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Thread: Random Thoughts

  1. #47451
    The Pan megladon8's Avatar
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    Cool.

  2. #47452
    After Trump, Cardi B as president would be a massive improvement.
    Just because...
    Prince Charming (Wong Jing, 1984) cold
    Hungry Soul, Parts I and II (Kawashima Yuzo, 1956) cold
    Rocketman (Dexter Fletcher, 2019) cold

    The last book I read was...
    Story and Discourse: Narrative Structure in Fiction and Film by Seymour Chatman


    The (New) World

  3. #47453
    The Pan megladon8's Avatar
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  4. #47454
    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.

  5. #47455
    The Pan megladon8's Avatar
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    Quote Quoting Irish (view post)
    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.

    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.

  6. #47456
    good for health Skitch's Avatar
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    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.

  7. #47457
    Second star to the right [ETM]'s Avatar
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    Thing is - were you pissed off when they asked after all?

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  8. #47458
    good for health Skitch's Avatar
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    Quote Quoting [ETM] (view post)
    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.

  9. #47459
    Administrator Ezee E's Avatar
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    So why'd you look pissed off???


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  10. #47460
    Second star to the right [ETM]'s Avatar
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    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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  11. #47461
    Administrator Ezee E's Avatar
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    Quote Quoting [ETM] (view post)
    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.

    Like Natalie Portman and her cape for women directors, but her studio has only had one project with a woman director... her. lol.

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  12. #47462
    good for health Skitch's Avatar
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    Quote Quoting Ezee E (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 cringy

  13. #47463
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    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:

    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

  14. #47464
    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

  15. #47465
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    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

  16. #47466
    Administrator Ezee E's Avatar
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    Any idea why Lynne ultimately left that project? I know Jude Law left the project once she couldn't direct it.

    The Hunt - **
    Invisible Man - *** 1/2
    Little Women - *** 1/2


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  17. #47467
    Quote Quoting Irish (view post)
    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
    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).
    Just because...
    Prince Charming (Wong Jing, 1984) cold
    Hungry Soul, Parts I and II (Kawashima Yuzo, 1956) cold
    Rocketman (Dexter Fletcher, 2019) cold

    The last book I read was...
    Story and Discourse: Narrative Structure in Fiction and Film by Seymour Chatman


    The (New) World

  18. #47468
    MadMan Lives MadMan's Avatar
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    Quote Quoting [ETM] (view post)
    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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    Yeah that line is really dumb.
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  19. #47469
    Administrator Ezee E's Avatar
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    Quote Quoting MadMan (view post)
    Yeah that line is really dumb.
    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.

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  20. #47470
    Sunshine and peace Wryan's Avatar
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    Marylin Delpy (Rashida Jones), so says Google.

    EDIT:
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  21. #47471
    Second star to the right [ETM]'s Avatar
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    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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  22. #47472
    Quote Quoting baby doll (view post)
    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).
    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.

    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.

  23. #47473
    Administrator Ezee E's Avatar
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    Quote Quoting [ETM] (view post)
    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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    Yeah, can't really defend it coming from that character.

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  24. #47474
    Quote Quoting Irish (view post)
    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.
    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.)

    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.
    He's not wrong.
    Just because...
    Prince Charming (Wong Jing, 1984) cold
    Hungry Soul, Parts I and II (Kawashima Yuzo, 1956) cold
    Rocketman (Dexter Fletcher, 2019) cold

    The last book I read was...
    Story and Discourse: Narrative Structure in Fiction and Film by Seymour Chatman


    The (New) World

  25. #47475
    Quote Quoting baby doll (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.)
    This reminds me of something Robert McKee (yeah, I know) once related:

    "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's not wrong.
    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?"

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