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Last month a new Anomalisa update appeared on the project's Kickstarter page, and it was good news indeed:
We are so close to finishing this project and we appreciate all of your patience and support. Every frame of this project is a labor of love and we couldn’t have done it without all of our backers! (Source)
The update includes new production piccies.
Hasan Kale paints micro-art on matchsticks, sugar cubes, lipstick, and it's amazing. Adele Lack would be envious.
(Posted this on our FB page while the site was down.)
I posted this on the FB page while the site was down. Here's Cotswold village of Bourton-on-the-Water. In the village, there's a scale model of the town itself. Inside the model... there's a model of the model.
Thanks to Daniel for the tip!
Oliver Farry at New Statesman asks the question, and Adaptation is one of the films he looks to for answers.
I would point out that "good" isn't the same as "accurate." Nobody wants to see a film about a guy dicking around on Facebook, staring at a blinking cursor while his leg jiggles up and down with ever-increasing speed, watching a lot of TV, reading about writers who are actually writing, and saying "I suck, I have made a horrible life choice" every five minutes, while a clock ticks very loudly in the background and his hair turns grey.
But enough about me.
The screenwriting credits for Adaptation are shared by the two brothers, making Donald Kaufman, along with the Coen brothers’ editor Roderick Jaynes one of the few fictional people to be nominated for an Oscar. It is also one of the few instances where real-life authors have been integrated into the meta-textual fabric of a film (Guillaume Nicloux’s 2014 mockumentary The Kidnapping of Michel Houellebecq is another). One imagines the rarity of this happening is less due to reticence on the part of authors than the fact that most writers are simply not recognisable enough for the conceit to be fully effective. (Source)
Matter's Erika Hayasaki visited Mexico's National Institute of Neurology and Neurosurgery to learn about Cotard's Syndrome.
This terrifying disorder turns people into zombies, into living, breathing ghosts; they believe they died, or never existed. And somewhere in their brains may be the key to human consciousness.
[...] Most of the patients here have been diagnosed with garden-variety neurological disorders: schizophrenia, dementia, psychosis, severe depression, or bipolarism. But the ones I am searching for are different. They suffer from an affliction even more puzzling: They believe that they are dead.
It’s a rare disorder called Cotard’s syndrome, which few understand. For patients who have it, their hearts beat and lungs pump, yet they deny their existence or functionality of their bodies, organs or brains. They think their self is detached. (Source)
So here's what's been going on with the site.
Last year a security flaw popped up somewhere in BCK's back-end, and my webhost suspended the account as a safety measure, because the flaw compromised his server. I upgraded everything I could think of--all the plugins and odds and ends that keep BCK running--and we put the site back online, and all was well.
... Until January-ish this year, when the flaw again became apparent, and again the site was suspended. My host and I scheduled a time to look into the problem, but for some reason we missed each other and we ended up not looking into it, and I thought "Maybe this is a sign."
I was wondering if I ought to close the site completely and either a) just post Kaufman news on our FB page, or b) close the FB account as well. Because, you know, I've been maintaining BCK for more than 13 years now. That's a long time in internet years. I'M AN OLD MAN. Charlie hasn't been doing a lot of newsworthy stuff lately. I'm a bit busier than I once was. This stuff takes time and it takes money, and I have less of both than I did 13 years ago. Maybe I ought to move on and do other stuff. It's inevitable.
So I procrastinated, as I always do. For weeks I procrastinated. It's a skill I have.
I was really close to pulling the plug on all but the FB page and maybe the Twitter account.
But today (as I type this, anyway), the site's back online. I don't know why. Maybe it's only temporary. I'm gonna look into it soonly.
Sooooo... that's where we're at.
BCK is 13 years old today. Like, wow. The site is now a teenager even in real years; in internet years it's, I don't know, 87? Here's a little trip down memory lane, to celebrate the occasion.
On Youtube there used to be a long video of Charlie's super awesome BAFTA lecture (edited down by only a few minutes, I think?), and I posted it, but it's since been removed from Youtube. It was LOST IN THE MISTS OF TIME, NEVER TO BE SEEN AGAIN.
Twitter user @kaufmanic discovered the video's reapparance on the interwebs. Get it while it's hot:
If you're wondering why it's so difficult for Charlie to get anything on the screen these days, this article by Flavorwire explains what has happened to the film industry in the last couple of decades, and the impact it has had on filmmakers like Kaufman. He isn't mentioned in the piece, but Charlie's in the same class as the filmmakers who are mentioned: Lynch, Waters, Soderbergh.
“It’s a strange time. There’s not a whole lot that any of us can do about it,” David Lynch, who hasn’t directed a feature since 2006’s Inland Empire, explained over the summer. “You’ve seen waves of things go up and down, but maybe the arthouse will be back in vogue, and they’ll reappear all over the place again. I don’t know. It would be beautiful.”
It wasn’t always this way. Back in the 1980s and 1990s, when Waters and Lynch were doing their most commercially successful work, it was possible to finance — either independently or via or the studio system — mid-budget films (anywhere from $5 million to $60 million) with an adult sensibility. But slowly, quietly, over roughly the decade and a half since the turn of the century, the paradigm shifted. Studios began to make fewer films, betting big on would-be blockbusters, operating under the assumption that large investments equal large returns. (Source)
Yesterday an update was sent out to Anomalisa's Kickstarter backers, bringing news that principal photography is now complete.
Thanks to everyone for sticking by us! It's been an incredible journey and we can't wait to share the whole experience with all of you.
We've begun putting together some of the pre-release rewards as we head into post production and will keep you updated on those delivery dates.
We are so grateful for your continued support!
More to come!
The Anomalisa Team (Source)
Art imitating art:
The spectacle - exhilaration and humiliation all muddled together, on stage as in life - will appear at FringeArts Thursday through Dec. 13 in the form of The Sincerity Project. Then, if all goes as planned, it will return with the same cast every few years for the next 24 years. Like a live-theater version of the Up documentary films that have tracked a dozen British children since 1964 from age 7 to 56, it will, Torra hopes, capture the aging bodies, evolving relationships, and changing views of seven cast members whose ambitions, impulses, and fears provide content for the show.
This longitudinal study of the effects of life on experimental theater - or is it the other way around? - was born out of Torra's desire to create a performance that was honest.
"I have a weird thing about theater feeling like lies all the time," he said.
So, a few years ago, he and his collaborators set out to make a "sincere" work - one that doesn't just imitate life, but chronicles and interprets it. (Source)
Meanwhile, Tom Noonan has been following him everywhere.