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71
The Small Screen / GLOW
« Last post by wilder on May 16, 2017, 04:50:26 AM »



Inspired by the short-lived but beloved show from the 80s, GLOW tells the fictional story of Ruth Wilder (Alison Brie), an out-of-work, struggling actress in 1980s Los Angeles who finds one last chance for stardom when sheís thrust into the glitter and spandex world of women's wrestling. In addition to working with 12 Hollywood misfits, Ruth also has to compete with Debbie Eagan (Betty Gilpin), a former soap actress who left the business to have a baby, only to be sucked back into work when her picture perfect life turns out not to be what it seems. At the wheel is Sam Sylvia (Marc Maron), a washed-up, B-movie director who now must lead this group of women on the journey to wrestling super stardom.

Release Date - June 23rd on Netflix

Shot by Christian Sprenger, same DP as "Baskets" and "Atlanta"
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David Lynch / Re: HALFBORN: An Inland Empire Analysis
« Last post by TwinPeaksFan on May 16, 2017, 04:00:45 AM »
Some great speculations on this board, thanks to everyone who has contributed! I did find a lot of answer's in Lidstone's book though, best analysis so far, here is the link for those who haven't checked it out yet: https://www.amazon.com/David-Lynchs-INLAND-EMPIRE-Explained-ebook/dp/B004LGS7I6/ref=sr_1_1?ie=UTF8&qid=1494925215&sr=8-1&keywords=lynch+inland+empire
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The Small Screen / Re: Better Call Saul
« Last post by Jeremy Blackman on May 16, 2017, 12:59:08 AM »
SPOILERS

I just read a critic say that Chuck is hatching a new plan against Jimmy. But that's wrong, right? It seems like he's motivated to get help for himself. He even called the doctor who was skeptical about his condition.

And I'm going to have to reiterate this. Something is off about Mike's daughter-in-law. She seems manipulative and not genuine, and/or a little crazy. It was worse when she was trying to get a new house, but it's still there. Whenever she talks, it sounds like she's reciting something from memory, not speaking like a human. Is this a problem with the acting, or is it an intended part of her character?
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The Small Screen / Re: The Leftovers
« Last post by Jeremy Blackman on May 15, 2017, 09:59:42 PM »
Two of my favorite people having a deep conversation... great stuff. Thank you for that.

I love how Damon has no false modesty.
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The Small Screen / Re: The Leftovers
« Last post by Fuzzy Dunlop on May 15, 2017, 01:51:08 PM »
Apparently this week's episode was inspired by Matt Zoller Seitz, according to this Vulture piece, "Why Sunday Nightís Episode of The Leftovers Was Inspired by Matt Zoller Seitz", by Matt Zoller Seitz.

http://www.vulture.com/2017/05/leftovers-episode-inspired-by-matt-zoller-seitz.html
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The Grapevine / Re: Wonderstruck
« Last post by Just Withnail on May 15, 2017, 05:22:31 AM »
Yeah really. That clip tickles me.

It's quietly cosmic in the way it juxtaposes the time periods, 70s/ancient history, 20s/ancient history, 20s/70s.

We get a sense of the things that pass away: Fashions, technology (b/w vs color), species.

And we get a sense of something constant: human curiosity and play, the museum itself (a safeguard against entropy, the passing-away of things, collective forgetfulness).
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The Small Screen / Re: The Leftovers
« Last post by Jeremy Blackman on May 15, 2017, 01:00:12 AM »
Totally agreed. Something didn't quite click in the production of this episode. But it still worked.

I was going to ask about the French intro. That's interesting.

David Burton has actually been a part of the show for a while. I knew I recognized him from somewhere in the show, then I read this comment:

Quote
He's mentioned and has to do with all three seasons. In season one they talk about a guy killed in a rock climbing accident in Australia, guides kevin through the hotel twice, stands on bridge before kevin pushes girl in well, and the latest mention is when the man in the tower died there was an envelope addressed to a David Burton.
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The Small Screen / Re: The Leftovers
« Last post by Drenk on May 15, 2017, 12:20:53 AM »
SPOILERS:

I thought this episode was not as well directed as previous episodes, I don't know if you've felt that way. Anyway: even if it was often not subtle at all I thought it was very effective because it made you feel ill.

Matt lost his faith and is relieved. He is dying. But he is relieved. His faith has always been, yes, selfish...He was always hurting people. Even in this episode he doesn't care about John...


During the credits, the french dude (who sounds more like a canadian trying to speak like a frenchman in a weird translated french) talks about destroying a demon living in volcano, if I understand correctly. "Thanks for the technology", he says.
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The Director's Chair / Re: Next in line for Soderbergh
« Last post by wilder on May 14, 2017, 06:57:30 AM »
From Soderbergh's mailing list:

Quote
May 12, 2017

READER'S DEPT.

The way I figured it, writing was a way in, because writing didnít cost anything.

In April of 1985 I had just finished the Yes concert film that would not catapult me to fame and fortune and I was sitting in the offices of Lookout Management on Sunset Blvd and saying to Mary Klauser, who ran the joint, that I wasnít sure what the concert film would really DO for me since making concert films wasnít really what I wanted to do, and in fact while I was editing the Yes concert film I saw Russell Mulcahyís AS THE LIGHTS GO DOWN and it was so awesome I wanted to shoot myself, and so I asked Mary what was all that FOR? And Mary said, YOU NEED AN AGENTóI KNOW AN AGENT and she called Ann Dollard, who turned out to be a not only an agent but a truly rare human being, and Ann and I agreed a good way for me to start making my way forward would be to write scripts while I continued to make short films so that I could get writing jobs to support myself. I was living in Baton Rouge at the time, and I sat down at my Kaypro computer and wrote three scripts back-to-back over the next eight months (I had one script Iíd been trying to make as a low-budget feature, PUTTING ON AIRS, but I didnít consider it the right kind of calling card as a writer). The link below, PROOF POSITIVE, was the first of the three specs. I had recently seen THE RETURN OF MARTIN GUERRE and thought it could be transported to another time and place (later someone else would have the same idea, the result being SOMMERSBY). Again, I did this as a writing sample, not as a project for me to make. I then wrote a script called CROSSTALK, a comedy about a mildly dysfunctional suburban family, and STATE OF MIND, a psychological thriller about some spoiled kids who stage a false kidnapping to extort money from their parents. PROOF POSITIVE is the least bad of the three, and I donít think youíll find anything exceptional in it; I wrote it (as I wrote the others) to show I could write a functional screenplay. My scheme worked, sort of. I got a job writing an hour-long after school movie for Disney called CITY TO COUNTRY that was never made but got me into the WGA (which Iím not a voting member of now, long story), and then a musical(!) for Tri-Star called ACROSS THE LINE. This was fortuitous because the executive involved, Casey Silver, would later become head of Universal and allow me to make KING OF THE HILL, THE UNDERNEATH and OUT OF SIGHT during his tenure (our relationship continues; he is now producing MOSAIC for me). Meanwhile, in early í87 I wrote another script, DEAD FROM THE NECK UP, an AIRPLANE!-style detective film, and this found its way to Bobby Newmyer, an executive at Columbia. He tried to get DEAD set up for me to direct, and while he was doing that, he slipped me a little money to write a spy film called REVOLVER. This was now late 1987 and I had decided two things: I had to leave Baton Rouge once again for Los Angeles to make a real play at getting a feature film made, and there was no way I was going to get past the first act of REVOLVER. Iíd been making notes for a CARNAL KNOWLDEGE-type film and while driving from Louisiana to California in January 1988 I started writing SEX, LIES. I gave it to Bobby in lieu of the spy movie and he felt he could get it financed.

The success of SEX, LIES created a paradox I didnít see at the time: On the one hand, writing had gotten me to the place Iíd always wanted to be, but on the otheróand this is what I didnít understand thenóI wasnít a writer. I had WRITTEN, but I wasnít a writer. It would take me several years and several films to understand this. Once I did, and began to work with REAL writers, my career advanced dramastically.

The reason for all these words is, of course, commerce: we have a new, Joe Gillis-themed t-shirt to offer. Letís hope we all make it back to the copy desk in Ohio before some deranged movie star plugs us full of holesÖ

Yours,

Sam Lowry

READ PROOF POSITIVE: HERE
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This Year In Film / Re: Get Out
« Last post by Reelist on May 13, 2017, 05:30:19 PM »
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