‘Get Out’ is a documentary.
— Jordan Peele (@JordanPeele) November 15, 2017
Here come the Globes: The august members of the Hollywood Foreign Press Association says Get Out is a comedy.
What’s going to be the next strange moment in the unfolding awards season?
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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?
So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.
And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.
There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.
I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.
So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.
But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”
My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher
“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.
~ David Simon
You know… Europeans are funny people. I’ll leave it there.
Isn’t satire always labeled as a comedy?
‘The Martian’ was considered a comedy by the Globes.
I have to admit, I thought it was a mediocre horror film the first time around, the second time around I thought it was a great comedy.
Considering I would be comfortable with every one of its influences I can think of being considered a comedy, I really don’t see any problem with this.
I’m terrified at how CALL ME BY YOUR NAME is going to be handled in general given the current climate. I am already having nightmares about Fox and Friends discussions and presidential tweets around “pedophilia.”
went to see Wonderstruck, which just came to a cineplex here. After weeks of Donald, Harvey, Kevin and Roy, it was refreshing to go to a well-made, calm and innocent, kids movie.
I had the exact same thought, Et.
I’m waiting for the backlash to commence when the film officially opens next week.
While there’s a difference between a 17-year-old boy and a 24-year-old man, right wing (and p.c.) pundits will surely conflate it with, say, a 14-year-old girl and a 32-year-old man.
It blows my mind that 89-year-old James Ivory wrote the screenplay. If I hadn’t known better, I would have assumed it’d been penned by an especially empathetic and intuitive YA writer with serious gay bonafides.
Agreed. It’s a beautiful movie, and I’m very concerned with the way it will be perceived on a superficial level. It’s one of those things where you can just scream “pedophilia” and you win by dragging people down to your level to even have that discussion.
Calling Get Out a comedy wouldn’t be bad if we just honored comedies for being great as often as we honor dramas for being great. I mean, I’d love to see a category like “awards season prestige comedy” become popular. Certainly The Big Sick falls into that category, and I would also argue Thor: Ragnarok.
Ethan, I’d be shocked, if that movie comes close to seeing the light of day. It’s going to show up on Netflix next year, and people are going to be like, “What the fuck is this shit? Oh it’s good shit. Nice.”
Were people calling Get Out a comedy in February? I’ve seen all these pieces that are variations of “If you’re surprised that Get Out is being called a comedy you totally missed the point of course it’s a comedy.” But I don’t remember that conversation in February. From what I remember in February it was a horror movie. The discourse seems to have shifted and there seems to be some revisionist history here.
JS, it comes out in 8 days and has the best reviews of any movie released this year (95 on Metacritic) so I think it’s too late for that. I’m surprised it’s flown as under the radar from the mudthrowing this close to release, but there’s so much else in the news I assume that’s why.
Stella’s Boy, that’s interesting. I remember lots of people calling it a horror/comedy when it came out (Probably because that’s what he’s known for) and felt like the revisionism has been those saying “It’s always been a drama.”
Ethan, I think they’re waiting for it to get nominated so they can say, “Look at how those Hollywood liberals approve of pedophilia.”
@Mike, yes you are probably right 🙁
As a guy who at 17 and a half had a relationship with a man in his early 20s (who I met while staying at an upstate NY “country” summer home in similar circumstances) that I believe influenced the rest of my life for the better, this whole pending controversy is too on the nose for my liking.
There is stuff that is hard. I hope Hollywood doesn’t go running for the hills rather than defending one of the best movies of the year.
When has Hollywood ever been known to do the hard thing?
Now.
But I really caution against puritanically condemning consensual relationships.
My life dissolved into poverty from an upper middle-class early upbringing. My father departed at 6 in favor of a myriad of substances; my mother fell to hypocondria and opiods. There certainly is a line between consenual and non; CALL BE BY YOUR NAME is starkly the former. A very similar relationship is the only reason I’m here today.
Suburbicon bombed, but I didn’t think it was a return to television bomb. And yet even going back to the smaller medium Clooney is biting off more than he can chew. If mike Nichols and Buck Henry where only able to score a draw in the wrestling match with the genius of catch 22, I don’t see how Clooney and his pals can hope to come close.
Ethan, that’s a story, but that movie of that story should be in five theatres. It needs to just… fade away… no matter how beautiful it is. It just needs to go, even if that’s a thing that seems to happen somewhat often in the gay community.
Outside of that touching stuff, I fucking love Justice League, and I have no idea what the fuck the hate… is… oh. It dawned on me, while I am enjoy the complete reshooting of Clark’s story, that DC films have different expectations than MSCU movies.
If this dawned on any of you before, then yay! If not? DC is held to a standard, that has everything to do with yesterday, and nothing to do with today. Like I mentioned yesterday, Nolan is wonderful, but these films aren’t Nolan. These films aren’t perfect either, but Nolan made Batman a quitter, so nobody is perfect!
Nevertheless, I’ve probably watched hundreds of hours, maybe thousands, of hours of DC content and for some reason, I have never fucking held DC to some lofty standard. Marvel, always seemed realer to me, than DC. DC comics are like allegories, while Marvel comics are shit, that given more whimsy in the universe, could happen to any of us.
Most people, seemingly disagree with this stance, and it may be a reason why the DCEU movies keep taking it in the teeth, I mean, not one of them are as bad as god damn fucking Green Lantern, and I liked that film for what? A weekend? Yeah. I was really into the lanterns back then… WOO!
Back to the point, Justice League is fucking wonderful, and I have no idea what the fucking critics want from these films. Oh right. They want fucking NOLAN. They want fucking NOLAN-DC movies, and what they have been given… is as DC as FUCK, and it just doesn’t work for them. So it goes… I am just happy, that this shit didn’t turn into a clusterfuck. It was a fun Justice League adventure, and those are the best. Yes… they oggle Gal’s ass too much. Yes… the elimination of the stash could distract you… I’ve been down with the CG since THE LAST STARFIGHTER, so I don’t really care about it.
IT’S JUST THE JUSTICE LEAGUE, HANGING OUT, AND DOING SHIT! CLARK ACTS LIKE HIMSELF (Post crisis), TALKS SMACK TO BRUCE (That was a total Joss, smacking Zack in the face, for his love of Frank Miller)! DIANA LEADS THE FUCKING TEAM, AND BARRY AND VICTOR… HAVE RACIAL INTERACTIONS!
It’s fun. It’s the kind of fun, that I enjoy from DC. I am apparently alone in this, but let me leave with this… WARNER BROTHERS… DON’T FUCK AROUND WITH THIS SHIT ANYMORE! HERE’S YOUR STARTING POINT… GO FROM HERE! Oh yeah… his name is Terry McGuiness. Look into making your Batman movie, about Bruce passing the mantle.
As a movie lover who would love to have both Marvel and DC movies be different but both deliver a good time, I hope more people agree with you JS. I think it’s now proven that RT scores don’t mean shit at the box office, but as of now, the audience score is 86%, just 3% off Thor, but still early in the day so I expect that number will down, however BvS was 63% and Suicide Squad was 61%, so hopefully this bodes well for it’s box office.
Bulldog, it’s a really fun movie, and that obviously started with fixing Superman. I hope one day, we get to see what Snyder wanted to put on screen, because I have a feeling it isn’t as fun. It opened to 13 million last night, so that’s on track for a good weekend.
My main hope as a fan, is that Warners gives us like 3 to 5 years with these characters. We don’t need Flashpoint. We just need character movies, that expand on each character. Seeing as they wanted to make TWO FUCKING JOKER FILMS, in the wake of Wonder Woman is disheartening. Hopefully, it gets across to the studio, that they have finally cracked it, and what solved it? SUPERFUCKINGMAN! Superman, has to be a good dude, and not a mixed up asshole. Everything else? Just falls into place.
Any chance of a Justice League spoiler thread Dave/Ray?
JS, I have my Justice League tickets for tomorrow, and I’m encouraged by your words. Then again, I like BVS, to a point, and I’m a Zack Snyder defender/apologist.
I hope I have as much fun as you did. I need it after the week I’ve had.
I’m so with JS on this one. JL was phenomenal! So much fun. The set pieces are terrific.
I think critics just knee jerk this stuff after a while.
I’m going to go out on a limb and predict that DUNKIRK will be classified as a comedy.
There is a laugh when the ladies call out, serving tea to grateful soldiers. At least one.