Interviews: Glover, Clowes, Bernal.

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No, seriously -- what is it?
We know everyone and their mother has read this already, but still: Keith Brammer‘s interview with one Crispin Hellion Glover at the Onion AV Club on "What Is It?", self distribution and the state of indie film is solid gold. Weird, weird gold.

One of the reasons I made the film in this fashion is that films right now sit within the boundaries of what’s considered good and evil. And if a filmmaker wants to make or distribute a film which has elements in it that go beyond good and evil, where there is not a commentary on those elements, those films will not get funded or distributed.

At the San Francisco Bay Guardian, Kimberly Chun has a long chat with Daniel Clowes about art school and "Art School Confidential."

"If I watch a comedy, after about an hour I just want it to end," Clowes says. And it was a cinch for the screenwriter and coproducer to get in touch with that old art-school anger and alienation. "That’s always there," he continues. "Being a cartoonist, except for the last couple years, was always a frustrating and humiliating field to be in. It was so impressed on me already — none of the big successes of last five years have any meaning for me. It hasn’t changed a thing. ‘Oh, I’m in the New York Times‘ — it doesn’t help. My resentment was so deep for so long that I can’t shake it.

"Look at Charles Schulz," he adds. "The most successful cartoonist in the history of the medium had over $200 million when he died, and the most beloved cartoonist of all time, and he was still bitter about slights when he was a young guy, when people didn’t give him a break. I can absolutely relate to that."

In the Independent, Chris Sullivan talks to Gael Garcia Bernal about "The King," while at the Telegraph, the film’s director James Marsh discusses with David Gritten how Bernal’s early commitment to the film helped get it made. And at the London Times, Garth Pearce interviews another of "The King"’s stars: Laura Harring (who’s almost unrecognizable in the film — she sort of makes herself into Jeanne Tripplehorn in "Big Love").

At the Observer, Lynn Barber profiles Ray Winstone, and writes that his new film "All in the Game" "is remarkable for having the highest expletive count of any film I have ever seen." At the Guardian, Xan Brooks‘ talks with eternal character actor Luiz Guzmán:

Guzman is so good at melting into the warp and woof of a production that he can sometimes be overlooked, or confused with others. The press material for his latest film, for instance, misspells his surname (as "Guizman"). When I ask what movie he is most identified with he tells me it is "Ghost." It’s not that he was actually in "Ghost," he explains. It’s just that people tend to mix him up with Rick Aviles, another actor of Puerto Rican descent.

At the Independent, Geoffrey Macnab stops in with Kieslowski muse Irène Jacob:

Kieslowski, she says, refused to discuss the underlying themes of the film ["The Double Life Of V̩ronique"] with her. "That would have meant speaking about metaphysics and chance and doubles. He told me that because the film could be taken on such a poetic level we had to be very concrete. For him, metaphysics and chance was something always there in banal, everyday life Рa piece of light, the rain," she recalls.

And at New York, Liesl Schillinger has a Q&A with "Wah-Wah" writer/director Richard E. Grant.

+ Crispin Glover
(Onion AV Club)
+ The class struggle of Daniel Clowes (SF Bay Guardian)
+ Gael Garcia Bernal: Journeys of the soul (Independent)
+ How a star kept our film on the road (Telegraph)
+ Living in a material world (London Times)
+ ‘I had to keep kissing Angelina Jolie’ (Observer)
+ Accidental actor (Guardian)
+ Irène Jacob: The picture of innocence (Independent)
+ African Boyhood: Richard E. Grant (New York)


New Nasty

Whips, Chains and Hand Sanitizer

Turn On The Full Season Of Neurotica At IFC's Comedy Crib

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Jenny Jaffe has a lot going on: She’s writing for Disney’s upcoming Big Hero 6: The Series, developing comedy projects with pals at Devastator Press, and she’s straddling the line between S&M and OCD as the creator and star of the sexyish new series Neurotica, which has just made its debut on IFC’s Comedy Crib. Jenny gave us some extremely intimate insight into what makes Neurotica (safely) sizzle…


IFC: How would you describe Neurotica to a fancy network executive you met in an elevator?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon.

IFC: How would you describe Neurotica to a drunk friend of a friend you met in a bar?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. You’re great. We should get coffee sometime. I’m not just saying that. I know other people just say that sometimes but I really feel like we’re going to be friends, you know? Here, what’s your number, I’ll call you so you can have my number!

IFC: What’s your comedy origin story?

Jenny: Since I was a kid I’ve dealt with severe OCD and anxiety. Comedy has always been one of the ways I’ve dealt with that. I honestly just want to help make people feel happy for a few minutes at a time.

IFC: What was the genesis of Neurotica?

Jenny: I’m pretty sure it was a title-first situation. I was coming up with ideas to pitch to a production company a million years ago (this isn’t hyperbole; I am VERY old) and just wrote down “Neurotica”; then it just sort of appeared fully formed. “Neurotica? Oh it’s an over-the-top romantic comedy about a Dominatrix with OCD, of course.” And that just happened to hit the buttons of everything I’m fascinated by.


IFC: How would you describe Ivy?

Jenny: Ivy is everything I love in a comedy character – she’s tenacious, she’s confident, she’s sweet, she’s a big wonderful weirdo.

IFC: How would Ivy’s clientele describe her?

Jenny:  Open-minded, caring, excellent aim.

IFC: Why don’t more small towns have local dungeons?

Jenny: How do you know they don’t?

IFC: What are the pros and cons of joining a chain mega dungeon?

Jenny: You can use any of their locations but you’ll always forget you have a membership and in a year you’ll be like “jeez why won’t they let me just cancel?”

IFC: Mouths are gross! Why is that?

Jenny: If you had never seen a mouth before and I was like “it’s a wet flesh cave with sharp parts that lives in your face”, it would sound like Cronenberg-ian body horror. All body parts are horrifying. I’m kind of rooting for the singularity, I’d feel way better if I was just a consciousness in a cloud.

See the whole season of Neurotica right now on IFC’s Comedy Crib.


The ’90s Are Back

The '90s live again during IFC's weekend marathon.

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Photo Credit: Everett Digital, Columbia Pictures

We know what you’re thinking: “Why on Earth would anyone want to reanimate the decade that gave us Haddaway, Los Del Rio, and Smash Mouth, not to mention Crystal Pepsi?”


Thoughts like those are normal. After all, we tend to remember lasting psychological trauma more vividly than fleeting joy. But if you dig deep, you’ll rediscover that the ’90s gave us so much to fondly revisit. Consider the four pillars of true ’90s culture.

Boy Bands

We all pretended to hate them, but watch us come alive at a karaoke bar when “I Want It That Way” comes on. Arguably more influential than Brit Pop and Grunge put together, because hello – Justin Timberlake. He’s a legitimate cultural gem.

Man-Child Movies

Adam Sandler is just behind The Simpsons in terms of his influence on humor. Somehow his man-child schtick didn’t get old until the aughts, and his success in that arena ushered in a wave of other man-child movies from fellow ’90s comedians. RIP Chris Farley (and WTF Rob Schneider).



Teen Angst

In horror, dramas, comedies, and everything in between: Troubled teens! Getting into trouble! Who couldn’t relate to their First World problems, plaid flannels, and lose grasp of the internet?

Mainstream Nihilism

From the Coen Bros to Fincher to Tarantino, filmmakers on the verge of explosive popularity seemed interested in one thing: mind f*cking their audiences by putting characters in situations (and plot lines) beyond anyone’s control.

Feeling better about that walk down memory lane? Good. Enjoy the revival.


And revisit some important ’90s classics all this weekend during IFC’s ’90s Marathon. Check out the full schedule here.


Get Physical

DVDs are the new Vinyl

Portlandia Season 7 Now Available On Disc.

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GIFs via Giffy

In this crazy digital age, sometimes all we really want is to reach out and touch something. Maybe that’s why so many of us are still gung-ho about owning stuff on DVD. It’s tangible. It’s real. It’s tech from a bygone era that still feels relevant, yet also kitschy and retro. It’s basically vinyl for people born after 1990.


Inevitably we all have that friend whose love of the disc is so absolutely repellent that he makes the technology less appealing. “The resolution, man. The colors. You can’t get latitude like that on a download.” Go to hell, Tim.

Yes, Tim sucks, and you don’t want to be like Tim, but maybe he’s onto something and DVD is still the future. Here are some benefits that go beyond touch.

It’s Decor and Decorum

With DVDs and a handsome bookshelf you can show off your great taste in film and television without showing off your search history. Good for first dates, dinner parties, family reunions, etc.


Forget Public Wifi

Warm up that optical drive. No more awkwardly streaming episodes on shady free wifi!



Internet service goes down. It happens all the time. It could happen right now. Then what? Without a DVD on hand you’ll be forced to make eye contact with your friends and family. Or worse – conversation.


Self Defense

You can’t throw a download like a ninja star. Think about it.


If you’d like to experience the benefits DVD ownership yourself, Portlandia Season 7 is now available on DVD and Blue-Ray.