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Paul Thomas Anderson / Re: Other actors/directors/etc. who mention PTA
« Last post by wilberfan on September 16, 2018, 11:32:11 PM »
Maya briefly discusses her "husband" in NY Times Magazine Interview.

Rudolph’s first child with the director Paul Thomas Anderson was born in 2005, an event she credits with making her a more productive cast member, because of its freezing effect on her personal life. Previously unmissable activities, like “socializing, and going out for” — she spilled into a Valley Girl shriek — “draaanks!” suddenly revealed themselves to be nonessential. But even with her newfound focus and an internal clock recalibrated for the topsy-turvy “S.N.L.” night-owl schedule, the pace was grueling for a new parent. Sometimes, on writing nights, Rudolph would put her toddler to bed, head to work until “between 6 and 9 in the morning” and come home just as she awoke. Rudolph left the show in November 2007, when her daughter was 2.

“It was too hard,” she said. “And nobody else understands or cares, when they don’t have kids. They’re like: ‘Oh, that’s cool!’ ” she said, turning away with a distracted nod. “ ‘What are you guys doing tonight?’ They’re like, ‘We’re going to see Justin Timberlake because Andy’s doing “Dick in a Box” with him! What are you doing?’ And I was like” — Rudolph affected the faraway stare of a revenant — “ ‘My daughter’s sick. I’m going home.’ ”

Members of the public familiar with the careers of Rudolph and Anderson react to their long-term relationship in one of two ways: Either they are surprised to learn that Rudolph and Anderson have been a couple since 2001 or they knew that but are surprised to remember it. Perhaps it’s that a high-minded film auteur would not seem to possess a wacky enough personality to pair with a woman who earned a living parodying Beyoncé from Destiny’s Child as “Britanica” from “Gemini’s Twin”; perhaps it’s that Maya Rudolph is not Daniel Day-Lewis. Often people’s response to the couple takes the form of jocular fetishization, as when New York Magazine’s The Cut published a short opinion piece titled “Paul Thomas Anderson and Maya Rudolph Are the Greatest Celebrity Couple,” affectionately citing, as a piece of evidence, an unsmiling candid paparazzi photo of them walking side by side. There have been instances, however, when the teasing has overreached and Rudolph has, like her parents, found her interracial relationship the object of prurient interest. She recalled a comedy writer who told her that her and Anderson’s children were “quadroons or octoroons” — “because people think that being aggressive is funny, I guess.”

Although they are not married, Rudolph refers to Anderson as “my husband” in conversation, as when a maître d’ told her that a man once introduced himself to the restaurant’s staff as “the unofficial mayor of the Valley” and Rudolph instantly blurted, “I hope it wasn’t my husband.” She said it felt “ooky” to keep referring to her long-term partner as her “boyfriend” after the birth of their daughter (they now have four children); she likes “husband” because “people know what that means. It means he’s the father of my child, and I live with him, and we are a couple, and we are not going anywhere.”

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News and Theory / Re: What Films Are We Watching?
« Last post by wilder on September 16, 2018, 08:44:26 PM »
That’s a quality exchange. Actually makes me want to go back and watch it, again.

Exotica makes me think about what movies should be about, if a movie like Exotica, for all its depressive tendencies, has worth (it does, but for argument’s sake…) and that movies, or scenes, are fundamentally about people connecting or not connecting. Not if they do or do not, from one scene to the next, but how they do or how they don't.

When movies like Exotica, or Amour, or Solondz’s comedy-tempered works err towards the more disappointing answers to those questions when pursuing the brighter answers in so much earnest, they become hard pills to take. In those films specifically, effort expended to connect is not necessarily matched in favor, and coping mechanisms that might help alter the character's behaviors seem to be beyond their grasps. It’s the fearless gaze on the answers found to how they don't connect that give these types of films “worth”, I think. They don't. We know they don't. But these movies see the moment-to-moment how, and that’s what I want movies to be.
2017 In Film / Re: Star Wars Episode VIII: The Last Jedi
« Last post by pete on September 16, 2018, 08:25:26 PM »
it's not just that it breaks the fourth wall - but that it breaks fourth wall THE WAY EVERY SOFT REBOOT breaks fourth wall, but with a little more twitter-awareness than your Jurassic World. But what could "burn the old" coming from every single character's mouth possibly mean in the story aside from telling the audience "this is not your daddy's star wars!" I'd be fine if there was something else going in the movie, but I just wasn't even sure why else the movie felt like you needed to see it aside from letting you know that they were gonna pivot from their last pivot from two years ago.
News and Theory / Re: What Films Are We Watching?
« Last post by jenkins on September 16, 2018, 08:22:53 PM »
vibing. cinematic purgatory is a great description. there is this scene that touches upon what this movie might offer though. it's true that it doesn't offer hope, resolution, or catharsis. it's true that this movie says life doesn't offer that. but here's the scene i mean, it's Bruce Greenwood talking to Sarah Polley in a car at night

Sarah: Do you consider my dad a friend?
Bruce: Why?
Sarah:  J-Just asking.
Bruce: Does he consider me a friend?
Sarah: I don't know.
Bruce: Why not?
'Sarah: Cause he always seems different when you're around.
Bruce: Different in what way?
Sarah: J- Tense.
Bruce: Is that bad?
Sarah: Well, I don't really like to feel tense around my friends.
Bruce: Well, sure, yeah. I didn't like to feel tense around my friends when I was your age either.
Sarah: But you do now?
Bruce: No, it's not a question of liking it or not. It's just something that happens.
Sarah: Why?
Bruce: Um...well... as you get older…you become aware that the people you meet and the person you are... um, as carrying a certain amount of baggage. And, and that baggage creates tension. So what do you do about it? Well, you can pretend it's not there... or you can choose not to have friends... or you can acknowledge that it's there and have friends anyway.
Sarah: Like my dad?
Bruce: Right.
Sarah: I don't think that I like my dad when he's around you.
Bruce: Hmm. Well, that's...because your dad doesn't like himself when he's around me. But that's okay. That's... part of what friends do to each other.
Sarah: Good night.
Bruce: Good night.
News and Theory / Re: What Films Are We Watching?
« Last post by wilder on September 16, 2018, 08:08:43 PM »
I remember seeing that and never wanting to go back, not because it wasn't well done, but because it occupies such a sad state of mind it can turn your whole day or week a different color. It’s indeed one of the most depressive and hopeless feeling movies I’ve ever encountered (Abel Ferrara’s Fear City is up there, too). Exotica deserves a special place on a list of films taking place in something like cinematic purgatory, where no hope is offered, no resolution is sought, and not even a violent escalation takes place that might serve as catharsis in lieu of narrative progression. A pure wallow. I get a sick shiver just thinking about it.
2017 In Film / Re: Star Wars Episode VIII: The Last Jedi
« Last post by jenkins on September 16, 2018, 07:56:26 PM »
lol @ the idea of pete going back to watch the movie and find the exact quotes

he means it's like impossible for them to not act self-aware, which really does puncture the fantasy illusion, and sucks, and was present in The Last Jedi for sure
News and Theory / Re: What Films Are We Watching?
« Last post by jenkins on September 16, 2018, 07:54:03 PM »

this is strip club music according to Exotica, which really does say a lot about the movie. it's not a song in Jarmusch's Down by Law, btw, referring to the youtube image grab.

Exotica is mainly about feeling depressed, or almost depressed--Exotica thinks about reasons one might feel depressed, and the weird things we do to not feel that way (those things usually being quite depressing)

i'd say it's definitely better than The Adjuster. did i write about The Adjuster here? i watched it after Cronenberg's Crash, and i think Exotica is better. why? because it's like a lot clearer that everyone is hella bummed out in Exotica, while in The Adjuster it felt like a damn mystery why and how anyone was feeling anything.

like for example Exotica references this true point: that no one chooses to become alive. but Exotica builds on that darkness to ask this: why does anyone choose to stay alive?

Elias Koteas, who btw let's look at him

walking along having a conversation while getting to know someone, Koteas mentions pushing everything away from him in life, especially when and if it comes his way.

and in terms of like sociopolitical dimensions, the movie is ahead of 2018

it's a real a+ movie that i'm glad i revisited

now that i'm older i can say that i don't watch movies like this to be different or watch different types of movies than most people do. everyone just follows their own heart and gravitates toward what makes sense to them. this movie makes total sense to me, and it's hella dark, but it says that life is hella dark, and you just keep going if you can
2017 In Film / Re: Star Wars Episode VIII: The Last Jedi
« Last post by Jeremy Blackman on September 16, 2018, 06:17:39 PM »
here where multiple characters are like "nobody is into star wars anymore" which was said not just by Adam Driver but also Yoda and Luke and pretty much the whole movie.

2017 In Film / Re: Star Wars Episode VIII: The Last Jedi
« Last post by pete on September 16, 2018, 05:36:39 PM »
it's also not a very interesting meta narrative - literally every franchise reboot has a character almost winking at the audience declaring "this shit is old" - cue Jurassic World when Bryce Dallas Howard said "nobody is interested in dinosaurs anymore", Batman v Superman when Jeremy Irons said "nobody is interested in Batman fighting Superman", and here where multiple characters are like "nobody is into star wars anymore" which was said not just by Adam Driver but also Yoda and Luke and pretty much the whole movie.
2017 In Film / Re: Star Wars Episode VIII: The Last Jedi
« Last post by Drenk on September 16, 2018, 02:54:08 PM »
The thing that I find disturbing is the meta narrative about the franchise: how everyone is happy at the end that they're playing out exactly the dynamics of the first trilogy, as if it were some kind of victory. The last show—especially—which weirdly looks like a Disney add missing the "Everyone can be in Star Wars" tag was weird, and not only because it looked like what played before the movies...It's as if the only thing that young directors—talented like Johnson, or less talented—can say is some version of: "I can't believe I'm playing with my childhood toys!". As earnest as it can be I personally don't want to see his toys being the "real thing". And as earnest as he thinks he is, I wonder if there's not some kind of Stockholm Syndrom involved. Why can't Rey make the "wrong choice"? Can't a Rey/Ren union being a disaster sustain another movie?

But yes: critics who don't like Star Wars who are using this line to defend the idea that "Star Wars is clever now" are the one I am blaming for taking that particular bait.

It's interesting that we are still talking about this movie, though.

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