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“The reality is, that probably was a mistake.”

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"More Mick Jagger..."
The interesting interviews floating around this week.

Kaleem Aftab interviews Juliette Binoche in the Independent:

"When I shot with Kieslowski I lied to him because I didn’t see his films. But before we shot the film I saw them. There was once a time, I’d watch the films after working with the director, but now I always watch them before."

Mark Kermode (who declares "Pan’s Labyrinth" "the very best film of the year") talks to Guillermo Del Toro at the Observer:

‘The faun proved more difficult. The idea was to make him very masculine, not aggressively so, just sinuous. I remember talking to Doug Jones [who plays both the faun and the pale man] when he first started working on the role and saying, "More Mick Jagger, less David Bowie!" I wanted the faun to have a rock star quality. Everything about the faun and his personality needed to be masculine because you had to pit the female energy of the girl against something monolithic.’

George Ducker interviews our beloved David Gordon Green at The Believer:

BLVR: In All the Real Girls, there’s a scene of Paul Schneider’s character in a clown costume. He does a silly kind of dance for children at a hospital. At the end of the scene, he turns and looks dead into the camera—the music is still playing, people are still moving—but the scene fades out on Paul’s face, on his expression, which is very much like, “Haven’t you had enough of this? Can we just stop this for just a second?”

DGG: It’s a bold decision. People don’t even consider that an option.

BLVR: I thought about how that could be seen as a kind of mistake. I kept thinking about how mistakes become the finished product. How, when all is said and done, it becomes difficult to tell what’s intended in a finished cut from what’s not.

DGG: The reality is, that probably was a mistake. Like, I was talking to him while he was dancing and he just turned to the camera and had this kind of weird reaction to what I was saying. That’s what you find in the editing room. We all sit around and dig through the mistakes and incorporate a shitload of them.

Ryan Gilbey talks to Hugh Jackman at the Guardian:

"In the scenes with Christian in The Prestige, you could feel this hush descending over the entire soundstage. Everyone would get drawn in, no matter what they were doing. And then you know you’ve got it, you’ve transcended the words on the page, the marks on the floor." But even this doesn’t equal the thrill of theatre. "Nothing has ever really eclipsed for me those special moments. If I gave you my top 10 acting experiences, they’d all be on the stage."

Peter Howell chats with Albert Maysles about Scorsese‘s Rolling Stones doc (still untitled; Maysles is apparently pulling for "The Stones Keep Rolling") at the Toronto Star:

The Stones still shudder about Altamont. But they obviously don’t have any lingering bad vibes about Gimme Shelter, because both Mick Jagger and Keith Richards were keen to have Maysles on board for the Beacon shoot.

"They both recommended that I be brought on," Maysles said proudly. "That was nice. We exchanged hugs as soon as we got to see each other. I’m 80 years old, so I think of them as pretty young guys (Jagger is 63 and Richards is 62)."

N.P. Thompson interviews Malcolm McDowell at The House Next Door:

When Arliss Howard was one of the guests last year at the Port Townsend Film Festival, he spoke a little bit about working with Stanley Kubrick on Full Metal Jacket. He mentioned that after the long shoot, with all its multiple takes, Kubrick told him, "You’re gonna miss me. You’ll have directors who’ll say, ‘We got it,’ and you know they didn’t." Does that, in any way, sound like the Kubrick you knew?

No, not really. Stanley went a little nuts, I think. He didn’t start the 1500 takes until The Shining. [Pause] I could see him saying it, actually. He and I had a complex relationship; he was the antithesis of Lindsay Anderson. A Jewish boy from the Bronx, Stanley was savvy in a street way whereas Lindsay, who was an Oxonian, trained in Greek and Latin, wasn’t. They were polar opposites and yet very great artists. What I consider great about Stanley is that he was fluid enough to go with whatever was on the set. He went with the humor that I brought to A Clockwork Orange. Dr. Strangelove was also written straight – it was originally meant to be a scary tale – until Peter Sellers got a hold of it; he made it a comedy and better than what was on the page.

Tom Charity speaks with director Anthony Minghella at the Telegraph:

"Walter Murch
told me a very brilliant thing one time," he says. "He said: ‘Don’t
keep talking about the movie you thought you were making, look at the
movie you have made.’ For a long time I thought it was a comedy idea. I
guess my pen doesn’t feel the weight of the comedy. I am quite
surprised by the melancholy. I didn’t feel melancholy when I was I
writing it, but now I see it very clearly."

Gayle MacDonald, talking with Emma Thompson at the Globe and Mail:

In 1992, she turned down the role played by Sharon Stone in Basic Instinct, the steamy box office hit.

Not one to miss a beat, Thompson keenly observed that "Stone was shagging Michael Douglas like a donkey, and not an inch moved. If that had been me, there would have been things flying around hitting me in the eye."

And Daniel Nemet-Nejat interviews "Kurt Cobain: About A Son" director AJ Schnack at Nerve‘s Film Lounge:

He said at one point that punk rock saved him. What did he mean by that?
He says in the film that he grew up wanting to be a rock star, but that punk rock and, later, the musicians he was exposed to in Olympia, told him, "You don’t have to be a rock star. You can just make music. You don’t have to be this larger-than-life figure." He says finding punk rock saved him, but I also think it helped create this conflict in him over what he really wanted. Whether he wanted to aspire to what he had thought as a child or aspire to what he wanted after discovering punk rock and moving to Olympia — aspiring to more of a Sonic Youth level, somewhere where he could make it and have an audience and pay his rent and go on tour.

+ Juliette Binoche: Blond ambition (Independent)
+ ‘Pain should not be sought – but it should never be avoided’ (Observer)
+ David Gordon Green (Believer)
+ ‘Well, I am a big old ham …’ (Guardian)

+ Scorsese’s Last Waltz, Stones style (Toronto Star)
+ "Keep the Audience Awake!": An Interview with Malcolm McDowell (The House Next Door)
+ ‘I wanted to make a film about home’ (Telegraph)
+ No stranger to fiction (Globe and Mail)

+ The Man Behind the Grunge (Nerve Film Lounge)   

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G.I. Jeez

Stomach Bugs and Prom Dates

E.Coli High is in your gut and on IFC's Comedy Crib.

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Brothers-in-law Kevin Barker and Ben Miller have just made the mother of all Comedy Crib series, in the sense that their Comedy Crib series is a big deal and features a hot mom. Animated, funny, and full of horrible bacteria, the series juxtaposes timeless teen dilemmas and gut-busting GI infections to create a bite-sized narrative that’s both sketchy and captivating. The two sat down, possibly in the same house, to answer some questions for us about the series. Let’s dig in….


IFC: How would you describe E.Coli High to a fancy network executive you just met in an elevator?

BEN: Hi ummm uhh hi ok well its like umm (gets really nervous and blows it)…

KB: It’s like the Super Bowl meets the Oscars.

IFC: How would you describe E.Coli High to a drunk friend of a friend you met in a bar?

BEN: Oh wow, she’s really cute isn’t she? I’d definitely blow that too.

KB: It’s a cartoon that is happening inside your stomach RIGHT NOW, that’s why you feel like you need to throw up.

IFC: What was the genesis of E.Coli High?

KB: I had the idea for years, and when Ben (my brother-in-law, who is a special needs teacher in Philly) began drawing hilarious comics, I recruited him to design characters, animate the series, and do some writing. I’m glad I did, because Ben rules!

BEN: Kevin told me about it in a park and I was like yeah that’s a pretty good idea, but I was just being nice. I thought it was dumb at the time.


IFC: What makes going to proms and dating moms such timeless and oddly-relatable subject matter?

BEN: Since the dawn of time everyone has had at least one friend with a hot mom. It is physically impossible to not at least make a comment about that hot mom.

KB: Who among us hasn’t dated their friend’s mom and levitated tables at a prom?

IFC: Why do you think the world is ready for this series?

BEN: There’s a lot of content now. I don’t think anyone will even notice, but it’d be cool if they did.

KB: A show about talking food poisoning bacteria is basically the same as just watching the news these days TBH.

Watch E.Coli High below and discover more NYTVF selections from years past on IFC’s Comedy Crib.

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Hacked In

Funny or Die Is Taking Over

FOD TV comes to IFC every Saturday night.

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We’ve been fans of Funny or Die since we first met The Landlord. That enduring love makes it more than logical, then, that IFC is totally cool with FOD hijacking the airwaves every Saturday night. Yes, that’s happening.

The appropriately titled FOD TV looks like something pulled from public access television in the nineties. Like lo-fi broken-antenna reception and warped VHS tapes. Equal parts WTF and UHF.

Get ready for characters including The Shirtless Painter, Long-Haired Businessmen, and Pigeon Man. They’re aptly named, but for a better sense of what’s in store, here’s a taste of ASMR with Kelly Whispers:

Watch FOD TV every Saturday night during IFC’s regularly scheduled movies.

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Wicked Good

See More Evil

Stan Against Evil Season 1 is on Hulu.

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GIFs via Giphy

Okay, so you missed the entire first season of Stan Against Evil. There’s no shame in that, per se. But here’s the thing: Season 2 is just around the corner and you don’t want to lag behind. After all, Season 1 had some critical character development, not to mention countless plot twists, and a breathless finale cliffhanger that’s been begging for resolution since last fall. It also had this:


The good news is that you can catch up right now on Hulu. Phew. But if you aren’t streaming yet, here’s a basic primer…

Willards Mill Is Evil

Stan spent his whole career as sheriff oblivious to the fact that his town has a nasty curse. Mostly because his recently-deceased wife was secretly killing demons and keeping Stan alive.

Demons Really Want To Kill Stan

The curse on Willards Mill stipulates that damned souls must hunt and kill each and every town sheriff, or “constable.” Oh, and these demons are shockingly creative.


They Also Want To Kill Evie

Why? Because Evie’s a sheriff too, and the curse on Willard’s Mill doesn’t have a “one at a time” clause. Bummer, Evie.

Stan and Evie Must Work Together

Beating the curse will take two, baby, but that’s easier said than done because Stan doesn’t always seem to give a damn. Damn!


Beware of Goats

It goes without saying for anyone who’s seen the show: If you know that ancient evil wants to kill you, be wary of anything that has cloven feet.


Season 2 Is Lurking

Scary new things are slouching towards Willards Mill. An impending darkness descending on Stan, Evie and their cohort – eviler evil, more demony demons, and whatnot. And if Stan wants to survive, he’ll have to get even Stanlier.

Stan Against Evil Season 1 is now streaming right now on Hulu.

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