middle cyclones and other references

"He slept that night in his own country and he had a dream wherein he saw God's pilgrims laboring upon a darkened verge in the last of the twilight of that day and they seemed to be returning from some deep enterprise that was not of war nor were they yet in flight but rather seemed coming from some labor to which perhaps these and all other things stood subjugate."
The Crossing, Cormac McCarthy


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Procrastination Theatre: February 20, 2012 Listen, I’m not saying I didn’t really enjoy it. I’m not saying I’m not in love with Jean Dujardin. (If you’re not in love with him, check your pulse). And I’m not saying it isn’t a remarkable thing, to make a silent movie so entertaining and lively and delightful years past its time. But I mean, that’s sort of exactly my point. What is interesting about this movie other than the fact that it is anachronistic? I don’t want to be that person. But I guess I am that person. I guess a couple years of listening to my ex-thesis supervisor mocking Dave Eggers and Jonathan Safran Foer for their nostalgic modernist tendencies has had a certain effect on me, which is namely that: if you are going to use a literary or filmmaking form that is no longer current, that has in fact been replaced as part of a large cultural/historical shift, then you’re going to have to give me a damn good reason as to why that’s valid, why there’s an interesting recurrence of the logic of that historical moment at this current moment, why you’re engaging with the form in a different way….basically, why you did it other than “it’s neat and old and no one’s done it in a while and no one thought I could!” And I guess I just didn’t find it in The Artist. I totally thought I had found it when objects starting making noise in George Valentin’s apartment. Holy shit, I was so excited when that happened. If that had been the rest of the movie, this would be an entirely different review. If the rest of the movie had just gone with that premise, like Pleasantville, I would have been captivated. But it was just a dream. And then I was sad.  But I’m not heartless! Uggie the Dog and Jean Dujardin and I know! I am just saying all this because it’s true and because while I liked it, it didn’t blow me away and I think Hugo was the best movie this year THERE I SAID IT (review forthcoming). Well, basically either Hugo or Midnight in Paris, but I am still mad at Woody Allen for that Polanski bullshit a couple years ago and I guess the only consequence to that is that I refuse to say he made my favorite movie of the year. That really showed him, didn’t it. 

Procrastination Theatre: February 20, 2012

Listen, I’m not saying I didn’t really enjoy it. I’m not saying I’m not in love with Jean Dujardin. (If you’re not in love with him, check your pulse). And I’m not saying it isn’t a remarkable thing, to make a silent movie so entertaining and lively and delightful years past its time. But I mean, that’s sort of exactly my point. What is interesting about this movie other than the fact that it is anachronistic?

I don’t want to be that person. But I guess I am that person. I guess a couple years of listening to my ex-thesis supervisor mocking Dave Eggers and Jonathan Safran Foer for their nostalgic modernist tendencies has had a certain effect on me, which is namely that: if you are going to use a literary or filmmaking form that is no longer current, that has in fact been replaced as part of a large cultural/historical shift, then you’re going to have to give me a damn good reason as to why that’s valid, why there’s an interesting recurrence of the logic of that historical moment at this current moment, why you’re engaging with the form in a different way….basically, why you did it other than “it’s neat and old and no one’s done it in a while and no one thought I could!”

And I guess I just didn’t find it in The Artist. I totally thought I had found it when objects starting making noise in George Valentin’s apartment. Holy shit, I was so excited when that happened. If that had been the rest of the movie, this would be an entirely different review. If the rest of the movie had just gone with that premise, like Pleasantville, I would have been captivated. But it was just a dream. And then I was sad. 

But I’m not heartless! Uggie the Dog and Jean Dujardin and I know! I am just saying all this because it’s true and because while I liked it, it didn’t blow me away and I think Hugo was the best movie this year THERE I SAID IT (review forthcoming). Well, basically either Hugo or Midnight in Paris, but I am still mad at Woody Allen for that Polanski bullshit a couple years ago and I guess the only consequence to that is that I refuse to say he made my favorite movie of the year. That really showed him, didn’t it. 

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Have I told anyone my secret theory that Jon Hamm and Jean Dujardin are the same person?

Jean Dujardin can VERY EASILY become Jean Dujambon…….

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When I won best actor at the Cannes film festival, Robert De Niro, the president of the jury, gave me the award. I was scared. It’s not my job to win a prize, especially a prize from De Niro. He leaned in and whispered to me, ‘You’re good. You’re good.’ I had grown up loving Goodfellas, and I almost fainted.

When I won best actor at the Cannes film festival, Robert De Niro, the president of the jury, gave me the award. I was scared. It’s not my job to win a prize, especially a prize from De Niro. He leaned in and whispered to me, ‘You’re good. You’re good.’ I had grown up loving Goodfellas, and I almost fainted.

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