“It’s like Schopenhauer said, people tend to believe that adversity is this extraordinary thing in humanity; adversity is the norm. It is extraordinary when you don’t experience adversity. Adversity shapes who you are and how you deal with life.”
“It’s nominally about dinosaurs, so it’s already starting light years ahead of most movies (what I wouldn’t give for more tyrannosaurs in romantic comedies, for instance). But underneath that layer of awesomeness, it’s a parable about what I call the Triforce of Science. This Triforce is not exactly wisdom, courage, and power, but it’s actually not far off: it’s theory, empiricism, and money.”
“Do you turn off Old Yeller before the end so you can pretend that he lived a long and happy life? Did a cute pet on a movie poster make you think it would be a fun comedy but it turned out to be a pet-with-a-terminal-illness tearjerker instead? Are you unable to enjoy the human body count in a horror movie because you’re wondering whether the dog’s going to kick the bucket? Have you ever Googled “Does the [dog/cat/horse/Klingon targ] die in [movie title]?””
“love “becomes all about choice — choosing to love someone, choosing not to cheat on them. It becomes this long series of choices, and that’s actually where your mettle as a person is tested.””
“Our capacity for fantasy — for indulging that nagging sense that as good as we’ve got it, there could be something better, some person or place that could transform us — might be humankind’s greatest burden.”
“The American dream tells you that you’ll have success if you work hard enough, and we have some concerns about that fallacy. Hopefully, the characters in our films learn to redefine success.”


Our In-Theater Commentary Track is up!

I recorded a commentary track to be downloaded, put on an ipod and listened to in the theater as you’re watching Looper.  This is an odd thing I tried with Bloom, and have gotten a few requests for it again, so here it is.  It is totally different from the commentary track that will be on the Blu/DVD, a bit more technical and detailed.  Needless to say, this is NOT to be listened to on a first viewing, or before you’ve seen the film.  Also, please work it so that a glowing screening is never out of your pocket during the movie.

Listen to the introduction before heading to the theater, it has instructions.  And lemme know how it works.

Go HERE to download the in-theater commentary track for Looper! (the “download” button is the little down arrow on the toolbar)

“Crime films, Dominik said, were “the most honest films about America” because in them it was “perfectly acceptable for all the characters to be motivated by money”. They “portray Americans as I experience a lot of them, particularly in Hollywood”, he said.”
“Now, you’d think someone could find stakes in the story of a blacksmith’s daughter or milkmaid, but apparently not Pixar (which is owned, of course, by Disney). Still, Pixar didn’t seem to have the same problem with ordinary civilian boy heroes in movies such as Up.”
“Let’s take that in for a minute: the studio whose most iconic heroes include a toy cowboy, a rat, a fish, a boy scout, and a lonely trash compactor (all male-identified, of course), couldn’t figure out how to tell a story about a human girl without making her a princess. That’s the problem in a nutshell: if the sparkling minds at Pixar can’t imagine their way out of the princess paradigm, how can we expect girls to?”
“Anytime a director casts an actor like Kevin Costner to play a prosecutor delivering a heartfelt summation, we must keep things in perspective and remember it is only a dramatization of events that we’re watching. Every good feature requires a hero and a villain and screen-writers usually take their liberties in providing them.”
“Then again, if one was only to say airily that Lynch’s films are exquisite meditations on the nature of the medium itself, or some such plausible boilerplate, then this still leaves unaccounted for the very real grip he has on our imaginations.”
“I sympathise with the effort to get a film made at all. I approach a movie with hope, not suspicion. I have an open mind about films that provide their audiences with what they’re looking for and try not to be a snob about that.”
“Blur ended up with 26 moments approved by Fincher, then composed them into 252 shots of 24 frames or fewer. Each piece was created electronically using 3ds Max, RealFlow (for the oily goo), Softimage and other software, as well as 3-D scans of principal actors Rooney Mara and Daniel Craig (to get their likenesses right).”