Cameraperson passed that to you, and then you’re passing it on in those conversations, and then they come back to me, I love it! There’s more to be enjoyed if one gets lost in the bewildering rhythm between eerie sounds and the black-and-white imagery, instead of trying to detangle the various strands of the surreal narrative. A funeral turns into a treasure hunt for the "Horsin' Around" cast and a potential schmoozefest for Princess Carolyn and Mr. Peanutbutter. All the while, she lovingly evokes the film’s many spiritual awakenings via a mod palette that increasingly color-codes her characters to their surroundings as the story moves slowly toward its sad but enlightening final moments. Yeah, I totally agree with that. The thesis of 28 Weeks Later is that the War on Terror is ultimately a self-destructive one for all concerned, from the bullying authority figures to the demoralized combat soldiers to the fractured family units. I couldn’t resist the opportunity to start our time by raising a personal connection: Raiff and I both attended small high schools in Texas that played against each other in the same athletic conference. You’re also an NYU professor, so how do you manage to find that sweet spot of overlap between theory and practice? TV-MA But the wondering they’re doing in their own mind about where they are, who they are, when will it end, am I safe, who’s taking care of me—those concerns often manifest in these metaphorical questions. So, Alex is very much based on me, Maggie’s very much based on someone I’m with right now. The film talks about how Fox’s story demonstrates the power of love as a tool of resistance.
Somewhere on the sliding scale between combustible heat and resignation is something like grace, where communion is likely. Crawford went from shop girl’s delight to Queen of the Zulus in less than 20 years, a rags-to-riches American dream turning into a vodka-soaked, paranoid nightmare. Edward Lachman’s sourball-candied cinematography and Air’s languid musical theme were key ingredients in this smart, regretful fairy tale of the failed rescue of a quintet of Michigan Rapunzels from their repressive parents by a chorus of clueless, telescope-equipped local swains.

I hope someday my children will come across the series of photos that I took of them in a moment where some of the framing isn’t as pleasurable as others, but they can see a sequence of what they lived through. As in Rob Zombie’s Halloween II, this approach becomes a provocative means of sympathizing with the devil.

I don’t think of my writing as therapy in that way. This disfigurement really suits her, giving a context to her character’s anger. My instinct was to go to women that I knew and to ask them questions that I myself had, and a lot of their answers literally shaped the scenes, the camerawork, the lenses. Through the decades—and subsequent crazes for color and sound, stereoscopy and anamorphosis—since that train threatened to barrel into the front row, there’s never been a time when audiences didn’t clamor for the palpating fingers of fear.
A publishing house eagerly awaits BoJack's memoirs, but he hasn't even started yet. Duplass responded, both emotionally to the film and literally to the message, and helped mentor as well as support Raiff through making a more professionalized iteration of the film linked to in the fateful tweet. In the ‘70s, a new wave of horror film presented terror as a messy, brutally honest implosion from within.

We were prepared for different configurations, which makes it have that feeling of absurd lightness in some way. Alison Brie, Crawford sometimes comes through, but mostly we’re watching Millicent Wetherby. This episode also lays general groundwork for episodes and seasons to come. I also wanted it to tie back to high school. We have our individual lives, but we’re a part of a larger system. I had no idea. Meanwhile, Todd briefly reinvents himself.

It’s hard to care about Louise or David, but Possessed does have a few very good insights into the self-abasing aggressiveness of unrequited love. When she gave you that archive on the last day of filming, was it a matter of her fully trusting you? It wasn’t that she was my student.

Amy Sedaris,

Editor’s Note: An earlier version of this article was published on July 21, 2013. In which the Pumpkins conclusively prove that great art comes from great pain. But experiencing so many people kind of even just talking about it in terms of “this is the filmmaker,” it’s like, “No, I’m not writing emotional propaganda!” I did write a character, and I drew upon my life in a major way as everyone does writing something personal and original. The film is at its best when it’s most subjective, putting you into Louise’s mindset, and at its worst when it slows its pace down to a crawl in back-and-forth dialogue scenes. It also solidified how destructive BoJack is to not only himself but to others. Like, a couple months after SXSW when more people started watching it. But he thinks, “Oh, everyone should be having this hard time, you just need me to help you out.” Where it’s like, “No, no, I don’t need you.” But then there’s like that whole thing where, yeah, you do. And then she looked at the placemat, turned it over, and she’s like, “Oh, look, there’s flowers on the other side!” I think each person’s dementia is different. No, I just wanted to have the stuffed wolf. As actor, director, and editor of Shithouse, how do you keep yourself from getting too precious in your performance? Stars: I thought it was just something that I was doing and meant a lot to me, but it was a separate thing. "The Showstopper" has a BoJack who has become increasingly addicted to painkillers, slowly losing his grip on reality. Robert Altman is less interested in emotion and psychology than in emotional and psychological gamesmanship—in mind-fucking that has a rich tradition in the more obsessive and political films of Luis Buñuel, Ingmar Bergman, Roman Polanski, and Joseph Losey, to name just a few of Images’s influences.

I don’t think of it in binary terms, I don’t think it’s good or it’s bad. Joel Moser Kaufman and screenwriter W.D. Figure out your shit, make your bed, take responsibility for your actions in a way that you’re moving or not moving. Because it’s for people, and made with people, who inherently understand that and live it every day.