that were screened at the Bloor Cinema were of poor quality and there were issues with the contrast in both films. This was especially critical in Psycho’s where the shades of grey that help define Hitchcock’s world view were not present and were replaced with muddled black darkness.

Hitchcock showed great originality in his camera shots. One really gets the impression that they are an observer of the desperate scheme which is about to go awry. Shots from above at the Mission San Juan Bautista show the aftermath of the two falls from the tower and close shots show the fear and terror of each victim at the Bates Motel. (On a side note, both films feature a number of scenes showing James Stewart and Janet Leigh driving, using rear projection to show what is happening on the road behind them. Chase scenes become slow and methodical, yet still as engrossing because one can see how the protagonist is reacting to their surroundings.) The camera angles, such as the zoom in Vertigo and the shot of the door creaking open in Psycho helped make the films unforgettable.

Hitchcock’s films are not violent but succeed in providing the same overall effect by showing the outcome in great detail. The audience never sees Kim Novak’s body hit the rooftop tiles and Janet Leigh is never stabbed on camera but the reaction of James Stewart and the destruction of shower and bathroom provide more than enough detail.

It is also a trick that modern directors should learn. It’s not what blows up or how many people are killed but how one makes each act of violence important by creating suspense, developing a relationship between the actors and the audience, and employing wit as the plot unfolds.

Obviously, both films display the dangers of obsession, showing how a character can loose themselves and their values when they stretch an idea to its absolute limit. But that has been discussed in numerous essays that are far more sophisticated than what is posted here.

Pizzeria Libretto, Part II

2009-09-26T23:55:00.003-05:00

My third and fourth visits to Pizza Libretto proved to be a mixed bag, less satisfying than the first two trips. One pizza, the Pingue Prosciutto, was a complete waste. The tomato sauce was overwhelmed the rest of the pizza. The finely sliced ham could not be tasted due to the potent tomato taste. They could have served cured Iberian pork and nobody would have noticed; one might as well have ordered the Margherita pie. Chile oil or thicker slices of prosciutto would have enhanced this pizza.

The Sardines pizza boasts a variety of flavours. At times, it was somewhat salty, due to the olives and the cured fish, but mostly it was a delicious combination of textures and ingredients. Chile oil spiced everything up and gave the tomato sauce greater depth. The sardines were not too fishy and balanced the fresh herbs well. I would recommend this pizza highly yet my favourite Libretto remains the Duck Confit and Bosc Pear combination.

Skills We Should Teach More, Part II: The Mental Side of Passing

2009-09-20T11:07:00.000-05:00

The ballhandler sees a teammate down court and throws a chest pass to his outside shoulder. The defender, having read the point guard’s eyes, closes the gap and times his jump to steal the ball. The opponent goes the other way and scores, finishing an and-1. A bad pass led to two points, a team foul, and a baseline inbounds.

During N.F.L. Kickoff Weekend, commentators prattled endlessly about the need for quarterbacks to estimate the distance between the defender and the receiver. One speculated that newly unretired Brett Favre would incorrectly evaluate the strength of his aging throwing arm and force a pass into a dangerous, not understanding that the risk of such a play had risen as his skills have fallen as his career advanced.

The same principles are present in basketball: correct spatial visualization, accurate risk-reward analysis, and the execution of correct passing techniques under pressure.

Is there a defender in the way? Call the player’s name or make eye contact. Tell the teammate to pivot and seal or cut and come to the ball. Ask the receiver to give a target. Make an entry pass to change the passing angle or reverse the ball and attack the other side.
Is there a defender nearby? Pivot, ball-fake, or head-fake to keep the opponent off-balance. Put some mustard on the pass so that it can’t be intercepted. Assess whether the offensive capabilities of the receiver on that spot of the floor balance the risk of a dangerous pass.
Is there a defender pressuring the ball? Stay calm. Pivot around the defence and step into the pass. Choose the right pass for the right situation. Keep the dribble alive until you can run another play. Hold it as a last resort and wait for an opportunity to hand it off.

Coaches should devote more time to these skills. During scrimmages, they should stop the run when somebody obviously ballhawks and teach the team how this can be avoided. Players should learn all of the options available in a given predicament. The little things, like ball-fakes (along with moving the head and especially the eyes), half-a-second hesitation dribbles to read the defence, and pivoting belong in practices.

It is a fallacy to teach players that any pass to a teammate is an equally valid option. Coaches should be frank and pragmatic about the strengths and weaknesses of each team member so everyone knows the best option and what type of pass is appropriate.

It’s a more difficult task to teach players how to improvise and make good choices. Dehydration and fatigue reduce decision-making skills. The Israeli army incorporates math exercises at the end of training, effective teachers drill students under the pressure of time; coaches should do likewise and simulate pressure with game-like situations.

T.I.F.F. 2009, Part V: The Disappearance of Alice Creed

2009-09-19T23:58:00.004-05:00

The Disappearance of Alice Creed is an atypical film, a kidnapping film made from the perspective of the kidnappers; sort of a “Low” version of High and Low. There are only three characters: Alice, Danny, and Vic. A compelling script by talented screenwriter (and first-time director) J Blakeson creates audience sympathy for all of the characters, especially Danny the protagonist who is a tragic hero. There are no scenes involving the police or the victim’s family, so it is not known how close the authorities were to solving the case. Blakeson simply shows the victim and her two captors, who see the plot more as a scheme to raise a great deal of money without hurting anyone.

Of course - as usual - things don’t go entirely as planned.

The film was made on location on the Isle of Man (lingering question: how would the kidnappers have gotten themselves and the money off the island?) and most scenes take place in an apartment. Blakeson told the audience afterwards that he wanted to keep costs low so that he could make the film no matter what and it led to a very interesting plot structure. Several twists kept the audience off-balance. Yet, these “reveals” seem entirely logical and thicken the plot in a reasonable manner.

This film shows how the creation of suspense is a matter of mood and subtlety, not meaningless explosions. The Disappearance of Alice Creed withholds information at times, foreshadows later development, and continuously ratchets up the suspense level. It is a film that Alfred Hitchcock might have made in his later years. Once hooked after the unconventional introduction, the viewer is hooked and wants to know how the story will unfold.

Mirrors provide a symbolic way for the characters to look at themselves and try to understand what they are doing and what they have become. There is a broken mirror in the apartment, showing how the characters have completely lost their way, a mirror in the bathroom where Danny can look himself in the eyes as he worries about the plot, and the rear view mirror of the getaway car, where one character looks at the audience (and themselves) before driving off and beginning a new life. ***½

T.I.F.F. 2009, Part IV: Face

2009-09-18T21:12:00.000-05:00

Face (also known as Visage for the French translation) would have significantly benefited from a Q & A session, which was cancelled because the director could not make it to Toronto. Speaking to him would have answered the two meaningful questions in the minds of audience members: “What just happened?” and “Did they ever recapture that escaped stag?” This film should not have been selected for the festival and should not have been green lit by a studio for numerous reasons.

Firstly, the film wastes excellent cinematography. Close shots where characters were reflected in mirrors or windows, long fixed shots that showed a character moving down the stairs or through a hallway, and shots that showed a character questioning themselves as the world, for example a highway interchange or the traffic along le Jardin des Tuileries, carries on around them. These camera angles were visually stunning and wasted in a film that will not get significant distribution anywhere.

Secondly, the director hammers the audience over the head with overt symbolism. Characters duct tape mirrors, chant rhymically in a cemetery, and share a bizarre love scene in a meat locker. The first scene depicts a failed meeting with the director and his producer in a coffee shop. They never connect, just as the film never connects with its goal to explore how one discovers their own identity.

There is also an attempt to break down the fourth wall and make Face self-referential. The main character is a Taiwanese director attempting to make a film in Paris. I think that this proved to be a distraction from the main themes of the film.

Lastly, the screenplay is poor. Some images are absurd, such as a kitchen sink accident reminiscent of the Welch House Flood of ’99 or opera characters whose opulent costumes cannot fit in the tight spaces of the real world. I think that the point is that we are always struggling through life, trying to find ourselves. People may handle obstacles differently, perhaps by trying to hide or attempting to deny the truth, but they musts move forward regardless. In the end, humanity is driven by the passions that provide the most significant moments in life.

But I really have no idea. Maybe the director simply wanted to tell the world that canned tomatoes and plastic wrap are not used nearly enough as sexual devices. 0

T.I.F.F. 2009, Part III: La Donation

2009-09-16T08:56:00.000-05:00

Bernard Émond’s final film in his tragedy about the three theological virtues, La Donation, attempts to find a secular meaning for the philosophy. Even if one is a non-believer, like M. Émond, he would like them to use nearly two thousand years of teachings in order to do well for themselves and others. La Donation follows Jeanne Dion as she first moves to the small town of Normétal in Abitibi in order to replace an old doctor named Yves Rainville for a month and later documents her decision about whether or not to stay after he suddenly dies.

Since the forestry and mining industries left, Normétal has been deserted, shrinking in population from over three thousand to under nine hundred. Though he first moved to the town as a company doctor, Dr. Rainville decided to stay because he became attached to his patients, who are scattered across the region. Dr. Dion does not know if she can work in the same situation, as watching very bad events befall her patients affects her emotionally.

M. Émond told the Q and A that although he understands that cinema is fake, he tries to create very real situations. The entire film was shot on location - apparently several lighting problems were created by the northern environment (and resolved) - so it showcases the solitary beauty of Abitibi, along with the solitary desperation of the town and its citizens.

Eventually, Dr. Dion becomes enamored with the natural milieu and begins to see changes among her patients. Though there still may be occasional steps back, she chooses to move forward with her life. Charity, defined as a voluntary and selfless gift to others, is a virtue that anyone, religious or not, can follow in order to better themselves and the community around them.

Émond uses many still shots in order to focus on the calm skies, clear waters, and dense forest in the background and the slow pace of life. He spent several months in Normétal and wants to show the beauty that it still retains to his audience. The country is sparse; characters often take time to reflect upon their surroundings and themselves. Trees first cleared by the logging industry have grown back and abandoned mines have been covered up. As one character says, “even after a while, the wilderness has won.” ****

T.I.F.F. 2009, Part II: Leaves of Grass

2009-09-15T00:01:00.000-05:00

Leaves of Grass may be the best movie that I have seen out of the 2009 crop to date. On the surface, it is very similar in style to the Coen brothers in that it features average characters who find themselves in dangerous situations which force them to confront their morals, bizarre supporting characters, and black humour including scenes of absurd violence but it is more than that. Tim Blake Nelson wrote an excellent screenplay and directed the film admirably.

Edward Norton plays both feature roles, a professor of classical philosophy in Rhode Island and his twin brother who grows marijuana in Oklahoma. Norton was very focused during filming and is comfortable with the challenge of performing a scene with himself. His mannerisms as the conservative Bill Kincaid are humourous and elicited many laughs from the audience.

The film is entitled Leaves of Grass because of the Walt Whitman book of poetry and slang term for marijuana. Brady Kincaid owns a massive grow-op in a small town named Little Dixie and his solution to his equally massive debt is to trick his brother to come visit him, under the pretense that he had been murdered by a crossbow arrow. When Bill comes home, he realizes that he has been duped but agrees to stay for the weekend in order to see his mother one last time.

Bill also meets Janet, a local high school teacher and poet. It is fitting that he favourite poet is Whitman, whose style she emulated with her poetry. The modern poet who broke convention is the one who convinces the classical thinker to change his philosophy on life. Gradually, throughout the movie, Bill becomes more tolerant of his family and hometown.

Hilarious cameos help make the movie. Richard Dreyfuss plays a villain who is admired by the Jewish community for his charitable donations but a brutal drug lord behind the scenes and Josh Pais portrays a neurotic, spastic orthodontist. Based on the reaction of the audience, Leaves of Grass is a worthy contender for the People’s Choice award at T.I.F.F. this year.****

T.I.F.F. 2009, Part I: Les Herbes Folles

2009-09-13T00:32:00.000-05:00

Les Herbes Folles is an odd film. The first part of the film is replete with deadpan humour and bizarre situations. The second half of the film channels a bit of Pierrot le Fou and tries to leave the audience guessing. Director Alain Resnais leaves the audience guessing, providing a Hollywood ending followed by the “real” ending five minutes later. Two random strangers are connected by a lost wallet and become infatuated with each other. There is a sense that Georges, who found the wallet, is hiding something but it is never totally revealed, only suggested. Marguerite initially wants nothing to do with him but later cannot keep Georges out her mind.

Non-sequiturs jar the audience concentration throughout the film and there is frequent use of symbolism. A broken fly along with an out of control plane, a man repainting his house as he tries to renovate himself. Some moments are absurd, like a party in the police station keeping officers from their duties or a dentist wilfully causing patients pain. The world is a random, crazy place.

The audience plays the role of observer, due to overhead shots or shots filming people from behind. The camera pans from one corner of the room to another and it is obvious several minutes have elapsed. The narrator shows the thoughts of the characters, their doubts, and second thoughts, instead of being an all-knowing voice. I think that these directorial strategies were instrumental in grabbing the attention of the audience and helping them relate to the characters. **½

Why Are You Trying Out for the High School Team?

2009-09-12T00:51:00.005-05:00

Not to criticize daily physical activity, nor playing for fun, nor a lifetime of good health. Not to demean those who shoot hoops in the school yard or play pick-up with friends, nor those who swim run, or play another sport to keep fit. Seeking instead to address those wishing to tryout for the next level (high school, Ontario Basketball, AAU, university or college) and excel. Anyone considering that step should ask themselves one question:

Why am I doing this? Anyone can see the fans at the game more clearly than the name on the jersey. Anyone can play for individual glory. Anyone can take unlimited shots. Anyone can quit when it starts to hurt. But nobody should play at the next level if they can’t play:

For the Name on the Front of the Jersey: To make four years in high school mean something more. To represent your teammates and your peers with pride. To play team defence. To create memories. To participate in something greater than oneself.
For Teammates: To make friends for life. To be the first to pick a teammate up off the floor. To make a pass as the clock winds down because it was the right thing to do. To achieve something together that was impossible individually. To help defensively. To take charges. To set screens. To be positive. To encourage.
For Improvement: To set goals and accomplish them. To improve. To encounter obstacles and overcome them. To avenge earlier defeats in the playoffs. To practice hard daily. To acquire skills, both physical and mental, and use them on and off the court. To train.
For Self-Actualization: To be the best. To think. To anticipate the next play. To focus. To stay calm under pressure. To challenge the opponent’s best player. To stop the ball. To be tough. To fight through screens. To rebound. To hit the floor. To compete.

It is a privilege to play for any team. Canadians like Jermaine Anderson love to play for their country. Sometimes the twelfth man is the staunchest teammate. Players have dreamt for years about being on the court when it matters. Even those on the bench are essential to making any good team better.

It matters whenever any team plays, any collection of players selected because of their skill, strength, speed, and - most significantly - their soul. That team and those players are important. Anyone can be one-dimensional but elite teams and elite players are those who develop all aspects of the game.

Even if this is not the year that you are playing varsity or it is not the month when the season officially begins, it can still be the day to start training. The day to set personal standards. What will you accept from yourself? Everyday, student-athletes can make a difference. Anyone who can’t meet that challenge doesn’t belong on an elite team.

Michael Jordan was inducted into the Basketball Hall of Fame yesterday and chose David Thompson to introduce him. He didn’t chose Dean Smith, Scottie Pippen, Magic Johnson, or Phil Jackson but a player who inspired him when he was younger. Jordan saw Thompson succeed in college and as a professional but he also saw him fail. It was the manner than Thompson overcame his drug addiction and knee injuries that inspired Jordan to become so determined.

This entire entry may seem clichéd but the crux of the message is this: elite players separate themselves from the masses not because of athletic gifts or a single event but by the choices and habits they display on a daily basis.

Caplansky's Deli

2009-09-11T22:28:00.002-05:00

The first sandwich that I ordered at Caplansky’s new deli was a little underwhelming. I was expecting more flavour from the smoked meat (medium) and it was a little dry, especially when served with the house mustard made with whole mustard seeds. It was superior to a run of the mill sandwich shop but a letdown relative to the deli’s reputation. The fries were excellent, the oil had been recently changed and hand-cut potatoes were well-seasoned.

On my second visit, I ordered the breakfast special and the smoked beef bacon was delicious. It was smoky and just a little crispy but still savoury. The fact that it was beef bacon was stunning; you wouldn’t notice if it wasn’t explained on the menu. The eggs, latkes, and toast were prepared as ordered but the coffee was ordinary. Still, it would be a great meal at any time of the day.

Caplansky’s has moved to College and Spadina, into a bright and airy location. Many restaurants have exposed brick walls and the decor - framed restaurant reviews - was self-serving. Still, it’s nice to be able to look out the window and pay one tab at the end of a meal. It can’t be overlooked that you are dining in a convenient restaurant in a venue that seems suitable for dining, not loan sharks and backgammon games. The deli serves local beer, like No. 9 Indian Pale Ale and Denison Wheat Beer at reasonable prices.

Four Forgotten Alfred Hitchcock Films

2009-09-10T23:50:00.004-05:00

Rebecca moves slowly but picks up speed as it progresses. It is one of the first films that Alfred Hitchcock made after crossing the Atlantic and the only one which won him a Best Picture Oscar. Shot along the Côte d’Azur in black in white, it lacks the brightness and clarity of To Catch a Thief, which was filmed in Technicolor.

The film features tight angles that focus on the leads, Laurence Olivier and Joan Fontaine and wide, chaotic shots that emphasize how the Second Mrs. de Winter and Mrs. Danvers are losing their heads. At this point, Hitchcock had not perfected his style but nevertheless he successfully hides a twist ending from the audience. ***

The Wrong Man casts Henry Fonda as a musician who is wrongly accused of armed robbery. To me, the film contains several plot holes, diverges briefly along a spurious emotional storyline, and concludes with a deus ex machina plot device. Occasionally, Fonda plays characters that are so naïve that it is no wonder that they have been victimized. Perhaps it takes a western for him to become a character that can stand up for himself.

The film is shot entire on location in New York City, perhaps inspiring the Nouvelle Vague but it drags, one of the first examples that Hitchcock was losing his touch. He redeemed himself briefly with Vertigo, North by Northwest, and Psycho but more of his later work is like this film than those three.

The mastery of camera angles remains and the black and white footage shows how every situation is comprised of shades of grey. Even honest citizens are powerless to escape seemingly hopeless circumstances. Still, this film could use more action and less talking. **½

Under Capricorn proved to be more than I could handle. Whether it was Joseph Cotten in a lead role or ninety minutes of “suspense” before anything occurred, I did not enjoy this film. It proved to be a colourful period piece but I would not recommend it

There is a strong class system in 1830 Australia. The unspoken rule is that nobody is to ask about another person’s past: whether they have been in jail, how they got to Australia, what they did in a previous life. Prejudices abound and society separates itself based on biases. The ultimate penalty for a worker is to be “pink-slipped” and forced back into the lowest common denominator: the unemployed and those who have recently been released from prison. As usual, the protagonist may not be who he seems and the love interest is experiencing mental troubles. Of course, like Rebecca, it will all come to a head at the grand ball when everyone’s secrets will be revealed.

Like the recent James Bond films starring Daniel Craig which lack an explosive brawl in the dinning car where tables are overturned and windows shattered, Under Capricorn is lacking something.*½

Torn Curtain is typical of Hitchock’s later work: tension builds slowly and consistently. Hitchcock wanted Cary Grant, his favourite actor, to play one more role for him but Grant refused, having recently retired. The director cast Paul Newman in one of his first major roles and his understated performance is far more appropriate than the Roger O. Thornton type of roles played by Grant; initially it seems as if he is defecting but there is a twist as usual. Newman’s eyes, portraying a conflicted scientist, are integral to the emotion of the film.

One scene, as Newman attempts to lose the East German security agent who is trailing him in an empty museum is spellbinding simply because of the cadence of the two footsteps in the empty building. Another low-key scene engages the audience merely because a bus of defectors is gradually pursued by both the army and the regularly scheduled bus. Like The Man Who Knew Too Much a performance is used to build tension.

One could say that openings like the one for Torn Curtain which shows images from the film and the fire from a rocket launch grab the attention of the audience, a precursor to James Bond credit sequences. Throughout the film, simple directorial choices - and Hitchcock trademarks - make a big difference. ***

Skills We Should Teach More, Part I: What Should the Point Guard Do After Passing the Ball?

2009-09-08T23:49:00.008-05:00

What should the point guard do when they have made a wing entry pass and instigated the half-court offence?

Sit in quiet contemplation: if one’s role is to handle the ball, what are they without it? Are they still a player or merely an observer? Does giving up the rock entail giving up one’s self? Is their performance a result of their effort or the position in which they have been placed? Atlas was still a man (actually a Titan) before the world was placed on his shoulders and retains his identity despite his onerous burden.

Cut through the key and...

...post-up: useful against a smaller opponent and when using one or two “go to moves.”
...fill the near corner: crowds the wing if they intent to penetrate but provides an immediate outlet and possible high percentage shot if the player currently holding the ball cannot create their own shot.
...fill the weak-side corner: a thoughtful choice if they wing will be penetrating and drawing a help-side defender.
...set a screen: the low exchange or the flex cut may provide a post with a half-second of freedom from their defender and room to operate.
...curl around to the weak-side wing: this initiates a perimeter rotation away from the ball and may lead to a scoring opportunity (shot, pass, dribble) if the ballhandler can get into the paint or makes a skip pass. The point guard can use the weak-side post and run a circle cut.
...give and go: an aggressive manoeuvre if the defence is not playing closely and a an option that can be used in any offence. A U.C.L.A. screen could involve the high post player in the action.

Screen away and set a...

...shuffle screen: the opposite wing can enter the high post and curl towards the hoop for a quick pass. A simple away screen enables a different player to come to the top of the key and facilitates the ball reversal.
...downscreen the help-side defender: if there is a penetration, this will lead to a wide open shot when the wing kicks the ball to the shooter. The action also permits a post who can shoot or another forward with scoring potential to come to the top of the key and execute their best skill.
...backscreen: the point guard would need to fake a cut into the paint for a step or two before coming back to the perimetre to back-screen the weak-side wing. The defence might be caught off-guard and the athletic wing could receive a lob pass.

Participate in a swift ball reversal: if the point stays at the top and receives a reversal pass from the wing, they must not hesitate to make a decision. The first look should be inside, to see if the strong-side post has sealed their defender with a drop-step. The next look would be to the weak side to determine if any shooters are immediately open. If the point was comfortable with their offence, they could attempt a fake (jab-step, shot-fake, head-fake) and attack but I think that the prompt reversal opens up so many more options.

Fake a cut and return to the top of the key: suitable if the point guard is a skilled player who is tightly defended. They may have lost their dribble or need a quick break from their manic defender in order to reposition and better attack the defence.

Use a flare screen: this will open up the court for the point should they receive a skip pass. The screen will also be in a good position should they choose to roll or pop after setting the screen.

Swiftly cut behind the ballhandler and receive a hand-off: if the point guard can create their shot succinctly, this hand-off screen may provide all the space that they need. When the wing rolls to the basket, they can seal the defender and create a good passing lane to the block.

Set a ballscreen: I don’t care for this play because it does not create a mismatch. When a big sets the ballscreen, the other players normally have cleared out and formed a weak-side triangle. If the two defenders cannot handle the screen, a help-side defender must rotate, opening up an opportunity for the perimetre players. When a guard sets the screen, there is no mismatch if the opponent switches the screen and the screener is most likely to N.B.A. roll. A big can roll to the hoop or slip the screen, two high percentage options.

Get back on defence and stop any run-outs: at least the point guard won’t be in the way and should give the team a head start on defence.

Walk towards the ball or stand in place without being ready: two horrendous choices, displayed in the worst pick-up games, which badly clog the half-court offence. Any of the other above options would help the team more.

There are dozens of options for the point guard after they have passed. If a point guard does not have the nerve or intensity to force the action with a rapid and aggressive play, they should not be on the court. Even though they do not have the ball, it is still an opportunity for the point guard to take leadership.

Sisyphus and The Way I See It #76

2009-09-07T01:03:00.002-05:00

According to a Starbucks’ cup that I read recently:

“The irony of commitment is that it’s deeply liberating -- in work, in play, in love. The act frees you from the tyranny of your internal critic, from the fear that likes to dress itself up and parade around a rational hesitation. To commit is to remove your head as the barrier to your life.”

On the subject of the Greek myth of Sisyphus, Albert Camus wrote:

“Je laisse Sisyphe au bas de la montagne! On retrouve toujours son fardeau. Mais Sisyphe enseigne la fidélité supérieure qui nie les dieux et soulève les rochers. Lui aussi que tout est bien. Cet univers désormais sans maître ne lui paraît ni futile. Chacun des grains de cetter pierre, chaque éclat minéral de cetter montagne pleine de nuit, à lui seul forme un monde. La lute elle-même vers les sommets suffit à remplir un cœur d’homme. Il faut imaginer Sisyphe heureux.”

So who’s right? The coffee shop or the Nobel prize winner? Qui dit la verité? Both messages are very similar, yet one is likely to garner more attention. Based on how our society has been watered down, it seems more people pay attention to the international conglomerate. Rather than contemplate Camus’ essays, they read a partially developed statement, think for as longs as it takes to finish the cup, and believe that they are making a difference.

Sisyphus commits to pushing the rock up a mountain so others won’t die: a self-less act. It seems that he has no alternatives, as he has committed to a life of endless toil. Yet he shouldn’t kill himself because he can still do better. He improves himself and is happy as a result.

There lies the problem with the coffee cup, it doesn’t acknowledge that the physical and mental are not separate, but complementary. Self-evaluation and analysis by the internal critic is not tyrannical but nurturing. Commitment on the basis of somatic urges cannot defeat the fear of failure. It remains in any domain where the participant cares about the outcome. Understanding and managing the fear is the only way to control it.

“A la fin d’une vie, l’homme s’aperçoit qu’il a passé des années à s’assurer d’une seule vérité.”

If Sisyphus was merely present on the hill and pushed the stone up casually, he would still demonstrate commitment yet it is uncertain whether he would be happy. Only by defeating obstacles on a daily basis , intellectually, and overcoming absurdity will he guarantee personal satisfaction.

Flame and Citron

2009-09-02T15:28:00.005-05:00

Flame and Citron is a Danish film chronicling the exploits of two members of the Copenhagen resistance movement during World War II. I watched the film alone in an empty cinema but the work deserves far more credit and recognition than it has received. Aside from the fact that the piece is very historically accurate - in terms of costumes and locations - it requires the viewer to ask sophisticated questions of themselves.

Flame and Citron are the code names of two hitmen who are working underground against the Nazi regime in Denmark. It is uncertain whether they are merely assassins who should be apprehended or freedom fighters who should be glorified. They know that there is an informant in their group but they are doubtful about his or her identity. They could be the target that they are ordered to kill or they could be the man at the top of the organization who is using them to eliminate his rivals.

Questions of moral relativism abound. It is akin to what Robert McNamara said during The Fog of War that had the Allies lost World War II, he would have been tried for war crimes for the fire bombing of Tokyo. Flame and Citron are eventually awarded United States Medals of Honor but that may be simply because they fought for the winning side.

I am slightly weary of watching historical films with an ending that is already known but the conclusion is still tense. The outcome is definite but it does not quell the debate about whether the actions of the two men were legitimate or murderous. That responsibility lies with the audience.

2004 Academy Awards Revisited

2009-08-19T22:48:00.003-05:00

Recalling the controversy over the Best Picture selection at the 2004 Academy Awards, I think it was much ado about nothing. Brokeback Mountain had won numerous awards that year, including the Best Director Oscar for Ang Lee but I think Crash - which was little known at the time - rightfully won the big prize.

Brokeback Mountain was very scenic and featured a very appropriate soundtrack, transporting viewers back to Wyoming in the 1960s. The film carried the positive message that love isn’t limited by gender or race but a far deeper emotion. But although the film was enjoyable, it had only one major theme and I think there is a lack of depth to the picture. Crash is far more multi-dimensional. The fact that it was seen by far few people doesn’t limit the style and substance that it shoes.

Crash talks about racial prejudice and the relationships between members of different ethnic groups. The stories of various African-Americans, W.A.S.P.s, Red-Necks, Persians, Cambodians, and Hispanics become intertwined during a forty-eight hour period and every interaction - even between family members - is coloured by racism. Nobody is totally good or bad and hardly anybody gets what they deserve; human relations are a lot like the many car accidents which occur on the streets of Los Angeles.

First impressions are inevitably wrong (and it’s not always the situation where they guy who seems to be bad turns out to be good but seemingly innocent victims are revealed to be slightly more malevolent than they first appear). In a scene between Graham Waters, a detective played by Don Cheadle, and Flanagan, a member of the District Attorney’s office, it is understood that they may get a situation wrong but they need to start criminal proceedings because the court of public opinion is already underway.

The screenplay is tragic at times, uplifting at others; there are insightful moments and humourous ones. By showing all the sides of a situation, the film shows how everyone’s perspective differs. At the end of the film, despite everything that happened - and continues to happen everyday - business continues as usual and humans continue to interact with each other. Paul Haggis directed an amazing ensemble cast in a film.

Dead Poets Society

2009-08-18T22:36:00.002-05:00

The schoolmen were schoolboys fist, Stephen said superpolitely. Aristotle was once Plato’s schoolboy. Previous graduates of Welton Academy go one to teach English Literature, run the school, and eventually pass on and merely occupy a place on the wall. The current students face numerous challenges trying to live up to the expectations of the school, their parents, and the ghosts on the wall.

Occurring in the 1960s, Dead Poets Society accurately captures the clash between generations. Only Mr. McAllister, a self-described realist who teaches biology, seems to understand and appreciate what is happening. Society, the school, the students, and finally Mr. Keating all lose their innocence during the film as the conflict becomes a conflagration.

During a performance of A Midsummer Night’s Dream, Neil Perry is not merely repeating his lines but giving a monologue to his stubborn father, to no avail. At the end of the film, as Mr. Keating leaves, the students who realize that they must stand up to arbitrary rules and follow what they believe to be right are the ones who will make their lives extraordinary. Mr. Keating had taken the fall for the sequence of events but as he leaves the school, he sees the students’ response and understands that he has partially reached his goals.

To me, Dead Poets Society is an excellent film because everything (acting, direction, screenplay, soundtrack, set design, even the overall colour scheme) combines together to create a series of overarching themes and a mood, becoming greater than the sum of its parts. To Catch a Thief, The Shawshank Redemption, The Matrix, and The Graduate are other examples of this synergy.

Irrespective of the fact that key scenes have evolved through pop culture, moving from classic to clichéd it is still enjoyable upon a second viewing. Those two jackanapes in the Cineplex “preview show” (before the trailers) would have ruined the ending anyways.

Maybe I will start next year’s marketing class with something out-of-the-box, like a team-building exercise involving paper airplanes. Or maybe I will only follow the Trigonometry teacher’s approach and deduct one mark off the final grade for every missed homework assignment. “I urge you not to test me on this point.”

What I Learned this Summer, Part III

2009-08-12T12:03:00.010-05:00

Earlier, I wrote about trying to learn as much as possible from other sports. According to a moderately recent study, the skills and attributes that volleyball coaches believe are important to success are not necessarily those that determine the winning team during each match. For whatever reason, the coaches put more value on physical attributes and experience when victory was actually primarily determined by the ability to pass the ball, agility to change direction, and shoulder flexibility (Marey, Boleach, Mayhew, & McDole, 1991, p. 163). This is not merely an indictment of volleyball coaches but an advisory that coaches of all sports need to be mindful of their assessment techniques.

Scotty Bowman: A Life in Hockey is an awful book. The writing is simplistic, contradictory at times, and there are bizarre spelling mistakes. The book does not follow a linear timeline. I think the life of Scotty Bowman would be an interesting topic for a book but this is the literal example of poor execution. During his coaching stints with St. Louis, Montreal, Buffalo, Pittsburgh, and Detroit, Bowman experienced plenty of success but some failures. He was characterized as a manipulative personality who employed ingenious hockey strategies.

His mistakes with Buffalo and St. Louis largely stemmed from a lack of patience. He would trade a player because of a minor gripe and often didn’t receive proper value in return. His success came in Montreal and Detroit when strong general managers such as Sam Pollock and Jimmy Devellano refused his trade suggestions. Even Bowman acknowledged this fact when he said how he “has more experience, more patience,” a development which allowed him to win nine Stanley Cups.

Inner Skiing by W. Timothy Gallwey and Robert Kriegel contains good mental training tips and delves into the topic of Tachypsychia while skiing. The high speeds and panoramic views create a mental state where one feels totally at one with the mountains. Gallwey and Kriegel devote a good part of the book to being sensitive and observant. They feel that it is important to remember how a particular skill feels, especially when done correctly. They write about appreciating the environment, using all five senses, and getting as much feedback as possible. Awareness increases control.

A memorable chapter described how the best self-image when attempting to improve oneself is no self-image at all. The authors feel that an open mind has no limits and allows one to reach their potential. A skier may fear increasing their speed or attacking more advanced hills. They can dispel their fear by analyzing the perceived dangers and understanding what they are doing.

Mental fears (as opposed to physical fears which will release hormones such as adrenaline) lead to muscles tightening and infrequent breathing. The athlete may move stiffly or apply inappropriate technique adjustments in order to prevent injury. Each action takes more effort and endurance is reduced. Coaches must help athletes eliminate these fears in order to reach their peak potential.

Football Scouting Methods by Steve Belichick may not offer current football advice but it illustrates the importance of thorough thinking and detail. Bill Belichick’s father was a long-time assistant coach at Navy who revolutionized football scouting, enabling the service academy to achieve many upsets on the football field. Tips that still apply to any coach include self-scouting to eliminate predictable tendencies, asking outsiders to scout your team as a form of self-assessment, and evaluating the scouting report after the game has concluded. Belichick believed that a coach should keep good written records of each players’ skill level and what strategies were successful or required improvement over the years.

On his scouting reports, Mike Krzyzewski has a spot for “Our Offence vs. Their Defence” and “Our Defence vs. Their Offence” to remind himself of the key points for each games and anticipate what adjustments might be made during games.

Source: Marey, S., Boleach, L. W., Mayhew, J. L., & McDole, S. (1991). Determination of player potential in volleyball. The Journal of Sports Medicine and Physical Fitness , 31 (2), 161-4.

What I Learned this Summer, Part II

2009-08-11T12:02:00.006-05:00

This was probably the area where it is most difficult to evaluate my progress. Largely because I have not had any specific feedback from students about my lesson plans. I enrolled in a OISE/UT Additional Qualifications course and was able to communicate and exchange ideas with a plethora of business teachers facing similar concerns.

Consequently, I have a much better idea of what I teach, why I teach, who I teach, and how I should teach. Even if I forget the entire Business Studies component of this course, I will remember to ask myself those questions.

Throughout the course, we discussed how to best put ourselves in the shoes of the students who are enrolled in the course. While completing a technology based assignment, we talked about how challenging it can be to try a new task with no prior experience. Sometimes it seems that as teachers and coaches, we have done the same thing so many times we forgot what it was like to do it the first time. I will be sure to help students adapt to their new environment as they enter Grade 9 and comprehend new technologies which may be unfamiliar.

I don’t want to be in class talking about the politics of marketing or on the court talking about the triangle offence if the teenagers to whom I am speaking don’t understand the concept. As a leader, it is my job to break these ideas down into smaller specific instructions. I really want to incorporate more scaffolding in the classroom and in my practice plans. I can’t tell an M.D.P. team that the timing of the camp offence is off without explaining why this is important and how it scoring opportunities for everyone can be increased if we tighten up the execution. As Lao-Tzu said, “A journey of a thousand miles begins with a single step.”

Even Mike Krzyzewski spoke about how the Redeem Team had an attention-span of fifteen minutes and that he needed to mix things up with different speakers, different media, and rhetorical techniques, especially humour. In the The Gold Standard, Coach K writes about how instructing major concepts at the beginning of practice seemed to sap everyone’s energy. The articles and books that I read - along with my assignments for OISE/UT and the National Coaching Institute - demonstrated how much my first two goals for the summer are very interconnected.

What I Learned this Summer, Part I

2009-08-10T12:01:00.005-05:00

Earlier, I described a desire to become a more empathic leader. I hoped to become better at building relationships with other coaches, players, and people in general. I endeavoured to become more sensitive as to what others were feeling and discover how I can help student-athletes on and off the court and inside and outside the classroom. To do so, I read a couple of books which described examples of excellent relationships that resulted in personal development and basketball championships: Red and Me and The Gold Standard.

Bill Russell’s tribute to his mentor Red Auerbach was a quick read that contained several amusing anecdotes. The two worked well together was that Auerbach was tolerant of Russell’s idiosyncrasies because he performed on the court. Auerbach respected all of his players equally but treated them differently, according to their needs and wants. The coach may have a stern image, but he was always open to feedback from others and willing to take suggestions from players.

Russell did not fit the mold of a traditional Association centre but Auerbach did not try to change him; he adapted the Celtics’ systems to suit Russell’s strengths. Likewise, when Bob Cousy arrived in Boston, Auerbach did not curtail his extravagant ballhandling and fancy passes; so long as the ball got to the right person at the right time, Auerbach didn’t care how it got there. Throughout his career as a coach and a general manager, Auerbach never became set in his ways: he perceived how things were changing around him and adjusted his philosophy accordingly.

Mike Krzyzewski talks about taking the time to understand the situation and the people involved (whether it’s the superstars who comprised the Redeem Team, international basketball, or possible opponents). One of the reasons that he titled his book “The Gold Standard” is because he chose not to have “rules” for the basketball team but rather “standards” that the team would live up to, like playing hard every shift, being on time, and representing the United States with pride. He had spoke to some of the team leaders (LeBron James, Kobe Bryant, and Jason Kidd) to get their suggestions and turned this support into buy-in for the entire team.

A lot of Krzyzewski’s coaching was done on a one-on-one basis. He didn’t hesitate to ask players what they wanted but at certain points during the two year quest for Olympic Gold, he put his foot down and told the team that they were not living up to their standards. Also, Krzyzewski relied on the entire team staff, ranging from assistant coaches to trainers to help sense the mood of the team.

A coaching strategy that I employed with Ontario Basketball’s Elite Development Program over the summer was to try and debrief players as soon as they came off the court. This became an opportunity to provide more personal feedback and also learn more about what each player was thinking and feeling at the time.

Masculin, Féminin

2009-08-09T19:49:00.004-05:00

Paul is a young man living in Paris who has recently finished his military service and is now looking for places to work, a place to live, and a place to belong. Madeleine is a photo editor with a French fashion magazine looking for a place to belong. When they meet in a café, they fall in love. However, despite their emotional relationship, they never connect intellectually and remain distant.

According to one of the flashcards in the film, Jean-Luc Godard could have called his film Masculin, féminin “For the children of Marx and Coca-Cola.” Paul struggles to find a cause to believe in, wavering between his relationship with Madeleine, his job, and socialist causes. Despite his desire to remain true to his beliefs, he always comes back to Madeleine.

Even his friend Robert, who chastises Paul for not being more of an activist, abandons his ideals and attempts to go out with one of Madeleine’s friends. As she eats an apple, Catherine-Isabelle explains to Robert that she is not interested in him yet continues to symbolically tempt him.

Modern life seems to become rubbish and pop culture overpowers politics. Both seem repetitive. When signing a petition, Paul remarks that “Last week it was Madrid, this week it’s Rio de Janeiro; where will it be next week?” and Robert replies that it could be Lisbon, Baghdad, or any number of cities. He asks citizens a number of questions during his work as a pollster but feels that irrespective of the question, nobody really tells the truth and chooses instead to hide behind a mask.

Paul becomes so disillusioned with life and believes it is almost meaningless. During the film, he watches number of people die violently: a woman shoots her husband, a man immolates himself protesting Vietnam, another stabs himself, and two prospective muggers pull a gun and shoot a woman on the Metro. Later, Paul dies in a totally random incident that is not even captured on film, only recounted by witnesses at a police station.

Goddard shot the film on a shoestring budget and employs many of his famous methods, such as jump cuts between non-sequitor scenes, monologues that ignore characters on screen and break down the fourth wall, and scenes filmed on location near Place Dupleix in the 15ième arrondissement. It’s a memorable, although slightly confusing, Nouvelle Vague film.

The Fog of War

2009-08-03T00:03:00.002-05:00

Robert S. McNamara was one of the brightest minds of the twentieth century yet he was still unable to prevent one of the fieriest conflagrations in modern times from exploding. Reflecting upon his time as Secretary of Defence for John F. Kennedy and Lyndon Johnson, he grants a lengthy interview with director Errol Morris, who combines the 2003 discourse with archival footage, original tape recordings, and thoughtful music composed by Philip Glass.

McNamara does not limit himself solely his role in the escalation of the conflict in Vietnam but explains his background, education, military service during World War II, and work to revitalize the Ford Motor Company. He reveals that he enrolled in several philosophy courses during his years at Berkley and one can see how his insight is more nuanced than his black and white, statistics-based reputation would suggest.

Forty years removed from the Pentagon, McNamara believes that he has finally gained the perspective and the experience to accurately evaluate his service in the cabinet. Obviously, he devotes a significant segment of the film to his innovative use of statistics in the military (minimizing the “casualty rate per unit of destruction”) and the automotive industry (introducing seatbelts and other inventions to better “package” the driver when they are on the road) but The Fog of War is much more than a risk-management thesis. McNamara talks about different ideas, such as empathy with the enemy in order to understand their motivation and the humility required to reconsider one’s ideas and change course when justified by the evidence.

The overall effect of the film is subtle. War - including tactics such as the fire-bombing of Japan and the use of Agent Orange in Vietnam - may have been chaotic but the film possesses a calm, reflective mood. It is still possible to revisit the decisions of the past and analyze how they could be applied to the present day. McNamara acknowledges that his choices were not always correct but states that it is difficult to make perfect decisions based on imperfect information. Leadership is dynamic and it is better to constantly assess the situation and be willing to change than stubbornly follow the same goals and strategies.