Gary Oldman Likes This Shot

* [Description]:
When people say “Veteran character actor Charles Durning,” or “Veteran character actor John C. McGinley,” it’s clear - well, kind of clear - what it is they’re talking about. Gary Oldman belongs to an equally clear class of actors, though I’m not sure it has a name. For our present purposes, we’ll define it is “Veteran Show-stealing Psychotic Villains.” (VSSPV) And it’s obviously clear that Oldman is at the peak of this game, along with such luminaries as the beloved Christopher “less talkin’ more” Walken and, I dunno, Dennis Hopper.
In present company, Oldman stands out from the crowd for his participation in certain key films. Obviously I’m talking about The Professional and Lost in Space. (And don’t forget The Fifth Element.)
The Professional is easily the most vibrant, beautiful story about an assassin and his love for a twelve-year-old girl ever told. An epic battle between unqualified evil and, you know, qualified evil. It’s actually a really great movie, but we wouldn’t be doing our due diligence if we didn’t point out that Luc Besson is an utter psychopath. Occasionally genius (The Professional, The Fifth Element), occasionally not so much (Point of No Return, anyone?), but doubtlessly bonkers. (If you doubt, take a look at the rumors circulating regarding the possibility of a sequal to The Professional.)
In it we encounter, in addition to a young pedophilia-tastic Natalie Portman and the always-worthwhile Jean Reno, our friend Mr. Oldman, picture-perfect as a corrupt junkie DEA officer with assloads of dark charisma and pure cruelty. Because nobody makes sadistic killing sprees and pill-popping fun quite like Gary Oldman.
In Lost in Space, on the other hand, we encounter a different Oldman. The sort of Oldman who clearly, desperately needs a new agent. In fact, the entire cast of that movie was too good for it (well maybe not Matt LeBlanc, but certainly William Hurt and probably Heather Graham and Mimi Rogers); presumably only the rosy glow of the tv show’s success was able to shepard the piece of crap through filming. But for all that, it’s a funny piece of crap. My favorite kind, really—a preposterous, mockable plot coupled to actors who make you want to enjoy yourself and special effects that, while eye-pleasing, ultimately just add to the comedy. And to top it off, we have Oldman, in full-on sinister dandy mode, wandering about and slowly turning into a gigantic spider.
Of more local import, of course, are two things:
1. the “Gary Oldman shot” and any references to it, such as “Gary Oldman Likes This Shot” refers to a particular cinematic device in which the camera captures about 60% of Oldman’s face (usually the left side) while Oldman looks ahead, slightly to the side of the camera. This is a common occurrence in his films. He must really like it.
2. Gary Oldman Lectern. Acquired from [Pembroke]. Slightly broken, jury-rigged with a bungie cord in place of a lip. Much beloved. Named “Gary Oldman” when it was decided that proposed name “Gary” lacked character. Photos pending.
h2. Quotes:
* Stansfield: I like these calm little moments before the storm. It reminds me of Beethoven. Can you hear it? It’s like when you put your head to the grass and you can hear the growin’ and you can hear the insects. Do you like Beethoven? * Mathilda: You killed my brother.

Stansfield: I’m sorry. And you want to join him?

Mathilda: No.

Stansfield: It’s always the same thing. It’s when you start to become really afraid of death that you learn to appreciate life. Do you like life, sweetheart?

Mathilda: Yes.

Stansfield: That’s good, because I take no pleasure in taking life if it’s from a person who doesn’t care about it.
* Dr. Zachary Smith: Never fear, Smith is here.
h2. See also
Damage Potential Maximum
h2. [Links]:
* 1 * 2