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The Anomalisa ball is pickin' up momentum, on its roll around the globe. It'll be shown in competition at the Venice Film Festival. Here's the full list of films in competition (I've bold-erated Anomalisa):
“Frenzy,” Emin Alper (Turkey, France, Qatar)
“Heart of a Dog,” Laurie Anderson (U.S.)
“Blood of My Blood,” Marco Bellocchio (Italy)
“Looking for Grace,” Sue Brooks (Australia)
“Equals,” Drake Doremus (U.S.)
“Remember,” Atom Egoyan (Canada, Germany)
“Beasts of No Nation,” Cary Fukunaga (U.S.)
“Per amor vostro,” Giuseppe M. Gaudino (Italy, France)
“Marguerite,” Xavier Giannoli (France, Czech Republic, Belgium)
“Rabin, the Last Day,” Amos Gitai (Isreal, France)
“A Bigger Splash,” Luca Guadagnino (Italy, France)
“The Endless River,” Oliver Hermanus (South Africa, France)
“The Danish Girl,” Tom Hooper (U.K., U.S.)
“Anomalisa,” Charlie Kaufman, Duke Johnson (U.S.)
“L’attesa,” Piero Messina (Italy)
“11 minutes,” Jerzy Skolimowski (Poland)
“Francofonia,” Aleksander Sokurov (France, Germany, Netherlands)
“The Clan,” Pablo Trapero (Argentina, Spain)
“Desde alla,” Lorenzo Vigas (Venezuela, Mexico)
“L’hermine,” Christian Vincent (France)
“Behemoth,” Zhao Liang (China, France) (Source)
Thanks to Andrea, who reached me first with the news, via this Italian language article.Add a comment
Anil Ananthaswamy is the author of The Man Who Wasn't There: Investigations into the Strange New Science of the Self. In it, he "examines the ways people think of themselves — and how those perceptions can be distorted by certain brain conditions". Among those conditions? Cotard's Syndrome. Fresh Air's Terry Gross interviewed Ananthaswamy, and you can check it out here:
Thanks to Sarah!Add a comment
On Anomalisa's Kickstarter page, it's been announced that the film is headed for Canada:
We're very pleased to share some exciting news about Anomalisa. The film has been accepted into the Toronto International Film Festival! We're thrilled to participate in this prestigious event. (Source)
TIFF runs from September 10-20.
Here's the first public image from the movie:Add a comment
Got a pair of emails today from Mark and Robert, who come to us via J! Archive, a fan-created archive of the quiz show Jeopardy!
Mark's dad was on Jeopardy! in 1991, and Mark has made a bit of a discovery. Robert explains:
Our archive of Jeopardy! clues and responses has discovered that screenwriter Charles Kaufman appeared on the show in 1991. He didn't win and thus only appeared on one episode of the program[...] During his contestant interview with Alex Trebek, he boasted that he had "sold a couple of scripts", but that none had been produced as yet, and mentioned that he was busy taking a lot of baby pictures of his "two little boys."
Upon closer inspection, this may not be the Charlie Kaufman we're thinking of.
But still. STILL.
There's yet another screenwriting Charles Kaufman, too, you know--the brother of Lloyd Kaufman. Lloyd runs Troma Entertainment, known for The Toxic Avenger and Tromeo and Juliet. I don't think that's him in the pic.
So what's up with all that, eh?
It's like something out of a Kaufman movie.
BUT WHICH KAUFMAN?Add a comment
According to Variety, there's a good chance Anomalisa will premiere at the Venice Film Festival. We'll find out for sure in less than ten days, when Venice's line-up is announced. The festival will run from September 2-12.
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[...] several high-profile U.S. studio/specialty titles appear to be secured, including Scott Cooper-directed Johnny Depp gangster drama “Black Mass,” from Warner Bros., and Luca Guadagnino’s Ralph Fiennes and Tilda Swinton-starrer “A Bigger Splash," which Fox Searchlight is releasing stateside.
Also likely to be Lido-bound [is] Charlie Kaufman’s stop motion animation “Anomalisa” [...]
Kaufman’s “Anomalisa” marks the groundbreaking U.S. director’s first foray into animation. The movie, co-directed with Duke Johnson, initiated on Kickstarter with the bulk of financing then coming from Snoot Entertainment and SBI. The synopsis for the film is a man struggling with his inability to connect with other people. It is Kaufman’s first feature since “Synecdoche, New York,” in 2008. (Source)
Epic in every sense, Your Movie Sucks continues the video series analysing every grain of Synecdoche, New York. Part 4 dropped recently and although it goes for 21 minutes, it covers roughly 15 minutes of Synecdoche itself. I don't know if I'm on board with everything in the video, but creator Adam Johnston does get your brain working.
If you missed the first 3 parts, do yourself a favour and check 'em out.Add a comment
Douglas Gordon's play is not getting good reviews, so he took to the theater wall with an axe.
A Turner prize-winning artist who is directing a play at the Manchester international festival has been hit with a repair bill after taking an axe to the walls of a new £25m theatre. Douglas Gordon, who won the Turner in 1996 for his video piece, Confessions of a Justified Sinner, signed and dated the damage to the concrete walls of the Home venue, where his show Neck of the Woods is being staged.
If he'd spent an extra 16 years rehearsing it in a New York-sized building, perhaps there would have been much more axing involved. Playwrights, man. They be crazy.Add a comment
South African artist Lorraine Loots created miniature watercolour paintings every day for two years. The prints are on display at Three Kings Studio in Williamsburg until 15 July. Bedford and Bowery have an interview with Loots, and Rob Scher asks Loots if she has ever seen Synecdoche, New York.
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With your “Paintings for Ants” receiving their first international exhibit in New York, your success kind of echoes Catherine Keener’s character in Synecdoche New York. Mostly, what I’m trying to ask is: what’s the deal with miniature art and why do you think people seem to like it so much?
I watched that movie years ago. I still vaguely remember the feeling I had when I watched that scene of [Keener’s] exhibit, it affected me deeply and certainly filtered through… I think it has something to do with the idea of being able to hold something in the palm of your hand. It makes it kind of like a treasure, or a gemstone. People also like to get right up to the painting and there’s something interesting about that. Using a magnifying glass lets them see more than what I saw when I created that painting because I don’t use one. (Source)
Jon McAuliffe sent along an academic paper he wrote a few years ago, "Apart For The Whole: A Look At Subjectivity In The Film, Synecdoche, NY" and we both think some of you might dig it. Says Jon: "It's kind of a structural/psychoanalytic/gender studies take on the film. Just a bit of fun while working on a MFA."
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Caden Cotard seems betrayed by his body from the very outset of the Charlie Kaufman film, Synecdoche, NY. The quick read, one that easily carries through the entire film, is that Caden’s pervasive disintegration is related to death. It seems significant, after all, that he shares his name with a syndrome marked by a person’s belief that they are already dead, or undergoing the process of decay. And perhaps this is the reading that the writer/director wanted us to take: that Caden is already at the instance of his death from the very beginning, balancing in the twilight moment after consciousness fades, but before his unconscious withers away entirely along with his body. One could imagine this to be the case, considering that the film opens with the ringing of Caden’s alarm clock at 7:44, and that near the very end of the film, the disembodied voice of Millicent, a woman who has become Caden’s directorial replacement, announces the time as 7:45, just before telling Caden, “now you are…gone.” But is this the only way we could understand Caden’s body trouble / his life trouble? With all of the powerful implications of that reading aside, I would like instead to consider Caden’s deterioration, and the mirrored deterioration of Caden’s “world,” as a brutal investigation of (male?) subjectivity in an instance of interpolative disintegration; or, more simply put, as an erosion of the self.
In which Script Magazine's Heather Hale takes a look at the women in Charlie's films.
A great deal has been written over the past forty years about (Alfred) “Hitchcock’s Women.” Immaculate blondes, sensual ice queens that could be both treacherous yet vulnerable. These strong independent women often drove the action of his famous suspense films – and they suffered for it. They have become icons of his era.
One of our era’s most distinctive cinematic voices is Charlie Kaufman. In studying his scripts and movies (preparing for an OnDemand Webinar), I began to appreciate the spectrum of his female characters across his six films thus far: Being John Malkovich, Human Nature, Confessions of a Dangerous Mind, Adaptation, Eternal Sunshine of the Spotless Mind and Synecdoche, New York.
The antithesis of his needy male Protagonists, Charlie Kaufman’s female characters are aware of what they want in life – and are willing to take risks to go get it. They are often sarcastic and emasculating, almost always autonomous, confident, extroverted and manipulative. (Source)
It's a quick read. The article's from January last year, but I don't think I've seen it before. Thanks to Cristian!Add a comment