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The New York Times has a great article on Anomalisa. It's similar to the other how-Anomalisa-went-from-stage-to-screen articles I've posted, but there are some good quotes and other little nuggets that make this one worth reading.
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“Looking at it in retrospect,” Mr. Kaufman said, “it seemed like it was meant to happen. But while you’re going through it, it’s like: This is never going to happen. This is never going to happen. This is never going to happen.”
“Charlie is a very quiet, shy, slightly dour person,” Mr. Stamatopoulos said. “I’ll call Charlie up and say, ‘Hey, how ya doin’?’ And he’ll be like, ‘Eh, not so good,’ and I’ll be like, ‘Oh, he’s having a good day.’ ”
“I love doing stop-motion for no reason except that it’s stop-motion,” Mr. Stamatopoulos said. “My favorite thing is a puppet not moving, just sitting there and being depressed.”
Mr. Johnson and Mr. Kaufman had to remain in constant communication. The directors estimate that no more than 15 to 20 animators worked on the film at a time, each of whom, at best, produced about two seconds of footage a day.
“Over the course of time, people come and go,” Mr. Johnson explained
Mr. Kaufman added: “People died. People were born.” (Source)
... Well, not really. But sort of. But not really.
Some of the people who've seen Anomalisa (including a couple of my pals) think the trailer makes it look a little more chipper than it actually is. Like for instance Rian Johnson (Brick, Looper):
The recut Shining trailer is great, by the way:Add a comment
On Mentorless, there's a great post about Eternal Sunshine's cinematography, featuring a ton of great stills from the film.
Ellen Kuras, an ex-sociology student turned cinematographer while working on a documentary, handled with perfection the multiple moods, from present time to flash backs, to dreams, to nightmares, to erased memories, making them all blend into one coherent story. Needless to say, production designer Dan Leigh and editor Valdis Oskarsdottir (and their teams) are equally key contributors, but Kuras managed to give life to the camera in a rarely seen way so that what we see is what the characters feel, with all the changes and variations that implies. (Source)
The article's two years old, but it's new to me. Thanks to Cristian for the find!Add a comment
The BFI London Film Festival recently featured a surprise screening of Anomalisa. Charlie, Duke and David Thewlis were on hand for a Q&A at the end, and the good news for us? The BFI have uploaded a video of the Q&A.
Charlie sounds keen to make another animated film, somewhere down the line.
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via The Playlist.
Want a new still from Anomalisa? I've put it behind the cut, in case you're wary of being spoiled--I've only seen this image in two places online, so I assume this is news to most people?
Here ya go...
(Thanks to Tram!)
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STILL THAT SAME SINGLE IMAGE FROM THE FILM. Baaaaaaaah!
The image comes from the latest Anomalisa update on Kickstarter. ("The official poster is still a work in progress.")
Starting on December 30th, Anomalisa will be released in select theaters. In January, we’ll be expanding into more theaters and locations. (Source)
Getting closer!Add a comment
Synecdoche, New York features as part of a six-book series called "Arts in Entertainment" on Kickstarter.
With this series of books -- which will continue as long as authors and readers exist to carry it -- each author takes one particular work of art...novel, album, movie, anything at all...and shares the experience of being changed (deeply, urgently, irreversibly) as a result.
The books are as varied as their authors. They're funny, they're tragic, they're charming. They're profound and they're silly. They take sharp turns into memoir, history, interview, self-help, criticism, confession, and psychology.
Zachary Kaplan writes Synecdoche, New York, the fourth book in the series:
Synecdoche, New York is a film about life, time, memory, and our struggle to find meaning in our stories and stories in our lives. These ideas always resonated with my worldview, but after my mother took her own life, they began to take on a much greater significance to me.
They began to help me understand her suicide, my grief and my purpose. As I explore the film, I will use it as a compass to guide me through the grieving process as I plumb the emotional depths of the movie and of myself; to do anything less is to not heal fully. My mother is the fourth member of our family to take her own life, after her father, her mother and her brother.
I will intimately discuss ideas in this film as well as my family's sad past, one story illuminating the other. In doing so, I will put myself through an emotional hell -- and, hopefully, come out stronger in the end.
Writing this book is my dealing with it, my therapy. Writing this book is my grief process. Writing this book is my moving on. Writing this book is my ending the cycle.
You can find more info on the Kickstarter page. 16 days left in the fundraiser.
Thanks to David!Add a comment
Let's go to Philly! Says indieWIRE:
Not only will the writer-director screen his latest existential comedy-drama, "Anomalisa," on Opening Night and receive the festival's Artistic Achievement Award, he will also be the subject of a retrospective at the Prince Theater, which will include all six titles from Kaufman's filmography, including "Adaptation," "Being John Malkovich," "Confessions of a Dangerous Mind," "Eternal Sunshine of the Spotless Mind," "Human Nature" and "Synecdoche, New York." (Source)
You know they're hardcore about it when Human Nature gets a mention. Hardly anyone ever mentions Human Nature. Likewise Confessions.
The festival runs from October 22 to November 1.Add a comment
Mike Ryan interviewed Charlie and Duke Johnson for Uproxx, and the interview will be published soon. Ryan's been dying to ask Kaufman about an unaired sketch Charlie wrote for The Dana Carvey Show, titled "Weirder Al Yankovic," and that snippet from their conversation is already online:
Robert Carlock said you wrote a sketch in which Weirder Al Yankovic converts Weird Al’s songs back to normal?
No, I think the sketch went: There was Weird Al Yankovic, Weirder Al Yankovic, Weirdest Al Yankovic and — I’m not sure, I may be making this part up — then there was Regular Al Yankovic. And they were just named that by their parents. So, it got more and more insane. One of them would do a parody of the other one doing the other one. And then the third one would turn it back to the regular song.
I wish this existed.
Well, a lot of people really liked it and talked about it. And then they were going to do it on Mr. Show, because Dino Stamatopoulos and David Cross and Bob Odenkirk all worked on Carvey. But Mr. Show decided that they didn’t want to do anything that was based on real people in popular culture. That was one of their rules. So, it never got made. It’s a shame. [Sarcastically] It’s a terrible shame. (Source)
Charlie was Charlie, even back then.Add a comment