NFL Live Today 11.22.2017 – Thanksgiving Sides ; Ranked
Analysts break down the latest news in the NFL, offering views on players, coaches and management….
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Breaking News everyone, Timothée Chalamet is going to be a star. Yes, it’s a not-so shocking revelation considering the hype his breakthrough film“Call Me By Your Name” has received since it debuted at the 2017 Sundance Film Festival almost 10 months ago, but it’s more than that. Chalamet is likely to win some critics awards over the next month or so. He has a strong shot at earning a Best Actor nomination in January. He already has a well received performance in Greta Gerwig’s indie hit “Lady Bird.” He’s got a major role in Felix Van Groeningen’s “Beautiful Boy” which Focus Features will release next year. He stars alongside Elle Fanning and Selena Gomez in the next “Untitled Woody Allen Project” also scheduled for 2018. Chalamet is your next “it” male star and he not just because he’s starting to grace fashion magazine covers.
(Wait, that sounds slightly creepy doesn’t it?)
On this Wednesday afternoon, however, the 21-year-old actor was beaming from ear to ear. Before our interview he was so excited about the results of a photo shoot he went through the Beverly Wilshire looking for his co-star in “Call Me,” Armie Hammer, and interrupted an interview with him to show him the images. And when we finally sat down to speak there wasn’t a sign of exhaustion that even the most seasoned pros display when it’s almost 5 PM and you’ve been discussing the same things and answering the same questions since 9 AM. Chalamet is simply loving this experience and barring some strange twist of fate it won’t be ending anytime soon.
In Luca Guadagino’s “Call Me,” Chalamet plays Elio a young man who falls for Oliver (Hammer), a grad student who has come to spend the summer studying with Elio’s father (Michael Stuhlbarg). Elio spends weeks wondering if Oliver would ever reciprocate his feelings before it all comes to light. Based on André Aciman’s 2007 novel of the same name, “Call Me” allows Chalamet to display a naturalism that is remarkable devoid of self awareness. Traits that are hard to find in even some of Hollywood’s “greatest” actors.
The New York native sat down to talk about “Call Me,” “Lady Bird,” the future of his career and more in our discussion below.
Note: There is some broad discussion that does not give a plot point away about the final scene in the film in the context of this interview.
The Playlist: How are you doing?
Timothée Chalamet: I’m doing well. How are you?
Good. So, this is what, your 300th interview for this movie so far?
Listen, I’m a new guy to all this. No part of this experience has left me jaded or cynical, so I’m really just excited.
Yeah, I mean, this is the dream, to be at the forefront of any film. I’ve been up for the projects and didn’t get them where I would have been at the forefront of things that were essentially commercials. Instead, I get to be a part of something that is beyond any sort of acclaim, affecting people on a visceral level when they see it, or at least some members.
I definitely want to talk to you about people’s reactions to “Call Me,” but first is it true you were attached to this for three years?
Yeah, because I met Luca first when I was 17. I had just come back from Canada, where I was shooting “Interstellar” and had a meeting with him that went well. Then he gave me the seal of approval to go meet with James Ivory, who was the director on the project at the time. Then that went well too and then Luca and James, they don’t like to read their actors. Then I was loosely attached. Trust me, I felt like I fooled them as much as you do. (Laughs.) Then it was just a waiting game. It looked like maybe it was going to come together that summer. It didn’t. It looked like maybe the summer following that. It didn’t. And then finally the summer after that, it did.
You were in college at the time and I’m guessing you kept thinking every summer “I’m going to shoot this during my break” and then it just never …
Well, I’ve been loosely attached to other things in the past that never came to fruition. It’s a quick lesson you learn at being in this business, that 99% of things never come together.
I know Luca said that this one was really harder to get financed than he ever thought it would be.
When you read the book and the script did you have any trepidation about playing Elio?
I had trepidation as it relates to doing it believably or doing it well, but I realize what a privilege it is to come from an arts family and that there was no sort of trepidation about the material within the book, because I was doing Christopher Durang’s “Identity Crisis” when I was 15 and “Cabaret” when I was 16. Those aren’t safe, in the conventional sense, pieces of work. Also, I didn’t have a social network on the line. I didn’t have any street cred that I was offering up as collateral, but rather nobody has any idea who I am.
That’s an interesting point. Since this movie you filmed “Lady Bird.” You’ve done…
Yeah, Scott Cooper’s “Hostiles.” And then you just played a guy in “Beautiful Boy” who I think is, if I read it correctly, is a meth addict.
So, it’s not like you’re taking really easy roles. These are all sort of challenging parts, in some respect.
Well, that’s the ethos. I mean, that’s the advice I follow that my great agent Brian Swardstrom gives me. It’s just what excites me as an actor is to stretch yourself and not necessarily by way of mannerisms or dialect. I read a Joaquin Phoenix interview once that I really liked where he said he’s not as interested in wearing different scarves inasmuch as he is in chasing a certain feeling. What that feeling is, he has no idea what it is, but he’s chasing it. That’s the closest experience that I have as an actor, that in any of these roles certainly there’s dialect and character work, for instance, in “Hostiles.” But that’s not as exciting to me as much as chasing a certain feeling.
The thing is when you were younger, a teenager, you were in “Interstellar” and Jason Reitman’s “Men, Woman, and Children” which were essentially studio movies. Do you think that’s one reason why you’ve sort of gone in this direction? Not that those were bad experiences, but you think seeing that made you think, “I need to do something more creative in the roles I pick or what I go for?”
No. I mean, the great gift of working on “Interstellar” and” Men, Women, and Children,” particularly “Men, Women, and Children” is that they were really huge budget indie films, and the way Chris Nolan writes and directs is very much like an independent filmmaker at least with “Interstellar” and with “Dunkirk.” Those were original ideas. They’re not based on source material. I guess “Dunkirk is based on an actual [event], so no. The name of the game has always just been to work with great directors. Certainly I can think of great directors in the studio system right now. It’s just those opportunities haven’t come my way. If they do, then it’d be great. I only sit in a place of tremendous gratitude that, like I said, the introduction in front of the door hasn’t been one of those projects, but rather a little movie that we did in the north of Italy for two and a half months and we had no idea anybody was going to watch.
I didn’t know you had two and a half months to make the movie. That’s impressive for an indie.
The actual shooting was a month, but pre-production was a month and a half when I was out there learning the piano, learning Italian, learning the guitar.
You didn’t know how to play piano beforehand?
I could play the piano, not to the degree that Elio could play in the book and not to the degree that I play in the movie. That was the biggest part of the pre–production process, working with an Italian composer named Roberto Solchi every day for an hour and a half in addition to working with an Italian tutor and trying to brush up on those skills.
Are those the sort of things that make you more, I mean, I don’t know what makes you nervous, but are those the things that that make you think “I have to convince people I’m actually a great pianist” as opposed to getting a scene right? Do you have more confidence in one versus the other?
That’s exactly it. Exactly, there’s a technical pride in getting tool-based components of the character right.
Did those two and a half months feel like you were working or did it feel like a summer vacation? Or both?
I think as it relates to one’s sensitivity and self esteem on a set, you obviously create a safe space for yourself. You create boundaries and try to be strong enough when those boundaries are crossed, yet it’s a work environment, so you try to put your ego aside. Let’s say you get a note that isn’t the kindest. That’s part of the job. Yet, I really try not to ever feel like it’s work, because you have to keep a creative bone alive. You have to keep a bone of spontaneity alive, even in a project like “Beautiful Boy” that’s quite heavy. I know as an audience member, what always excites me most, which is again why I kind of bring up that Joaquin Phoenix quote, is that spontaneity and when you don’t see the actor in the control room, but rather living the experience.
What’s the environment that Luca brings to the set? You mentioned getting tough feedback. Is he tough? Does he push or is he sort of just wants to let it all sort of flow?
He doesn’t push if it’s right and it’s honest. I mean, it sounds like a cliché, but he just wants the honest truth of the scene and certainly never by fire. He doesn’t rule by fire. There’s the great thing where, like I said, neither Armie or I read for these roles. I was 17 when I got attached to it. We never met before. So when Luca has such tremendous belief in himself and follows his instincts so unabashedly it eases you up, particularly as a young actor, because you think, “Well, this guy really knows what he’s doing.” It’s not a first-time filmmaker that pretends to know what he’s doing. I mean, this is someone with “I Am Love” and “A Bigger Splash.” [Actually,] who am I to say that a first-time filmmaker isn’t brilliant? Certainly all the first-time filmmakers I’ve gotten to work with are, it’s been a joy and a very conducive experience. But there’s something in working with a Luca or a Chris Nolan or whoever when they have decades of experience.
But you didn’t audition for the role.
“Justice League” keeps returning to my mind. Not because it’s good or bad, but because it’s fundamentally, irritably mediocre. It’s designed by a team of high-level executives at Warner Bros. to be as safe and broadly appealing as possible. It’s a multi-million dollar blockbuster constructed to appease everyone. Therefore, it’s for nobody.
It’s not Zack Snyder’s film, even though he’s credited as the director. He stepped out of the film’s post-production due to a family emergency, and the final product (mostly) doesn’t resemble anything helmed by the stylized filmmaker. Joss Whedon (“The Avengers”) is credited as the co-writer (alongside Chris Terrio) and took over post-production and reshoot duties, and it shows. Though “Justice League” hosts a number of quips easily creditable to the man behind “Buffy” and “Firefly,” it’s too glum and heavy-handed to be his. “Justice League” doesn’t belong to him either. Instead, “Justice League” is the property of WB, and its sole purpose is to course correct the series from the grittier, more serious tone established by Snyder with “Man Of Steel” and “Batman v Superman: Dawn Of Justice.”
Condensed into a busy, jittery two-hour movie, “Justice League” has a lot on going: it introduces three new superheroes (Cyborg, Aquaman and The Flash); continues the storylines of ‘Batman v Superman’ and “Wonder Woman”; establishes the mythos of Aquaman’s underwater world; laments the death of Superman and a world without him; promptly brings Superman back to life; introduces Steppenwolf, a bland, wholly unconvincing CG villain who’d feel outdated in a PS3 video game; and bands together a team of superheroes who pride themselves on working alone. That’s a lot of content for even three movies to tackle, let alone one. I’m not sure the originally planned two-parter could’ve juggled all this, or even a longer version of this movie. As expected, the final product is a mangled, uninspired, overworked production. “Justice League” isn’t interested in being great; instead, it tries to be finished.
However, had Warner Bros. chosen a different path, and made a few different decisions “Justice League” could’ve succeeded. So, let’s break down the ways WB could’ve assessed the damage, fixed their mistakes, and made a better movie.
MORE WONDER WOMAN, LESS BATMAN
I have nothing against Ben Affleck’s Batman, and in fact, I think he’s pretty great in ‘Batman v Superman.’ Affleck portrayed the Dark Knight as a more wounded, reflective soul — someone who amassed decades of resentment against the world and fought his battles as a vigilante. Bleak, brooding and moody, this version of Batman is conflicted. It’s an intriguing, layered take, with exceptional promise, but didn’t get its full due in ‘Batman v Superman.’
However, this Batman, shouldn’t be the one assembling the Justice League. He’s too sullen, too stand-offish. He’s wouldn’t invite his buddies (if he has any) to his place for pizza, let alone put together a team of superhero strangers. But by making him our designated Tony Stark/Iron Man of the group, Bruce Wayne/Batman becomes a completely different character. He makes dry, sarcastic quips, and flirts and holds no chemistry with Wonder Woman (Gal Gadot). He’s optimistic in the potential of others. Maybe if this was better developed, it could’ve worked. But like everything else, his progress is swift, unestablished and therefore deeply jarring, the product of rushed filmmaking and limited time.
Wouldn’t it make more sense for Wonder Woman to lead Justice League? Diana Prince’s arc in “Wonder Woman” is about seeing the good in man, and someone as strong and independent as Wonder Woman, inspired by the belief of the common good against the greater evil, is a much better fit to bring together a superhero team.
It would’ve been easy to reconfigure the movie for this approach. We start “Justice League” with the London action scene. Wonder Woman is still kicking ass and taking names, but when she learns of a deathly threat on her home world, she knows there’s great danger brewing with Steppenwolf, and that she can’t complete this mission alone. She reaches out to Batman, who is depressed and further isolated from the world following the death of Superman. It’s a challenge to get him on board, but through her optimism and good spirits, she convinces Bruce Wayne to fight for what’s right, fair and just.
With this encouragement, Batman and Wonder Woman find Cyborg (Ray Fisher), and he’s similarly apprehensive. He’s not a hero, he’s a monster, he claims, a freak that’s more machine than man. And he doesn’t know how to use his powers. There’s a confrontation, perhaps a cool action beat, but after Cyborg explains what happened and how he became the Frankenstein creation he is, Batman sympathizes. He connects to Cyborg on an emotional level, and Wonder Woman convinces him that he has great potential.
Eventually, he agrees. Rejoice! Who’s next? Cyborg heard about a guy, someone gifted with superspeed beyond his control. They find The Flash, and similar to the film, it doesn’t take much to convince him to join. Great! Now we’ve got to get Aquaman, but before that happens, Steppenwolf attacks! They fight each other, and while they deliver some good punches, it’s no use. The team needs another ally, and that’s when Aquaman can join the frame.
My proposed outline wouldn’t guarantee a good film, but I’d argue it at least adds a more richly developed story, while still leaving room for spinoffs and sequels.
ACCELERATE THE FLASH TO THE FOREFRONT
For my money, Ezra Miller’s The Flash is the best discovery in “Justice League.” Portrayed as an overeager kid with a motor-mouth who can’t talk as fast as his mind thinks, Miller brings all the right moves, and it’s a shame “Justice League” couldn’t justify his presence.
Miller’s giddy enthusiasm should’ve been the film’s main lifeline, and would’ve given us an audience surrogate we can connect to. The Flash is the only person here who seems legitimately enthused by the idea of forming the world’s greatest superhero pack. Everyone else treats it like the corporate obligation it is. And that’s a bummer, because while the others are established as apprehensive, sulky or resentful, The Flash is intentionally quite the opposite. He’s an outsider, but he yearns to belong. He deeply desires a personal connection with others, something he was deprived since childhood. By joining the Justice League, The Flash — much like Cyborg, Batman, Superman and Wonder Woman — is a broken, misunderstood, alienated person who is finally given an opportunity to feel fulfilled. Why not capitalize on that?
Why not make The Flash one of the leads rather than the socially awkward neurotic third fiddle? We introduce him as a kid who doesn’t know how to play well with others. His dad’s in prison, wrongly convicted, and The Flash wants justice for his father. By it’s hard to find justice in a world driven by chaos, especially after Superman’s death. On the news, in public and private conversation, everyone has an opinion on Superman. It’s unavoidable, and while he didn’t know what to think, The Flash knows Superman fought for him.
But even with his extraordinary powers, The Flash never thought he’d hear from Batman. But that’s exactly what happens, and then Wonder Woman enters the equation. They explain their intentions to start the Justice League. It’s a small operation, but they need to do it fast to save the world from Steppenwolf, a supervillain who reigns terror in the wake of Superman’s death. Of course, The Flash doesn’t hesitate to join the adventure, and soon he’s hanging out with Cyborg and Aquaman too.
Through Flash’s earnest eyes, we’re a fly on the wall, watching the greatest superheroes come together to save the world. At first, it’s hard for The Flash to adjust. He’s clumsy, overeager. Maybe even a bit arrogant. But as he develops, the Justice League does too. And this way, we, the audience, get a better chance to see this group come to bloom, and this would give “Justice League” a moral, emotional core, which is something the movie desperately needed.
Holy $hit is this your personal blog to pitch ideas to lurking executives?
My thought exactly. If you want *that* movie, pitch it. Write it. Get it made. Quit butting into others’ work. It isn’t fan fiction, to be bent to your vision. It’s real-world, all the marbles film making. Quit blogging, start writing.
Jim Jarmusch has been keeping it pretty chill since last year’s release of “Paterson” and “Gimme Danger,” but the director always has a couple irons in the fire. Last month, Tilda Swinton revealed she was gearing up to reunite with the filmmaker on a new project, which is yet to be revealed. But it seems that’s not all the director has cooking up.
RZA recently took some time out to chat with Telerama, and the rapper/director/actor revealed that a followup to “Ghost Dog: The Way Of The Samurai” was in the works, though it sounds like it’s still in formative stages.
“Jim Jarmusch, my good buddy, and Forest Whitaker, have both signed on with me and another writer named Dallas Jackson, to executive producer another ‘Ghost Dog.’ And we already have something written. So maybe ‘Ghost Dog’ will make its way back to the silver screen, or small screen,” the Wu-Tang Clan member said.
RZA, of course, created the terrific score for ‘Ghost Dog,’ and had a role in the film, and while it sounds like the core creative team are back, it does seem like they’ll be guiding this new incarnation, though not directly making it. Jackson has been a producer on the TV shows “South Of Nowhere” and “Rebel,” and if I were to make a guess, I’d assume “Ghost Dog” might be headed toward television. The story — about a mafia hit man and his stringent adherence to a samurai code — seems a perfect fit for an episodic format, so we can spend far more time in the character’s unique world.
No word yet if Forest Whitaker will reprise his role or not, or heck — maybe the twist here is that Tilda Swinton is the lead hit woman (I kinda doubt it). But it looks like there’s more super cool samurai stories on the way.
It’s a rare filmmaker whose movies give the impression of nothing happening when everything is happening, and that qualifier suits Hou Hsiao-hsien just fine: He’s one of a kind, the type who gets away with checking influences in his work because his work metastasized into cinema worth praising as “original” a long, long time ago. Name-drop “Crouching Tiger, Hidden Dragon”when chatting up “The Assassin” all you like, but it doesn’t change its identity as a Hou film first and a wuxia picture second; compare “Daughter of the Nile,” enjoying its first ever theatrical run in the U.S. thirty years after its release, to “Rebel Without a Cause,” if you like, but you’re comparing oranges to kumquats.
“Daughter of the Nile” has obvious antecedents, the most important among them belonging to Yasujiro Ozu, whose filmography feels like a blueprint for Hou’s career; in 2017, the year that The Criterion Collection gave us the gift of “Good Morning” on Blu-ray, the restoration of “Daughter of the Nile” feels like kismet. If you appreciate Ozu’s knack for wringing fine art out of flatulence, then you’ll marvel at how Hou uses farts as a respite from tragedy. The movie doesn’t go all-in on fart gags, mind you, and only catches its characters conversing on the subject of gas precious few times; it’s tempting, in these moments, to imagine Hou with a hand clapped over his mouth behind the camera, giggling under his breath at his ingenuity in foisting puerile humor upon his assuredly highbrow arthouse audience. As jokes go, that’s the best joke of all.
But the joke isn’t so much a joke as a provision of reality. Hou’s approach to filmmaking is incidental; watch any of his movies, save perhaps for “The Assassin,” and you might wonder if he simply wandered into a space and rolled cameras, quietly, surreptitiously, without attracting even a glance from his subjects. His aesthetic is indiscriminate: If he happens upon characters in discussion on serious affairs, he films them. If he happens upon, say, a grandfather extolling the virtues of a good fart to his granddaughter, he films them, too. “Back home,” grandfather says to his disgusted granddaughter, “all the kids love to hear Grandpa fart.” Hou isn’t picky. It’s all art to him. Even a chat about bodily functions assumes a touching, bombastic poetry in his hands.
We’re getting off course, here, but suffice it to say that Hou is maybe the perfect director to make a movie that drills down past the mundane elements of everyday living and straight to the cruder core of his characters’ humanity. Let’s put that another way: “Daughter of the Nile” might as well accord its cast the luxury of breaking wind (and downwind, no less), because Hou has no qualms showing them at their worst in other, more meaningful capacities. The film begins in the future tense before immediately, and not a little jarringly, reverting to the past, framing itself as a story of reflection; Hou introduces his protagonist, Hsiao-yang (Taiwanese pop star Lin Yang), as an adult, only to then flashback to Hsiao-yang’s upbringing on the outskirts of Taipei. Like the city, like youth itself, the plot is a sprawl contained by the particulars of her home life.
Hsiao-yang is the de facto head of her family; we learn that her mother died prior to the events in the film, that her father, a police officer, works in Chiayi and is thus in and out of the house, that her older brother died in a car crash, and that her remaining brother, Hsiao-fang (Jack Kao), is a burgling, scheming, petty crime committing cad. Apart from Hsiao-yang, only her grandfather (Tianlu Li, one of Hou’s regulars) and her little sister can be described as pure, or upright, or at least just decent. Dad isn’t a bad guy, but he’s hardly ever around. Hsiao-fang is always around, but he’s usually up to no good. The film pivots on Hsiao-yang’s infatuation with one of Hsiao-fang’s cohorts, Ah-sang (Fan Yang), a connection that scarcely deepens but draws her closer and closer to the dangerous life her brother flirts with.
The film draws its title from a Japanese manga, “Crest of the Royal Family,” Hsiao-yang’s preferred escape from the rigors of living; interstitial images composed of hieroglyphics and animal-identifying deities, accompanied by Hsiao-yang’s narration, serve as the film’s bookends, with the text scarcely referenced throughout the rest of its running time. The kinship Hsiao-yang feels for the comic, in which an American girl is magically transplanted from her time to ancient Egypt and inevitably falls head over doomed heels for a comely young pharaoh, is a multifaceted motif: Reading affords her well-earned respite from existential chaos, but the respite never lasts long. The chaos is overwhelming. Hou, of course, is a disciplined craftsman, and as such the film maintains a prevailing sense of peace even in its most turbulent scenes. Gangland shootings feel as routine as rainstorms, though it helps that Hou prefers to keep his violence elliptical.
We don’t quite understand who is being shot at, or why. Maybe we know the characters, but Hou holds his viewers at arm’s length from them, such that the circumstances of their injuries read as mysterious. The distance is appropriate. Hsiao-yang is our anchor. She lives under the same roof as her brother, but she seems to hardly know him beyond his criminal endeavors. “Daughter of the Nile” features fits and spurts of barbarism, removed from Hsiao-yang’s understanding of her own sibling.
The obfuscatory effect works; there’s a block between us and the film’s specifics, but the story is easily understood regardless. We don’t need the mechanisms that drive Hsiao-fang’s crooked enterprises. We don’t need to know why Hsiao-yang works at Kentucky Fried Chicken, or how she came to develop a crush on Ah-sang. We don’t even need to get why her father works in a totally different city. Hou’s presentation is artistically blunt: He treats the stuff of “Daughter of the Nile” as a matter of fact. Its inscrutability is essential to its power as narrative and its beauty as cinema. [A-]
Awards Season is in second gear and there doesn’t seem to be a night or afternoon that goes by without some event or special screening. This past week alone Warner Bros.’ brought out the kids from “It” for a deserved “don’t forget to give us some love” Q&A; Fox Searchlight had their annual holiday party with Guilermo del Toro and Martin McDonaugh on hand; Searchlight also hosted the LA premiere of “The Shape of Water” at the Academy; STX saved AFI Fest’s collective you know what by replacing “All The Money In The World” as the closing night film with a “tribute” to “Molly’s Game” director and scribe Aaron Sorkin; and Showtime had their own holiday fete with notable names such as Kevin Bacon and recent Emmy winner Lena Waithe (whose new show “The Chi” drops on the network in Jan.). And that’s not counting all the guild screenings filling every screening room in town. On Friday night, Universal found a way to break through the Oscar chatter with an impressive screening, reception and gallery installation for Jordan Peele’s“Get Out.”
Appropriately held at the Lombardi House in Hollywood, the event featured original artwork that the studio had collected from both fans and notable artists. It goes without saying the installation was beyond impressive. The art inspired by the film was often spectacular and wasn’t limited to print or paintings. There were some powerful multimedia creations such as the one captured and embedded on this post (click on the image to see the animation). Moreover, the work speaks to how much the social commentary of “Get Out” has resonated with many who have seen it not just in the U.S., but around the world.
I spoke to star Daniel Kaluuya who told me he already had a friend requesting prints of some of the works (although who was going to get those made neither of us could answer). Kaluuya has had an absolutely incredible year. He admitted that everything that could have happened with “Get Out” – originally seen by Universal as just a small horror thriller with a safe $4.5 million budget – is what you “dream” about. Still one of the most critically acclaimed movies of the year, “Get Out” has grossed a stunning $254 million worldwide and made Peele one of the most sought after filmmakers in Hollywood (Universal smartly snagged his next movie). The role helped Kaluuya land a key role in Ryan Coogler’s “Black Panther” and another in Steve McQueen‘s follow up to “12 Years A Slave,” the ensemble thriller “Widows” alongside Viola Davis, Michelle Rodriguez,Elizabeth Debicki and Carrie Coon, among others. Moreover, Kaluuya knows this “Get Out” ride is far from over. Is a SAG ensemble nomination in his future? Possibly. Will be able to say he starred in a film nominated for Best Picture? I absolutely wouldn’t bet against it.
Earlier this week there was a ton of online “controversy” over whether “Get Out” was correctly categorized by a comedy for Golden Globes purposes (it’s not the first movie to go through this journey with the HFPA), but in the end it allowed Peele to make a statement which, in many ways, exemplifies why the film will resonate beyond Oscar night.
“The most rewarding part of making “Get Out” is the conversations the film has inspired.
When I originally heard the idea of placing it in the comedy category it didn’t register to me as an issue. I missed it. There’s no category for social thriller. So what? I moved on.
I made this movie for the loyal black horror fans who have been underrepresented for years. When people began standing up for my voice, it meant a lot. “Get Out” doesn’t just belong to me any more, now it belongs to everyone.
The reason for the visceral response to this movie being called a comedy is that we are still living in a time in which African American cries for justice aren’t being taken seriously. It’s important to acknowledge that though there are funny moments, the systemic racism that the movie is about is very real. More than anything, it shows me that film can be a force for change. At the end of the day, call “Get Out” horror, comedy, drama, action or documentary, I don’t care. Whatever you call it, just know it’s our truth.”
Beyond Peele and Kaluuya, other notable names on hand included Allison Williams and Universal Studios Chairman Donna Langley. Check out some more images from the event below.
Football fans are not just mourning the loss of their favorite sport, they are now waking to tragic news of the passing of one of the league’s finest who had a prominent role representing the sport for what it really was before anti-American athletes hijacked it. This shocking news of a talented and noble player gone far too soon comes within days of reports of another prominent football star who will spend the rest of his life behind bars, and another current player who has also been accused of a depraved crime.
ProFootball Talk reports:
According to multiple reports, longtime NFL wide receiver Terry Glenn died Monday morning at the age of 43 due to injuries suffered in a car accident.
Glenn grew up in Columbus, Ohio and stayed in town to star at Ohio State before being drafted seventh overall in the 1996 draft. He got off to a rocky start with then-coach Bill Parcells because Parcells referred to Glenn as “she,” but he caught 90 passes for 1,132 yards and six touchdowns as a rookie to help the Patriots advance to the Super Bowl for the second time in franchise history.
Glenn would have two more strong seasons with the Patriots and caught Tom Brady‘s first NFL touchdown pass in 2001, but saw his time in New England end as a healthy scratch after disputes with Bill Belichick. He spent one year with the Packers and then reunited with Parcells in Dallas.