DID YOU READ

For Their Consideration: Greta Gerwig in “Greenberg”

For Their Consideration: Greta Gerwig in “Greenberg” (photo)

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Throughout awards season, IFC.com will highlight Oscar dark horses that aren’t getting the recognition they deserve for their work. For the full “For Their Consideration” archive go here.

Before we meet “Greenberg”‘s title character, we meet Florence. A young woman in mismatched dress and cardigan sweater, we watch her walk a dog through the Hollywood Hills. Then she’s driving as her car stereo plays Steve Miller’s “Jet Airliner.” She wants to change lanes; the car behind her won’t budge. To no one in particular, Florence speaks the first lines of the movie. “Are you gonna let me in?”

Hard to hear Florence say those words and not think about the woman playing her, twenty-seven-year old actress Greta Gerwig. As one of the key members of the so-called mumblecore movement in indie film, Gerwig has garnered small-scale attention and acclaim in films like “Hannah Takes the Stairs,” Baghead,” and “Nights and Weekends.” But attention and acclaim don’t necessarily translate to a career in the broader world of film, especially since mumblecore detractors tend to believe there’s no acting (or writing, or directing, or art) involved in those movies at all. As a fan of her work, particularly her raw performance in “Nights and Weekends,” I always thought she deserved a chance to showcase her skills on a bigger stage. But the question remained: was someone going to let her in?

Writer/director Noah Baumbach did, and Gerwig responded with one hell of a performance, one worthy of awards that she will almost certainly not receive (Oscar prognostication website InContention currently lists 43 women as contenders in the Academy Awards’ Best Supporting Actress category — including Ellen Page for “Inception” — but not Gerwig). This doesn’t surprise me. Awards tend to go to people who ACT! in capital letters and exclamation points, with fake noses and thirty extra pounds of ice cream chub. Gerwig belongs to the school of lowercase acting, the kind that is so complete and truthful that it can sometimes be hard to spot.

Florence meets Roger Greenberg, played by Ben Stiller, through his brother. She works for him as a personal assistant. The brother and his family go on a vacation; Roger, fresh from a stint in a mental hospital, flies out from New York to dog and housesit. Their proximity sparks a very unorthodox romance, unorthodox even by the standards of quirky indie romantic comedies. Gerwig’s task is not an easy one: she has to convince us that Florence would be legitimately and persistently interested in an older man with no prospects and no manners, who needs constant emotional maintenance and frequently badgers her. Making her job even more difficult, once Greenberg appears eight minutes into the film he totally dominates it, leaving very little room for Florence or screentime for Gerwig.

That imbalance, though, suits the relationship. Florence is such a pushover she’d rather beg a friend for $40 than pester her boss for the money he owes her. The bullying, overbearing Roger, in contrast, refuses to let any injustice stand, no matter how small or insignificant it may be. The ever-crusading Roger writes letters to companies whose policies upset him; he sends one to American Airlines about the quality of the buttons on the armrests. You get the feeling watching Florence she wouldn’t even complain if someone sat on her seat on an airplane while she was still in it.

Somehow Gerwig makes Florence seem vulnerable without feeling like a victim. Baumbach and Jennifer Jason Leigh’s screenplay staunchly refuses to make sense of this screwy relationship or to spell out the source of the attraction, so it’s up to Gerwig’s performance to make it work. We wonder what she sees in this asshole until we watch the way she lights up when she hugs Greenberg or he agrees to spend the night at her house and we realize: these two are kindred spirits. One lost soul has found another.

Florence doesn’t share a lot of personal characteristics with Gerwig’s mumblecore characters, but Gerwig’s performance does bear the same hallmarks that made her earlier work memorable: her total lack of vanity and her uncannily naturalism. In mumblecore, those qualities were her greatest onscreen strengths and her biggest offscreen weaknesses with critics: it never looked like Gerwig was acting, therefore, she must not be. And Gerwig is completely at ease in front of the camera, whether she’s enduring an cringe-inducingly uncomfortable sex scene with Ben Stiller or drinking away her pain while singing along to Paul McCartney’s “”Uncle Albert/Admiral Halsey.” She doesn’t have onscreen tics or crutches and she doesn’t need big speeches or breakdowns to convey big emotions. It’s all right there on her face. But just because it looks easy doesn’t mean it is.

“Greenberg” is ultimately about Stiller’s character, but every time I watch it, I’m drawn to Gerwig’s, the girl carrying all these emotions that she can’t find the words to express and barely has the strength to hold back. The whole movie really is summed up in Florence’s first line. It’s about pleasure we get from watching Roger and Florence learn to let each other in.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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