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Match Cuts: “Dark Star”

Match Cuts: “Dark Star” (photo)

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In Match Cuts, we examine every available version of a film, and decide once and for all which is the one, definitive cut worth watching. This week, in honor of John Carpenter’s new film “The Ward,” we’re looking at his very first film: “Dark Star.”

EDITIONS:
-Original Movie Cut (1974): 68 minutes

-Theatrical Cut (1975): 83 minutes

THE STORY:
The four-man crew of the spaceship Dark Star is twenty years into their mission to locate and destroy unstable planets that pose a threat to future Earth colonies. The spacemen, led by Lt. Doolittle (Brian Narelle), dump bombs on the unstable planets then blast away at hyperspeed before they explode. Their lives between detonations are boring and tedious; the crew is so disengaged and disinterested in their jobs that they barely notice that Dark Star has been damaged in an asteroid storm, and that the malfunction could have disastrous consequences for their next bombing run.


REASON FOR MULTIPLE VERSIONS:
“Dark Star” began life as a University of Southern California student film by co-writer/editor/co-star Dan O’Bannon and producer/director/co-writer John Carpenter. Screened locally on campus and at a few festivals, the film garnered positive reviews and zero distributor interest until Carpenter brought it to veteran Hollywood producer Jack H. Harris. As the man who shepherded movies like “The Blob,” “Equinox,” and “Schlock” to theaters, Harris had a good track record with young directors and science-fiction, so he decided to to take a chance on “Dark Star.” He gave Carpenter and O’Bannon roughly $60,000 to expand the 68 minute film to feature length by shooting several additional sequences. In the most famous, the ship’s resident alien escapes from his room during dinner and leads the hapless Sgt. Pinback (O’Bannon) on a high wire chase through the ship’s ventilation system and elevator shaft.

Though he begrudgingly fulfilled Harris’ requests, Carpenter didn’t like working with his new producer and hated his demands. Thus the “Original Movie Cut” as it’s described by VCI, the distributors of “Dark Star”‘s current DVD edition, which according to their official site “honor[s] the filmmakers’ wishes.” Confusingly, though, this Original Movie Cut does include at least one sequence that was shot for Harris’ Theatrical Cut (the Pinback elevator chase). That suggests this “original” version is a cross between the first director’s cut Carpenter screened at USC in 1974 and the one that Harris released to theaters in 1975.

KEY DIFFERENCE BETWEEN MULTIPLE VERSIONS (SPOILERS AHEAD):
The previous section laid out the main differences for the films: the Original Movie Cut runs 68 minutes while the Theatrical Cut is 15 minutes longer with three additional sequences. Both cuts open in identical fashion: a video message from Earth to the Dark Star followed by the crew blowing up their nineteenth unstable planet. From there the two versions split: the longer cut shows the Dark Star come under assault from an asteroid storm. The full scene isn’t available on YouTube (none of the cut scenes are, unfortunately) but you can see a glimpse of it at 1:06 of the “Dark Star” trailer:

This scene is particularly important to the narrative because the asteroid storm damages a crucial laser needed to control the Dark Star’s bombs; in the Original Movie Cut, which is missing this scene, the malfunction that ultimately causes the destruction of the ship and the death of our slacker heroes has no clear cause. This sequence also introduces us to the ship’s computer, voiced by Cookie Knapp. Carpenter must have hated how this computer looked (which you can see at 1:46 of the trailer above) — with numbers and letters arranged on an old monitor so they look like a human face — because almost every shot of it in the Theatrical Cut of the film is missing from the Original Movie Cut.

Less important to the narrative but also missing from the Original Movie Cut are two scenes that immediately follow the asteroid storm. In the first, Doolittle, Pinback, and Sgt. Boiler (Cal Kuniholm) unwind after their close call with a trip to the food storage locker they’ve converted into sleeping quarters. Not a whole lot happens — Boiler even gets so bored he starts up a game of 5-finger filet — and that’s the point: space travel in “Dark Star” ping pongs between white-knuckle excitement and bloody fingered boredom. Eventually Doolittle leaves and goes to another room, where he plays a homemade musical instrument made out of empty bottles and assorted knick-knacks. After he plays some music (written, like the rest of the film’s atmospheric score, by John Carpenter) he goes to see Sgt. Talby (Dre Pahich) in the observation deck, which looks like a giant version of the Pop-O-Matic bubble, and the two cuts resynchronize.

IF YOU ONLY WATCH ONE VERSION OF “DARK STAR,” WATCH:
The Theatrical Cut. Even if the Original Movie Cut is the version Carpenter and O’Bannon prefer, Jack Harris got this one right. Though O’Bannon dismisses the “Dark Star” that audiences got to see by saying that he and the other filmmakers “had the world’s most impressive student film and it became the world’s least impressive professional film,” the quote-unquote “professional” version plays better. Ironically, the stuff that Carpenter complains Harris wanted cut — the scenes of the crew sitting around and killing time — are longer and more extensive in the version Harris demanded. The Original Movie is more streamlined, I suppose, but it’s also an easier sit. The theatrical cut gives you a better taste of the soul-crushing boredom of space travel, which I’m pretty sure is a big part of what Carpenter and O’Bannon were after in the first place.

Even more importantly, the asteroid storm scene that’s missing from the Original Movie Cut sets up the MacGuffin that eventually triggers the film’s explosive finale. Without it, the end of “Dark Star” is missing its motivation. When Talby tells Doolittle he’s “found the malfunction” in the Theatrical Cut it’s obvious he’s talking about the broken laser. When he says the exact same line in the Original Movie, it doesn’t make any sense. What malfunction? It’s the first we’re hearing about it. I suppose you could make the argument that Carpenter and O’Bannon wanted the ending to have more of an air of randomness and inescapability. But the Theatrical Cut has those as well (a freak asteroid storm’s pretty random and inescapable too, y’know). It also has a more satisfying narrative throughline.

The Theatrical Cut is still only 80 minutes long. It’s not like it’s massive time commitment to go for the “longer” version of this movie. It may not fly by at hyperspeed like the Original Movie, but it’s a more satisfying trip.

The Original Movie Cut and Theatrical Cut of “Dark Star” are available together on a two-disc Hyperdrive Edition DVD. Which is your favorite cut of the film? Tell us in the comments below or on Facebookand Twitter!

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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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