#I might even take them off letterboxd and just post them here

[ferociousconscience]

why do you dislike the musical?

please anon, I just reached 100 followers. I don't want to lose all of them

[taytjiefourie]

hi im writing a character who is really into films and all that stuff so i want him to reference films in conversations and be really knowledgeable about it obviously but im not a film enthusiast so i have no clue where to begin !

Hey there! My advice to you is to do plenty of research - but don't worry, I'm here to help you out with that! Personally, I'm more of a book person myself and tend to doze off during movies, but I can give you a great starting point. You could begin by googling a list of movie or book characters who are also movie enthusiasts. One example I can give you is Stiles Stilinski from Teen Wolf, but there are plenty of others out there to inspire you!

As I go through this post, I just want to clarify that when you said "film," you meant "movie," right? Just want to make sure we're on the same page! But if you did mean "film" in the more technical sense, then there is a difference between the two, but don't worry - my advice still applies! The only thing is that the suggested websites I mentioned are more geared towards movies than films, so keep that in mind.

One thing you could consider when writing a character who's really into movies is to give them a specific genre, or a few genres, that they're particularly passionate about. After all, no one likes every type of movie, so it'll make your character feel more relatable and real. Maybe they're into classic films, or animated movies, or horror films - the possibilities are endless! Once you've figured out your character's preferences, the next step would be to google for lists of famous movies in those genres, ranging from well-known to more obscure titles. Even if you're not interested in watching all of the movies on the list, you can usually find good summaries online to get a sense of the plot and characters. Finally, you can dig deeper by googling the best quotes or lines from those movies, which can add depth and authenticity to your character's references.

Another approach you could take when writing a character who's really into movies is to choose specific genres that they enjoy, and then search for movie references as needed. So if your character wants to make a reference to a classic movie in a particular context, you could try googling "classic movie reference for saying 'no'" or something similar to find some inspiration. This way, you can add in references that feel authentic and meaningful to your character without having to do extensive research ahead of time.

Also keep in mind when writing a character who loves movies is to show that love through actions and not just dialogue. For example, your character could show excitement when they see movie-related merchandise in a store or online, or they could gush about their favorite films to a friend. Their room or house could be decorated with movie posters, and they might own clothes that reference their favorite movies. Additionally, your character could attend events or film festivals to immerse themselves in the movie world. Remember, people don't just talk about the things they like - they often show it through their behavior and actions too!

If you're looking for some helpful websites to research movies for your character who's really into them, I've got a few suggestions for you! Or Google does since that's what I used to find them.

IMDb: This is one of the most comprehensive movie databases out there, with information on movies, TV shows, and celebrities. You can use it to research movies, directors, actors, and more. Plus, IMDb has a user-generated rating system, which can give you an idea of how well-received a movie is.

Rotten Tomatoes: This website aggregates movie reviews from critics and audiences alike, giving each movie a "Freshness" score. You can use it to get a sense of how well-received a movie is, and to read reviews from professional critics and everyday moviegoers.

Letterboxd: This social networking site is specifically designed for movie lovers. Users can rate and review movies, create lists, and follow other users with similar tastes in movies. It's a great resource for discovering new movies and getting recommendations.

Film School Rejects: This website is dedicated to movie news, reviews, and analysis. They cover everything from blockbuster movies to indie films, and offer thoughtful commentary on the film industry as a whole.

ScreenCrush: This website covers movie news, reviews, and features, with a particular focus on the blockbuster movies and franchises that dominate the box office. They also offer plenty of fun movie-related content, like quizzes and opinion pieces.

Collider: This website covers all aspects of pop culture, including movies, TV shows, and comics. They offer news, reviews, interviews, and features, and have a particular focus on genre movies like superhero films and science fiction.

The American Society of Cinematographers: This website is a great resource for learning about the technical aspects of cinematography. Your character might enjoy reading about lighting techniques, camera angles, and more.

No Film School: This website is a community for filmmakers, with articles and resources covering all aspects of the craft. Your character might find useful tips and tricks for making their own movies, as well as insights into the technical aspects of filmmaking.

The Criterion Collection: This is a collection of classic and contemporary films, many of which are critically acclaimed. Your character might enjoy browsing the collection to discover new films to watch and learn from.

The Academy of Motion Picture Arts and Sciences: This is the organization that runs the Oscars. Your character might enjoy reading about the technical awards, such as Best Cinematography, Best Editing, and Best Sound.

Your message put such a smile on my face! I love helping out and it was so great to see you asking for advice. It's always inspiring to see writers seeking to improve their craft. Remember, if you ever need more writing advice or have any questions, don't hesitate to reach out again. I'm here to support you on your writing journey!

[fragileswift1313]

Fortnite characters!

Kia ora, folks.

I posted a note on Substack the other day and I have no idea if anyone saw it because I don’t understand how Substack notes work. So I thought I better reiterate what I said in my note here in case you all (maybe? probably?) didn’t see it. As is often the case, I have had some mental health stuff going on this week, and it has kind of prevented me from finishing my thoughts on The Marvellout Mrs Maisel final season, and that’s basically all I have that’s close to ready right now, so I thought I would do something a bit different this week that doesn’t take a lot of concentration or other brain energies.

I played a bunch of Fortnite this week and last week, and this Sunday just gone (the day I am writing this), I wrapped up some of the season stuff there so I didn’t miss the couple battle pass things I wanted to get before they’re gone - it ends in a few days, and I’m excited to see that apparently Optimus Prime is coming next season, and whatever else Transformers-y they put in!

With all that in mind, I thought an easy thing I could do this week that some of y’all might be interested in is share some of my favourite characters I have collected over the years playing this game. Sound good? Sounds good. Here we go!

Spider-Gwen is one of my ultimate favourite characters in the game. Some friends and I played almost every day toward the end of this season to unlock all of the different customisations you could get for her. Admittedly, this version of her is just the standard colours because, even though I unlocked all the fancy holographic ones, I still think this one looks best.

This li’l guy, who I have decided in my headcanon is non-binary, was a surprise drop during the christmas event last year. I love them and they look very silly doing all the different dances and other emotes you can do in Fortnite.

Ariana Grande, Aloy and Padmé Amidala are three of my absolute favourites among the ones I had to individually spend money on to acquire. Padmé was available during some special Star Wars content that happened earlier in the season, while Aloy I picked up earlier this year I think. Ariana I fell in love with a couple years or so ago, and even though I really only like a handful of her real-life counterpart’s songs, as soon as I saw her I knew I had to have her - she has a normal mode, but this one is my favourite. Ariana also came with a glider that matches her dress which is also one of the coolest looking gliders in Fortnite, in my opinion.

And then lastly, we have Lynx. Lynx is a character I picked up in I want to say 2019, when I was having an even rougher time with my mental health than I am now, completely untreated, and playing Fortnite at that time was one of the few things I could do to turn my brain off and just have fun. As such, she’s one of my very top favourites not necessarily aesthetically, I mean she does look great, but she helped me through some stuff and that earns her a place both in my regular rotation, and in my heart.

For more of my faves, check out the Substack version (for free) here!

Apologies again folks for the smaller, image-heavy post! Come hell or high water, I will have that Mrs Maisel post for you next week!! You can count on it. In the mean time, if you haven’t already, and you want to read more stuff written by me, you can check out my Letterboxd. I recently reviewed The Super Mario Bros Movie (2023), Hellraiser (1987), Scream VI (2023), and The Final Destination (2009). And a reminder too, that you can read my first ever short story for FREE on itchio.

Thanks so much for reading everyone, I hope you have a great week, and I’ll talk to you again soon. Ka kite anō au i a koe. 💚

- Rebecca

Links | Twitter | Mastodon | Cohost | Substack | itch.io | Letterboxd | Instagram | Carrd | Email

[derekfoxwit]

Doctor Dorpden’s Critical Tips of Prestige

Note: This post was made with satirical intentions in mind. I’m only emphasizing because I’ve had a couple of comments on previous joke posts I’ve did take it seriously. With that said, here we go.

Tip 1: For starters, remember that when looking at the work, if the Mystic Knee twitches fast enough to punch a hole in a wall, this suggests that the work should be near the lowest of the low. No further development of opinion is needed.

Tip 2: For an equal degree of sophistication, give the warm comfort of nostalgia at least 5 times more chances than the new thing that MAY seem actually poggers.

Tip 3: If you have the anecdote of encountering shitty fans, then use them as a scapegoat for the show they flaunt over being shitty. Clearly, they’re always making the show the way it is.

Tip 4: If you haven’t heard much about a newer film or show you’re yet to watch, there’s an 85% chance that film or show is actually not worth your time. The Father (2020) isn’t as widespread as Joker (2019) for a reason.

Tip 5: At this point, just go for the Asian Artist Dick. I’m actually in the mood to see merit in that because I want to look edgy against cute doodles. Stop attacking Uzaki-Chan, you cowards!

Tip 6: Avoid the electronic tunes. They’ll make you smell like a bum, for there’s no structural in a music album that’s nothing but wubs.

Tip 7: If you see a Tweet that looks dumb, use it as a means of generalizing all the fans of a work as sharing that same opinion.

Tip 8: If the cartoon I’m given doesn’t provide me with mature ideas such as slicing an Arbok in half or fake boobs, then the cartoon might as well be on the same level as Teletubbies.

Tip 9: You know the music is (c)rap when it brings up drugs, regardless of lyrical context.

Tip 10:  Raw mood is the indicator of quality cartooning. If you’re quick to assume the worst in the newest HBO Max original cartoon, then you got thyself a stinker. Same thing if you were super bummed out when watching a new thing, regardless of anecdotal context.

Tip 11:  When you’re not given continuous throwbacks, ensure you’re as reductive and over-generalizing about the works shown as possible.

Tip 12:  If your hazy and imperfect as hell recollection of a children’s film, whether it’s Wall-E or Lilo & Stitch, would describe said film as “too sugary” or “key-waving schlock”, then that HAS to be the case. No meat on that bone whatsoever.

Tip 13: Simpler, more graphic style that isn’t as realistic as old-school Disney or Anime? You got yourself a lazy style with zero passion put into it.

UPA? Who’s THAT?!

Tip 14: Don’t trust anyone saying that western children’s cartoons had any form of artistic development after 2008 (with, like, TWO exceptions). If it did, why didn’t we go from stealing organs in a 2001 cartoon to showing opened stomachs in a 2021 cartoon?

Tip 15: Big booba is always important to the strong female character’s quality.

Tip 16:  Only MY ships count, for they provide me with a feeling of intelligence.

Tip 17: “PG-13″ and “R” rating just simply mean you’re not caring for expressing themes in a sophisticated manner. It’s just THAT simple until I dictate otherwise.

Tip 18:  In this age of smelly radicals, “Death of the Author” is more important than ever. Without it, this’ll imply that a classic like The Matrix was secretly toxic, due to what the Wachowskis have to say about it being an “allegory of trans people.”

Tip 19: Turn the fandoms you hate into your torture porn. Ask in Tweets to Retweet one sentence that’d “trigger” them. Go out of your way to paint all of them as blind consoomers. That’ll show them, and it’ll show how much more intelligent you are compared to those clowns.

Tip 20: Whatever the Mystic Knee dictates upon the first viewing of a work is what shall indicate the full structural extent of the film.

Tip 21: The mindset of a 2000s edgelord is one that actually understands the artistry of the medium of animation. Listen to that crazy but ingenious man.

Tip 22: Because sheer ambition makes me feel manly, the high pedestal you bestow upon a cartoon work should be based mostly on the mere mention or mere suggestion of serious topics. This means that pure comedy is smelly.

Tip 23: Is the new work tackling subjects that you’ve loved a childhood work of yours for covering? Just assume it’s super bare-bones in that case compared to the older case, for there’s nothing the older work can do to truly prove itself otherwise. Seriously, Letterboxd. Stop giving any 2010s cartoon anything above a 4/5

Tip 24: If the Mystic Knee is suggesting that the work is crummy, then consider any explanation off the top of your head for why the work in question is crummy.

Tip 25: Sexual and gender identity is inherently political, so don’t focus on them in the story. It’s no wonder why Full Metal Alchemist has caught on more than the She-Ra reboot.

Tip 26: Since I got bothered by a random butt monkey type character in a crummy cartoon, I’m now obligated to assume that having a butt monkey will only harm the writing integrity of the cartoon.

Seriously, Mr. Enter....what?!

Tip 27: We’re at a point where pure comedy for a kids’ cartoon is doing nothing but dumbing down the children. Like seriously...... I doubt Billy and Mandy would ever use farts as a punchline, unlike these newer kids comedies.

Tip 28: The difference between the innuendo in kids’ cartoons I grew up on and the ones Zootopia made is the sense of prestige they give me. Just take notes from the former instead.

Tip 29: Wanna make a work of artistic merit? Just take notes from the stuff I whore out to. It’s just THAT simple until I dictate otherwise.

Tip 30: Always remember this golden rule: If the newer work, or a work you’ve recently experienced the first time, was truly great, why isn’t it providing the exact emotions from your younger, more impressionable years?

Tip 31: If the Mystic Knee aims to break the bones of a character doing certain things (.i.e. having body count of thousands; lashing out to character; etc.), that means the character is bad and deserves no redemption.

Tip 32: If you want me to believe there’s any intrigue or depth in your antagonist, give them redemption, for I am in need of that sorta thing being spelled out. Looking at you, Syndrome. Should’ve taken notes from Tai Lung.

Tip 33: In a case where you’re going “X > Y” (.i.e. manga compared to western comics), ALWAYS CHERRY PICK! Use the recent controversies of the “Y” item while pretending that the “X” item has never had anything of the sort.

Tip 34: BEFORE you bring up those comments that shat on the original Teen Titans cartoon back when it was new, whether for making Starfire “more PC” or whatever.......the DIFFERENCE between them and me is that THEY were just bad faith fools that couldn’t see true majesty out of blind rage. I, however, am truly certain that calling any western TV cartoon from 2014-onward a work that transcends its generation suggests a destruction of the medium.

Tip 35: Based on fandom growth, it shows that any newer show isn’t being watched much by kids, but rather loser adults that act like children. Therefore, there’s more prestige in what I grew with.

Tip 36: The focus on children is bad at this point since the children of today have attention spans that flies would have.

Tip 37: A select few screenshots (or even one) of either a less elaborate attacking animation, less realistic game graphics, or a less on-model image in a cartoon indicates EVERYTHING about the work’s quality.

Tip 38: Consuming or writing media where characters go through constant suffering is little more than gaining pleasure out of it. YOU SICKOS!

Looking at you, Lily Orchard!

Tip 39: Whether it’s a sexual awakening story or just simply a romance, focus on a character being lesbian, trans, bi, etc., then it shouldn’t be in a kids’ work. It’s too spicy for them by default. Kids don’t want romance anyway.

Tip 40: The very idea of a western cartoon with no full-blown antagonist (i.e. Inside Out) is a destruction of animated artistry. Sorry, but it’s just THAT simple until I dictate otherwise.

Tip 41: Unless it’s my fluffy pillow, such as Disney’s Robin Hood, it should be obligated to assume the inserting of anthros is only there to pleasure the furries. Looking at YOU, Zootopia!

Tip 42: With how rough and rash The Beast was, it shows that he was more of an abusive lover. Therefore, I refuse to believe that Beauty and the Beast has any of the meticulous moral writing that most of Disney’s other 90s films has.

Tip 43: When you suggest one work should’ve “taken notes” from another work in order to do better, BE VAGUE! Those who agree will be shown to be geniuses.

Tip 44: Remember how morally grey Invader Zim was? That really goes to show how little the Western Animation scene has been trying since that show. Really should just be taking notes from that series (and of course anime).

Tip 45: Even if I have a radar that clearly indicates such, hiding the item I look for inside an enemy is always bad, for I refuse to believe it would be inside the enemy.

Goddamn it, Arin!

Tip 46: People struggle understanding your gender identity or pronouns? All there is to see in that is a giant cloud of egotism that reads “My problems” zapping another smaller cloud that reads “other people’s problems”. Seriously, kids are starving, so WHAT if you identity confused someone. Grow a spine!

Tip 47: Stop pretending that adaptations should colorize how a story or comic series should be defined. No way in FUCK can a cartoon or film incarnation become the definitive portrayal of my precious superhero idol.

Tip 48: Enough with your precious “limited animation” techniques, YOU WESTERN HACKS! All you’re doing is admitting to sheer laziness and lacking artistic integrity. Now if you excuse me, I’ll be watching more anime, since that gives me a sense of prestige.

Tip 49: If getting five times more detail than the 2D animated visuals have requires someone getting hurt, so be it. No pain, no gain after all.

Tip 50: Yes, I genuinely struggle to believe there’s this majestic level of layered material without having the most immediate yet still vague re-assurance practically yelling in my face. But that’s STILL the work’s fault, not mine.

Tip 51: Every Klasky-Csupo cartoon has more artistic integrity than any of them cartoons with gay lovers such as Kipo or the Netflix She-Ra show.

Tip 52:  If Sergio Pablos’ Klaus is anything to go by, we have no excuse to utilize those smelly as fuck digital animation “styles” found on Stinky Universe, Suck-Ra or Rise of the Teenage Mutant Ninja Turds.

Tip 53: Stop projecting your orientation onto works of actual talent. Seriously, how does Elton John’s I’m Still Standing expel ANY rainbow flag energy?

Tip 54: Hip hop and electronica have been the destruction of music, especially the kind that’s actually organic and not farting on the buttons of a beeping or drumming gadget.

Tip 55: The audience for cartoons has become significantly less clear over the years. We should just go back to Saturday mornings of being sold toys or shit kids actually want.

Tip 56: PSAs for kids shouldn’t be about ‘woke’ content. They should be actual problems such as doing drugs; not playing with knifes / outlets / matches; or acceptance.

Tip 57: The instant you realize a detail in a childhood work that’s better understood as an adult, you’re forced to paint that work as the most transcendent thing in the world. It’s just THAT simple until I dictate otherwise.

Tip 58: Before you lash out on ALL rich people, remember this: #Not All Rich People.

Tip 59: There’s nothing to gain out of the (c)rap scene other than becoming a spiteful, gun-wielding thug that sniffs weed for breakfast.

Tip 60: Since the Mystic Knee told me to get anal about prom episodes in several gay cartoons, this shows that writing about one’s younger experiences just makes you look pathetic.

Tip 61: Another smelly thing about Zootopia is how it was painting a police chief as stern and exclusive. #Not All Chiefs

Tip 62: Me catching a glimpse of Grave of the Fireflies as a kid and turning out fine shows that you may as well show kids more adult works without worry. No amount of psychological questions being asked will suggest otherwise.

Tip 63: There’s a reason why the Mystic Knee keeps leaning more toward the 90s and early 2000s than most decades. That knee KNOWS where there’s a sense of true refinement.

Tip 64: The BIG difference between rock and electronica? Steward Copeland actually DRUMS. All that the likes of Burial, Boards of Canada, Depeche Mode and several others did was push drum buttons.

Tip 65: One exception to the golden nostalgia is when the work in question doesn’t stuff your face with fantastical, bombastic stories. At which point, there can only be rose-colored blinds covering Nickelodeon’s Doug. Nothing of merit or personal resonance to be found.

Tip 66: Remember that the sense of nuance in the work comes down to there being everything including the kitchen sink, whether it involves multiple geographic landscapes; giving us hundreds of characters; etc. Only through the extremes will I be able to tell there is nuance.

Tip 67: Once you see a joke that has an involvement with sexual or violent content, just ignore the full picture and just reduce it to having nothing to it but “sex, violence, gimme claps.”

PKRussel has entered the chat

Tip 68: With all the SJWs messing up the art of comedy, lament the times where you could be called a comic genius, NOT a monster, for shouting out the word “STAB,” calling a gay weird, painting Middle Easterns as inherently violent, etc.

Tip 69: Guitar twang will always win out over (c)rap beats. There’s a reason your grandma is more likely to listen to Lynyrd Skynyrd than Kendrick Lamar.

Tip 70: Once the Mystic Knee notices a lack of squealing at the video game with linearity, that shows there’s more artistry in going full-blown open world.

Tip 71: Related to Tips 66 and 68, ensure your comedy gets as much information and mileage out of each individual skit as possible. EMPHASIZE if you need to. Continuously spout out your quirky phrase of “STAB” if needed.

Tip 72: Based on the onslaught of TV shows with many seasons and episodes, animated or otherwise, it shows that there’s more worth going for that than simply having a miniseries or a 26-episode anime.

Tip 73: Building off of the previous tip, you’re better off squeezing and exhausting every little detail and notable characterization rather than keeping anything simple and possibly leaving a stone unturned, especially if there’s supposed to be a story. 

Tip 74: Playing through the fan translation of Mother 3 made me realize how much some newer kids’ works just try too hard to get serious. Why even make the kids potentially think about the death of a family member?

Tip 75: The fear I had over Sid’s toys from the first Toy Story and similar anecdotal emotions are the be-all indicators of what kind of show or film is fitting for the children.

Tip 76:  Seeing this British rapper chick have a song titled “Point and Kill” just further exemplifies the fears I’ve had about rappers being some of the most harmful folks ever.

Tip 77: The problem with attempting to make a more “relatable” She-Ra is that kids aren’t looking for relatability. They want the escapism of buff fighters or something similar. This is why slice-of-life is so smelly.

Tip 78: Based on seeing the rating of “PG-13″ or “R,” I can tell that the dark humor is little more than “hur dur sex and guns.” Given the “TV-Y7 FV” rating of Invader Zim, the writers should’ve taken notes from that instead just so I can sense actual prestige.

Tip 79: The original He-Man has more visual intrigue in its animation than any of those smelly glorified doodles found in the “styles" of the 2010s and early 2020s.

Tip 80: It’s always the fault of the game that my first guess (that I refuse to divert from) on how I have to go through an obstacle won’t work.

Tip 81: Zootopia discussing prejudice ruins the majestic escapism I got from my precious childhood films from 1991-2004. Them kids might as well be watching the news. Now to watch some Hunchback after I finish these tips.

Tip 82: There is no such thing as an unreasonable expectation, and there’s especially no wrong way to address the lack of met expectations! For example, if you expect some early 2010s cartoon on the Disney Channel to be a Kids X-Files, yet you get moments such as some girl getting high on stick dipping candy, you got the right to paint the worst out of that show for not being “Kids’ X-Files.”

Tip 83: Related to my example for Tip 82, if you get the slightest impression of something being childish, you know you got yourself a children’s work that does little than wave keys and has basically nothing substantial for them. In this situation, those malfunctioning robots found in Wall-E are the guilty party.

Tip 84: Without the extensive dialogue that I’m used to getting, how can one say for certain there was any amount of characterization in the title character of Wall-E?

Tip 85: Ever noticed yourself gradually being less likely to expect an upcoming work or view a work you’re just consuming as “the next best thing”? That’s ALWAYS the fault of smelly “artists” (hacks really) and their refusal to give a shit.

Tip 86:  It’s obligatory for your lead to be explicitly heroic just so there is this immediate re-assurance that they’re a good one.

Tip 87: Without the comforting safety net of throwbacks, one cannot be for certain that there has been an actual evolution of a series or the art of animation and video games.

Tip 88: Don’t PSA kids on stuff they give zero fucks about. That means no gender identities or pronouns, race, etc.

Tip 89: Don’t listen to Mamoru Hosoda saying that anime women tend to be “depicted through a lens” of sexual desire. He’s just distracting from the superior prestige found in anime women.

Tip 90:  If you’re desperate to let others know that your talking points are reasonable, just repeat them over and over with little expansion on said talking points.

Tip 91: 7 or more seasons of art is better than 26 episodes of art.  EVERY TIME!

Tip 92: Always remember to continuously talk up the innuendo and mature subject matter of the childhood work as the most prestigious, transcendent thing of all time. With that in mind, there’s a high chance that your favorite childhood work will be better known than Perfect Blue (1997), and there’s likely a reason for that.

Tip 93: An art style that gives many characters relatively more realistic arm muscle details will always shine through more than any sort of art style done for “simplicity” (laziness, really).

Tip 94:  Seeing a few (like, even VERY FEW) people show more enthusiasm for Steven Universe over Invader Zim really shows the lower bar that has been expected out of the western animation scene compared to anime.

Tip 95: Electronic music makes less conventional time signatures cheap as hell. REAL music like rock makes them the exact opposite.

Tip 96: If your Mystic Knee suggests that the 90s cartoon being viewed doesn’t showcase a vague sense of refinement or artistic integrity, then every related assumption of yours is right. EVERY TIME!

Tip 97: Doing everything and the kitchen sink for one series or movie shows a better sense of refinement and prestige than any form of simplicity. THIS includes character design as well.

Tip 98: The advent of that Star Wars: Visions anime really shows just how stinky western cartoons have become.

Tip 99:  For those wondering, no, Europe isn’t being counted in my definition of “western animation”. Doing so is a complete disservice to prestige.

Tip 100: If even less than half of these tips aren’t being considered, you can kiss that prestige badge goodbye. After all, I SAID SO!

[pinkflamingcreatures]

“Tux and Fanny”: An Appreciation Post

The hardest part about learning to be an adult hasn’t been teaching myself to do taxes or figuring out car insurance policies - although those have been really hard - it has been trying to maintain excitement with tasks that I have to perform everyday, struggling to find joy in monotony. 

Of course, an easy solution to this problem is to do new things. “Mix up your schedule!” they tell me; and I have, to a certain extent. But really, my schedule can only take so much mixing up before I’ve fundamentally changed the way I live: I have to work a set amount during the week, I have to eat a couple of times a day, and ideally I leave the apartment at least once every 24 hours. So, although a walk before breakfast instead of after lunch is a welcome change, it is still a walk around the same neighborhood which often leaves me feeling bored and unfulfilled. Who can get excited about getting out of bed in the morning when the day doesn’t greet you any differently today than it did yesterday? 

Alas, there is always a new movie to watch once the sun goes down. A recent dive into the world of Letterboxd lists introduced me to Albert Birney’s Tux and Fanny, a compilation of 79 1-minute long animated shorts originally posted on Instagram. The description reads: “Tux and Fanny are two friends living together in the forest and these are their adventures!” Being a notorious lover of all things fun (especially when they only take 82 minutes of my time), I was hooked. The concise blurb and pixel-art style led me to believe that it would be a simple, entertaining watch - which it was! What caught me off guard was the emotional depth of the characters, and the ways in which the film explored mundanity and absurdity with an equal amount of weight and humor. 

Tux and Fanny does exactly what it promises: follows two characters named Tux and Fanny through a whole lot of day to day activities, although it would be a stretch to call most of them “adventures.” Tux is pink and speaks in a lower voice than Fanny, who is purple. They live in the same house in a forest and sleep in separate beds (in the same room). Beginning with a very basic premise, the film goes to some pretty bizarre places. The first segment shows Tux and Fanny kicking a soccer ball back and forth in their yard when a black cat walks up. Tux wants to bring it inside, but Fanny worries that it might be flea-infested. They bring it inside anyway, and it turns out the cat is infested with fleas. Thus begins the first conflict of the movie: how to stop the itching? The internet sayeth: Peanut Butter! So, our protagonists lather themselves with peanut butter, and: sweet relief. But how to get it off? While Fanny opts for the ol’ hose technique, Tux goes a different route: “I’ll lay down on this ant hill and feed thousands.” Unfortunately, the ants not only eat the peanut butter off of Tux’s skin, they eat his skin, too.

Peppered among these absurd situations are moments when Tux or Fanny pauses and ponders a lofty philosophical question. Covered in peanut butter, Tux picks up a dandelion and says “Look at the shape, the structure. Millions of years of evolution has brought it to this design. These gentle pilgrims will disperse to the four corners of this vast universe. Fanny, we are like these seeds. The day will also come when we must float away and seek our destiny.” He promptly blows the seeds away which inevitably land on Fanny and stick to the peanut butter on her skin. It is juxtapositions like this one that help bring comedy to lofty topics like eternity, while injecting some much needed wonder into seemingly dull moments. 

Aspiring to a world view like Tux and Fanny’s would probably be unsuccessful and maybe even undesirable, but there is certainly something about the way they interact with their day to day activities that struck a chord with me at this moment in my life. The fact that Tux can still see beauty in things like “the sunlight through the leaves, the sun dappled grass,” and “the butterflies, so light and free” when he is a literal skeleton is truly inspiring. I have been at a place in my life when everything looked new, and every day gave me a novel insight. It pains me to acknowledge how fleeting the feeling of awe can be: how do I get it back once it’s gone? Is it just a part of getting older?

The film raises more questions than it answers, like, “are Tux and Fanny humans?”, and “Why can’t they go to the store to get food if they’re hungry?” Maybe they can go to the store - where did they get the peanut butter in the first place? - but these characters constantly turn to absurd solutions for simple problems (like keeping a chicken trapped inside of Tux’s ribcage as a source of food). More often than not, Tux and Fanny are involved in situations that seem drenched in mundanity, like eating turkey on Thanksgiving, standing outside on a windy day or playing a computer game, yet inevitably take a turn for the absurd: the growth hormones in the turkey cause Fanny to grow extra limbs, Tux gets whisked away by the wind, and Fanny gets sucked into the computer when lightning strikes the house. These instances offer a new perspective on the tedium of adulthood. There is always a new way to see things.

Even if I can’t live just like Tux and Fanny (would I even want to?), I can learn lessons from their attitudes. “What if for every grain of sand here, there exists another universe out there. And in each universe, there exists another version of us.” “That’s a lot of us. If we do exist out there, I hope we have sunsets.” To display reverence for the small, and nonchalance towards the lofty. Why should I entertain ideas I can’t comprehend but ignore the richness of my immediate surroundings? The best lesson I can take away from this silly, hilarious and beautiful movie is to slow down and appreciate each moment as I live it. I may be able to notice something I’ve never seen before. 

[letterboxd]

How I Letterboxd #1: Lise

In this first instalment of a new feature, long-time member Lise, of Canada, answers our questions about how she uses Letterboxd, and why you should join her March Around the World challenge.

Hi Lise! How long have you been on Letterboxd? Lise: TV was still in black and white.

What do you mainly use Letterboxd for? Just a diary? Long reviews or shorter takes? Hilarious lists, or very f—king serious director rankings don’t @ me? I use the whole shebang: diary, reviews, ratings, watchlist, comments and lists, lots of lists. But mostly I use Letterboxd to keep track of when Jonathan is out to lunch (shameless plug for my He Says She Says list).

Do you rate films? Absolutely. I rely on ratings to add stuff to my watchlist, and I rate to let others know if I liked the film. I don’t read reviews for films I haven’t seen, so without user ratings I’d be snookered.

Tell us about your March Around The World challenge, in which Letterboxd members sign up to watch and review 30 films from 30 different countries during the month of March. How did it come about, and what’s involved? I took over the challenge from Berken, who created it and hosted it for the first year. I thought it was a brilliant way to explore the world on the cheap. The review component is important because it expands Letterboxd’s database, especially for under-seen films. It’s been a great success. Many participants like to create lists, and if they can’t watch them all in March they go at it for the rest of the year, which is great. The most important rule about the challenge is to forget the rules and watch international films during the month.

Still from Djibril Diop Mambéty’s ‘Touki Bouki’ (1973).

What are some of the interesting statistics you’ve noticed from your Marches Around the World? I consolidated all of the spreadsheets I’ve created for each challenge, and there were some surprises. The most viewed film is Touki-Bouki from Senegal (average rating of 3.7). Less surprising is that our most-viewed director is Ingmar Bergman (although I was happy to see Aki Kaurismäki from Finland in second place). The most-viewed countries are France, Japan and South Korea. Another surprise, the best decade is the 1920s (with the 1950s in a close second).

How has March Around the World enhanced your life? I’m not the sentimental type but when we get a new participant in the challenge I get the warm and fuzzies. If the genie were out of the bottle I would request that all overcome the ‘one-inch barrier’ (subtitles). Watching films ‘from away’, as our East Coasters would say, is one of the simplest ways to combat fears and/or prejudices about other peoples/nations/ways of life that we often don’t realize we have. Every time we identify or root for someone who is ‘other’ it chips away at the walls, and as Maya Angelou has said so eloquently, we discover that “We are more alike, my friends, than we are unalike”.

What are the responsibilities involved in hosting a Letterboxd challenge? It doesn’t have to be complicated. A challenge can be as simple as “watch ten films from your watchlist this month”. It’s all about tags. Define a tag, have people add it to their films and their lists, and then you can easily search for and filter those tags. Easy peasy. Mine is a bit more challenging because it has so many requirements, but thanks to some fantastic Letterboxders who volunteer to help with my spreadsheet (you know who you are), it all gets done in a timely manner.

How do you find the time to watch all those films in a single month?! Jonathan and I have never completed the challenge! Our best year was around 26. That year we got up earlier in the morning and watched the films with coffee, before going to work. That was the best. Nice and fresh and open to anything. Bonus is that we got to think about the film all day and the review-writing in the evening was easier. If it were up to me that’s the way I would watch films all the time.

What other challenges have you taken part in, and how have they enhanced your experience of watching films? Back in the day everyone was making a list tagged with List of Shame that you filled with all those “You seriously haven’t seen that yet?!” films. I’m still chipping away at it, but of course for every film you watch there are ten more you have to see. To help with the List of Shame I participated in Mr Dulac’s 5×5 series, where you selected five films from five directors and watched them at your leisure. It was a great way to complete filmographies. I still go to that list when selecting a film to watch.

Wong Kar-Wai’s ‘In The Mood for Love’ (2000).

What are your four favorites on your Letterboxd profile, and why? In the Mood for Love, because forbidden love is the saddest thing ever, and I could watch Tony Leung and Maggie Cheung go up and down those noodle-shop stairs all day long. The Thin Red Line, because it provides a great sense of place and it’s about the soldiers, not the war. Whispering Star because it is so quiet and touching.

I keep my fourth slot open for a rotating new favorite film that I want everyone to see. I could change these for a different set, but, oh, who am I kidding. I always feel terrible at the thought of ‘demoting’ a film.

What is your favorite or most useful feature? The watchlist, filtered by service. It is my dream-come-true feature. I sort by genre, hide short films, select ‘Stream only’ and ta-da! A list of films I’ve been meaning to see that are available to stream. (Now if only I could do the same for films that I own!) [Editor’s note: filtering by your own personal set of streaming services is a Pro feature.]

What’s a movie you’ve done a 180 on because of other Letterboxd members’ opinions? Great question. Memories of Murder is one of them for sure. I couldn’t figure out what the big deal was when I first saw it, but so many of my friends gave it five stars that I watched it again and understood. And just this week, Moaning_Slug posted an interesting comment on my review of Buñuel’s Viridiana that actually makes me want to take another look.

What’s a movie you’ve really had to dig in on your feelings about, despite what everyone else on Letterboxd thinks? I am not easily bothered by or influenced by others when it comes to the films I love or despise. I seriously disliked Her and Boyhood and pretty much anything by Wes Anderson and all the high ratings have zero effect on me. The technical prowess of a film would never be something that could change my mind (here’s looking at you John Wick: Chapter 2 and 3). What would make me take a second look is if someone were able to point out that I missed something about what the film was saying. I’ve yet to review Jojo Rabbit because while I think poking fun at someone who aspires to dictatorship might actually prevent it from happening, I don’t know what to make of it when it’s making light of a historical or current [aspiring dictator]. Reading reviews about this could definitely influence my take on the film.

Colin Firth in ‘Pride and Prejudice’ (1995).

What’s your go-to comfort movie? The one with Colin Firth as Mr. Darcy, the one with Chris Pratt and the talking ‘rat’, and the one with Tony Leung as badge No. 663 starring the Mamas and the Papas.

If and when you go to the cinema, where do you prefer to sit? Behind the shortest person in the room, near the back (I hate looking up—it’s a neck thing).

You’re Canadian. What’s the best Canadian film of all time? South of Wawa, about a donut-shop waitress who receives tickets to a Dan Hill concert in Toronto for her 35th birthday. Okay, so it’s not the “greatest film of all time” but it is my favorite, and it’s got the best last line ever!

These are the Canadian films I’ve seen in order of preference, this is a substantial list of Quebec films and [Letterboxd member] puffin has an extensive Canadian films list (stops at 2018). And I must mention these NFB short classics: The Cat Came Back, The Sweater and one of the most beautifully animated shorts, The Man Who Planted Trees.

When Parasite won Best Picture, what was the reaction in your household? We tested the bounce on our floor boards at Best Director. We tested the bounce on the ceiling boards at Best Picture.

Please recommend three other Letterboxd members we should follow. I can’t count, so here goes. I think everyone should follow Punq for the sheer number of films he watches and reviews, but mostly because I don’t think there is a film made before the 60s that he hasn’t seen. Graham Williamson is a good bet as well. His tastes are eclectic and his reviews are always packed with good observations and information. And I also have to recommend fellow Canuck puffin. I don’t know how he manages to watch so many films and review them. I always enjoy reading Melissa Tamminga, who asks questions and is very thoughtful in her reviews, and I have a soft spot for Peter H, who again personalizes his reviews. Nepotism be damned, Jonathan White always writes honest, interesting and personal reviews.

You also round up Letterboxd members who attend TIFF each year—what’s been a good thing about meeting Letterboxd people in real life? It’s great! Without naming names, I discovered that I could drink a 6'2" Norwegian under the table; a particular New Yorker is so stingy with his ratings that when he gives anything beyond three and a half stars you just have to watch the film; and a New Zealander personally knows anyone who is anyone in the industry over there and can give you all the dirt! Whenever we consider not doing TIFF we are always reminded that it would involve missing our Wednesday meet-up (as well as most other nights where we undoubtedly meet up for beer and film-related arguments), and we easily change our minds.

P.S. In the spirit of connecting Letterboxders… before the TIFF list I thought it would be good idea to create a ‘Letterboxd in [insert City]’ list, Toronto being the first one. It took off, and many users from different parts of the world created lists for their cities; the tag is letterboxdcity.

The March Around the World challenge starts 1 March 2020. Tag your list with ‘30 countries 2020’ and it’ll be added here.

[thelanguagecommunity]

I’ve developed this “language maintenance” challenge for languages I’ve neglected in my own studies but still wish to practice. It consists of a variety of activities, designed to not be intrusive in daily life but keep you thinking about your TL. It’s also designed to broad and fit a wide variety of situations including heritage languages, intermediate-level languages, languages that you’ve finished a course and don’t know what’s next, or languages that you’ve otherwise put on the back-burner. Hopefully, someone out there will find it useful! If you need help finding a resource to complete one of these activities, let me know! If you make any posts relating to this, please use #upkeepchallenge so I can see it :D 

Write down all of the reasons why you want to learn your target language, or why you want to make sure you maintain it. Think about them, then stick this list into your notebook.

Write out an introduction. If you met a native speaker right now, what would you say? Your name, your interests, where you’re from?

Listen to a video. Try to follow what’s going on, but mostly let it wash over you, listen to the sounds. You can go through my sample playlists for a starting point.

Go into wherever you keep your resources, whether a folder on your computer, a tag on Tumblr or a physical textbook. Open to a random page and try to translate the first sentence you see in your target language. Try to do it on your own without resources, before checking with a dictionary or grammar book. How did you do?

Pick a random verb and write out by hand all of the conjugations you know of for that verb. In other words, write the same sentence over and over again but with different conjugations. Ex: eu sou Americana, tu és Americano, ele é americano, nós somos Americanos… etc. I have some mini-printables for this!

Watch a show/youtube video meant for children in your target language.

Make a vocabulary list for your major/favorite subject/job.

Create a set of flashcards that you can carry around with you. This can be done either digitally (tinycards or quizlet apps on your phone) or physically (cut down index cards to size.) Include vocab from a variety of sources if you can.

Put together a playlist of ONLY 20 songs. Evaluate them and rank them. It might take several listens (that’s the point!)

Look for magazines in your target language. Read (or skim) at least one.

Learn some filler words or sounds and practice speaking with them in a natural cadence/rhythm.

Go back to your playlist (Day 9) and learn the entire lyrics to one of your favorite songs. Practice until you can sing it acapella. 

Whip out your set of flashcards (Day 8) and set a goal for the number of cards memorized by the end of the day. For example, “I’m going to have at least 3/4ths of my cards in the ‘know’ pile by 10pm tonight.”

Have a full conversation with yourself in the mirror today. Imagine you just met yourself in a cafe or a class and just make small talk. Use your introduction from earlier (Day 2)!  

Listen to radio in your target language as you do some chores.

Look for a discord group, forum, or other community of people who are learning/speaking your target language. Post at least one thing. Even if you’re shy, ask a question or just introduce yourself then bounce!

Watch a movie in your target language. 

Do a little research about into the folklore of the culture of your language. Pick one creature/location/story and try to see if you can find any info about it in your target language. An easy way to do this is to find the wikipedia page in your native language and then click on the equivalent article in your target language (it’s on the left side).

Find a passage in your target language that interests you, then record yourself saying it. Evaluate it yourself or post it on langblr or /r/JudgeMyAccent for feedback. What are the elements you got down? What can you improve on?

Use IPA to sharpen your pronunciation. If necessary, record yourself speaking first to pinpoint what sounds off. Focus on sounds that aren’t found in your native language. Practice in front of a mirror and exaggerate them. 

What is your favorite aspect of the culture of your target language (ex: food, dance, traditions, festivals)? Find a youtube video or mini-documentary about it. And try to find it in your target language!

Pick something in your room and talk about it. Be as specific as possible in describing it and how you feel about it. Use a dictionary without shame.

Find a poem you like and copy it into your notebook.

Write up a quiz complete with answer key. Think carefully about the things you think are important for you to know from your target language. Use your textbook or online resources as a guide, but try to make up your own questions too. These can range from conjugating verbs to translating sentences to matching vocab to short answer questions.

Translate the poem (Day 23) and try to keep as much of the poetic language as possible. 

What do you have strong opinions about? Politics? Media? Relationship drama? Outline an essay about this topic, complete with thesis and supporting points. Use a dictionary without shame. The goal here is to think deeply in your target language, not criticize your grammar!

Watch one Oscar-nominated or otherwise critically acclaimed movie in your target language. You can go through my letterboxd lists for a place to start.

Take the quiz that you wrote (Day 24). Grade yourself with brutal honesty to identify the areas you are weak in.

What did you find is your biggest difficulty so far? Today is the day to work on that! Pull up your textbook, look back on your notes, or ask some native speakers online. There’s no shame in asking questions! Act as if you are studying for a test and you just have to understand this one particular point. No more putting it off!

Make a post with everything you’ve learn this month (include all your new vocabulary and grammar points). Reflect on and celebrate your progress! What media did you consume? What resources did you use? What was the most helpful? What were your challenges?

Take a break!

[cowgirlhours]

kehaby replied to your post “don’t ask me what i thot about booksmart”

no please go off

here’s my letterboxd review which i meant to keep short and then i actually got upset while i was writing it:

if i had to describe this movie in one word it would be shallow!!!l. NINETY NINE percent on rotten tomatoes?? fr???? like YES i was laughing through the billie lourd antics and the dance sequence and i got vaguely emotional during the pool scene but overall i’m boredd

i just wish they’d had SOME self awareness with the whole hashtag woke shtick because it was honestly painful and kind of distracting. like REALLY not even one joke about amy's white savior complex? it's RIGHT there the whole woke white girl thing has been DONE it's been DONE before it's boring and shallow and dumb and trite let's move on please. do better

where was the complexity.. where was the depth... of story of character of relationships of plot even??? where was the REALISM like for a movie that seems like it should be funny-relatable considering its genre it was lacking that in every aspect. how is a viewer expected to relate to any of these characters if none of them have any actual problems???? anyone we actually get to know has a stable family, more than enough money, and is going to an ivy league school (don't even get me started on the college name-dropping) the conflict feels so forced it’s like the writers forgot to add any so they wrote in a fight at the last second. and at first glance you might think it's a diverse cast but there aren't any poc with actual arcs or characterization which is just not cute like you can just TELL there were no people of color in that writers room

i find myself wondering if i watched this wrong way or something. every review i’ve read has been at least four stars so maybe i’m just a crackhead but i think everyone should take a second to think critically before calling this an instant cult classic and HONESTLY i’m beginning to think y’all just gave this a good rating because diana silvers is hot

the soundtrack was fun and there were a couple of moments where kaitlyn dever nailed the teen lesbian experience but i still think this movie is really just for people who wear tshirts from forever 21 that say feminist on them lol

i know people are going to think i just hate powerful women and fun because i didn’t like this one. but i just like stories that are fun AND have a modicum of substance i really don’t think that’s too much to ask there’s nothing rewarding about a movie with one dimensional characters who don’t overcome anything like am i going crazy or

[fibula-rasa]

October 2018 in Review

October was way more hectic than I thought it would be and I didn’t watch as many movies as I usually do. I spent a week in Korea (a post about my visit to the Korean Film Archive will be up soon!) And I was motivated to watch a lot of new movies (a.k.a. was on a long-haul flight).

You may have already heard the news, but the irreplaceable Filmstruck is shuttering this month after two wonderful years. Fair warning: I’ll probably spend a good deal of this month (November) trying to watch as many new-to-me movies in my queue as I can. I think I’ll try and write them up quickly over on my letterboxd, we’ll see!

Also, though The Vamps was intended to be an October series, the month’s general hecticness meant I didn’t get the final essay finished before the end of the month. So, in November, you all have that post to look forward to. (See if you can guess who it is! Hint: she’s a Dane.)

The reviews below are essentially transcriptions of the notes I took right after watching the films. They’re presented in the order in which I watched them. 

Enough blathering, on to the movies. BELOW THE JUMP!

Dolls (1987)

29 May 1987 | 77 min. | Color

As a long-time devotee of the Band family’s productions, I’m always down for a Band film I haven’t seen. (When I was a kid, we probably spent a dozen times what it would have cost to buy Pet Shop (1994) renting it from Dollar Video.)

Yes, I did talk about haunted doll movies in my last roundup but this one was more fun, okay? The cast of characters are a great larger-than-life assortment of weirdos. I wish that 1980s English punks would just keep popping up in horror films after the 1980s. I particularly liked the performance of the little girl’s father. In most other movies, it would be a terrible performance, but in Dolls, it’s pitch perfect.

Dolls is a fairytale story that creates the atmosphere of a child’s viewpoint. The dolls are scary and do scary things, but, of course, they can be reasoned with.

As with many Full Moon movies, Dolls had a great balance of scares and campy humour. The doll designs are gross and fun–especially their wet, bloodshot eyes.

Dolls is a great choice for someone who watched a lot of Are You Afraid of the Dark? growing up and wants a “grown-up” version of that.

Funland (1987)

16 October 1987 | 98 min. | Color

After watching Dolls on Amazon Prime, this film was recommended. From the plot description and the featured image, we expected a fun slasher film. And, with William Windom (who I’m pretty sure took time off of Murder, She Wrote to make this movie!!!) in the cast, we couldn’t resist. What we got was… a… comedy? I guess?

There’s no doubting that there are some talented performers in this movie, but it’s just not funny. The only reason I’m writing about Funland at all is that it’s a good example of the kind of cheesy movie where you can see what could have been a good (or at least more interesting) movie underneath the movie that was actually made.

How exactly do you think: “I’m gonna make a movie about a killer clown fighting mobsters!” and then come up with this movie? I wrote a much longer complaint but, I won’t subject you to it. In short, Funland doesn’t execute its plot very well.

I definitely wouldn’t recommend this one. However, I am curious if any Atlanta natives have feelings about this movie? It seems like it features a lot of locals.

Flying Air Canada

The movie below are what I watched on my plane journeys to and from Seoul. I was flying Air Canada and I need to rant for a sec before moving on to my thoughts on the films.

There are a lot of reasons why captions (or subtitles, if you’re British) are necessary. They’re needed by lots of people, including people who aren’t d/Deaf or hard of hearing. If you want to learn more about why captions are good Jessica Kellgren-Fozard has you covered.

Personally, I have sensory processing disorder (SPD). This prompts me to have captions on when I watch most things. At home, I do this because not every movie or TV show I watch has decent sound mixing. It seems to be an art a lot of film/video makers are neglecting nowadays. Ho hum. I keep captions on so I don’t need to constantly change the volume. On a plane, my SPD is significantly worse because the noise of the plane is so loud that there’s little to no chance of me catching dialogue without raising the volume too high for my own comfort. Unlike the airlines I travel on within the US, Air Canada’s captioned offerings are practically nonexistent. That’s why so many of the movies I ended up watching were foreign-language (or ASL) films–they came with English subtitles.

Now, Air Canada, listen: Most of the movies you had on offer are definitely available with captions elsewhere. Even in theaters they likely had open-caption screenings. What is the deal? Seriously.

Anyway, sometimes I take for granted that we do some things right in America.

Okay, back to movies.

Mary Shelley (2017)

9 September 2018 | 120 min. | Color

This film didn’t have captions, which honestly might have weighed negatively on my experience of it. I was excited to see Mary Shelley. Mary and Percy Shelley are two of my absolute favorite literary historical figures and I love their work. This movie was a let down. It seemed like it was meant to be a character piece but the characters felt more like types than people. Also, don’t get me wrong here: I give no ground to fuckboys, but the depiction of Percy Shelley felt particularly oversimplified.

A Quiet Place (2017)

9 March 2018 | 90 min. | Color

Everybody raving about this movie was totally right. Definitely check it out if you haven’t already. Even if you’re not big on horror, it’s worth a shot.

How Long Will I Love U (2018)

18 May 2018 | 101 min. | Color

Scrolling through Air Canada’s film options, I got the feeling that time-travel romance is pretty popular right now in China and Korea? I think I picked the right one to watch in How Long Will I Love U. The premise put me in mind of The Lake House (2006), a movie I don’t like but can never resist watching when it’s on TV. This movie is a lot better than The Lake House. The premise is pretty cool and the plot is spurred on by a proper sci-fi concept. The leads are very cute together. I love that the main characters both kinda suck but become better people in getting to know one another. The special effects are good looking, conceptually fun, and not excessive.

I highly recommend this one. It’d probably be a great date movie or a Friday-night-with-some-Chunky-Monkey-and-a-cuddly-pet movie.

JoJo’s Bizarre Adventure: Diamond is Unbreakable — Chapter 1 (2017)

4 August 2017 | 119 min. | Color

Listen. I have friends who are big fans of the JoJo manga and anime. I have never read any of the manga and couldn’t get past the first episode of the anime. That said, when I saw Takashi Miike directed this live-action adaptation of a story arc in the multi-generational JoJo series, I hit that play button right fast. Then, to my surprise, I enjoyed it! I often struggle with the visuals in live-action adaptations of anime and manga, but I loved how Diamond is Unbreakable played with the characters’ unique styling and design. The superhero-like story drew me in a lot faster than the anime and might just get me to look into some of the manga.

This movie might be a hard sell for a lot of people but if you wanna see something that’s out there and imaginative with supernatural overtones, Diamond is Unbreakable might be fun for you. Don’t worry–it’s easy to follow even if you don’t know who Joseph Joestar is. (Yes, that really is a character’s name.)

Un Traductor / A Translator (2018)

19 January 2018 | Color

I had no idea that following the Chernobyl disaster, some of the victims were sent to Cuba for medical treatment. I also had no idea that the program continued until 2011?! So, Un Traductor was a modern history lesson for me! Un Traductor is a model film for propaganda filmmaking–and I mean that in a fully complimentary way. The film does an admirable job of communicating how life for Cubans changed with the fall of the Soviet Union and how they adjusted to persevere.

You can probably gather from what you just read that this isn’t a fun watch, but it’s worthwhile if you have any interest in modern Cuban history.

A Casa Tutti Bene / There is No Place Like Home (2018)

14 February 2018 | 105 min. | Color

I don’t have a lot to say about this one frankly. It’s a decent family dramedy. Massimo Ghini and Sabrina Impacciatore both turn in good performances. *shrugs in Italian*

That’s all for this month’s roundup! Are you all ready for Noirvember? How about Kicksgiving? If you’re a Filmstruck subscriber, what are you marathoning this month?

[angeltriestoblog]

I watched a couple of movies! (Part 1)

Back when I regularly had the luxury of long breaks, I spent my days binge-watching films, as you can see from my extensive knowledge of 80s chick flicks and all the cheesy tropes and disgustingly adorable, predominantly white leading men that come with them. Sadly, a side effect of growing older in the digital age seemed to be the diminishment of my attention span: the only things I could focus on were academic requirements, simply because I had to. But, thanks to several factors—the suspension of online classes, the sudden annoyance I developed towards Barney Stinson that prompted me to discontinue How I Met Your Mother, etc.—I decided it was high time to rekindle this lost love. So, here is an unsolicited review of the 17 films I managed to finish in a little over a week! Rest assured, I tried my best to venture out of familiar territory and brush up on some of the more cultured picks, according to Letterboxd, at least.

Bar Boys (2017, dir. Kip Oebanda) ★★★

The film that kickstarted everything, which I never would have seen if the director had not uploaded the full version on YouTube. This well-meaning tale of four best friends (Carlo Aquino, Rocco Nacino, Enzo Pineda, and Kean Cipriano) and the challenges they face in law school—terror professors, fraternities, and financial difficulties included—does have a lot of heart, and is sensitive enough to show how the effect of this experience differs depending on a student's background. But, what it lacked for me was a certain degree of specificity: I think the same premise would have been applicable in med school, or any other post-graduate degree for that matter. So, why did the characters choose law? I also would have appreciated some commentary on the shortcomings of the country’s justice system, and further fleshing out of the characters so the audience could have seen why we could count on them to fill in the gaps.

Legally Blonde (2001, dir. Robert Luketic) ★★★½

The rating might be surprising, considering that the courtroom scene was responsible for the short law school phase I had in Grade 5. As if I could ever make use of the rules of haircare in an actual cross-examination. Of course, I am compelled to admire Elle (Reese Witherspoon) and how her motivations for going to Harvard shift from winning back a boy to discovering what she never knew she had and using these gifts to help those around her (especially the manicurist, who I feel was given way more exposure than what was due to her). Ultimately, though it was inspirational at some points, it felt too good to be true and impossible to relate to. (But then again, shouldn’t there be a willing suspension of disbelief when consuming forms of media such as this?)

Lady Bird (2017, dir. Greta Gerwig) ★★★★★

I’ll probably end up making a separate post dedicated to this movie and how it singlehandedly called me out, as a sensitive, occasionally self-important product of an all-girls Catholic high school. For now, I am forced to condense my overflowing feelings into a couple of sentences. Lady Bird takes place over the course of the titular character's senior year, a pivotal moment in the lives of all teenagers. But, instead of focusing solely on the formulaic firsts like the normal coming-of-age film would, it shines a light on her dwindling relationship with her equally strong-willed mother. Saoirse Ronan’s colorful performance as the human embodiment of my pre-teen self's conscience, and Greta Gerwig’s tremendous ability to make even oddly specific scenes speak to any viewer shine through and speak to me the most, and easily make this gem something I will be recommending this to anyone who bothers to ask for as long as I live.

Bohemian Rhapsody (2018, dir. Bryan Singer) ★★★

There’s a lot of controversy surrounding Bo Rhap, particularly its failure to portray Freddie Mercury in a manner that does him justice. While I understand that it is a valid concern for fans of the band, I admit I don’t know enough about who he was as a person to criticize the film in this aspect. Regardless of its factuality, this still was just average for me, the typical rise-and-fall type of biopic that is indicative of a rockstar’s legacy, but with laughably faulty editing. The redeeming factors were Rami Malek’s brilliant portrayal of the legend himself—his Live Aid performance gave me chills that lasted the entire 20 minutes, how alarming—and, obviously, the soundtrack that I kept on loop for several days.

About Time (2013, dir. Richard Curtis) ★

Apparently, this movie focuses on Tim (Domhnall Gleeson), who discovers at age 21 that the men in his family have the power to time-travel and thus revise and repair certain parts of their lives. He uses this to address the fact that he’s never had a girlfriend, and effectively so as he ends up bagging Mary (Rachel McAdams), a charming American who is the settler in this relationship by default. But, of course, this gift is not without its dire consequences—or at least, that’s what it says on Wikipedia. It’s hard to trash on this and admit that I bailed halfway because so many of my friends swear by this. But, I just couldn’t stomach the lack of chemistry between the two leads; the surprisingly boring dialogue for a screenplay crafted by Richard Curtis of Notting Hill fame; and the story that, although bore enough of a resemblance to “The Time Traveler’s Wife” to be interesting, was still not powerful enough to sustain my attention.

Your Name (2016, dir. Makoto Shinkai) ★★★★★

I’m a huge fan of plots that are sure to make my eyes swell and heart hurt—I can’t explain the psychology behind this either. So when this was recommended to me and I had made it through an hour without shedding a single tear, I was prepared to be disappointed. But, the events leading up to the conclusion proceeded to rip me into shreds, as if to taunt me and say, “You asked for it.” Mitsuha (Mone Kamishiraishi) and Taki (Ryunosuke Kamiki), teenagers living on opposite sides of the country, suddenly start switching bodies following the appearance of a comet. This unexplainable phenomenon causes them to forge an unbreakable bond that transcends the very limits of time and space. I know the description is not much, but it’s best to experience this unique plot for yourself. Besides its storyline, its charm lies in its excruciating attention to detail in depicting life in urban and rural Japan, both in the realistic animation of one picturesque scene after another, and the use of cultural elements to arrive at a twist viewers will not see coming.

Booksmart (2019, dir. Olivia Wilde) ★★★★½

I can't summarize what I imagine Booksmart to be for teenagers in the future, so here's an entire scenario: It's the year 2070. Two young girls of around 16 are sprawled on their bedroom floor, watching this on whatever device they use for streaming. (Maybe it's from an LCD projector embedded in their foreheads, who knows.) The credits roll, and they instantly think to themselves, "Man, we were born in the wrong generation!" (They simultaneously think of doing a high-five, and without raising their hands themselves, it happens because that's technology.) Anyway, Amy (Kaitlyn Dever) and Molly (Beanie Feldstein) are best friends who played by the rules all throughout high school and realized too late that they could’ve afforded to have a little more fun. On the eve of their graduation, they decide to cram four years’ worth of adventure in a single unpredictable and outrageous night, getting to grips with everything that comes their way in an exceedingly comedic yet refreshing fashion. Also, the protagonists have such a genuine and wholesome relationship: the way they hyped up their most ridiculous looking outfits, or overshared borderline uncomfortable stories is honestly my personal definition of an ideal friendship.

When Harry Met Sally (1989, dir. Rob Reiner) ★★★★½

Despite this film’s constant presence in every “chick flicks you must watch” list I’ve bothered searching up, I spent a huge chunk of my teen years in constant protest against the decision to cast Billy Crystal as the male lead instead of, I don’t know, literally any other actor on the planet. But, once I finished it, I realized that he’s a much better fit than I thought. The laidback Harry to Meg Ryan’s finicky Sally, both of them spare no effort exploring and debunking truths and misconceptions about modern relationships: examples of which are the idea of being high maintenance, and the quintessential question of whether a guy and girl can ever be just friends. Although their dynamic is the definition of slow burn, audiences can’t help but earnestly root for the pair—the frustration brought by the several almosts pay off in the end, as they lead to one of, if not, the most romantic love confession scene.

Hintayan ng Langit (2018, dir. Dan Villegas) ★★★★½

This tale adapted from a play by no less than Juan Miguel Severo is set in purgatory—a grandiose art museum-four star hotel hybrid of sorts—where souls can stop and rest while their papers for entry to heaven are being processed. It is here we meet Manolo (Eddie Garcia) and Lisang (Gina Pareno), ex-lovers with unfinished business. Things admittedly start off a bit slow, but it's understandable since there needs to be ample provision of context regarding the standard operating procedures of this unique waiting area. Once that’s done, the focus stays on the main actors, who drive audiences to tears with their powerful performances, and thought-provoking questions on matters of betrayal, forgiveness, and the afterlife. The ending had me rocking back and forth like a baby, my shirt soaked with tears, so do take heed and stock up on tissues!

The Social Network (2010, dir. David Fincher) ★★★★★

Within its packed first 15 minutes alone, you can easily see what makes The Social Network an example of cinema at its finest: an intoxicated Mark Zuckerberg (Jesse Eisenberg) hacks into the websites of all Harvard dorms to create Facebook’s oldest ancestor from scratch, in an attempt to get back at his ex-girlfriend. The atmosphere is tense, the dialogue is loaded with witty one-liners and powerful insight, and the actors are so in touch with their characters they practically fuse into a single person. This remains consistent for the next two hours or so, making for an enjoyable and fast-paced, yet still informative glimpse into the human side of what is arguable the most powerful company of this era. I also heard that it’s much more fun if seen with the cast commentary on, so I’m gonna have to find a copy of that for myself!

Pretty in Pink (1986, dir. Howard Deutch) ★★★★★

I’m cheating here, I know: this has been a long-time favorite, but I guess I can still give a review if I was still 15 when I last saw this. Andie (Molly Ringwald) and Blane (Andrew McCarthy)’s classic “poor girl + rich boy = happily ever after” story is masterfully tackled by John Hughes, who manages to inject equal amounts of swoon-worthy romance and biting criticism of the inherent class divide in society. Others would argue that Duckie (Jon Cryer), Andie’s devoted best friend, is the true star of the show, and while I do agree that he has his shining moments (if you listen closely, you can hear Try A Little Tenderness playing softly in the background), I sadly inherited my mother’s adoration for Andrew, which I will pass on to my child and so on—truly the defining characteristic of our lineage.

St. Elmo’s Fire (1985, dir. Joel Schumacher) ½

I understand that being an adult in the Real World is bound to come with some grave mistakes and lapses in judgment. But, not a single character in this friend group redeems themselves by the end. While Ally Sheedy’s Leslie and Mare Winningham’s Wendy were just borderline forgettable (why did the latter even end up here with the Brat Pack?), Judd Nelson’s Alec cheats on his girlfriend and believes that marriage is what will make him change his ways; Rob Lowe’s Billy neglects the family he didn’t plan on having by fooling around with other women and making a home out of his favorite bar; Demi Moore’s Jules relies on cocaine and extramarital affairs to hide trauma she refuses to process, and Andrew McCarthy’s pretentiously cynical Kevin suddenly claims he knows what love is when Leslie pays attention to him for 10 minutes. But, none of them compare to Emilio Estevez’ Kirby, the sociopath obsessed with a girl he barely knows. It honestly resembles some sick contest of how many problems this gang can cause before they end up behind bars, with the last scene being a lazy and rushed attempt to wrap everything up, in the name of this surface-level “friendship”.

Before Sunrise, Sunset, and Midnight (1995, 2004, 2013; dir. Richard Linklater) ★★★★★

Guess it’s better to admit it now, but I made this post as an excuse to rave about how beautiful this trilogy is, the most authentic depiction of love in its purest form. Sunrise has been recommended to me by both friends and the Netflix algorithm, but I put off watching it again and again and again. I mean, what could I possibly get out of looking at two strangers roam around Vienna? Well, to answer that question: quite a lot. Jesse (Ethan Hawke) and Celine (Julie Delpy)’s relationship spans an entire trilogy, and throughout that period, they manage to define then destroy the idea of having a soulmate to call your own in approximately six hours. But certain constancies are present in each movie: the emotion intense even in the smallest of gestures (you don't understand the anguish I feel when the scene at the listening booth randomly pops in my head), the dialogue truly thought-provoking and natural, the settings so picturesque, and the chemistry of the actors so electric I have trouble believing that the director didn’t actually invade the personal space of a real couple and eventually get issued a restraining order.

High Fidelity (2000, dir. Stephen Frears) ★★

I’d like to think of this as an essay: I'm confident that the introduction is the protagonist Rob's soliloquy on his five biggest breakups to understand why he’s so flawed that everyone always leaves him, and the conclusion his attempt to win his ex Laura (Iben Hjejle) back. But as for the body, I’m not entirely sure. Interspersed between these moments are thoughtful top five lists of anything that can be enumerated, and occasional banter with the employees at his record store that may be charming, but do not enhance the film in any way, shape, or form for me. Also, I normally enjoy seeing John Cusack onscreen, but more often than not, he was nagging in front of the camera instead of talking to the people around him; no wonder his relationships failed!

Scott Pilgrim vs the World (2010, dir. Edgar Wright) ★★★

I wanted to enjoy this so bad, I swear! Sadly, the one thing I gained after seeing this is knowledge of where the “I’m So Sad, So Very Very Sad” meme came from. I get that it’s supposed to resemble a comic book or video game, and maybe the reason why I failed to appreciate this as much is because I was never a fan of either. I found the prolonged action scenes surprisingly boring, the storyline too fantastic, and the whole quest of having to defeat seven monstrous exes for the hand of a manic pixie dream girl not worth it in the end. Although I can’t give it less than three stars given its impressive visual effects, and appeal to the entire Tumblr community (gamers on one end, millennial film connoisseurs on the other), it’s definitely not something I would watch a second time.

There will surely be more where that came from! (I mean it. Since completing this post, I’ve finished another five films.) If you wanna keep tabs on what I’m watching without having to wait on another post, you can give my Letterboxd a follow. Wishing you love and light always, and don’t forget to wash your hands and pray for our frontliners!

[theremightbecupcakespodcast]

Social Distancing Self-Care: Links

Being chronically ill, I am used to being at home for days and even weeks on end. But I know most of my listeners are not. The only change for me right now is that my doctors’ appointments and physical therapy appointments are being canceled, which does also mean not writing at Starbucks or Barnes and Noble. My anxiety, of course, is heightened by everything that is going on, but the actual social distancing aspect is normal life for me. I know most of you are feeling cabin fever (which is a great movie, by the way, and about a virus–more about using horror to safely experience real-life fears in the next episode), coming right up. My love goes out to you guys. As I wrote on the Facebook page, in the Facebook group, and in the Goodreads group:

I have such empathy and love for all of you. Being forced to stay home and act like the world might make you sick…I know how scary and uncomfortable it is. Please take a moment and sit in empathy, as you struggle with your new reality of social distancing. This is how I have been living for the last six years. Not as strictly. But still the same. Some weeks I only go out of the house for my therapy appointment and a coffee afterwards. Know that when I say this, I am remembering my first days and weeks home from work, and the first days and weeks after each new diagnosis, and how very difficult they were. I am so sorry; I don’t want anyone else to feel this way. I promise the cabin fever goes away. Take very good care of yourself and each other, see this as an opportunity. That’s the lesson it has taken me years to learn.

So I am working on the above-mentioned episode, and other future episodes, and also working on intense self-care. This self-care includes distracting myself with creativity and fascinating media I have been meaning to consume. I thought I’d share some of that media with you, in order to inspire and encourage you. Share some of your own in the comments, or wherever you post your own thoughts. Feel free to promote those links in the comments as well for my listeners.

Letterboxd: Carol Kane’s movies

A horror movie I’ve never heard of! And it looks terrifying. The Mafu Cage (1978), directed by Karen Arthur. It stars Carol Kane and Lee Grant (The Omen), and I can’t wait to watch it. It looks like true 1970’s horror grittiness mixed with the likes of Whatever Happened to Baby Jane and The Bad Seed: psychological horror movies where it really comes down to the interpersonal relationship between two people who may not be sane. And a la Clive Barker’s Lord of Illusions, horror of horrors, there’s a simian involved. Those Illusions scenes, short as they are, nearly do me in.

A terrifying love story.

Two strange sisters live in a crumbling mansion, where they keep a pet ape, which belonged to their late father, locked in a cage. While one of the sisters seems to be keeping her head on straight, as it were, the other appears to be sinking further and further into barbarism and insanity.

For lighter fare, and a good laugh, here’s a horror spoof I found: Pandemonium (1982):

Tom Smothers (of the Smothers Brothers) stars as the brave mountie, who along with his trusty horse and bitter deputy Paul Reubens (Pee Wee Herman!) must track down a killer who is stalking coeds at a nearby cheerleader camp.

Also stars Carol Kane, Edie McClurg (Ferris Bueller’s Day Off, Carrie), Judge Reinhold (Fast Times at Ridgemont High), Phil Hartman (Kiki’s Delivery’s Service, How I Got Into College), Eileen Brennan (Clue), Donald O’Connor (Singing in the Rain), and Tab Hunter (Damn Yankees, Grease 2). I am definitely going to seek this out, and will report back. I’m not normally a fan of horror comedy, but this looks so cute and funny. And Carol Kane! Letterboxd, Amazon (not currently available, but you can add it to your watchlist to let Amazon know you want to watch it). Just knowing this exists makes me feel better.

A spoof of camp horror movies with Canadian mounties thrown in. Yes.

Then there’s Trees Lounge: Steve Buscemi, Carol Kane, Chloe Sevigny, Samuel L. Jackson, Debi Mazar, Io Tillet Wright. Directed by Steve Buscemi. What the what. How did this get past me?!

Tommy has lost his job, his love and his life. He lives in a small apartment above the Trees Lounge, a bar which he frequents along with a few other regulars without lives. He gets a job driving an ice cream truck and ends up getting involved with the seventeen-year-old niece of his ex-girlfriend. This gets him into serious trouble with her father.

One of my Letterboxd friends called this “Cheers without the happy”. I cannot wait to see this./> Letterboxd, Amazon

These are the movies written by my friend Eric Garcia–I met Eric at Yale Summer School 1989, between our junior and senior years of high school–he was taking Drama, I was taking Psychology, and Gender and Political Science; we initially bonded over our similar sense of humors and Goodbye Yellow Brick Road (oh oh whoa whoa whoa whoa): Letterboxd:

Matchstick Men (2003): Nicholas Cage, Sam Rockwell, Jenny O’Hara:

A phobic con artist and his protege are on the verge of pulling off a lucrative swindle when the con artist’s teenage daughter arrives unexpectedly.

(the novel: Matchstick Men: A Novel About Grifters with Issues)

Repo Men (2010): Jude Law, Forest Whitaker:

In the future, medical technology has advanced to the point where people can buy artificial organs to extend their lives. But if they default on payments, an organization known as the Union sends agents to repossess the organs.

(the novel)

Strange But True (2019): Greg Kinnear, Blythe Danner:

A woman surprises the family of her deceased boyfriend by telling them she’s pregnant with his child.

Yes, “Matchstick Men”, if you are my age, that should induce a half-remembered earmworm…

…inspired by the Camper Van Beethoven song, since we’re entertaining ourselves here. And guess what, o happy of happies? Ozzy Ozbourne covered it, with Type O Negative. Have fun!

As always, to follow what I am watching, here’s my Letterboxd diary. Feel free to follow me on there, and I will follow you back.

As for books…I just finished Ronan Farrow’s Catch and Kill: Lies, Spies, and a Conspiracy to Protect Predators. I will never give NBC any of my time nor money again. Also, excuse some brief vulgarity and anger, which is rare for me: fuck Matt Lauer, fuck Lester Holt for being an enabler and minimizer for Matt Lauer, fuck the legal team and highest management at NBC and MSNBC, and fuck Harvey Weinstein and everyone that helped, enabled and ignored him. I say all this as an aghast survivor and an aghast human. About Matt Lauer: that softpedal they gave us, with Savannah Guthrie crying that morning of his firing, reading a statement about “harassment” and “inappropriate work environment”, it was farthest from the truth. Matt Lauer is a violent rapist, and know that going into reading this book. It’s explicit, and much more that you will ever expect. Also, Weinstein is much, much worse than you even knew.

In better news, I posted about this book and how it helped me, and Rose McGowan posted a comment of solidarity on my Instagram post. I cried, and I cry every time I think about it, tears of happiness and healing.

So, while we’re at it: Letterboxd: Rose McGowan’s movies

Rose McGowan: Instagram

Rose McGowan Arts: Instagram: her photography and videography art

Her book Brave is next on my list. According to Letterboxd, there’s an accompanying documentary in the works, about which I am very excited.

If you are into true crime, and i know many of you are, here’s the list of recent 5-stars I finished, including those by my talented friend Caitlin Rother:

Lost Girls * Caitlin Rother

I’ll Take Care of You * Caitlin Rother

My Daddy Is a Hero: How Chris Watts Went From Family Man to Family Killer * Lena Derhally (deep dive into this case by a therapist–the whole second half of the book is a thoughtful, intellectual examination of what might be wrong with Chris Watts)

Scarred: The True Story of How I escaped NXIVM, the Cult That Bound My Life * Sarah Edmondson with Kristine Gasbarre (narrated by Sarah, and the audiobook was directed by Kate Winslet)

The Five: The Untold Lives of the Women Killed by Jack the Ripper * Hallie Rubenhold (more history than true crime, incredibly moving and marvelous detective work)

My long-suffering library hold for Madeline Miller‘s Circe finally came through, and I am beyond excited. I loved her gorgeous Song of Achilles so very much. It was so luscious in its imagery and relationship, and its retelling of myth.

I am also reading, on my Kindle, His Garden, Conversations with a Serial Killer, by Anne K. Howard, about William Devin Howell. I’m listening to The Wild Heart of Stevie Nicks written and narrated by Rob Sheffield, the author of the thought-full and moving journal of essays Love Is a Mix Tape: Life and Loss, One Song At a Time. It’s only two hours long but it’s taking me forever because I keep having to pause it to listen to her music.

I’m also knitting a blanket for Wil Wheaton. It all came about from an Instagram conversation about coziness and Muppets last year. There’s been a reboot of this blanket; I won’t bore you with the details and carnage…suffice it to say I won’t be using chenille yarn ever again. I’ll follow up here and on Instagram with new photos. The concept is a warm Muppet hug, and the base pattern is the Elm Avenue Throw Blanket by Lauren Scungio. (Feel free to follow me at Ravelry, my user name is CarlaYarn.)

View this post on Instagram

Rebooting @itswilwheaton’s Muppet hug blanket. Why? It’s a long story involving many struggles, ending with the strong resolution that I will never knit with chenille again. Stitches kept gapping and stretching; it was a crime scene. Anyway! Revamped, and the end result is going to be much more joyous and colorful, and durable. I chose colors of @knitpicks Brava that corresponded to 19079’s old-school Muppets, including overlooked intrepid reported Prairie Dawn. The Muppets are Big Bird, Bert, Ernie, Cookie, Prairie, Kermit and Herry. The original yarn retained from the original plan is the fuzzy one—the Caron Latte Cakes—it adds the furry aspect as a carry-along. The pattern is the same: the Elm Avenue Throw Blanket by #laurenscungio and #loopsandthreads. I’ve making it on larger needles than called-for for extra squish. Wil, I hope this brings you and @annewheaton much coziness and comfort. Now that I have worked out the frustration (and my health is cooperating), this blanket should be “Movin’ Right Along”. If anyone wants to follow along or check it out. I made the project public on Ravelry at https://ravel.me/CarlaYarn/eatb. #knitpicks #knitpicksbrava #caronyarn #caronlattecakes #muppets #knitting #wip #ravelry #sesamestreet #prairiedawn #bertandernie #cookiemonster #bigbird #herrymonster #knittersofinstagram #knittersofravelry #knitstagram #knitting_is_love #knitlove

A post shared by Carla Hufstedler (@carlahaunted) on Mar 18, 2020 at 9:14am PDT

I shall return with, of course, the aforementioned podcast episode, and more links, more suggestions, and more photos, especially photos of the knitting. I hope this long collection has helped–I spent all afternoon aggregating it. As always, any of the books mentioned can be collected for free with a trial membership from Audible, which helps me out, through this link: http://audibletrial.com/mightbecupcakes. As well, using any of the links in this or any post on the site helps me out. Our family budget is on lockdown. You know I still do not receive disability, and now my husband cannot go out to work. So your clicks and purchases really help, thank you so much. I will also be uploading more scripts to the show’s Patreon, and updating the Patreon levels. Please consider joining, and thank you. If you are not a fan of Patreon, you can also leave me a tip at Flattr. Episode 59 is on its way. I love you, and I hope you find something in this post fun.

To leave this on the most possible fun note, puppies must be involved, right? Well, my parents have three dogs (to my two), and the youngest, still a puppy, is Olivia Benson, and she is a very rare full hermaphrodite. She is cute as as a button as well as fascinating (her vet is going to publish a paper on her). We (meaning me, prompted by my parents via text message as they send over pictures as well) have been chronicling her journey on Instagram at @oliviathespecialpug. Give her a follow. She’s cute and sassy and ridiculously smart. Her older brothers Spencer Reid the pug and Preston the long-haired dachshund show up occasionally as well, and they’re all just stinkin’ adorable. I’ll leave you with her most recent shots. This first one was from Sunday, I was watching 48 Meters Down: Unchanged (I know, I know, here’s my review), and she was falling asleep with her arm on my shoulder, like a human, then there were birdies! She pointed at the tv then looked at me with great confusion then pointed again. The next one was from her spaying + neutering–yes, she had to have both, in a compound, complicated surgery, and she is stoned out of her gourd. I laugh every time I look at these. To me, she looks like a furry toad. I hope they make you laugh, too.

View this post on Instagram

I heard birdies in @carlahaunted’s horror movie and pointed. #pugstagram #puglife #puglifechoseme #hermaphrodite #olivia #oliviabenson #detoliviabenson #svu #lawandordersvu #oliviathepug #oliviabensonthepug #oliviathehermaphroditepug #puppiesofinstagram #pugsofinstagram #pugpuppies #pugpuppiesofinstagram #pugs #pugchronicles #flatnosesociety

A post shared by

Olivia Benson Pettigrew (@oliviathespecialpug) on Mar 15, 2020 at 7:54am PDT

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Teething pug = sleepy pug. #pugstagram #puglife #puglifechoseme #hermaphrodite #olivia #oliviabenson #detoliviabenson #svu #lawandordersvu #oliviathepug #oliviabensonthepug #oliviathehermaphroditepug #puppiesofinstagram #pugsofinstagram #pugpuppies #pugpuppiesofinstagram #pugs #pugchronicles #flatnosesociety

A post shared by

Olivia Benson Pettigrew (@oliviathespecialpug) on Mar 15, 2020 at 7:40am PDT

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I am recovering from my complicated neutering/spaying surgery nicely, but my first experience with pain meds has me very confused and doing a really good Baby Yoda impression. @carlahaunted was dogsitting me, and I kept standing up stiff legged suddenly, like I had forgotten something (Carla said it was like I had remembered I had locked my keys in my car) and then standing up on my back legs like a meerkat. I finally slept with a good, juicy pain meds + pug flatnose snore. I figured out how to untie my stuffed cone of shame. I am one clever puppy, even on pain medication. My big brothers are worried about me, but being very gentle and very well behaved. I can’t wait to play with them again. #Pugstagram #puglife #puglifechoseme #hermaphrodite #olivia #oliviabenson #detoliviabenson #svu #lawandordersvu #oliviathepug #oliviabensonthepug #oliviathehermaphroditepug #puppiesofinstagram #pugsofinstagram #pugpuppies #pugpuppiesofinstagram #pugs #pugchronicles #flatnosesociety

#babyyoda #babyyodapug #coneofshame

A post shared by

Olivia Benson Pettigrew (@oliviathespecialpug) on Jan 23, 2020 at 10:27pm PST

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[letterboxd]

America Lobotomized: The Rick Alverson Q&A.

“If I have any value now, my responsibility lies in nurturing the limitations of cinema and making them apparent.” —Filmmaker Rick Alverson chats with us about the irrelevance of ‘consumer cinema’, the fascinating failure of masculinity, and causing trouble with Jeff Goldblum.

Musician, writer and director Rick Alverson makes the kind of films that are, as Letterboxd member DirkH enthuses, “hard to love and impossible to enjoy”. One of the decade’s most challenging directors, his confrontational style is take-it-or-leave-it, but those who like to take it find something deeply profound in his take-downs of concepts like the American Dream.

Alverson’s newest feature, The Mountain, departs from the ironic realism of his earlier films, creating a lushly immaculate, desolate poke at American society. Set in the 1950s, The Mountain is loosely based on the controversial American neurologist Walter Freeman, here represented as the fictional Dr Wallace Fiennes.

While Alverson’s earlier films have tapped into the twisted comic talent of Tim and Eric (and friends), The Mountain uses the hefty star power of Jeff Goldblum (also a Tim and Eric alumnus) against itself, with Tye Sheridan (of the vulgar mime act in Alverson’s Entertainment) as a mostly wordless photographer who is selected to follow Goldblum’s Dr Fiennes on an asylum tour. French great Denis Lavant appears as an unconventional healer, in one of his few English-language roles; Alverson unleashes him at will.

“A rigorous, alienating work about the rot at the core of the nation”, The Mountain divided audiences when it premiered at Venice last year, and divides Letterboxd members still. “Easy answers don’t always have to be there,” writes Allison, “but it quickly became pointless and even monotonous.” “A modern master is at work,” counters Tyler. “It’s rare in these times to find a movie so precise. Every cut reveals a wonderful new, immaculately composed shot.”

Tye Sheridan and Jeff Goldblum in ‘The Mountain’ (2018).

Can you talk about when and how you got the inspiration for the premise of The Mountain and why you felt now was the right time to make this film? Rick Alverson: I’ve had an interest that I’ve explored since The Comedy and Entertainment where I’m trying to comprehend what fuels this blind propulsion of American progress in today’s political climate, where we’re romanticizing the white male privilege era of the 1950s.

It’s also something often romanticized in American cinema; if not in its subject matter, then it’s romanticized in its formal depiction. I wanted to take that on and watch it deflate and see how it would hold up to a more nuanced and muddy immersion of the era.

You’ve described the film as anti-utopian. Do you think nostalgia is a dangerous thing? Nostalgia is definitely a very rich intoxicant that’s difficult to pull oneself away from. Commercial American cinema peddles almost entirely on those triggers of compartmentalized representation and clean—marginally pornographic—singular dimensions. I find that troubling to some degree because it pretends to be something else.

The remake of The Lion King kinda sums that up. [Chuckles] Yeah.

Toxic masculinity has been central to many of your films and it’s in many ways the enemy of the moment right now. You’ve been ahead of the game in a way. Is that always your starting point? What influenced you to focus on men at their worst? I was raised at a time with influences that come from particular periods so there was a binary presentation of masculinity and I think it’s something that men are mired in. That has been problematic for men in a way that stripped away the wholeness of an individual.

Frailty, or a nuance of communication, hadn’t been as accessible to a generation of men, and that crippled them in a way which inflamed the damage that they did in their privileged space and [for] everyone around them. It’s a cyclone. In my demographic, we have been exposed to that, caught in it, and wrestled with it. Maybe that’s why I look at it so much.

I find failure in masculinity fascinating, too. The problematic American ‘wandering cinema’ of the 1970s is what made me want to do what I do. It’s the great unsung song of cinema that fell out of favor by the 1980s.

As a working American filmmaker, do you feel it’s your social responsibility to use your medium to comment on and expose what you’re seeing happening in this country? Is this your version of political activism? [Laughs] Maybe. I think that there needs to be a politics of form. It’s the responsibility of filmmakers to not be ignorant of this gesture and what it does to the population. There’s a responsibility of cinema to ask itself some very hard questions before it ends up wrapping into total irrelevancy. What is narrative? What value does it have? How is it destructive? How is it being used for destruction? Is it functional anymore? I think that a lot of consumer cinema doesn’t ask those questions because it’s afraid to expose its vulnerabilities or its potential irrelevance.

How did your experience with Entertainment affect your approach to The Mountain? Entertainment was the first film that played with cinematic influences that I had. It played with things that kind of grossed me out in cinema, with the defaults of metaphors and symbolism to create false profundities.

With The Comedy, I was focusing on a subset of class privilege in nuclear centers like New York City that I find reprehensible. I wanted to engage with it, investigate how to understand it, and make myself uncomfortable. Suddenly the medium felt a little more vital to me. It wasn’t just a propagandistic grandstanding, where essentially I would be showing off my likes and dislikes. I try to play a cat-and-mouse game with my own comfort and hopefully the audience finds some vitality in that.

Your last two films have felt very surreal, stylistically. They’re more lush yet still quite detached. What’s compelling you to stray from the slice-of-life realism you were using with your first few films? I had always wanted to have a career working with non-actors, but as I’ve gradually become more interested in the problems that make me uncomfortable I find myself engaging with them head-on, instead of just ignoring them for my comfort zone. The unreality of cinema has also become increasingly interesting to me.

There are some obsessive-compulsive approaches I took in The Mountain, which viewers might not see off-hand, that sort of heighten that falseness. Nobody leaves or enters the frame unless they go through a door. I’ve padded and loaded the film with limitations and, if I have any value now, my responsibility lies in nurturing the limitations of cinema and making them apparent.

For a long time we’ve been living in a fantasy land of unlimited potential and an abundance of opportunity, but the fact of the matter is we’ve been ignoring the beauty of the finite quality of the world. I think the same thing goes for cinema.

You’ve mentioned before that you don’t usually stick to a script but you did this time, though obviously the film utilizes a lot of long pauses and still imagery. Do you map out this sense of pacing in the script, or is there an element of you finding the film in the editing suite? How important is the sense of discovery in post for you? Editing the movie is incremental in its own way. But for me, the film really becomes alive during production and I find the pacing there. As far as mapping out those things in the script goes, it’s an obligation that I find tedious sometimes. My scripts used to be very short but they’re longer now because they’re a little bit more traditional on the page.

I do relish the moment when something isn’t satisfying our expectations. There’s a very exciting moment there when you let the comfort of distance go on too long. If you curtail it in the right way, it’s like surfing.

This is a reunion between you and Tye Sheridan. He’s grown a lot since Entertainment, very literally too. Yeah, at least 4 or 5 inches.

Was he your first choice for the role? How did he contribute to the film beyond what you and your co-writers had on the page? He was my first choice and we developed the film together. It was an idea I brought to him when Entertainment wrapped. I talked to him about playing a ‘black hole’—something neutral at the centre of everything—that the whole world would move around.

He has a tremendous amount of patience and generosity. He’s very disciplined and we had a lot of fun subverting some of his capacities for empathy and fragility as an actor to make him inaccessible. That was a mission statement for us.

His character is very literally an audience surrogate. He’s passive, then he becomes pacified. I’m wondering what that says about what you think of your own audience? Do you feel unheard and misunderstood? It’s hard to say. I guess we’re interested in the reception of the film because I do want to engage an audience and there’re all sort of experiments in flirtation of audience expectations—in a constructive sense, I hope.

I do think that audiences have been conditioned to prefer pacificity and media as an anesthesia. I’m trying in my little way to interrupt that. Maybe I’m just having a fit in the corner of the room, I don’t know.

So how did Jeff Goldblum come on board? I was very surprised to see him attached to one of your films, unless I’m underestimating his taste in modern arthouse cinema. He’s getting in the mud of it all. He’s up for anything these days. I think he’s having not just a popularity revival but a revival of his artistic interests. Jeff has a tremendous amount of vitality and he was very interested in causing a small trouble with me.

Director Rick Alverson.

In what way? He wanted to subvert expectations of the audiences of how they’ve considered him and what he does for them and we utilized that. He’s really keen and smart and I think he understood that it could have a potency in the film. This is one of his more muted performances, even though the personality of Goldblum percolates out of that. He restrained himself in a way I found really refreshing.

We really want to commend your location scout on a fantastic job. What were you looking for in the production design and the sets? Especially for the final shot. The final shot was its own kind of nightmare. We shot that on Mount Baker on the Canadian border in Washington and we isolated the location based on this expanse that’s usually full of four or five feet of snow most of the year. The night before we shot, they plowed all that snow for the parking lot underneath. Those sorts of things drive you crazy.

My production designer Jacqueline Abrahams—who worked on The Lobster among other great films—is an incredibly keen, hardworking person. We wanted to neuter some of the romance of the era, to make it muddy and give it a bland complexity. Obviously when making a period film, the production design and costume design are the most difficult but nerve-wrecking and exciting tools in the whole toolbox. I think we came at it obliquely enough that it became interesting.

Are you still hoping to make your KKK film soon? Now should be the time, right? I’d like to move back to it, but I’ve moved onto another project for now [a horror movie and a comedy series, according to IndieWire]. It still fascinates me, but I don’t want to be too reactionary. It’s a tough time now, for a lot of things.

Would you say you’re drawn to films similar to yours? What are your favorite recent films that challenged you? Oh gosh. The other day I saw Slack Bay by Bruno Dumont, which I found very funny. I’m sorry, I’m terrible at this question.

I’d say that’s a very on-brand choice for you. Thank you.

‘The Mountain’ is in select French cinemas now and opens in US cinemas on August 2.

[letterboxd]

Endgame.

“I think audiences are so smart now, so they require to not be fed the same drivel as even 20 minutes ago.” —Robert Downey Jr.

The cast and filmmakers behind the most anticipated release of the year talk to Letterboxd, without actually saying anything specific about the film. (But we don’t mind.) This article contains mild Infinity War spoilers.

Although there are going to be many, many more of them, Avengers: Endgame can’t help but feel like the climax of the grand Marvel movie experiment; the culmination of the shared universe first suggested by a delightful post-credits teaser in 2008’s Iron Man.

Since then, the Marvel Cinematic Universe has come to dominate the modern blockbuster with hit after hit, year after year. Then came last year’s Avengers: Infinity War, with its devastating cliffhanger in which many Marvel protagonists evaporated into dust. That epic act of character disintegration built an anticipation for the follow-up that allowed the filmmakers to apply incredible restraint in the film’s marketing. Indeed, all we really know about Avengers: Endgame is that we don’t know anything.

Marvel head honcho Kevin Feige announced that there would be nothing in the trailers from beyond the first twenty minutes of the film. That is unprecedented in modern blockbusters, which center their campaigns around the major action set-pieces, usually dutifully showcased in teasers and trailers to the point where we complain we’ve already seen the film.

In the modern marketing-saturated film-going environment, to go into a film of this size and not be aware of which direction the story is heading, or what the major action scenes will be, is an almost impossible task.

Feige and co-directors Joe and Anthony Russo are to be commended for using their accumulated powers for good in this regard—not since Gone Girl has a major studio film shown such restraint. Heck, they didn’t even let press see the movie before we sat down with Feige, both Russos and the (currently officially alive) cast members of the film (pretty much the original Avengers team) in downtown Los Angeles this week.

Read on for the low-down on the Avengers’ best Boggle player, Natasha Romanoff’s evolution from “sexy secretary”, and the scene that had Robert Downey Jr. “more shredded than a julienne salad”.

Front row, left to right: Danai Gurira, Jeremy Renner, co-director Anthony Russo, Chris Evans, co-director Joe Russo, Brie Larson and Mark Ruffalo. Back row, left to right: Karen Gillan, Paul Rudd, Scarlett Johansson, Marvel Studios president/producer Kevin Feige, Robert Downey Jr., Don Cheadle and Chris Hemsworth during Marvel Studios’ ‘Avengers: Endgame’ press conference in Los Angeles.

Letterboxd: Filmmakers are known to tinker with blockbusters until the very last minute, honing in on what audiences respond to in the teaser material. That’s obviously not the case here, since you held back so much in the film’s trailers. How did this lack of advance audience feedback impact the filmmaking process, if at all? Anthony Russo (co-director, the taller brother): Look, at the end of the day, my brother and I, we came to this material because we’re fans. We grew up loving the comics. We came to the MCU already fans of the MCU. So the energy we move on is our own passion and our own excitement, and that’s how we tell stories. We learned long ago that you have to tell stories for yourself. You can’t be thinking about how others might receive them.

So for Joe and me, because we have such an intimate relationship with the material, because we have so many amazing collaborators—starting with Kevin [Feige, producer]—we are able to really fashion the story around what we want to see as fans. How do we surprise ourselves. How do we excite ourselves? How do we challenge ourselves? How do we force ourselves to keep digging deeper and keep exploring this narrative and these characters in ways we never imagined? That’s sort of how we guide ourselves through the process.

And once the film is complete and we put it out into the world, we really have no idea how it is going to be received. Once that complete film is experienced and digested and responded to, I think that’s the moment where we are then filled up with a reaction. But as we’re executing, once we conceive the film and start executing, we’re not really second-guessing what we’re doing. We’re really focused on chasing the initial vision that we had for it.

On how the Russo brothers are feeling now that they are near the end of the journey: Joe Russo (co-director): This is, I think, a really unique experiment in movies, this grand mosaic. Depending on how you count it up, eleven franchises… have been interwoven into one big narrative, and I think a lot of people have invested a lot of heart and soul into the characters. When we take these movies around the world, it’s really heartwarming to see people come up to you and say “hey, I started watching this with my classmates when I was ten years old—now we’re all 21 and we’re all going to go see this together” or “my parents have taken me to every movie” or “my grandfather has taken me to every film”. It’s a real sense of community and sharing in these stories and believing in them. And I think with Endgame, we get the opportunity to finish off one of the grandest experiments in movie history and bring it to, as Kevin said, an epic conclusion. So what we’re hoping for is that people feel satisfied with the conclusion.

‘Avengers: Endgame’ co-directors Joe Russo and Anthony Russo.

On what it’s like to join the Marvel Cinematic Universe at this critical moment: Brie Larson (Carol Danvers/Captain Marvel): I mean, stressful, now that you put it like that. I’ve felt kind of chill. But now I’m scared. So I hope you guys did a good job. I came at just the most magical time I think. To come exactly at this ten-year anniversary, and really, my first introduction to everyone was the ten-year photo, which was a really remarkable and special day. And super surreal and also like not allowed to [be talked about]. So the whole thing has always felt like a dream.

This film will always be personally dear to me because it was my first time playing Captain Marvel. We shot this first. So I had to stumble and try to figure out who this character was with no script for this and no script for Captain Marvel either—and perform for the first time in front of legends. But it was incredible.

As big as it is, it still feels like a bunch of kids. Just like what I was doing over summer break, making movies in my garage. There is still this sense of wonder and play and encouragement—and of course this film deals with some heavy subject matter. So you’re bouncing in between things that feel very deep and serious, and then we’re going off and playing Boggle. Which I am very good at. Just to be clear.

There is no other word I can describe it as other than surreal. And I’m super excited for this to come out. Mostly just so that I can talk about it. I want to be able to talk about my experience, which I haven’t been able to do for a very long time.

On connection to his fellow Avengers: Mark Ruffalo (Bruce Banner/Hulk): It doesn’t feel like family to me because we all really get along well. There’s not that much drama. It does feel like family. It’s a family that you wish you had in a way. I don’t know if you could tell, but it’s a little bit different press conference than the last time. It has a little bit sort of sadness to it. We’re all talking about like we’re dead. I loved working with these guys. It was great knowing them. They were great Boggle players.

There is something very bittersweet about this moment, because as actors, we’re like vagabonds. We kind of bounce around. We have these intense relationships. And then you don’t see anybody until you get nominated for something or you’re nominated in something and you end up in an award ceremony.

Chris Evans (Steve Rogers/Captain America): What’s that like? Speak for yourself.

MR: Well. But like, this is the closest thing that any of us really have to—unless you’re in several franchises—it’s the closest thing you have to continuity and friendships and watching people grow up and have children and get married and then get divorced and then get remarried.

On how Captain America’s leadership role is affected by the presence of other leaders like Black Panther and Captain Marvel: CE: I think he tends to lean on those people who are of like mind and nature, who kind of are intrinsically selfless. I mean, all the heroes up here have their baked-in-the-cake flaws. And I think a lot of that makes for really good conflict in storytelling. That’s why my favorite stuff in this arc has been my stuff with Downey, because [there is] such a dichotomy between how we approach things. But at the end of the day, our hearts are both in the right places. It provides a lot of great friction. By introducing characters like Captain Marvel and Black Panther, people who also align very similarly to Cap’s nature, it reinforces Cap’s sense of purpose and home. It’s an environment that… feels more natural for him. It’s nice to see the certain pockets where he feels at peace and the certain pockets where he feels his buttons might be getting pushed.

On the evolution of the franchise’s female roles: Scarlett Johansson (Natasha Romanoff/Black Widow): Initially, the character really started as a sort of sexy secretary with a skill-set on the side. Posing as. And we didn’t know, or I certainly didn’t know how the audience would react to the character, my interpretation of the character. And obviously a very beloved character for a long time. Then the next time that we saw her in Avengers, she was sort of one of the boys for better or worse. And that made sense then.

I think the fans and the audiences have really pushed, certainly Marvel, but pushed all the studios and filmmakers to really throw up on the screen what represents what’s going on in the zeitgeist and wanting to see diverse films and casts that represent their own aspirations and how they feel. I feel the character has sort of grown in reaction to that. And the movies have really grown in reaction to that kind of fan encouragement.

I remember when Lizzie [Olsen, Scarlet Witch] signed on. Cobie [Smulders, Agent Maria Hill] was there. We were all clinging to each other… I felt like I had been in this testosterone fest for such a long time, it was so nice to see other female cast members. And then with Brie [Larson] coming on and Karen [Gillan, Nebula from Guardians of the Galaxy] and Danai [Gurira, Okoye from Black Panther]. I’m amongst so many wonderful actors, so many strong actors, and it’s just grown beyond my wildest dreams. I could never have imagined where this would take us. And all of us. It’s been quite a journey.

On how Robert Downey Jr. felt while filming the now-iconic scene in which Spider-Man (Tom Holland) fades away at the end of Infinity War (“Mr Stark, I don’t feel so good”): Robert Downey Jr. (Tony Stark/Iron Man): I just love the lighting in that scene. I look so shredded. I was more shredded than a julienne salad, man. No. I make a lot of faces. I need some help in the editing. It was one of those moments. “This is the most serious thing that’s happened since you were nine. Now don’t F this up.” And I remember the brothers were there. I think we re-staged it once or twice. Anyway. It was crazy to shoot it. But it was just another day. But then I think seeing it—I happened to see it with this amazing kid, this Scottish kid who couldn’t go to a theater—I saw it with him and his reaction really f’ed me up.

So I think what a lot of us are looking forward to—like Kevin always says—is that it’s a surprising, delightful experience with Endgame. It’s one of those things where you go “Wow, I think we just made a pretty serious choice here”. But I think audiences liked that. I think audiences are so smart now so they require to not be fed the same drivel as even 20 minutes ago. It’s like we need novelty. And I think that what the Russos and Kevin have been able to do that is provide that in spades.

On what’s been special about Chris Hemsworth’s journey with these films: Chris Hemsworth (Thor): Well, just to echo something you were saying before, Anthony, about the first time that the Marvel Universe came into my universe back in Australia: I was sitting there, and I would have been just straight out of high school and watching Iron Man and thinking the same thing. Thinking “Oh my god, imagine. I wish I could be a part of that world”. And then a few years on, getting cast in it as Thor and having the opportunity to embark on this thing, and at the time I thought, was this film even going to make it past DVD? Or make to the cinemas? Or was I going to be re-cast and all those sort of questions.

I think the answer to the question, what made it so special for me was just the different people I was able to work with. From Kenneth Brannagh—that first film was really sort of completely in his hands, and he was basically willing to do whatever it takes and wherever he needed me to go for the character—and then through the films with each director and each different cast member, I would learn something different from them.

And by Ragnarok, I felt like I finally had enough sort of confidence to go “Okay, what is it that I could possibly bring to this?” And then have this great collaboration with Taika [Waititi, director]. We really decided to do something different to see how we could make it unexpected and unique. And then I had been calling Joe and Anthony and saying look, I’ve got this new version of Thor that we’ve just shot. And I want to continue that version. I don’t want to do the old version. And they said we’ve got an even newer version for you.

It’s just about the people that’s made it so special and I think unique each time with any of our characters. The fact that we’re all willing to be open to what new possibilities lie ahead of these franchises and these characters. It’s been a pretty remarkable journey.

‘Avengers: Endgame’ opens in Australia and New Zealand on 24 April, and in UK, US and other regions from 25 April. Reporting by Letterboxd West Coast editor Dominic Corry.

[fibula-rasa]

August 2018 in Review

I have a weird memory. It’s highly pattern-driven and very visual. This means that my memory of films I’ve watched is based on images and series of images that made an impression instead of plot points. It’s why I rewatch movies so often. Even though I’ve been tracking my movie viewing habits for two and a half years, that doesn’t mean I’ve created strong memories for all those movies. That’s why I’m gonna start doing monthly roundups of the new-to-me films that struck me, one way or the other.

[If you wanna know all the films I’m watching, I keep full lists on letterboxd and imdb.]

The reviews below are essentially transcriptions of the notes I took right after watching the films. Because of Summer Under the Stars and my cosplay challenge, this month was pretty TCM heavy for me.

Full Roundup BELOW THE JUMP!

Teen Titans Go to the Movies (2018)

27 July 2018 | 84 min. | Color

Directed and Written by Aaron Horvath and Peter Rida Michail

Starring Greg Cipes, Scott Menville, Khary Payton, Tara Strong, and Hynden Walch

I’m already a fan of the show and the movie kicks it up a notch with its humor and style. [If you liked the original series, give TTG a chance already.] TTG to the Movies is a great superhero movie for anyone who’s down for superhero stories but is fatigued by the current spate of offerings. Grain-of-Salt warning here because I think Superman III (1983) is great.  

Fun that they included some gags here and there for the parents out there who’ve had to hear the Waffles song a few too many times. Also, one of the best ending gags for a kid’s movie ever.

Where to Watch: Still in theaters, but I’d imagine Cartoon Network will be playing it soon.

Doctor X (1932)

27 August 1932 | 76 min. | 2-strip Technicolor

Directed by Michael Curtiz

Written by Earl Baldwin and Robert Tasker

Starring Lionel Atwill, Lee Tracy, and Fay Wray

I made the statement that Darkman (1990) is the most comic-book movie that isn’t adapted from a comic book. I hadn’t seen Doctor X yet though.

The set pieces are phenomenal. Each shot is artfully constructed and the way the shots are strung together makes the most of the production design. If one were to do a comic adaptation, it would take some imaginative work to not just mimic the film. The 2-strip technicolor is particularly effective in the laboratory scenes in creating an eerie aura. Sensational.

Lee Tracy is playing, as usual, a press man and he’s doing so perfectly. Tracy is so underrated.

Where to Watch: Looks like the DVD is out of print, so maybe check your local library or video store. TCM plays it every once and a while and, since Warner Bros has a deal with Filmstruck, I wouldn’t be surprised to see it pop up there eventually.

The Half-Naked Truth (1932)

16 December 1932 | 77 min. | B&W

Directed by Gregory La Cava

Written by Corey Ford and Gregory La Cava

Starring Frank Morgan, Eugene Pallette, Lee Tracy, and Lupe Velez

You might very well think Lee Tracy was a featured TCM star this month. (Maybe next SUTS? Pretty please.)

Lupe Velez is so talented and natural it was nice to see her in a film where her wits were matched. I’ll be honest, I’m a big Lupe fan but, for most of her films, she’s the only good reason to watch them. This wasn’t the case here! There are a lot of wonderful moments with small movements and gestures that make Velez and Tracy’s relationship feel very real, as if they’re actually that caught up in one another. Eugene Pallette, Franklin Pangborn, and Frank Morgan round out the ensemble. The running eunuch joke might not be all that funny, but it’s a masterclass in not saying what you mean. Also, very cute chihuahua.

Where to Watch: The DVD is available from the Warner Archive. (So, once again, local library or video store might have a copy.)

The Cuban Love Song (1931)

5 December 1931 | 86 min. | B&W

Directed by W.S. Van Dyke

Written by John Lynch, Bess Meredith, and C. Gardener Sullivan

Starring Jimmy Durante, Lawrence Tibbett, Ernest Torrance, and Lupe Velez

Lupe is wonderful in this. She plays a Cuban woman who sounds an awful lot like a Mexican woman--which might be something you have to overlook to enjoy the film FYI. Lawrence Tibbett has a shocking dearth of charisma in the lead, but Jimmy Durante, Ernest Torrence, and Louise Fazenda take the heat off him well. It’s a little hard to root for Tibbett’s character and the ending is disappointing. (Spoiler: privileging of the affluent “white” couple.)

The songs are great. I love the habit of placing people in musicals so that they are singing full force directly into each other’s faces. I don’t know why I find it so funny, but it’s not a mood ruiner for Cuban Love Song. The editing is fun and energetic. Until the war breaks out, there’s a lot of solid humor.

After watching so many Lupe films this month, I’d love to sit down with people who do and don’t know Spanish to talk about her films. There seem to be some divisions on social media and across blogs about Lupe’s films that might be attributable to whether or not one understands Spanish. I myself understand Spanish reasonably well and I think knowing what Lupe and others are saying makes almost all of her films funnier. And boy, does Lupe like calling men stupid animals.

Where to Watch: This one seems kinda rare. Looks like there may have been a VHS release, but you may just have to wait for TCM to play it again!

The Night Stalker (1972)

11 January 1972 | 74 min. | Color

Directed by John Llewellyn Moxey

Written by Jeffrey Grant Rice and Richard Matheson

Starring Carol Lynley, Darren McGavin, and Simon Oakland

and

The Night Strangler (1973)

16 January 1973 | 74 min. | Color

Directed by Dan Curtis

Written by Jeffrey Grant Rice and Richard Matheson

Starring Darren McGavin, Simon Oakland, and Jo Ann Pflug

I loved that these films are exactly like the Kolchak TV series. My SO and I have been watching the show weekly as it airs on MeTV and so he surprised me by renting the movies that kicked off the series. Honestly, watching backwards may have made the movies even more entertaining. How is Kolchak still working for Vincenzo in Las Vegas?? The answer is in Seattle.

The TV movies were intended as a trilogy, but after the success of the first two films, it was developed into a series instead. It’s cool to see how every piece of the Kolchak formula was in place immediately and how firmly Darren McGavin had a hold on the character. His chemistry with Simon Oakland (Vincenzo) is spectacular--a great comedy duo TBH. If you like their shouting matches on the show, Night Strangler has a humdinger to offer you.

Night Stalker is a pretty straight-forward vampire story, written by Richard Matheson, one of the great spec-fic writers of the 1960s and 1970s. Matheson also wrote one of the best undead novels of all time, I am Legend. What elevates the film over the basic mythology, aside from the great performances, pacing, and editing, is that the story’s really about how suppression actually goes down--how mundane and frustrating it can be even in the face of the supernatural.

Night Strangler is a little more creative with its monster. They integrate the nature and landmarks of Seattle in fun ways. The stripper characters are delightful. Jo Ann Pflug gives a truly funny performance and feels like a natural contender for Kolchak. Even his romantic relationships should be affectionately combative. The ditzy lesbian, Charisma Beauty (Nina Wayne) is hilarious and Wayne’s timing is impeccable. (BTW: they don’t explicitly call her a lesbian but it’s still made very overt.) There’s also a wonderful cameo by Margaret Hamilton.

As far as I can tell, it’s easier to get access to these films than the series. They’re worth seeing even if you haven’t seen the Kolchak TV show. They’re also a good pick if you’re a fan of X-Files, as Kolchak is the mother of that show. Even though I’m an X-Files fan and grew up watching it, Kolchak is edging it out for me lately. Maybe because if you’re telling a story about fighting for truth against the suppression of information, you undercut yourself by making the protagonist a fed.

Where to Watch: Kino Lorber is releasing restored editions of the films on Blu-ray and DVD in October!

The Mask of Dimitrios (1944)

1 July 1944 | 95 min. | B&W

Directed by Jean Negulesco

Written by Frank Gruber

Starring Sydney Greenstreet, Peter Lorre, and Zachary Scott

This was great! I loved Peter Lorre and Sydney Greenstreet together. If you’re looking for a mystery story that flows and escalates well and presents a parade of interesting characters and locales, Dimitrios is for you. It’s also always nice to see Lorre in the lead.

Where to Watch: The DVD is available from the Warner Archive. (So, once again, local library or video store might have  copy.)

Strait-Jacket (1964)

19 January 1964 | 93 min. | B&W

Directed by William Castle

Written by Robert Bloch

Starring Diane Baker and Joan Crawford

I mentioned in my Joan Crawford CUTS post that I’d been meaning to see this for years. My enjoyment of the film didn’t suffer a bit from that length of anticipation.

I like William Castle’s movies a lot. I like the campy humor and quirky stories. This one is campy still, but not as heavy on the humor--unless you have a real weird sense of humor. That’s not a strike against Strait-Jacket though. Castle builds so much tension that by the end of the film, you feel like anyone could be axe-murdered at any moment, which becomes absurdly fun. The ending might be a little predictable, but it’s fun to go along for the ride. I didn’t particularly like the tacked on ending but I guess every JC movie needs to end on JC?

Largely unrelated, but if you’re a Castle fan, have you checked out his TV show Ghost Story/Circle of Fear? The first episode, The New House, in particular is top notch.

Where to Watch: It’s on Blu-ray and DVD from Sony (your local library or video store might have a copy) and it’s for rent on Amazon Prime. It’s also still on-demand via TCM for another few days.

One I didn’t write up: Cairo (1942). I brought up in my Jeanette MacDonald post that I was hoping to find a MacDonald film I enjoyed watching on her Summer Under the Stars day and I did!

[letterboxd]

Debra Granik Q&A.

“I’m trying to make small films. I’m not trying to create stars. I’m trying to create roles where women don’t have to take off their clothes to be interesting.”

Thomasin Harcourt McKenzie (as Tom) with Debra Granik on the set of Leave No Trace.

Following her 2010 sleeper hit Winter’s Bone, Debra Granik’s newest film Leave No Trace follows a father and daughter who have been living undetected on public land until their presence is noticed and the authorities step in.

Based on Peter Rock’s novel My Abandonment (itself inspired by a real-life event), Ben Foster plays Will, a former soldier living off the grid with post-traumatic stress disorder, while Kiwi newcomer Thomasin Harcourt McKenzie is his teenage daughter, Tom, through whose perspective the story unfolds.

Letterboxd sat down with Granik in New York City to talk about filming in the forests of the Pacific Northwest, the challenge of filming an invisible condition (PTSD) and how she weathered the pressure of finding another Jennifer Lawrence. We also asked her to tell us about the films that she returns to again and again because they feed something in her—that list is here.

How are you feeling about the response to Leave No Trace so far? The audience we watched it with at BAM Cinemafest was captivated.

Oh, thank you. The bedrock is relief, because you can’t predict how a film can be received or understood or enjoyed. Nothing can ever predict that. What I really love is that some of the themes are being discussed. I really like that. I love that when it’s engendered by other people’s films, so of course it makes me excited to be part of storytelling tradition that would facilitate that. And I also really like that, because it’s regional, it exposes some of the glory of a particular part of the continent, and that people can appreciate it and look into it.

Thomasin Harcourt McKenzie (Tom) and Ben Foster (Will).

The film is deeply immersive in its nature setting. There are ways of filming that are certainly good-looking, and then there are ways of filming nature where you feel you’re actually in that forest, and that’s what you and your DP Michael McDonough have done. Some of our Letterboxd members (Melissa, MasterLundy) wanted to know why you’re so drawn to filming in a rustic setting, in nature rather than in cities, and how you approach that in terms of your filming.

I think maybe it even surprises me! I think one logistical reason is that it is actually easier to film outside of a city, you know? I mean just in terms of garnering your resources and keeping a small footprint… though I’m excited by the photography of the metropolis and will endeavor at some point to do something like that. In fact, in my first film, it was just interesting seeing them come into the city. It was a big deal, you know, sort of the bridge and tunnel experience was very photogenic in some ways.

I love the idea that when you film outside of a big city you can actually almost take your time more, in some ways. And I think the immersion is very related to some of the comfort that the actors can feel with Michael; that he’s willing to wear knee-pads and crouch down and be part of that inner circle of connection. Near a tent, near the fire-pit, or when they’re ministering to each other. And when that happens you feel a sense that you’ve been allowed to come close and that you’re with them.

And then of course to show the splendour and scope of the forest, stepping back and using the cinema tools that allow that: a wider lens, and the tripod, and stabilizing, and allowing the frame to be as big as possible.

So I think that outdoor spaces allow for that, whereas the indoor space is the box and the confinement and the geometry. It is much more established and familiar.

It’s cool to hear what Michael was doing physically. Quite often a camera is a long way away with a certain lens but in this case it felt, watching, that there were three characters—Will, Tom, and the camera.

At times, for sure, because the scenes were quiet. Coming in close, being very quiet about it. When we do those things we’re not using lights in the forest, we’re using all natural light, so maybe that’s also a really big help. You know, we’re reflecting things gently, we’re shielding certain hot spots but it’s done with flags and silks and bounce cards, not with big lights.

You’re not bringing in huge 6000Ks to the forest?

No, no!

Director of Photography Michael McDonough with Debra Granik.

You filmed the unfilmable in a way, which is PTSD. These types of mental health conditions, which we can’t see, rely so much on character rather than action. Why was the notion of filming this condition so interesting and important to you and what have you learned about it along the way?

I was very influenced by a book called The Evil Hours by David J. Morris, that is a chronicle by a marine—who is also a journalist—who put such specific words to what it was like to try to understand what was happening inside him and inside other men. And he also was informed very much by a woman, because another very significant sector or arena of PTSD is through sexual violence.

So, he looked back in history to how other philosophers and people in the medical and ‘helping’ professions had tried to understand it, and he looked really specifically at WWI and the poets of the UK who were able to put words to it. And then a couple of really humane doctors who were then the receivers of their words and it really opened the doctors’ minds because the poets could put such precision to it.

And so he looks at this almost miraculous time of gentle understanding and almost posits ‘can we have that now? Could we understand these ways? Could we replicate some of the things that were done in the British VA [Veterans’ Affairs] system after WWI?’, you know?

But the only way to get at this—I resonate with your point so much—is to try to extrude what is it that makes this particular person [Will] not want to come back in. What is he trying to stabilize and how is he doing it? He’s trying to find an environment in which there are very few triggers for him, where his hyper-vigilance is maintained at a kind of even keel, and where he’s very selectively choosing the things that he can still have faith in, that he can still admire and love on, which would be the elements of the forest, and his very loyal companion, his daughter. And to strip away that which clogs his system or causes such jitters that he doesn’t feel well.

So the practitioners, of course, that is one of their responsibilities. By administering certain kinds of tests and surveys, the VA tries relentlessly and tirelessly to say ‘hey, these are some things you might be feeling. You’re not alone’. They do a beautiful job in trying to put words to that which becomes one of the greatest mysteries, right? Why do we feel what we feel? How potent the brain is with its neurochemistry, and then what a formidable kind of organ the conscience is! The conscience can’t be quieted easily. It asks for answers. It asks for contemplation, you know?

So then, the story gets really interesting because, intersecting with Will’s PTSD, you have his daughter, a teenage girl, also coming of age, also coming into her consciousness. Can we talk for a while about finding Thomasin Harcourt McKenzie? She lives far away from you, in Wellington, New Zealand, and is mostly unknown outside her home country. You saw her audition tape via casting agents Kelly Barden and Paul Schnee. What was it you saw in that tape that led you down the path of choosing her?

In the tape it was, I think, the fact that she had immersed [herself] in the script and in reading the book. It was palpable in the way that she was choosing to be in the scene, and what she was expressing in the scene. But it’s very hard to tell off of one tape. That’s a very uncomfortable situation, so it required conversations to flush out the rest and the conversations were lyrical. She’s a very open-hearted person who’s generous of spirit in terms of how she wants to conduct a conversation.

So this is going so well and I’m actually really enjoying this conversation so much, her sincerity, and I said ‘wow’, after talking to her, to the people back home here. I said ‘I’d like to talk to her again because this is leaving a big imprint’.

And as I saw some of the auditions locally, I realised that some of the television and theater training had maybe taken away some of the gentle spontaneity that Thom’s been able to retain.

Because of Winter’s Bone and what it did for Jennifer Lawrence (earning her a Best Actress Oscar nomination), did you feel any responsibility along the lines of ‘Debra Granik’s making another film, there’s another role for a young breakout star, who’s it going to be?’. Or did you try to ignore the fact that there might be a lot of attention on it?

Yeah. The attention feels more intimidating than productive. So, you know, I don’t welcome that so much because I think to do things requires a lot of quiet. I think many actors that get blown up really big feel that every move, everything they say, they change their hair, oh my lord, it becomes so relentless and it becomes very hard to function within that, I believe. So I try to put some of that aside really and say ‘that’s not what I’m looking for’.

In terms of responsibility, I don’t wanna take that on. I don’t want to have that foisted on me. I need to just be ornery and say ‘back off!’ you know? ‘No!’ I’m trying to make small films. I’m not trying to create stars. I’m trying to create good roles for young women that go beyond passing The Bechdel Test, you know? I’m trying to create roles where women don’t have to take off their clothes to be interesting.

Thomasin and Ben did a lot of rehearsing together, and they had some intensive skills training with outdoor survival consultant Dr. Nicole Apelian. Without any spoilers, there’s a scene in which the weather turns cold and things become dire. It’s visceral and tense, they have to work fast to build shelter or someone could die. Can you give us a sense of what those filming days were like?

Yeah. Well. Even making that shelter is intense because it’s a very multi-tiered process. The skills trainer was on the set that day, and the trainer she’d also enlisted to help (named Alan). Ben was very committed to it. They’d already constructed one in rehearsal. He wanted it to be—and Nicole did too—a really viable shelter that would be the kind of shelter that could save a life, through just this basic, I wanna say geothermal engineering of heat retention. Trapping heat, that’s the goal. Trap it in the clothing and then the shelter.

It was intense because halfway through the day you know there’s a really big risk of losing time. And then we also had a really bad dilemma where sun came really strongly that day. The morning had been really misty and good for it, and we didn’t have the kind of silks where you can just block it out, and when the sun comes out robustly it just doesn’t matter, there’s not really much [you can do]. So we had to basically take the gamble that it was going to be the day-for-night. For the DP it was less of a gamble because he knows how to do it - it allows the illusion of night-time light.

But the day was hard. It had all of these physical things to navigate and so by the end when the shelter was built and they were finally in it, we had to do it as a rolling series, you know. We didn’t have time to do takes! They had to try a couple of versions.

I felt like a failure. I felt that how was it that I couldn’t figure out how to pace this day so that by the time they actually need to have their exchange we’ve got eleven minutes.

But you got it.

We got fragments of it that then can gel to give the ambience and the circumstances of how that night became dire for them.

Could you share with us any films that showed you a storytelling pathway for Leave No Trace?

I really relied on three documentaries as inspiration for this film and they were all done by British crews. One of them’s available on YouTube and it’s a very beautiful film called Soldiers in Hiding, and it’s about Vietnam-era soldiers who had hidden on Federal parklands not far from where we filmed, on the Olympic Peninsula.

The second documentary is called Hidden Heroes. That one I believe is hard to find.

And then I also really valued so much the work of a filmmaker called Michael Grigsby. He did a beautiful film about the lives of soldiers, We Went to War [a sequel to his 1970 documentary I Was a Soldier]. So those films were very influential.

Finally, tell us about some of the films that you return to again and again because they feed something in you.

Werner Herzog’s Stroszek. Lukas Moodysson’s Fucking Åmål/Show Me Love. I love the way parents are portrayed in that film. I love the depiction of high school, of not knowing who you’re going to love and how that might happen. I love the conflicts in there and the incremental changes. It’s just a very rich kind of social realism for me. Céline Sciamma’s Girlhood. Aki Kaurismäki’s The Other Side of Hope.

For social realism in the US, something that I’ve been looking at a lot were the films that were in the 40s that dealt with realistic looks at financial crisis, the films of William Wellman. And then I would say also Saturday Night and Sunday Morning, a British kitchen-sink film. That’s produced by Tony Richardson [director: Karel Reisz]. And one more, in honor of Ermanno Olmi: Il Posto.

Leave No Trace is out in US cinemas 29 June 2018. Our thanks to producer Linda Reisman, Miranda Harcourt, and the team at Falco Ink for interview arrangements.

[letterboxd]

Loopy.

Andy Siara, writer of time-loop romcom Palm Springs, talks to Ella Kemp about having one foot on a banana peel and the other in the grave, and the expansive magic of being a ‘desert person’.

If you could re-live a perfect day again and again, would you do it? Would you be alone, or would it be better if your favorite person in the world was with you? Would the endless company, repetitive and increasingly claustrophobic, make you snap?

There’s a reason that time-loop movies tend to favor loners: watch as the hapless hero has to figure out the meaning of life! Harold Ramis’ 1993 comedy Groundhog Day is the gold standard for the device—Bill Murray trapped in a bizarre national holiday that’s become a universal adjective (which feels especially apt now). But Palm Springs, the new film from The Lonely Island comedy team, finds a way to dismantle the genre, play around with the ingredients, and cook up something entirely new.

There is still a time loop, we’re all still stuck, but here’s the thing: we’re stuck with two people now. Andy Samberg and Cristin Milioti are wedding guests Nyles and Sarah—he, someone’s random boyfriend people pretend to know; she, the reluctant maid of honor and sister of the bride. Through one freak twist of fate involving a cave, they end up reliving the same wedding day, taking advantage of the daily ‘reset’ to throw as much life at the wall as they can, while probing every possible escape route.

It’s a first for the genre, and a first film for the writer-director team (Samberg produces the film alongside his Lonely Island brothers Jorma Taccone and Akiva Schaffer, who have years of glorious Saturday Night Live sketches and comedy specials under their belts). Director Max Barbakow cut his teeth making short films for the past decade—just like his closest collaborator, debut feature screenwriter Andy Siara.

Barbakow and Siara developed the story together over five years, and then Siara turned it into the fast-paced, razor-sharp, at once feather-light and often deeply moving script that became Palm Springs.

Cristin Milioti and Andy Samberg in ‘Palm Springs’.

A quick scan of Letterboxd activity finds plenty of fans already. Jacob recognizes the paradoxical brilliance of the film, calling it a “high-concept romcom that wears its influences on its sleeve”, while still praising how it’s “so smart moment to moment that it absolutely feels like its own original story”. What makes this so special, so fresh—a movie about one day on repeat, released during, you know, a global pandemic, that neat event that makes so many homebound days blur into one—is just how much heart it has. “The little moments, the little cues, the timing,” Neema Sadeghi points out. “Everything felt so right and my heart was so so warmed.”

The following interview contains discussion of plot points and soundtrack choices, and has been edited for clarity.

Could you tell me about your relationship with Groundhog Day, before and after writing Palm Springs? Andy Siara: Before and after, I still consider it one of the greatest, if not the greatest comedy of all time. Doing a time-loop thing in this movie was never initially the idea, five years ago when Max and I first started talking about it. It organically evolved to that point. What was helpful to me was thinking about how at the end of Groundhog Day, Bill Murray’s character figures out the meaning of life, to a point, and it ends with the time loop breaking. In our film, Nyles figures out whatever he thinks the meaning of life is, and at the end, nope, the time loop doesn’t break, you’re still stuck here for eternity. So then what do you do? That became the jumping off point. Palm Springs is potentially a sequel to a movie that doesn’t exist, and that helped free myself of repeating too much of what the time-loop genre, and especially Groundhog Day, has done so well.

If the time loop wasn’t the starting point, what was? Nyles. Max and I knew we wanted to do a tiny-budget movie in Palm Springs. We didn’t know what that was, but the first idea was of this character of Nyles. We never outlined anything, so we let the character lead the way. In doing that, I got a full grasp of who he is on a deep level and everything else built from there. We never once were like, “This is a wedding time-loop romcom about two lost souls!” Max and I joked that the earlier version of this was our version of Leaving Las Vegas. The story grew from Nyles, thinking: ‘What is the best way to deeply challenge this flawed character?’ And that’s where we came up with Sarah, who became even more fully realized. And the best way to challenge her was Nyles. Putting those two characters together and seeing the friction it causes, the story grew around that.

Their dynamic, and the film more broadly, feels very philosophical. I’m thinking of a line like “Your best bet is to learn to suffer existence”. When you were writing, were there any conscious thinkers you wanted to incorporate? Max and I talked a lot about Albert Camus, and Jorge Luis Borges… but when I got to actually writing, Max gave me his copy of Be Here Now by Ram Dass. His copy, when he gave it to me, had over 100 Post-it notes. We’d talked in abstract ways in a philosophical sense, about individuation and what not. But every day before writing I’d take Be Here Now and open up at any page, read a page to kickstart the day. I think even that idea of suffering existence, that might actually be in Be Here Now…

Quyen Tran (operating camera) and director Max Barbakow (right) on the set of ‘Palm Springs’.

It felt so refreshing to see these characters delivering such epic lines seriously, but the film never becomes somber or dramatic. It stays light. Comedy is balanced with sincere emotion so well—especially when it comes to romance. In a scene outside the cave, when Nyles is giving his big speech, he says, “I’d rather die with you than live in this world without you.” Reading this out of context, it could be from an epic romance. How did you manage to marry the wit with such big feelings? That is one of the lines that, read out of context, could feel heavy-handed, so I appreciate that! From the get-go, it was important to set the tone of this movie, that we will never take ourselves too seriously. Max and I would joke about having one foot on a banana peel and the other in the grave, being able to go from slapstick to serious was always an important tonal shift for us. There’s a silliness to the movie, and so therefore with those lines, my hope is that even in reading the script, by the time you get to a line like that, you as a reader would know what Nyles is like in your mind. Also, I credit Andy Samberg for knowing how to deliver lines like that without them feeling cheesy. When we first met Andy and the Lonely Island guys, he understood this character, by the end better than I did. The character was just words on a page, a figure that existed in my mind. He created this character.

What did you learn from working with the Lonely Island guys, in terms of taking inspiration from their comedy experience while creating something brand new? By the time it got to them, the script was finished to a point that I was happy with. But Max and I didn’t know that much! So those three guys, and Becky Sloviter who was the producer for them, they know so much more than we did. We were able to not only on the practical side make people want to make this movie, but also on the other side, I’d say primarily in third-act stuff, they helped me dig deeper, and find a satisfying conclusion to the movie where the earlier version of the script just wasn’t as satisfying—you still got to the point, but we were able to mess with the mechanics a little bit more. And they got me to dig deeper on the science part too, where I let this journey into the subconscious via a Jungian, individuation approach maybe take hold a little too much!

I’m not very familiar with Palm Springs as a place. What was the appeal to build everything around this specific location? Both Max and I grew up in Southern California, and since the late 1980s I’ve been going to Palm Springs every year—my aunt had a condo out there. The place is a primarily LA retreat, with golf courses and retirement communities. Over the years, it’s just become a place for a lot of weddings to happen. So there’s that side, my own personal history of having seen the change and having gone there so many times over the past 34 years. I remember camping trips to Joshua Tree [National Park]—and I also got married in Palm Springs and went out to countless friends’ weddings there. But then also, I think there are mountain people, desert people, city people. I think I’m a desert person. There’s this mass openness that I find has a magical quality to it. Even if I don’t believe in magic, there’s somehow a magical solitude that comes in the desert. And there’s all sorts of literature, even going into pseudo-science, that is centered around the desert. Specifically the one surrounding Palm Springs.

Andy Samberg and Cristin Milioti in ‘Palm Springs’.

It feels like a blank canvas on which anything can happen—and if anything, having more space can make you more anxious about being trapped there. I agree. And I had written two Gram Parsons songs into the script, and he was also drawn to the desert in the 1970s, [the] Joshua Tree area. He wrote a lot there with Keith Richards. There’s some kind of draw to the desert that I don’t totally understand to be honest, it’s on a deeper subconscious level that it strikes that chord for me.

Speaking of the music, the film has so many satisfying needle drops. I’m thinking of Leonard Cohen’s ‘The Partisan’ and then Kate Bush’s ‘Cloudbusting’ in that amazing final scene. Were these written in from the start? A lot of songs were written in from the start that didn’t make it in for various reasons. ‘Cloudbusting’ came up in our first or second meeting with Andy—it was his idea and we were like, that’s perfect! Andy and Max [and I] all wanted to make sure Palm Springs didn’t use songs we had seen a million times in other movies. It was so important to us. And then we also wanted songs that spoke to a more magical quality too. I think the Leonard Cohen one was Cristin’s idea, so it was a very collaborative field, but we all knew what kind of stuff we wanted. It was about thinking, let’s try and find a sonic happy place.

What film first made you want to be a filmmaker? Jurassic Park is my number one. It made me want to do everything.

Related content

A list of films set in and around Palm Springs.

More films produced by The Lonely Island

A list of time loop, paradox and causality movies

‘Palm Springs’ is streaming on Hulu from July 10 and screening at select drive-ins. With thanks to NEON.