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BCK has officially been chronicling Charlie's career for 14 years today. (Well, yesterday. Didn't get a chance to update until today, though.)
We are old.
In internet terms, we are very old indeed.
I don't know how many other fan sites I've seen drop off the vine in that time. Quite a few. Certainly more than fifteen and less than a million.
I assume it's because the sites' owners found other interests or ran out of money or got married and had kids and went parasailing or got sued. Luckily--and in some cases miraculously--none of those things have happened to me so far.
HAPPY BIRTHDAY, BCK. We accept any gifts that are preceded by a dollar sign. If anything will be the undoing of BCK, money is probably it.
Got a few little newsy updates to post. If time permits, I'll get onto those during the week.Add a comment
This is probably the best interview with Charlie that I've read in ages. Vulture's Phoebe Reilly covers a lot of ground with Charlie--future projects, past projects, projects that will never hit our screens, his upcoming novel (no plot details, alas), other people's movies and TV shows, politics, Charlie's influences, the myths that have been created about him... Anomalisa barely gets a mention, but that's okay.
I had a pilot at HBO that Catherine Keener was going to be in. The whole series takes place on one day. The premise of the show is that there are so many different accidents in your life that lead you in different directions, and as you look at someone’s life from birth to, let’s say, 50, there are so many different versions of that life that could have happened. My idea was that you take this woman, she is this age on this day, that’s the only given, and then each episode is based on a different route. Maybe it broke off here and the difference is very small; maybe it broke off when she was a baby, in which case it’s a completely different life. In the course of the series, you start to recognize, first of all, there’s clues given as to what these things were that happened that changed the course of her life. But there are also similarities in all these different versions of herself — about who she is. What I thought was really cool about the show, in addition to the premise, which I really liked, is that there’s no one right version of it. You can watch this in any order, and it’s a different show. The example that I like to use is that in one episode, she’s married to this man and you see their life together. In the next episode, she’s divorced from this man and you see her life having been divorced from this man. In a third episode, she and this man walk by each other on the street, clearly have never met. And depending on which order you watch the series in, there are different a-ha moments. (Source)
Who wouldn't want to see this?
A CRAZY PERSON, THAT'S WHO.
He's right about Black Mirror. That's a great show.Add a comment
You know a video will be worth watching, when it opens with Charlie Kaufman and Duke Johnson doing their impressions of a seal. So here, let me bring that to you. It's the opening to an entertaining 34 minute interview with DP/30. I haven't seen Charlie this relaxed in a while. Fair warning, though: the audio quality is sometimes less than good.
Fun footnote: the last time Charlie spoke with David Poland, in 2009, Poland got off on the wrong foot and Charlie was in less chipper spirits.Add a comment
Great news! Anomalisa is in contention for a Best Animated Feature Golden Globe, alongside The Good Dinosaur, Inside Out, The Peanuts Movie, and Shaun the Sheep Movie. No other nominations for the film, as far as I can tell. The whole list of nominees is on the L.A. Times site.
If you scroll down to the Animated Feature category, you'll find this great video: a roundtable interview with the directors of those films. (Charlie's not there, but Duke is.) I can't figure out how to embed it, so the link will have to do.
Meanwhile, Mike Ryan from Uproxx caught up with Charlie and Duke to get their reaction:
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In this category, you’re up against something like The Peanuts Movie, which got really good reviews, but these are very different movies. “Best Animated” can cover a lot of ground.
Kaufman: Yeah, mostly – and certainly in this country – animated features are for kids. So, I think that’s the way it’s perceived. And we believe that animation is not a genre at all. It’s a form, it’s a medium – and you can do whatever you want in them and we would love to give other people that notion, too. And hopefully have more opportunity for diversity in the form. It’s a very exciting form, and I feel like it’s underrepresented in the type of movies that are made.
Do you think Anomalisa being nominated can help push that message out there?
Kaufman: I think we do. We talk about that and think about that a lot. And we talk to a lot of animators, when we do screenings, who come to us afterwards and talk about how happy they are: They’ve been looking for something like this to happen, to allow them to do other types of work rather than just kids movies. And the opportunity isn’t there. And they are hoping and we are hoping that other people get to make different kinds of movies with this form. (Source)
Variety's David Cohen visited Starburns Industries to interview Carol Koch, Anomalisa's sculptor, and to learn how she turned sketches and directors’ notes into finished designs. The video is part of Variety's "Artisans" series.
Thanks to Julie!
Ta-da! Here's a new promo poster:
The official poster's coming later this month.
(via /Film)Add a comment
Here's a great, lengthy interview with Dan Harmon over at Den of Geek, where he talks Anomalisa, Eternal Sunshine, Charlie Kaufman, and Harmon's other work.
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I’ve really never seen anything as well-written, considering the full picture, because the original medium was just the actors sitting on stools and the radio play, plus a Foley artist. And, as I sat down I thought, “Well, I’ve seen this done before, you know, modern takes on the old art form, live radio with a Foley artist.” But then Charlie Kaufman proceeded to—as he always does when you look back on his career—use that medium, limitations and all, to express something about the human condition that you could only express with that medium about identity, individuality, and our fetish for difference. And it was just mind-boggling.
So I’d always mention that was, like, the best thing I’d ever seen written in any written medium, period. So I think that was part of why Dino asked Charlie, “Are you doing anything with that ever and if not can we adapt it into a stop-motion film?”
[...] [I had a] conversation with him where he asked me a lot of questions about why it is I liked performing. When Charlie Kaufman’s asking you questions you immediately become terrified that he’s sizing you up. I felt much safer staying as far away from the process and from him as possible because what could I do but fuck it up? He needs no help. All he needs is a safe place to do his work uninterrupted. If you could provide that and then hide in a cabinet until he’s done, I think you’re doing a great thing for moviegoers. (Source)
Anomalisa did well at the L.A. Film Critics awards on the weekend! The film grabbed Best Animated Feature (runner-up: Inside Out) and runner-up Best Screenplay (behind Josh Singer and Tom McCarthy's Spotlight), while Carter Burwell took out Best Music for his work on Anomalisa and Carol.
Spotlight also took out Best Film, ahead of Mad Max: Fury Road.
You can read more at Deadline.Add a comment
I should've posted this closer to, you know, Thanksgiving, but time got away from me.
Apparently people were, in fact, looking for puppeteers in the wintry economic climate of the late '20s:
The Macy's parade started in 1924, but in 1927 its collaboration with Tony Sarg took things way up a few whimsical notches. Working with fellow puppeteer Bil Baird, a 60-foot balloon dragon, tottering Felix the Cat, hummingbird, and other buoyant wonders made their way down the Manhattan streets, and the crowds went wild.
[...] Sarg also worked on the annual Macy's holiday window displays from 1935 to 1942, the year he died of appendicitis. He considered the balloons "giant, upside down marionettes," and saw no limits to what they could do. Each year of the Macy's parade, he added new fanciful figures, ever more animated like a policeman shaking a nightstick, a 20-foot elephant, and a sea monster. (Source)
Many cool photos at the link! And this video: