Drinking coffee.
Homicide is pretty damn good actually. Need to watch more.
I just like this picture.
But then again, how do one put a man like Wayne Coyne in a narrative without him fucking up the flow? The documentary isn’t so much about the past, present and the future as about the heart and soul of the band. If Metallica hadn’t been on the edge of almost splitting up from the strain and needing outside help, would SKoM had been as interesting? Probably not. The Flaming Lips are not Metallica, They’re weird and got different ideas about what’s important. And, of course, they’re not that famous at all.
The big impact Jonathan Donahue had on the band was what they did after he left them. How they adapted to their new situation. They didn’t focus on Steven Drozd kicking drugs becuase it didn’t affect the band as such—from what I’ve heard, Drozd didn’t take drugs when they were in the studio. Instead they showed him prior to quiting in the most de-romanticized drugtaking scene ever.
As a documentary, it feels very honest, capturing the people behind the band as it is now, the past isn’t that a big deal. Ok, it is a big deal, but not in the way most people think. At the same time it also feels as a long celebration, this is not made by some stranger but a friend. As such, it isn’t boring.
Sure, the narrative has some huge huge flaws but it might be better because of it.
]]>After he was forced to resign, the evil people didn’t feel it was safe to hide in the middle of the public spotlight and the keepers crawled up from the sewers and attached themselves to the politicians while the evil luked in the shadows behind the power. Karl Rove might be the source of evil itself and way a head of Nixon in that regard, but Nixon had more balls.
]]>“Decaf!? People, what’s the fucking point!?”
(—- Rex in a deleted scene )
Quite a lot in the movie is based on real life from when the director/writer George Huang worked as an assistant in Hollywood, not just from his own experience but it also uses storie he heard from other assistants. It has few characters, only three that really matter. It has a wonderful dialogue and it’s well-acted all the way—with actors like Kevin Spacey, Frank Whaley, Michelle Forbes and Benicio Del Toro you can’t really go wrong. Of course it never really had a chance at the box office as it was only shown on two or so screens across the entire USA.
—You wanna talk big directors? Think Attenborough, think Spielberg, think Lean.
—Lean’s dead.
—No he’s not, don’t you ever say that. He’s just unavailable.
(—-Buddy and Guy have a conversation )
Now it’s out on a shiny new special edition—the previous edition was a bargin-bin thing with only an excellent commentary track as extras and that’s only because George fought to include it in the first place. The new edition has the same commentary track and two more, deleted scenes and some feutrettes. It too is dirt cheap, so you would be a fool and a moron not to buy it.
The ending was not meant to be a proper cliffhanger as a humourus beat. But the powers that be decided that no more should be published and the beat was turned into something else, something rather sinister for the reader. Damn, it’s good. I laugh every time.
