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Matinee at 30: Why This Love Letter To The Cinema Experience is Joe Dante’s The Fabelmans

2/1/2023

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John Goodman standing in front of an old-school picture house cinema with a giant ant climbing on it.
With Spielberg’s most personal film chronicling his journey to becoming a filmmaker, we look at an undersung ’​90’s classic that lovingly celebrated the humble art of movie appreciation…
There’s a bit in Matinee, Joe Dante’s love letter to cinema, where John Goodman’s suspenders-wearing, cigar-chomping filmmaker Lawrence Woolsey explains why the cinema experience is so special. Likening it to the cave painting that marked man’s first foray into storytelling, he starts: “People come into your cave with the 200-year-old carpet. The guy tears your ticket in half. Too late to turn back now!” Meanwhile, Dante lovingly sweeps up through the halls of an old-school picture house in its prime, illustrating Woolsey’s speech. You can almost smell the hot popcorn. “The stuff’s laid out on the candy counter. Then you come over here to where it’s dark. Could be anything in there…” Woodsley sweeps open auditorium doors. “And you say… ‘Here I am!’ What have you got for me!’”

It’s an evocative moment in a movie that’s full of scenes reminding us of the unparalleled and transformative power of going to the cinema. Celebrating its 30th birthday this week, Matinee is far from Dante’s most well-known movie thanks to previous hits like The Howling and Gremlins. However, it’s definitely his most personal -- and as our own relationship with going to the movies has changed over the years in the wake of sofa streaming, it’s emerged as a celebration of not only filmmaking itself but the very act of going to the movies and the people who still show up to fill the seats for a big-screen experience. 

The story of a monster movie-loving kid who meets a big-time movie director, at the heart of Matinee is a deep love of movie-going. Much like its young hero Simon (Gene Fenton) and his military man father, Dante’s professional golfer dad had a job that led to lots of moving around, with cinema becoming one of the only consistencies in his life. As such, movies devoured his attention; much of the film posters and magazines glimpsed in Simon’s teenage bedroom all came from Dante’s own personal collection, with monsters quickly emerging as a stand-out favourite. When a new feature came to town, it was an event -- and in a pre-streaming age, something to be savoured whilst still available. This romanticism bleeds its way into Matinee’s nostalgic frames, with cinematographer John Hora frequently providing a golden hue to the film’s scenes, matching Dante’s clear love of that time period.
​It’s also a movie that frames cinema as a necessary form of escape. Dante’s movie plays out in the shadow of the Cuban missile crisis and an impending nuclear war that could start at any given minute. Despite thirty years passing since Matinee’s release — and even more since America’s close call with apocalypse in 1962 — this theme still feels eerily prescient. After all, it was only recently that we learned that the Doomsday clock had ticked even closer to midnight, placing us just 90 seconds from fiery catastrophe. With the ongoing war in Ukraine and Russian aggression, continual gun issues in America and a growing distrust of authority here in the UK, there truly couldn’t be a better time to elope into a dark, quiet room and escape into fiction.

Like a flipped take on Spielberg’s semi-autobiographic new one The Fabelmans, Matinee doesn’t so much chronicle the events that lead someone to become a visionary filmmaker but instead tackles the key coming-of-age moments that create a die-hard movie fan. It’s a film pairing that’s unlikely yet weirdly apt. After all, it was Spielberg who gave Dante his big break, selecting him to helm Gremlins, the first movie released under his Amblin production banner. Three decades later and while Spielberg’s still doing what he does best, Dante’s love for the world of movie making is stronger than ever, both in the films he creates and his extracurricular activities like his cinema celebrating Trailers From Hell podcast. Both individuals continue to showcase the romanticism and importance of the big screen experience — something that couldn’t be more important for the times we currently find ourselves in.

Matinee is currently available to buy on Amazon. Read more of my work by visiting my TikTok or following me on Medium and Twitter. 
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Culture Dump: What We Know About Bill And Ted Face The Music So Far

2/17/2019

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This weekend marks the 30th anniversary of Bill and Ted’s Excellent Adventure, the slacker teen comedy that proved smarts aren’t always integral for success - heart counts too. After all, it was the enduring friendship of Bill S. Preston Esq and Ted Theodore Logan (and their real-life counterparts Alex Winter and Keanu Reeves) that helped keep the film close to fans’ hearts. Good thing too, as 1989’s critics weren’t exactly keen on Director Stephen Herek’s franchise starter - even accusing it of actively promoting stupidity. Thankfully audiences were kinder to the time-travelling alter-egos of writers Chris Matheson and Ed Solomon. Cut to 2019 and rumours of a third instalment never seem far from movie gossip sites - but what exactly do we know about Bill and Ted Face The Music? Let’s take a look...

Wait For It...

When we last saw Bill and Ted at the end of 1990’s Bogus Journey, they’d returned from a trip to a future where they’d finally fulfilled their fate of writing the music that heals humanity. However when we find them in Bill and Ted Face The Music - they’re still waiting for that particular beat to drop. Having transformed from dudes to dads, the duo must come face-to-face with the fact that they’re yet to achieve their world-saving destiny and embark on a jaunt through time to figure out why that is. It’s a theme that runs deep for Bill and Ted’s real-life alter-egos Matheson and Solomon who have lived with these characters (and their various ups and downs) since their early 20s - but it’s also a quest that’s universally relatable: What teenager didn’t think they’d grow up to conquer the world only to have reality get in the way?

Rufus Redux

One of the biggest question marks hanging over Bill and Ted 3 is how Matheson, Solomon and Face The Music Director Dean Parisot plan to tackle the absence of George Carlin’s Rufus. As their cool-as-ice guide through time, Carlin - who passed away back in 2008 - swapped his whip-smart stand-up persona for that of a laid back time lord, providing Bill and Ted with their time travelling phone booth and guiding them through ‘89’s Excellent Adventure and Peter Hewitt’s 1990 sequel Bogus Journey. Thankfully Rufus fans can rest easy in the knowledge that Carlin’s presence will very much be felt throughout Bill and Ted Face The Music in the form of Rufus’s daughter who makes an emergency visit to the San Dimas chosen ones to hit home the chaos that awaits if they don’t seal their future fates.

Back To Hell

While George Carlin may be absent in Face The Music, there is another familiar face from the franchise’s previous instalments that promises to make a return alongside Reeves and Winter. William Sadler’s portrayal of Death - complete with hood and scythe - became a fast fan-favourite following his appearance in Bogus Journey’s board-game sequences in Hell and while little is known about exactly how he’ll factor into the duo’s latest adventure, both of the film’s co-writers have let slip that he is due to make an appearance in part three. Could this mean Bill and Ted have to go back into key events from their past to help fix their future? Time will tell, Dude.

Time For An Upgrade

While Bill and Ted’s journey in Face the Music is very much an internal one, Matheson and Solomon have confirmed that it will once again involve sending the duo through the circuits of time. This means they’ll have to join Rufus’s daughter in their time-travelling phone booth if they want to survive their mid-life slump and write the music that fixes humanity's ills - and make no mistake - it will still be a phone booth, despite their lack of familiarity with modern audiences. That said, the brains behind the series have teased that this icon of a bygone time could have a few surprises hiding up its sleeve. Perhaps we should expect a few upgrades or alternate versions? It’s about time... 

Bill and Ted Face The Music is due to go into production this Spring. To read my retrospective piece on Bill and Ted's Excellent Adventure, head to the SFX page. 
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Culture Dump: Are We Exiting Television's Golden Age?

2/4/2018

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It’s been awhile since we left Tony Soprano eating with his family in that diner. Two whole years have passed since Don Draper dreamed up his last big ad campaign at that mountain retreat. In just over a year’s time, Westeros will be through with fighting and the battle for the Iron Throne will be done and dusted. Old news. Over. Kaput. What will we watch then? Will there be anything out there in telly land worthy of taking the place of these epic water cooler shows or has the wave of amazing TV silently crashed into the shore and disappeared without any of us noticing? 

It was shows like these that heralded in television’s golden age just over over a decade ago. In the years that followed, small screen entertainment just got better and better, from gripping hour-long dramas like The Wire and Breaking Bad to smart, quick-hit comedies like 30 Rock and Parks and Recreation. TV quickly established itself as the place to be, often overtaking its big screen counterparts in terms of quality, depth and overall enjoyment. Big name stars flocked to the series format and awards were won.  It was even powerful enough to bring gone-before-their-time shows back from the dead, with avid viewers embracing high-brow programming and demanding more from those who controlled its fate. However while we were all busy binge watching, we stopped paying attention to how long this flip of fortune may last. 

To say that 2017 saw a lot of changes in film and television is a bit of an understatement. Revelations about Harvey Weinstein not only rocked Hollywood but had ripple effects in all corners of show business, including television. Many of the shows that helped redefine what could be done in the format were affected. Kevin Spacey was unceremoniously fired from House of Cards; FX cut all future ties with Louis C.K; Transparent star Jeffrey Tambour hinted at his departure from the award-winning show and Netflix has yet to decide the fate of Aziz Ansari’s Master of None. Similar to how allegations against Brand New front-man Jesse Lacey signalled a time-to-move-on book-end to the emo genre for let down fans, perhaps this whistle blowing marks the end of a golden era for television entertainment. 

Separating the art from the abusers involved in creating it can be a confusing process for all those who related to, and built aspects of their identity around, the shows impacted by recent allegations. For years, the stream of unparalleled and abundant television entertainment seemed too good to be true and as the Weinstein scandal and its fallout continues to unfold, we may have discovered that that's exactly what it was. Maybe this is the right time for television’s golden age to come to a close. As for what comes next? Only time will tell. However it’s safe to say that big changes are certainly on the way. 

What do you think we can expect from television's Silver Age? Let me know in the comments section below!
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Culture Dump: What Actually Makes A Film Good?

1/8/2018

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Cinema-wise, 2017 ended with a rift more divisive than a light-sabre swipe. Rian Johnson’s eagerly anticipated trilogy sandwich filler The Last Jedi hit screens and immediately split the opinions of seasoned Jedis and fledgling Padawans alike. Some (including Disney) thought it was exactly the breath of fresh air that the series needed, a gasp-inducing continuation that refused to let you get comfortable from the get-go, either via character twists or Porg humour. Others meanwhile felt that Johnson’s episode played a little too fast and loose with the universe, characters and Star Wars story tone that they hold so dear. For the first time ever, there was a clear love-it-or-hate-it vibe about the Skywalker saga. Talk about a disturbance in the force.

It raised an interesting point though: What is it exactly that makes a film any good? Can a film be purely good or purely bad or is the worth of each cinematic outing based purely on personal taste alone? December was an interesting time to talk about good and bad movies too, notably due to the release of James Franco’s The Disaster Artist.  Debuting just a week or so before The Last Jedi, Franco’s film revealed the story behind The Room, Tommy Wiseau’s infamously terrible movie that’s since gone on to become a sleeper cult-hit with movie fans. With Franco likely to win big during award season (scratch that - already winning big) thanks to a pitch-perfect performance of a character once deemed too terrible to succeed, it blurs the lines even further on what constitutes good art in the eyes of viewers.

With movies like Star Wars, the task of earning the accolade of ‘good movie’ is an even trickier task. Fans have had years to paint their own personal futures for their favourite characters and dream up bespoke swan songs and additional adventures that no Disney-released canon storyline can ever hope to compete with. For every person who admired The Last Jedi’s unexpected new direction, there was someone disappointed that their latest trip to a galaxy far, far away left them a little short of satisfied. Try as you might, you just can’t please everyone - not even if you’re a money spewing powerhouse like Disney.

And yet it gets more nuanced still. Perhaps a film’s worth depends less on the quality of its story and performances and more on the the personal impact it has on viewers when it lands on their radars. As time has told, box office returns - despite often feeling like the be-all-end-all signifier of a film’s overall worth - mean little-to-nothing in the bigger picture of a movie’s lifespan. There’s a reason why Best Picture winners are often hard to recall but no one has any trouble fondly remembering the movies they grew up with, no matter how shoddy or bizarrely constructed they are. Rarely are the latter included amongst the former yet its these movies that shape our tastes, fill our DVD shelves and adorn our walls. What makes a movie any good? Whatever you bring to it.

What do you think separates a good film from a bad film? Let me know in the comment section below!
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Culture Dump: 5 Actors Who Clearly Really, Really, Really Want To Win An Oscar

12/11/2017

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The 90th Academy Awards is just a few months away - and you can tell. The industry has stepped up its game by firing out its best and brightest titles in the hopes of bagging gold - but who’ll come out on top? While Oscar predictions can often be hit and miss, some stars wear their intentions very much on their sleeve when it comes to Academy approval. People like...

​Joaquin Phoenix

When actors pick roles the old saying goes: one for them, one for you. Unless you’re Joaquin Phoenix. The Gladiator star seems to have dedicated his entire career to fully immersing himself in characters most likely to land him on the Best Actor shortlist. While he may have only been nominated thrice (Gladiator in 2001, Walk The Line in 2006 and The Master in 2013), you’d be forgiven for thinking it’s happened more, having starred in look-at-me awards fodder Her, Inherent Vice and Irrational Man all in the last decade alone. This year’s no different, with Phoenix doubling-down on his personal quest by playing none other than the Son of God in Mary Magdalene. Thems some big sandals to fill. Jesus Christ, somebody give this guy an Oscar. ​

​Amy Adams

Some stars have been around long enough to vary their output to suit all audiences whilst still managing to juggle their dedication to earning an industry nod. Amy Adams has dabbled in almost every genre going - from big budget kids films like Enchanted to questionable tent-pole epics like Man of Steel - and yet at the same time she’s proven time and time again that there’s much more going on beneath the surface. 2005’s Junebug flagged this aspect of her character early on and it’s continued with powerful performances in 2008’s Doubt, 2010’s The Fighter and most recently 2016’s quiet sci-fi Arrival. Adams may be following up her appearance in Tom Ford’s artfully shot Nocturnal Animals with a return to popcorn cinema in Justice League and Disney sequel Disenchanted but it feels like it’s only a matter of time until she bags gold. ​

Jake Gyllenhaal ​

Jake Gyllenhaal burst onto the scene in 2001’s Donnie Darko, a film that was possibly a little too bizarre for major industry recognition at the time but one that perfectly showcased the burgeoning actor’s talent and potential. He may have been unable to resist the occasional big studio paycheque (Prince of Persia, we’re looking at you) but Gyllenhaal has consistently returned to roles with depth, pathos and the ability to appear on the radars of Academy voters. In 2006, he came tantalisingly close with Ang Lee’s Brokeback Mountain and has tried restlessly to return to that spot in the years since, with smart choices like 2013’s Prisoners, 2014’s Nightcrawler and 2016’s Nocturnal Animals. With his new one Stronger pulling on heart strings by telling a real-life Boston bombing tale, perhaps 2017 could finally be his year. ​

Michelle Williams

It takes some serious acting chops to receive four Best Actress nominations, especially when you consider the time and effort it takes to fully embody a character worthy of receiving that accolade. Then there’s all the additional press and promotional work that so often comes hand-in-hand with pushing for Academy recognition, all when you could very easily be making a decent living with big payday roles in summer blockbusters. And yet one look at Michelle Williams’ IMDB page showcases her dedication to constantly churning out high-brow content. Whether it’s showcasing all colours of a long-term relationship in Blue Valentine, taking centre stage in My Week With Marilyn or playing opposite grief in Manchester By The Sea - Williams’ end-goal is clear. Your move, Academy.

Steve Carell

He made his name by making us laugh in Bruce Almighty, Anchorman and of course, America’s superb adaptation of The Office but Steve Carell clearly has higher aspirations than tickling a few funny bones. His serious slant was teased relatively early on when he played a suicidal teacher in the ace Little Miss Sunshine but it was his transformative portrayal of the troubled John du Pont in 2014’s dark drama Foxcatcher that made his intentions of Oscar glory crystal clear. While his goal may be set, making the transition from token funnyman to the owner of a gold bloke is no easy task (Robin Williams did it but not many others have) but by continuing to surprise audiences with roles like the one he files in this year’s Battle of the Sexes, Carell could very well be in with a chance.

Did I miss anyone out? Let me know in the comments section below!
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Culture Dump: What Stops a So-Bad-it’s-Good Movie From Just Being a Bad Movie?

12/1/2017

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“We made a movie about the worst movie and it might be our best movie,” Tweeted Seth Rogan earlier this week. He was referring to The Disaster Artist, a James Franco-Directed retelling of how one of the best-worst-movies ever came to be and the pair’s latest project. Franco’s film chronicles the creation of Tommy Wiseau’s bizarre passion project The Room, a now-infamous cult-favourite that has been celebrated in cult circles since its 2003 release. Never heard of it? You’re missing out - but in the meantime, here’s a whistle-stop guide. 

Following years of failed auditions, mysterious struggling actor Tommy Wiseau pens a script and enlists the help of his friend and fellow budding thesp Greg Sestero alongside a cast, crew and seemingly never-ending back account to bring his dream to life and show Hollywood what they’re missing. The end result was The Room - a truly awful yet awfully hilarious guide on how not to make a movie. Audiences loved it, just not for the reasons Wiseau intended and almost fifteen years later, the film still manages to draw eager crowds. It’s an impressive feat but one that makes you wonder - what elements does a so-bad-it’s-good movie need to elevate it above being just another bad film?

Word of mouth is a base ingredient. Much like fellow terrible tale Troll 2, chatter amongst movie fans helps raise a bad film’s status and that doesn’t come without some genuinely laugh-out-loud moments. Troll 2 hit the mark and eventually got its day in the sun via Director Michael Paul Stephen’s ace documentary Best Worst Movie. Both are proof that a movie can be terrible for many reasons and if its a real turkey, it evaporates out of a viewer’s brain almost instantly. In the case of The Room and Troll 2 the opposite was true, with fans barely able to contain themselves during viewings without blurting out one of the movie’s many awkwardly delivered lines. 

However with The Room, the key element that helped it avoid an eternity in obscurity was having a creator who was full of real-life intrigue. To this day nobody quite knows where the clandestine Wiseau is actually from, what his actual age is or where he got the (reportedly) $6 million he needed to finance, promote and self-distribute the movie. In the years since, Wiseau has appeared at numerous screenings all over the world to interact with fans and famous friends in his own bizarre way, proving that despite his oddball persona he’s more than grateful for the appreciation of his work. 

Ironically, this key saving grace of The Room is also the most successful aspect of The Disaster Artist.  Franco’s rendition of Wiseau is weird and wonderful in spades but also accessible and empathetic at the same time. In both cases it’s hard not to think that without this alluring figure at their core, both films would hardly be worthy of comment, regardless of whether they were good or bad.

What do you think makes bad movies good? Let me know in the comments section below!
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Culture Dump: Why Did The Predator Franchise Miss The Mark?

11/7/2017

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Xenomorphs weren’t the only extraterrestrial terror hunting humans throughout the eighties. Not long after James Cameron pulled the trigger on his testosterone-charged sequel Aliens, Director John McTiernan introduced us to a new intergalactic hunter with Predator in 1987. Two war movies, two alien franchises, two very different legacies. However as Predator closes in on its thirtieth birthday, it’s hard not to think the series somehow failed to capitalise on its full potential. With Shane Black’s upcoming retooling The Predator all that could change - but what went wrong during those intervening years that set the Predator so off course?

Maybe it can all be traced back to one single event: the mishandling of the film’s original sequel. The late eighties were good for John McTiernan. Having unleashed Predator onto audiences he doubled-down on the machismo theme with Die Hard a year later. However when the time came to follow up his alien movie with a sequel in 1990 his asking salary had doubled, pricing him out of Predator 2’s scant budget. To make matters worse, star Arnold Schwarzenegger dropped out too, due to either a salary dispute, clashing schedules or an unsatisfactory script. The exact reasons are still up for debate but one thing remains concrete: audiences were denied the continuation of Dutch’s story. 

Had the pair signed on for another round, their combined presence may have given the Predator franchise a lease of life worthy of challenging Sigourney Weaver’s still-developing Alien anthology. Salvage attempts were reignited throughout the 90s with ideas for a proposed third movie entitled Predator 3: Deadlier of the Species reintroducing us to Dutch in a blizzard-ravaged New York City for another space-invader scuffle. Then there was The Zoo, an amalgamation threequel that bundled Dutch with Danny Glover’s Predator 2 hero Harrigan and shipped them both off for a stint in the wilds of the Predator's home planet. Both intriguing concepts that unfortunately never saw the light of day.

Instead, the Predator found itself relegated to bargain-bin adventures. There was ‘meh’ crossover cash-in Alien Vs Predator in 2004 and its equally tedious 2007 sequel AVP: Requiem. Then Robert Rodriguez took a stab in 2010’s Predators, a stand-alone sequel that felt more like a Friday night popcorn movie than a worthy continuation. While new directors certainly don’t spell doom for a franchise, stripping Predator of both its original helmer and star so early on seems to have inflicted wounds that are difficult to heal. Perhaps the key to Alien’s continued success is down to the lynchpin figure of Ripley, tying things together either in person or in spirit. With the Predator currently lacking a concrete foe to face, it could be some time before it emerges from the wilderness and into a worthy battle arena.

Where do you think the Predator franchise went wrong? Let me know in the comments section below!
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Culture Dump: Let's End The Debate - Cinemas Are No Place For Phones

10/9/2017

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The jury’s in. The debate’s over. In fact, there was no debate, just a whole load of common sense. If you’re in a cinema, you can’t really justify being on your mobile phone. That’s that. It’s time to face facts when it comes to those who choose a dark room in which to check their empty inbox or send cat memes to their mates. If you’ve made the decision to leave the comfort of your own home in favor of a multiplex or indie screening room, then you’ve temporarily lost the ability to constantly check that mini-torch you keep in your pocket. Sorry about that. 

Actually, is sorry the right word? Surely it’s not that much to ask. Two hours of your undivided attention in exchange for something you’ve voluntarily paid money to see in a venue that comes with a few specific social rules? You wouldn’t visit a library to try out your new fog horn yet when it comes to mobile phones and cinemas, people seem to think they’re the exception to the rule. Maybe it’s a generational thing. Maybe it’s a terrifying sign of how knackered our attention spans have become. Either way, it’s an irritating trait that shows no sign of going anywhere.  

Cinemas do little to battle it. While multiplexes go all infrared black-ops policing would-be picture pirates, they seem considerably less bothered about doing anything about this regular experience-ruiner. Some have even gone so for as to question whether or not it’s even a bad thing, with AMC head-honcho Adam Aron suggesting the chain launch ‘texting friendly’ screenings - a desperate attempt to keep paying punters on seats that instead sounds like a worrying lack of understanding of their own core audience. 

Thankfully, some venues lead by example. Like die-hard film hub The Alamo Drafthouse in Austin, Texas. These guys have a pretty no-bullshit approach when it comes to mid-film distractions. “If you are a person who likes to talk, text or use your cell phone during a movie, we are not the place for you!” explains their website, shortly before stating that all offenders will be unceremoniously booted. 

It’s hard to have much sympathy for distraction-addicts who break every cinephile's cardinal rule but it’s still worth asking why this even happens in the first place. Perhaps it’s an unexpected side-effect from a generation born into a world of readily available content, maybe movie marketers are contributing to the issue, selling introspective head-scratchers to audiences expecting mile-a-minute romps or it could be that we’re all a little more addicted than we’d like to admit? Whatever the reason, if a phoneless, chatter-free couple of hours is too much for you to stomach, perhaps the cinema isn't for you. 

This blog is now on Nerdly.co.uk, take a look here!

Yes, I did have an unfortunate experience with someone using a phone in a cinema recently, have you? Let me know in the comments below!
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Culture Dump: Beyond The Great - Is Jim Carrey Kaufman-ing us?

9/17/2017

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Andy did you hear about this one? The one where megastar comedian Jim Carrey appeared at New York Fashion Week and raised eyebrows during an out-there stint on the red carpet? No, it wasn’t due to his Grizzly Adams style beard (He ditched that a few weeks ago) and nope, he didn’t bend over and talk through his bum cheeks, Ace Ventura-style. Although, talking was to blame for all the news stories that popped up this week in the wake of his bizarre antics.

“There’s no meaning to any of this,” he tells E! News reporter Catt Sadler, once he’s stopped circling her. He glances distractedly into the distance, then continues, “I believe we are a field of energy dancing for itself. We don’t matter,” he says, “that’s the good news.” The whole interview was strange. Strange but not entirely unexpected. Especially if you’ve been paying attention to Carrey in recent years. If you haven’t, here’s a quick refresher: It started with talk of introspection and enlightenment at public events a few years back. Then he grew a massive beard, something which shouldn’t be weird but in today’s easily freaked out society, was instantly deemed to be pretty weird. 

Then things took a darker turn. An ex took her own life and her grieving family appeared convinced that Carrey influenced her decision making towards the end. Whilst quietly dealing with the legal proceedings he shied away from the limelight, shunning movies and instead focusing on painting and himself. Carrey’s recent red-carpet shenanigans mark his first major return to the limelight since the release of 2014’s Dumb and Dumber To. 

Which brings us to a crucial point - the reason we’re talking about Jim Carrey at all lately is because he’s promoting a new documentary, one with a right mouthful of a title. Andy and Jim: The Great Beyond - With a Very Special, Contractually Obliged Mention of Tony Clifton looks at Carrey’s ultra-method experiences bringing Andy Kaufman back to life for 1999’s Man on the Moon. As a comedian shrouded in a mist of ‘Is it real? Is it fake?’ controversy, what better way to promote a documentary about Kaufman than by blurring the lines and making audiences question whether the focal point of the feature is indeed losing it or just playing a character. 

Kaufman was the master of keeping audiences in the palm of his hand and with the help of Carrey, he’s still doing it over thirty years later. Or maybe not - perhaps the boundless trappings of fame and fortune have truly made Carrey crave some higher purpose in life, resulting in the unusual behaviour we’ve seen lately. It’s believable enough. Where do you go once you’ve reached the top, peeked behind the curtain and still find yourself unhappy? Right now, Jim Carrey may only exist as an existential notion but hopefully he won’t be gone for long. In the meantime, the spirit of Andy Kaufman appears very much alive and well. 

This blog is now on Nerdly.co.uk. Take a look here!

What do you think Jim Carrey is up to? Let me know in the comments below!
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Some Words:Gigs

9/12/2017

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I’ve recently moved flat, which means there’s stuff everywhere. Literally, all over the place. Stuff like my guitar. Seeing it lying about makes me feel like I should probably pay it a little more attention. I first picked up the guitar on a bit of whim back in college. Me and a couple of friends had somehow managed to get access to an empty practice room, complete with drum kit, guitar amps and any number of musical instruments that I hadn’t the first clue how to play. Over the course of a few weeks we sloppily banged out a handful of pop-punk covers. You know the type: Blink 182, Green Day - if it involved repeating the same three chords, we were all over it. 

This was mainly due to necessity. With no lessons my skills were limited to say the least, but it was fun smashing out hard and fast covers of our favourite tracks in an empty music room after college. Fun and pressure free - There was no expectation or emphasis on skill, just three mates making a loud noise somewhere they weren’t suppose to be. So naturally we formed a band almost immediately and made the whole thing way more stressful than it should have been. 

Pretty quickly things changed. Those noise sessions become 'practices' and despite my best efforts, our band’s name started to appear on bills in Blackpool venues. This was a little disconcerting considering I only knew about five chords but it didn’t stop us from stumbling through a few live shows. In hindsight, it was a weird couple of years. My time in a band was short lived but looking back a few things stand out. 

For starters you learn pretty quickly that contrary to what you think, you absolutely can’t play a gig drunk. When we started out playing cricket clubs and old man pubs around town, our pre-show warm up was a bottle of Spar’s finest Pearly Bay wine and a few beers. It made our shows pretty special, just not for the reasons we were intending. You also discover that guitar strings can, and definitely will, snap halfway through the first song of your set and if you don’t have a spare guitar, you’re pretty screwed. Honestly. One time I tried humming the chords instead and I think people noticed. 

Also, if you have to re-adjust the height of a mic stand when following another band, make sure you do it carefully. You’d be surprised how ear-piercing the reverb can be after you’ve forcibly bonked yourself in the face with a live mic whilst trying to make the stand a little taller. That shit echoes. 

All in all, I probably have more cringey gig stories like this than actually successful ones but it’s proof that if you put your mind to it, you can do pretty much anything. Even if it’s a terrible idea, you’re often drunk and you’re devoid of any of the skills necessary to do that particular thing. 

Were you ever in an embarrassing band? Let me know in the comments below!
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    Author: Simon Bland
    t: @SiTweetsToo

    Simon is a freelance entertainment journalist and this is his blog.

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