This (slowish) week on IFC News:
Stephen Saito offers up a list of 15 mostly recent characters who ended up on the editing room floor:
Orlando Jones â€” "Magnolia"
Obsessive fans of Paul Thomas Anderson already know they can find the
ill-fated storyline of The Worm in the published shooting script of
"Magnolia," but oddly The Worm’s alter ego Jones logs more time on the
making of documentary than he does in the film. As part of the
"Magnolia" production diaries, there’s a tantalizing scene in a diner
featuring The Worm, the desperate-for-cash father of Dixon, the young
boy John C. Reilly’s cop meets in the first act, but Jones is nowhere
to be found in the final cut. As Jones told the Sunday Express
in 2001, "Paul called me and said: "You’re great in the movie but we’re
four hours." Apparently, Tom Cruise wasn’t as expendable.
On the podcast, we’re inspired by the recent David Cross/Patton Oswalt/chipmunks squabble to take a look at a few of our favorite respected actors who have shown themselves to be unafraid to star opposite, say, a talking baby.
Michael Atkinson does "The District!" and "Chameleon Street." On the former:
Call it a smash-up between faux 3-D digital fluidity and cutout cartooning and rotoscoped realism and Ralph Steadman-esque satiric caricature â€” the upshot is hypnotizing, even when the film’s wigger material tends toward the idiotic. Gauder captures his actors in a broad variety of facial poses and then animates the characters using these images (much as each character found expression via the interchange of dozens of different heads in the stop-motion "The Nightmare Before Christmas"). But he also embellishes them graphically, distorts them digitally, and then folds them into hectic, multilayered urban tableaux, all of it seething and brawling and swarming like a real city neighborhood as seen through the scrim of very strong microdots.
Matt Singer reviews "Running With Arnold" ("It’s one thing to make a one-sided documentary and it’s quite another to make a one-sided documentary and claim impartiality") and we unearth our "Woman on the Beach" review from 2006’s New York Film Festival.
And Chris Bonet has what’s new in theaters.