Cool.
After Trump, Cardi B as president would be a massive improvement.
Just because...
The Fabelmans (Steven Spielberg, 2022) mild
Petite maman (Céline Sciamma, 2021) mild
The Banshees of Inisherin (Martin McDonagh, 2022) mild
The last book I read was...
The Complete Short Stories by Mark Twain
The (New) World
The only fresh part of that story is the part about the algorithm.
It's awful but expecting low wage workers to front costs (eg: uniforms, tools, transportation) that should obviously be picked up by their companies is very old news ... like last century old.
I am kinda interested tho in how all these media freakouts about THE ALGORITHM tie into their general freakouts about any new technology --- from videogames to virtual reality to AI.
I agree to an extent.Quoting Irish (view post)
Expecting workers to foot the bill for gifts for rich people is a bit different from money for their uniform. I still think the latter is awful, but the former is all kinds of messed up.
Random realization: it takes approximately 12 times of people saying "why are you in a bad mood" or "why are you pissed off" or "what's wrong with you" to turn me from being in a totally fine mood to actually fucking pissed off.
Immediately followed by now IM the asshole for now being pissed off.
Thing is - were you pissed off when they asked after all?
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No! I was in a totally fine mood. Until I was passive aggressively badgered into NOT being in a fine mood.Quoting [ETM] (view post)
So why'd you look pissed off???
Watching The Social Network on TV... "Bosnia... They don't have roads but they have Facebook"...?!!
I so fucking hate it when Hollywood does this. They had a civil war, they didn't go back to the fucking Stone Age.
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They clapped for themselves for honoring an international movie and talking about diversity. Let's see if they come through.Quoting [ETM] (view post)
Like Natalie Portman and her cape for women directors, but her studio has only had one project with a woman director... her. lol.
That really is so fucking cringyQuoting Ezee E (view post)
What's actually fucking cringy is her experiences in Hollywood on this issue over the years. With Thor 2 (where she only returned because she got to choose Patty Jenkins) to Jane Got a Gun, both of which turned out badly for the female directors Portman wanted to work with, I fail to see how people can say Portman is clapping herself on the back. From "here are the all male nominees" in 2017 GG onwards, it's clear her experiences has made her passionate about it. And her production company closed operations almost three years ago, probably due to the failure of Jane Got a Gun (whose original director, promoted precisely by Natalie and her company, was Lynne Ramsay). Not to mention Mimi Ledger (whom she fought for to direct On the Basis of Sex, in which her insistence of female director held the project for a while) and others, which are included in this twitter thread:
Also Marielle Heller:
Her not having worked with many female directors here is a rare case of it proving her point for once, because from these various cases it's apparent the Hollywood industry is really resistant to the idea of female filmmakers, even if one of their biggest stars is on board and has pushed for it for a long time.
And with all these legitimate data points, her actual response to the surface-level backlash of that caper is pretty gracious:
Midnight Run (1988) - 9
The Smiling Lieutenant (1931) - 8.5
The Adventures of Robinhood (1938) - 8
Sisters (1973) - 6.5
Shin Godzilla (2016) - 7.5
Back in the real world, nobody gives a shit when you try hard and still fail (repeatedly). You don't get credit for trying.
Anyway ... not too interested in Rose McGowan vs Natalie Portman but I am HERE for Paul Schrader vs Jon Jost.
https://twitter.com/trillmoregirls/s...50317031206912
https://twitter.com/trillmoregirls/s...48707874639872
LAAAAAAAAAAAAAAAAAAAWLZ
Back in the real world, struggles and nuances can bring some light to larger truth for awareness though. It's only online like in this thread that to "get credit" (man, what a telling phrase to bring in for this issue) it seems you have to completely change the landscape of the film industry, or else.
Midnight Run (1988) - 9
The Smiling Lieutenant (1931) - 8.5
The Adventures of Robinhood (1938) - 8
Sisters (1973) - 6.5
Shin Godzilla (2016) - 7.5
Any idea why Lynne ultimately left that project? I know Jude Law left the project once she couldn't direct it.
For some reason, I've been thinking a lot about Jost lately, despite--or maybe because--of the fact that the only film of his I've seen is the short Godard 1980, which is included as a bonus feature on the Criterion DVD of Sauve qui peut (la vie). On his blog, Jost comes off as something of a crank, claiming that he has no interest in being famous one moment and then bitterly rebuking the mainstream media for not paying attention to his work the next. (As far as I can tell, Jost's recent features haven't even been reviewed in the trades.) In the early 1980s, Jonathan Rosenbaum reported that Jost's early features were intended partly to demonstrate to Hollywood that he could make slick, well-acted narrative films for virtually nothing and that his ultimate aspiration was to make essay films for a mass audience, yet he seems preternaturally averse to the sort of compromises that would allow him to enjoy even the modest institutional support accorded to the famously intransigent Godard, to say nothing of Schrader, whose own filmmaking career can be seen as a series of compromises between his artistic aspirations and his desire to get his films shown in multiplexes--hence the unevenness and downright wackiness of so many of his movies which always feel most compromised when they're awkwardly genuflecting to European art cinema. So it doesn't seem surprising that Schrader would be back an "electable" moderate and Jost wouldn't consider that same moderate, even if he has a reasonable chance of defeating Trump in the general (which is not to say that one should uncritically accept the beltway dogma that "moderates" are, by definition, more electable than leftists, a notion that seems especially dubious in the case of a billionaire who is effectively trying to buy the Democratic nomination).Quoting Irish (view post)
Just because...
The Fabelmans (Steven Spielberg, 2022) mild
Petite maman (Céline Sciamma, 2021) mild
The Banshees of Inisherin (Martin McDonagh, 2022) mild
The last book I read was...
The Complete Short Stories by Mark Twain
The (New) World
Yeah that line is really dumb.Quoting [ETM] (view post)
BLOG
And everybody wants to be special here
They call your name out loud and clear
Here comes a regular
Call out your name
Here comes a regular
Am I the only one here today?
Who said it in the movie? I forget the context, but I just figure it was the character being naive rather than the screenwriter believing it's actually true.Quoting MadMan (view post)
Marylin Delpy (Rashida Jones), so says Google.
EDIT:
"How is education supposed to make me feel smarter? Besides, every time I learn something new, it pushes some old stuff out of my brain. Remember when I took that home wine-making course and forgot how to drive?"
--Homer
Yeah, her character is far from naive. It's just a lazy continuation of the Hollywood trope where any war zone the US were ever involved in is dangerous and primitive. Bosnia and Somalia are basically the same, even though the former hosted the Olympic Games, among other things.
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I never read Rosenbaum on Jost, so I'm kinda surprised either would claim Jost wanted to do anything for a mass audience --- at least, on the basis of the films he's made. Yeesh.Quoting baby doll (view post)
Schrader is conservative in his private life, iirc, and something of a dumbass, so it doesn't surprise me he'd say something as clueless as "Bloomberg was a great mayor!"
I thought the interaction was fun, especially since I had *no* idea Jost was still alive.
Tangentially related: I once spent 90 minutes in a classroom setting with Henry Rosenthal, Jost's longtime producer, who was there to talk to students about film production. Dude was awful. Not an asshole. Not mean. But he basically spent an hour and a half telling a buncha hopeful 19 and 20 year olds how absolutely terrible the film business was. It was one of the biggest downers I've experienced in a quasi-professional setting. I couldn't wait to get the hell away from him.
Yeah, can't really defend it coming from that character.Quoting [ETM] (view post)
I think this desire speaks to a contradiction at the heart of a lot of left-leaning political cinema, the desire to make an uncompromisingly radical film and then to distribute it to the widest possible audience. Judging from his blog posts, it seems that Jost (like Peter Watkins) has never totally resigned himself to small audiences (as Ogawa Shinsuke did), but at the same time steadfastly refuses to compromise his artistry (as, for instance, Michael Moore does by making "entertaining," saleable leftist agit-prop films that play in multiplexes). (A third option, which Godard and Gorrin pursue in Tout va bien, is to make a film self-reflexively commenting on the compromises inherent in making a saleable film with stars.)Quoting Irish (view post)
He's not wrong.
Just because...
The Fabelmans (Steven Spielberg, 2022) mild
Petite maman (Céline Sciamma, 2021) mild
The Banshees of Inisherin (Martin McDonagh, 2022) mild
The last book I read was...
The Complete Short Stories by Mark Twain
The (New) World
This reminds me of something Robert McKee (yeah, I know) once related:Quoting baby doll (view post)
"In 1961 Alain Robbe-Grillet wrote Last Year in Marienbad and throughout the seventies and eighties he wrote brilliant Antiplot puzzle pieces --- films more about the art of writing than the about the act of living. I once asked him how, despite the anticommercial bent of his films, he did it. He said he'd never spent more than $750,000 to make a film and never would. His audience was faithful but meager. At an ultra-low budget his investors doubled their money and kept him in the director's chair. But at $2 million they would lose their shirts and he his seat. Robbe-Grillet was both visionary and pragmatic."
He wasn't, but then never have I seen the aphorism "consider your audience" ring more true. The Q&A follow-up, with everybody sitting there shocked and ashen, had the energy of a wake. I can't remember the first question but it might as well have been, "Is suicide a viable career option?"