middle cyclones and other references
Credit: sirmerlin (sidebar art) ∙ Josh Cochran (Icon)
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Final GPA: 3.58
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Fruit Bats - When U Love Somebody
I think one of you must have put this on a mix that I downloaded at some point because I was able to put it on...
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Heartwarming Tearjerker of the Day: Scott Widak has Down syndrome and is terminally ill with liver disease, and he loves to receive mail. So his...
“He’ll kill you if he finds out, you know”
Whaaaaaat did someone just take all my favorite things* and put them into a movie.
*one of my favorite things is Ryan Gosling/Emma Stone make outs. I’m twelve.
Procrastination Theatre: January 21, 2012
Let me just preface this by saying this was a perfectly good and serviceable and talented and interesting movie. But I just wasn’t captured by it, and it won’t be one that I remember for a long time, despite having my joy, my curse, my love, Ryan Gosling, and various other talented actors (like Philip Seymour Why-So-Awesome - copyright Sarah). Here’s why (and this will contain spoilers, but not until point #2. So you’ve been warned and shit):
1. I don’t get American political thrillers. Basically, I spent the entire movie saying: “But he just met with Paul Giamatti! He didn’t do anything! I don’t understand! WHAT IF THEY WERE FRIENDS FROM BEFORE?” It just seems so silly to me, so McCarthy-esque. Like, you talked to someone who was a member of the Communist party, you’re a pinko now! So basically that entire premise I just never bought.
2. I also just didn’t get Evan Rachel Wood’s character. Like, okay. I just don’t understand why a scared 20-year old, who just got pregnant from an affair with a political candidate and who now has to hope he’ll acknowledge the affair enough to help her get an abortion….would then try so hard to seduce another member of the campaign party. It just seems like, wouldn’t she be sort of super upset with the pregnancy stuff and everything that led to it? How can you feel sexy when you’re worried about something that big? Also, you’re going to have to give me a better “explanation” of how the super-bad-secret affair happened. Because “we were talking and then he closed the door” does not fly for me. You can open a door once it’s been closed! You can just make out! You can open a door to get a condom even if it’s been closed! A closed door should not confuse you enough to decide to have unprotected sex with a married political candidate! So basically, I didn’t buy any of Evan Rachel Wood’s character or decisions, which was the impetus for the plot of the whole movie, which basically made it hard to care about the movie. I mean, is it so bad of me to ask for a female character who makes believable choices? I don’t mean that women can’t screw up, but don’t make a character 100% sex bunny and then, a couple scenes later, 100% damsel in distress. Show some continuity between the two!
(via eeisenberg)
(via starlesslife)
Ryan Gosling as the Invisible Man | NY Times: Touch of Evil (x)
(via rickoniscoming)
gq:
Gos-tronomy: The 25 Greatest Ryan Gosling Moments of 2011
Hey Girl,
Gos-tronomy is a real science, and it totally rejects all ”societal expectations” of a woman’s role in the nuclear family.
(via eeisenberg)
![stayforthecredits:
Drive costume designer Erin Benach: “The henley is quite an interesting piece. It was an awesome challenge. We probably tried on every henley that has ever been made by anybody anywhere, from Japan to Europe to the Americas. I seriously think we had 300! We liked elements of each one but we didn’t like the label on the collar or, the collar was too thin… In the end we wound up finding some deadstock Thirties army/navy henleys. My assistant found the first one, and the person we got them from said, ‘Oh yeah, I have 15 of them.’ I said, ‘What? You have 15 deadstock Thirties white henleys?’ [laughs] Interestingly, the T-shirt originated from soldiers wanting to wear a layer underneath their wool, just to take off their fighting jackets, their combat jackets, and then still have something on.” (via GQ Film)
I KNEW THAT THERE WAS SOMETHING SPECIAL ABOUT THAT HENLEY. That henley should win Best Supporting Henley….’cause damn.
Also William Gibson would be all into this. That’s my token smart thing to say. Y’all have read Pattern Recognition, right? If not, get on that.](http://25.media.tumblr.com/tumblr_lux0oipno71qztqsao1_500.jpg)
Drive costume designer Erin Benach: “The henley is quite an interesting piece. It was an awesome challenge. We probably tried on every henley that has ever been made by anybody anywhere, from Japan to Europe to the Americas. I seriously think we had 300! We liked elements of each one but we didn’t like the label on the collar or, the collar was too thin… In the end we wound up finding some deadstock Thirties army/navy henleys. My assistant found the first one, and the person we got them from said, ‘Oh yeah, I have 15 of them.’ I said, ‘What? You have 15 deadstock Thirties white henleys?’ [laughs] Interestingly, the T-shirt originated from soldiers wanting to wear a layer underneath their wool, just to take off their fighting jackets, their combat jackets, and then still have something on.” (via GQ Film)
I KNEW THAT THERE WAS SOMETHING SPECIAL ABOUT THAT HENLEY. That henley should win Best Supporting Henley….’cause damn.
Also William Gibson would be all into this. That’s my token smart thing to say. Y’all have read Pattern Recognition, right? If not, get on that.
And we’re done here.
(via eeisenberg)
American Talk: O’ Canada Edition with Ryan Gosling
(via dontquityourgayjob)
Procrastination Theatre: September 26 & October 10, 2011
I have now seen this twice. I might be ready to talk about it.
First, this is nothing less than one of the most formally and stylistically coherent films I’ve ever seen. Refn deserves to get all the press possible for this. And I’m breaking my anti-adapted screenplay rule, because even if this was a novel? That novel has nothing to do with why Drive is so brilliant. And here’s why.
Refn has created a fascinating formal and stylistic throwback to the 1980s. And he’s done it in the only acceptable way that one can do something like this: which is to actually have a formal project intersecting the current historical moment. The first time I watched this, somewhere during the second half of the movie I leaned over to the Boyfriend and whispered, “Wait, am I wrong or is he a nostalgic Patrick Bateman?” And that’s exactly what it is. I’d almost like to herald Drive as the first step in a different direction: we’re all quite used to Fordist nostalgia by now, I think (“I miss when I worked with my hands! Let’s go watch Man vs. Wild!”) but the Driver in Drive looks like a nostalgic post-Fordist figure (who admittedly still gets to use his hands a fair bit). He’s like Patrick Bateman with a heart of gold, guys. It’s fascinating. From the cheesy (but oh-so-awesome) music, to the fact that his day job literally entails his wearing the fleshy masks of other people, to the way violence at first just leaks through his quietness and then spurts through - it’s all very Patrick Bateman. But a Patrick Bateman I want to do things to. And that’s really, really interesting.*
So that’s what I got on the first viewing. And then on the second viewing, the Boyfriend and I got to really appreciate some of the subtleties that this film presents to us - another reason why Refn should win things, if not just your respect. Refn is playing with smarter things than most directors. For example, we noticed that when he walks through a dressing trailer to steal a fleshy mask he wore earlier in the film, he walks past three progressive fleshy masks that could arguably have been made for a character who is killed very graphically in the middle of the movie. In other words, he walks past the props for the movie Drive, for the deaths he’s seen around him already. Another neat moment is when, after watching the Driver play a blinking game with the oh-so-adorable son of Carey Mulligan in the happy first half of the movie, Refn makes us play that same blinking game with the Driver at the end.
Anyway, it’s probably the best movie of the year. My Ryan Gosling love is full throttle. He’s frighteningly talented, you guys. He didn’t create his own natural Brando accent for nothing. He’s so good in this I can’t even talk about it. So….the Boyfriend and I have also started just saying the lyrics to “Nightcall” to each other. Bryan Cranston is just … is just too good. I couldn’t watch his last scene the second time. I actually hid in the Boyfriend’s shoulder and plugged my ears. Ron Perlman is awesome as the most vulgar person in a quiet, refined movie. He walks in and he’s all “fuck” and “pussy” and you’re like GTFO Ron Perlman but really it’s perfect, he’s this perfect abrasive sandpaper in the middle of the Driver’s near-total silence. Carey Mulligan is also great, and I don’t often say that. Honestly, the one person I wasn’t totally blown away by was Albert Brooks, and apparently he’s the one I was supposed to like the most?
