Posted on Saturday, April 4th, 2009 by Brendon Connelly
Production Weekly have tweeted that Table 19, the third feature from Mark and Jay Duplass, has been set up at Fox Searchlight. If you’re asking “Mark and Jay who?” then I’d strongly encourage you to play catch up with a DVD session or two.
The slim sliver of premise that Production Weekly could fit into their Tweet read like this:
The Duplass Bros. ensemble comedy Table 19, has been setup @foxsearchlight – about the wedding guests who get stuck at the singles table.
My basic advice is this: if you’re a fan of Curb Your Enthusiasm‘s free-falling comedy of awkwardness, or somebody who appreciates the whiff of naturalism and tasty characterization – rather than broad guffaws – in The 40 Year Old Virgin or Knocked Up, and you haven’t seen the Duplass Bros. debut film The Puffy Chair, go get thee bottom to Netflix now. Similarly, if you’re jonesing for a horror film that’s so original it’s hardly a horror film at all and you have yet to catch up with their second feature Baghead, you know where to be clicking.
The brothers’ third feature, Do-Deca-Pentathlon is currently in the late stages of post production, so it’s the perfect time for stories to start to bubbling up regarding their fourth movie. Late last year, it looked like that next picture was going to be The Untitled Project Formally Known as Safety Man, starring John C. Reilly, Marisa Tomei and Jonah Hill. Now, however, that Production Weekly have announced that the Duplass’ have set up Table 19 with Fox Searchlight, I guess we just don’t know for sure.
It’s entirely possible T.U.P.F.K.S.M will go before cameras next with Table 19 to follow, though from the vantage point that most of us have, where the view is somewhat limited, it looks equally possible that Table 19 has overtaken and will see production first. Either way – the Duplass Bros. have one film in the can, two more in the works. Good for us, good for them.
I think we can assume that Table 19 isn’t just a new name for T.U.P.F.K.S.M which is reportedly about how the Reilly character’s romance with the Tomei character is hampered by her son, the Hill character.
I have a great many issues with the style of camerawork employed by the Duplass Bros., a kind of roming semi-verite aesthetic hobbled with zooms and countless focus and exposure issues. On the other hand, they do make a lot of sensible choices in their framing and camera movement, so their films don’t exactly succeed in spite of their camerawork… just in spite of elements of their camerawork. And, strictly speaking, in spite of a few other technical nitpicks but, all the same, winning the race is winning the race no matter what hurdles have been kicked flying along the way.