I’m going to be doing some weekly link things. Sort of a reading list, though the subjects will be very different.
I finally got to write a snooty Josh Hartnett O piece, which is legit a bucket list item. I had an interesting process for note-taking his performance, which I thought might be something I could turn into some kind of content, but then decided no. Maybe for something else (with that same process), but not O. I do have a couple video pieces I’m planning on doing with the film, but next week. Or later. Not on a schedule.
When prepping the post for publishing, I went back and forth on pictures. Should I have stills from the film, should I use publicity shots or screen-grabs. When I started writing it, I intended to have quotes amidst the text and went ahead and did quotes. But not until I looked at the second disc of the old Lionsgate DVD special edition and found the deleted scenes. I skipped through them, trying to see if there’d be interesting shots to use for post images.
And what appears to be in the deleted scenes is all the “teen movie” stuff and way too much of it. It looks like the deleted scenes probably ruin Mekhi Phifer and Julia Stiles’s relationship, give Josh Hartnett and Elden Henson a lot more morose antics (without hurting their performances), and I don’t know what else. It’s really good they went, especially given where Tim Blake Nelson takes the movie. He really doesn’t get his due as a director.
Here’s to the crazy ones, the misfits, the rebels, the troublemakers, the round pegs in the square holes… the ones who see things differently — they’re not fond of rules… You can quote them, disagree with them, glorify or vilify them, but the only thing you can’t do is ignore them because they change things… they push the human race forward, and while some may see them as the crazy ones, we see genius, because the ones who are crazy enough to think that they can change the world, are the ones who do.
Todd McFarlane is none of the things mentioned above, though he’s a great example of why you can be nuts if you can draw a way enough people like. I mean, Spawn? It’s objectively tripe.
No surprise he’s about to jump ship from his own movie. No surprise.
Let’s all go to the Disneys, let’s all go to the Disneys, let’s all go to the Disneys…
I didn’t care much about Disney growing up. Cartoons were too kiddy. Touchstone was too bland. I was a Miramax fan in my teens, but fickle. It didn’t last until college. So I stopped caring about even that Mouse House tentacle. But I was also not a fan. Eisner seemed like a dick, old man Disney had some icky politics, whatever.
I didn’t even start caring when they bought Marvel because the first batch of Marvel movies from Disney weren’t any better than the first batch of Marvel movies not from Disney. Feige didn’t bring back Ed Norton. That I cannot forgive. Though I have zero interest in seeing Edward Norton do what they made Mark Ruffalo do. Ruffalo being turned into “90s Tom Hanks but a sidekick” is fine for Ruffalo, I guess. I didn’t have the hopes for him I had for Norton. Didn’t have the investment.
And there was also when Feige split from New York. It seemed like New York had the better ideas. I mean, they got Chris Evans for Captain America didn’t they. I always assumed Feige was against that casting.
I may be entirely wrong. I may even be able to google it and find out. Don’t care enough.
I started being vaguely interested in Disney after the Walter Isaacson Steve Jobs book. Jobs really liked the Disney brand and how it was cultivated, curated. Jobs had interesting takes on everything. Thoughtful. Insightful, sometimes of the not obvious. I like those takes the most. Insightful of the not obvious.
So Disney getting all of Hulu, cementing further entertainment control? I don’t give a shit. Maybe I’ll get more “Jessica Jones”? Probably not but maybe. There’s a better chance of it than there was before Disney got Hulu. Even if it’s infinitesimal.
I love “Jessica Jones.” I even love the end of Season Two.
Just imagine a Jessica Jones/Captain Marvel team-up. Krysten Ritter and Brie Larson doing bad cop, good cop.
I don’t really agree with calling Disney a monopoly though. Because all they’re a monopoly on right now are things people like. Marvel, Star Wars, the Princesses, the live action movies, Pixar. X-Men, Aliens, Predator, Die Hard? Those are thinks people used to like. Whether they like they again. Whether they like the new things again… remains to be seen.
If you’ve ever read Swamp Thing (not “New 52” Swamp Thing I don’t think but maybe), Abby and Alec hook up. A lot. They even hooked up in the movie.
But this teaser for the new show with vines covering Abby’s mouth and eyes?
I mean. Is this a Fifty Shades of Grey thing or… is “Swamp Thing” going to fail to deliver the entire reason the comic’s great? Of course it is.
I found Cavenago thanks to a tweet of this old Ripley piece.
His blog, linked above, is out of date. But he’s got a current Deviant Art gallery going with some great pieces. Looks like he illustrated Dylan Dog covers, wherever Dylan Dog is a popular comic. Europe?
He’s got a wonderful sense of movement.
Also… is Groucho Marx a character in Dylan Dog?
Back in MFA school, I was watching a lot of movies over again. Sea of Love, Sling Blade, Gone in Sixty Seconds are the main examples just because Stop Button still has the posts. I remember talking in class about how it didn’t seem like Billy Bob Thornton actually realized what he did with Sling Blade and so it screwed up the film, which got into whether or not a creative could not realize what they were doing with their creation.
The mid-aughts were a weird time for indie film breaking out. If you missed it in the nineties, you were still able to catch up. Most of the people who made excellent films then were still making movies, even if they were Broken Flowers and not Ghost Dog. So I got some push back from classmates but then agreement from the instructor. You can make a thing and have no idea what you made.
So seeing Endgame co-writer Christopher Markus disagree on how time travel works in the movie? Not a surprise. What else would you expect from the guy who wrote Dark World? But it also shows just how smoothly Kevin Feige keeps the trains running; on a Feige production, you can apparently fundamentally disagree with your other creatives with no negative result to the end product.
Basically Feige is the guy J.J. Abrams always wanted to be but couldn’t.