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DID YOU READ

Odds: Friday – Cormac, Coens, Corman.

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Yup.
Time‘s Lev Grossman gets to watch the semi-reclusive (he has been on Oprah, after all) writer Cormac McCarthy chat it up with the Coen brothers. They talk about dogs and movies and other reclusive types.

C.M. Days of Heaven is an awfully good movie.

J.C. Yeah. Well, he is great, Terry Malick. Really interesting.

C.M.
It’s so strange; I never knew what happened to him. I saw Richard Gere
in New Orleans one time, and I said, "What ever happened to Terry
Malick?" And he said, "Everybody asks me that." He said, "I have no
idea." But later on I met Terry. And he just–he just decided that he
didn’t want to live that life. Or so he told me. He just didn’t want to
live the life. It wasn’t that he didn’t like the films. It’s just, if
you could do it without living in Hollywood …

J.C. One of the great American moviemakers.

C.M. But Miller’s Crossing is in that category. I don’t want to embarrass you, but that’s just a very, very fine movie.

J.C. Eh, it’s just a damn rip-off.

C.M. No, I didn’t say it wasn’t a rip-off. I understand it’s a rip-off. I’m just saying it’s good. [Everybody laughs.]

Producer, director and King of the Bs Roger Corman writes in memory of Charles B. Griffith in the LA Weekly. On coming up with "A Bucket of Blood":

We ended up at a place where Sally Kellerman
(before she became a star) was working as a waitress, and as Chuck and
I vied with each other, trying to top each other’s sardonic or
subversive ideas, appealing to Sally as a referee, she sat down at the
table with us, and the three of us worked out the rest of the story
together.      

Roger Ebert will be honored at the Gotham Awards this year, says the AP, as will Mayor Bloomberg, Javier Bardem and Mira Nair. Afterward, we’re sure, they’ll head over to Gym and spend the night doing shots and telling saucy anecdotes.

At the New York Times, Manohla Dargis on Warhol:

Yet in Warhol’s films the illusions of Hollywood, with its seamless narratives and industrial imperatives, are self-consciously replaced by other illusions, notably those pertaining to identity. The performers in his films play a shifting catalog of roles — biker boy, hustler, debutante, faded movie queen, aged grand artiste — that are simultaneously constructed and poignantly real. This is who we are, each seems to say, whether aggressively staring into (or perhaps, more accurately, staring down) the camera or pretending to ignore it altogether. Though Warhol rarely appears on camera, the films feel profoundly autobiographical; they’re individualistic records of the world in which he played, made art and helped construct his own slippery, elusive identity. They are part ethnography, part memento mori and wholly personal.

Gregg Kilday at the Hollywood Reporter compares Kevin Smith‘s "My Boring-Ass Life: The Uncomfortably Candid Diary of Kevin Smith" to Pepys‘ diary, and pulls a quote on Smith’s famous web battles:

For Smith realizes that if you’re going to open yourself up to the Web’s malcontents, you must respond in kind. "Even though some would consider it a waste of my time, I’ve always felt that if I can’t spare a few minutes to show up the jackasses in life, I’m not living to my fullest potential," he writes.

And Charles Taylor at the Star-Ledger tells the tale of two rock biopics: "I’m Not There" ("what’s high-flown in ‘I’m Not There’ is matched by what’s low-down. The movie has a visionary craziness and a carny barker’s wiliness") and Anton Corbijn‘s great, great "Control" ("The elegant black-and-white photography and the careful framing of the shots might have made the movie seem almost too composed if Corbijn didn’t have such a grip on the life teeming in it").


+ What Happened When a Very Private Writer
(Time)
+ Wild Imagination (LA Weekly)
+ Ebert to Be Honored at Gotham Awards (AP)
+ Unblinking Eye, Visual Diary: Warhol’s Films (NY Times)
+ ‘Boring’ book of blogs true to Smith’s roots (Hollywood Reporter)
+ High & Low: Two rock’n’roll films to rattle you (Star-Ledger)

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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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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:

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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.

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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!

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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.

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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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SO EXCITED!!!

Reminders that the ’90s were a thing

"The Place We Live" is available for a Jessie Spano-level binge on Comedy Crib.

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Unless you stopped paying attention to the world at large in 1989, you are of course aware that the ’90s are having their pop cultural second coming. Nobody is more acutely aware of this than Dara Katz and Betsy Kenney, two comedians who met doing improv comedy and have just made their Comedy Crib debut with the hilarious ’90s TV throwback series, The Place We Live.

IFC: How would you describe “The Place We Live” to a fancy network executive you just met in an elevator?

Dara: It’s everything you loved–or loved to hate—from Melrose Place and 90210 but condensed to five minutes, funny (on purpose) and totally absurd.

IFC: How would you describe “The Place We Live” to a drunk friend of a friend you met in a bar?

Betsy: “Hey Todd, why don’t you have a sip of water. Also, I think you’ll love The Place We Live because everyone has issues…just like you, Todd.”

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IFC: When you were living through the ’90s, did you think it was television’s golden age or the pop culture apocalypse?


Betsy: I wasn’t sure I knew what it was, I just knew I loved it!


Dara: Same. Was just happy that my parents let me watch. But looking back, the ’90s honored The Teen. And for that, it’s the golden age of pop culture. 

IFC: Which ’90s shows did you mine for the series, and why?

Betsy: Melrose and 90210 for the most part. If you watch an episode of either of those shows you’ll see they’re a comedic gold mine. In one single episode, they cover serious crimes, drug problems, sex and working in a law firm and/or gallery, all while being young, hot and skinny.


Dara: And almost any series we were watching in the ’90s, Full House, Saved By the Bell, My So Called Life has very similar themes, archetypes and really stupid-intense drama. We took from a lot of places. 

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IFC: How would you describe each of the show’s characters in terms of their ’90s TV stereotype?

Dara: Autumn (Sunita Mani) is the femme fatale. Robin (Dara Katz) is the book worm (because she wears glasses). Candace (Betsy Kenney) is Corey’s twin and gives great advice and has really great hair. Corey (Casey Jost) is the boy next door/popular guy. Candace and Corey’s parents decided to live in a car so the gang can live in their house. 
Lee (Jonathan Braylock) is the jock.

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

Dara: Because everyone’s feeling major ’90s nostalgia right now, and this is that, on steroids while also being a totally new, silly thing.

Delight in the whole season of The Place We Live right now on IFC’s Comedy Crib. It’ll take you back in all the right ways.