I’m going to be shameful here. I have tried to help a lot of people in this job for 40 years. I never want a thank you. My lad works and has work hard. Please rt this as a thank you to me.
I didn't work my ass off every day and night for the last 20 years and go to 1000+ shows for the future of wrestling to be paying $1000 to be asked to buy a $1 Snickers bar for 5 hours.
PRODUCE will be for the real ones.
Anyone who buys a ticket to PRODUCE today - Snickers bar or SlimJim on me. You choose.
Hope to see you there.
@nise_yoshimi in the original originals (the novels and short stories) -- there's if not always weight (though it's certainly there at times), there's almost always grit. The early movies washed a lot of that out, but the "more serious" movies are in some ways closer to Fleming's tone.
@decoyrobot Generational shift — when I was getting into “being cinephile” back in the early 1990s, Fellini was still central to what that meant. Fell off sometime in the mid-00s and definitely out of fashion by the 10s.
@WillSloanEsq@UpdateTheGrids I like several Barry Levinson movies quite a bit — but if there’s any director of his generation, with the same kind of Hollywood success who ISN’T a “wacky sets movie guy” it’s him.
Jane Schoenbrun is twice as old as Shane Parsons. She/they (not sure any more) have massive institutional backing from Sundance, Cannes, Emma Stone, and likely much larger budgets than at least Barker. Their movies are mostly for intellectuals.
One reason I was in New York was to collect some wonderful Gregory La Cava files from Elizabeth Kendall. Here is Katharine Hepburn talking about Stage Door (1937) and La Cava:
@ElHijoDelSimon I think the difference is that when he’s in front of those crowds, El Grande makes you believe it; whereas when you watch TNA, there’s not enough there to suspend disbelief.