That Was Then, This is Now

That Was Then, This is Now (photo)

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As directors who have continually proven themselves to be at the cutting edge of what’s next and new, it’s hard to believe that all five of the nominees in this year’s Best Director category have already been to the Spirit Awards sometime, if not multiple times, over the last decade. For some, they return with radically different films than they first broke onto the scene with, while others have kept mining the same emotional terrain in new and different ways, but all have applied their vision to the films we continue to be excited about then, now and the future.

Darren Aronofsky is a prime example of this, having debuted with the Spirit Award-nominated “Pi” in 1998 and making the most of a reported $60,000 budget to tell the story of a numbers expert who stumbles upon a code he believes could unlock the secrets of the universe before descending into madness. Even though the budgets have gone up (though not nearly as much as it will on the director’s next film, the entry into the X-Men canon “The Wolverine”), Aronofsky has continued to work with many of the same key collaborators such as composer Clint Mansell and cinematographer Matthew Libatique and on “Black Swan,” which brings the director back to the psychological thriller genre after stripping down his style for the working class character study “The Wrestler,” Aronofsky appears to have put everything together for a film that pulls the wild abandon from his earlier films and the continued refinement of his technical precision.

Lisa Cholodenko was also part of the Spirit Awards class of 1999, competing against Aronofsky in the Best First Feature category where both would miss out to “The Opposite of Sex” director Don Roos. However, like her “Pi” compatriot, Cholodenko is riding high these days after making some films that were considerably different from her gritty debut, first with the glossy mother-son drama “Laurel Canyon” in 2003 and now with “The Kids Are All Right,” the first time she has had a writing partner (in Stuart Blumberg) for something more overtly comedic. Cholodenko’s commitment to realism and digging deep into characters hasn’t wavered – of course, it’s one of the reasons she continues to attract stellar casts to her work. However, her ability to handle the lighter moments in “The Kids Are All Right” as apt with comedy as drama, and though she’s found fertile territory to mine in her home of Southern California, the possibilities appear to be endless for what could be her next film.

Debra Granik is already said to be working on her next project, a reimagining of Pippi Longstocking, which would actually continue a lineage from the writer/director of films featuring strong female protagonists. It all began for Granik with the 2004 drama “Down to the Bone,” which was nominated a John Cassavetes Award at the Spirits and made a star out of Vera Farmiga as a woman struggling with both her marriage and her addiction to drugs. Granik worked similar magic with “Winter’s Bone” star Jennifer Lawrence in the adaptation of Daniel Woodrell’s novel about a young girl’s search for her father amidst the meth-addled plains of Missouri and if the trend continues, whoever will be playing Pippi can be assured of both career-making performance and yet another example of Granik’s empowerment of female characters.

When John Cameron Mitchell exploded into the consciousness of audiences and Spirit Award watchers in 2002 with “Hedwig and the Angry Inch,” few would expect the director to manage a delicate, yet devastating turn out of Nicole Kidman as a grieving mother in “Rabbit Hole” after pushing the envelope first with the adaptation of bombastic musical “Hedwig” and then with the sexually-provocative ensemble dramedy “Shortbus” in 2006. With “Rabbit Hole,” Mitchell pushed in a different direction – our own personal capacity for enduring tragedy and forgiveness – in the story of two parents (Kidman and Aaron Eckhart) dealing with the death of their child. To argue that Mitchell was going for a film that was more relatable would be a misinterpretation, since his gifts as an artist so far has to bring the human experience to the screen in unique ways, but his most traditional movie to date feels next and new for the same reasons it is old-fashioned, it tells its tale well and promises that there’s really no barriers the writer/director couldn’t cross to do so.

Of the five directors nominated, Danny Boyle appears to be the veteran in this group, coming to the attention of the Spirit Awards first in 1997 with “Trainspotting,” but of all the auteurs, he’s arguably transformed the most. In the years since that classic of drug cinema, Boyle has worked in nearly every genre imaginable from romantic comedy (“A Life Less Ordinary”) to horror (“28 Days Later”) to science-fiction (“Sunshine”) to rags-to-riches tales (“Millions”) before settling into a streak of unabashedly joyous films about the human spirit in recent years with the much-awarded “Slumdog Millionaire” and his most recent Spirit Award nominee “127 Hours,” which tells the true story of adventurer Aron Ralston’s attempt to free himself from being trapped underneath a boulder. Boyle has defiantly never made the same film twice, much less carry anything on from one project to the next in his recent career except for the enthusiasm he brings to every movie, something that keeps him and the cinema as a whole constantly refreshed in terms of what’s new and next.

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Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

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She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.


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

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

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

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

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Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

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Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines


The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

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Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

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Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.


Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.


A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.


Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

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