There’s a line forming next to Pamela Adlon.
First up is Sally Sue Beisel, a producer and first A.D., standing at a respectable distance with a growing list of questions for her “Better Things” showrunner; director of photography Paul Koestner is right behind her, waiting to talk to his director about the next shot; there are a few more patient crew members in tow, wanting answers from the episode’s executive producer, writer, and star, but Adlon — who fills all these roles and more — isn’t looking back. She’s looking at Jack Eyman, a child actor trying to stick his one, brief scene.
More from IndieWire'Better Things' Review: Season 4 Is an Experience Like Nothing Else on TelevisionPamela Adlon Is Creating 'Better Things' On and Off-Screen
“It feels weird? That weird aggressive kind of energy? That’s real,” Adlon tells her co-star, eyes dialed in to read his reaction.
First up is Sally Sue Beisel, a producer and first A.D., standing at a respectable distance with a growing list of questions for her “Better Things” showrunner; director of photography Paul Koestner is right behind her, waiting to talk to his director about the next shot; there are a few more patient crew members in tow, wanting answers from the episode’s executive producer, writer, and star, but Adlon — who fills all these roles and more — isn’t looking back. She’s looking at Jack Eyman, a child actor trying to stick his one, brief scene.
More from IndieWire'Better Things' Review: Season 4 Is an Experience Like Nothing Else on TelevisionPamela Adlon Is Creating 'Better Things' On and Off-Screen
“It feels weird? That weird aggressive kind of energy? That’s real,” Adlon tells her co-star, eyes dialed in to read his reaction.
- 4/9/2020
- by Ben Travers
- Indiewire
Dear Fern,In my last letter I wrote to you and Kelley of the highly stylized provocation of Caniba. Well, I found another but far better showboating film in Toronto's Wavelengths program, one that also precariously extends the reach of its subject to the film’s form itself. Sara Cwynar’s exuberantly candied short Rose Gold, spawned from a fascination with the titular color of a new (now old) iPhone, extracts ideas and images from this conflation of commerce and metallurgic hue to ricochet around a tart, constantly erupting quasi-encyclopedia on the subject. By turns burrowing and dodging, distracted, Godard-like, with overlapping and interrupting quotes and observations, its cacophony of objects, citations, and pastel colors makes it easy to take Rose Gold as its own pop consumer item for the hip set, Instagram-ready and already halfway to being printed on limited edition tote bags.The range of Cwynar’s film is impressive,...
- 9/17/2017
- MUBI
Editor’s Note: Before his rise to stand-up stardom, Louis C.K. taught himself how to make 16mm short films, which he used to capture a narrative absurdity that wasn’t present in his onstage routine. Over the years he has amassed a small loyal crew of filmmaking collaborators and has grown into a remarkably effective visual storyteller — in particular on the 61 episodes of FX’s “Louie,” which often leans more on the structure of short films than episodic television.
In August it was revealed C.K. had secretly made his first feature film since his misadventures writing and directing the 2001 “Pootie Tang” — starring his close friend Chris Rock, based on one of Rock’s sketch routines — which Paramount eventually took away from the then-inexperienced and unknown director and tried to salvage in post-production. Before the veil on the secretive “I Love You Daddy” is lifted tonight at the Toronto International Film Festival,...
In August it was revealed C.K. had secretly made his first feature film since his misadventures writing and directing the 2001 “Pootie Tang” — starring his close friend Chris Rock, based on one of Rock’s sketch routines — which Paramount eventually took away from the then-inexperienced and unknown director and tried to salvage in post-production. Before the veil on the secretive “I Love You Daddy” is lifted tonight at the Toronto International Film Festival,...
- 9/9/2017
- by Chris O'Falt
- Indiewire
How our relationship with movies evolves is intricately bound to our own changing perspectives, and to the medium's ever shifting context, forming a perpetually shifting dynamic. This new column borrows the namesake of one of my favorite films for that reason. Cinephilia itself is a sort of journey, and I’m no longer naïve enough (but still hopefully naïve!) to think that it’s one with a conclusion, or even a safe plateau one can reach. Likewise, life is some sort of movement homeward, where home is not a 'place,' but a pursuit of 'something.' For me these two odysseys run in parallel—hence, a long voyage home.
This column, for which I hope to prepare an entry every two weeks, ultimately has no unifying theme or format. One piece may be a review, the next a single observation, an image piece, a video essay...and hopefully things...
This column, for which I hope to prepare an entry every two weeks, ultimately has no unifying theme or format. One piece may be a review, the next a single observation, an image piece, a video essay...and hopefully things...
- 6/23/2014
- by Adam Cook
- MUBI
At the end of the most recent season of his superb FX series, Louis C.K. made an unusual pass at long-form storytelling. “Late Show” finds Louie at its most overtly dramatic and—for a show that regularly exults in narrative ellipsis and melancholia—its most accessible as well. It tells the story, over three episodes, of our hero’s unlikely journey to succeed an apparently retiring David Letterman. As an increasingly confident director, C.K. has continued to explore more adventurous possibilities. Louie is essentially a hybrid of the comedian’s impulses as a stand-up and as a straight-ahead sketch writer. The man on stage, with all his fear and responsibility and desire and dread, is dropped into a world conceived to afflict these very qualities, a world that must be endured. The jokes come later, when we can make sense of it all. Whatever truth is to be discovered...
- 5/5/2014
- by Ryan Meehan
- MUBI
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