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Haven't seen either documentary, but absolutely loved the episode, the framing, having Jessica's input on the films, everything about it. Bummed I couldn't be there.
Did I not notice it being different because that's exactly what conversations are like hanging out takling with film people in LA? Yeah probably.
Would be so down for the show to have occasional guests that are either from production on a couple movies, an expert in a field that has been covered in different ways by different films, or general format experimentations.
It functions best as a piece of film history, or non-history, the subject at hand isn't really this movie that never got made, or that the concept art is cool, but Jodorowsky himself and how the production echoes thorughout the cinematic landscape today.
90 minutes of Tom Hardy on the phone in his car driving down the highway is one of the most riveting movies I've ever seen and I'm not kidding. Trailer's weird, don't watch the trailer.
Calvary
It's all dark and contemplative and philosophical and painfully funny with a felching joke and a drunk guy taking a piss on a renaissance painting.
Just saw Béla Tarr's Damnation for the first time.
Everyone tries to find solace in the music, or each other, but it just keeps going around in the same sad 8-bar circles. There is no solace and there never will be.
Even though you've ducked out of the rain into a bar, you're still stuck in the mud in a shitty decrepit Hungarian mining town. Metaphorically.
Brands and characters and franchises are easily mined for value with minimal marketing reinforcement. In a lot of cases they already have traction in the minds of at least one generation.
Keep something around long enough to have that generation introduce it to their children, you've successfully woven your franchises into the fabric of the culture and duped the entire world in to thinking Star Wars and fifty year old superheroes are interesting or relevant ad infinitum.
And you're allowed to not buy it. They're guidelines. To the opinion of the panel, a story's focus and the audience's suspension of disbelief becomes strained when it's pulled in too many directions. Personally, it doesn't distract me. In a thematic way, in a movie about the reciprocal relationship between an individual, their environment, and their ability to change it, TK totally fits.
And speaking of opinions of how things are put together, your syntax and 100 character line breaks are pretty inscrutable. What gives? It's like you paste all your posts out of a hostile vim buffer.
Everything I want to say's in that hulk piece. Dude's unreasonably articulate. The mystery and the procedure was always a fun device, but was never what the show was about.
It's not beholden to a conditioned audience that assumed it was all for some other end. Deserves it's own merits.
In some tales, (for example, some versions of those of the golems of Chełm and Prague, as well as in Polish tales and version of Brothers Grimm), a golem is inscribed with Hebrew words, such as the word emet (אמת, "truth" in Hebrew) written on its forehead.
The existence of a golem is sometimes a mixed blessing. Golems are not intelligent, and if commanded to perform a task, they will perform the instructions literally. In many depictions Golems are inherently perfectly obedient.
sechel/special
in the Talmud, the Golem was considered a dumb klutz because he was literal-minded, could not speak and had no “sechel,” or intellect.
In some tales, (for example, some versions of those of the golems of Chełm and Prague, as well as in Polish tales and version of Brothers Grimm), a golem is inscribed with Hebrew words, such as the word emet (אמת, "truth" in Hebrew) written on its forehead.
The existence of a golem is sometimes a mixed blessing. Golems are not intelligent, and if commanded to perform a task, they will perform the instructions literally. In many depictions Golems are inherently perfectly obedient.