Trailers are an under-appreciated art form insofar that many times they’re seen as vehicles for showing footage, explaining films away, or showing their hand about what moviegoers can expect. Foreign, domestic, independent, big budget: What better way to hone your skills as a thoughtful moviegoer than by deconstructing these little pieces of advertising? This week James Franco helps put on our smart hat, we see life meet art meet satire, we shakedown some bankers who are wankers, see what Napoleon Dynamite is doing with the Rubber man, and take an interest in a world that’s getting hungry.
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The trailer for Nymphomaniac set the bar pretty high when it comes to including explicit content in movie advertising. And, in truth, this trailer for Wrong Cops, from director Quentin Dupieux (Rubber, Wrong) isn’t nearly as explicit as that. But, in the fashion that is now the recognizable signature of Dupieux, it is nuts.
I’m a big fan of Dupieux’s particular brand of crazy, which pushes real situations into the realm of the absurd; while there are some pretty bonkers ideas in his films, they often seem to spring from a recognizable place, or from a pretty simple perception of things that take place in the everyday. His movies show that a dimension of unrecognizable behavior is just a step or two away from the life we all know. It’s like The Twilight Zone, with more abusive police and car humping. (While this one isn’t red band, it might not be safe for work.)
As he told me earlier this year, when talking about his last film, Wrong, “almost every movie makes too much sense” — leave some room, in other words, for the strange, disconnected moments that never add up. Watching this trailer, it seems like Wrong Cops (which features Eric Wareheim (Tim and Eric), Steve Little (Eastbound & Down), Ray Wise (Twin Peaks), and Marilyn Manson) might have enough of those moments to account for the average person’s annual dose of “unusual.” Check it out below. Read More »
There’s a quality to the most recent films from Quentin Dupieux, Rubber and Wrong, that I find approachable and endearing, even comforting. Dupieux rejects standard storytelling rules and structure, but follows a perceptible internal logic that holds his tales together.
He injects stories with seemingly meaningless elements, but there is a method by which they are then incorporated into the world. The forces at play in Dupieux’s films are not always positive ones, but once unleashed they are taken in stride. The strangest surprises of life — a killer car tire, a pet kidnapper, a horrible disfigurement — are not rejected. They’re not things that “can’t be.” They’re accepted, and dealt with, and life goes on.
Dupieux creates images that have a colorful, even lurid appeal. But he offers them in the same matter-of-fact manner that characters in his films exhibit. I’ve read many interviews with Dupieux where he evades questions of interpretation and meaning. So for our relatively short chat, I focused on process. We spoke of his aims in creating a script, his working method, and the fact that a film like Wrong would likely not exist if he had only 35mm film as a medium.
What I found, in conversation with the director, is that the spirit of his films — that matter-of-fact acceptance of the unusual — is very much present in the man himself.
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Trailers are an under-appreciated art form insofar that many times they’re seen as vehicles for showing footage, explaining films away, or showing their hand about what moviegoers can expect. Foreign, domestic, independent, big budget: What better way to hone your skills as a thoughtful moviegoer than by deconstructing these little pieces of advertising? This week we take a ride on a pirate ship, soak ourselves in some William Fichtner/melty face goodness, gaze into the alopecia smoothness of Matt Lucas, and say su-su-sussidio to a very annoyed Phil Collins.
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Quentin Dupieux isn’t known for making the sanest movies. The director of Rubber and Wrong excels at the absurb, and his latest film, Wrong Cops, might even top his previous two films. Here’s the twist. The film isn’t done. However, he’s premiering the first 45 minutes of the film at the 2013 Sundance Film Festival. To celebrate the occasion, he has released a teaser trailer for the film. Featuring Marilyn Manson, Eric Wareheim, Jonathan Lajoie and many others, check it out below. Read More »
Oscar campaigning used to be so easy. Take out a few trade adds, approach a number of key voters, do a few rounds of dinners and drinks, done. Now there are far more outlets to get out info about a movie. The internet allows distributors to make all manner of materials available to promote their films for award consideration: scripts, scores, interviews, and on a limited basis even the entire film, via digital screener.
Wes Anderson‘s Moonrise Kingdom isn’t available online for everyone to watch for free, but there’s something pretty good as a consolation prize. The interactive script walks readers through the film through a copy of the script text augmented with stills, blueprints, design items, and behind the scenes photos. It’s a neat way to view the film, especially for those who haven’t exhaustively devoured all the “making of” materials posted over the last year. Read More »
We’re just over a month away from the 2013 Sundance Film Festival and I can almost feel the slushy snow seeping through my boots already. The line-up is already incredibly impressive, as it includes world premieres of Ashton Kutcher in jOBS, the new Shane Carruth film Upstream Color, Richard Linklater‘s Before Midnight; and the horror sequel S-VHS just for starters. (Click on those links to read our coverage of each film so far.)
Plus, the real gems of the festival are rarely the movies you’ve heard of beforehand. Who heard of Beasts of the Southern Wild before last year’s festival?
Sundance has just add four new movies to the already impressive line-up and each is weirder than the next. One is about the birth of a musical genre featuring the biggest names in music, the next features Michael Cera traveling to Chile, the third is an in-progress film by Rubber and Wrong director Quentin Dupieux starring Marilyn Manson and Eric Wareheim and the last is one of the most influential films to ever come out of the festival: a return screening of Robert Rodriquez‘s El Mariachi. Read about all the films below. Read More »
I’ve come to really admire director Quentin Dupieux, the man behind the films Rubber and Wrong. I love the way he both respects rules and throws them out the window on a regular basis. He goes where his ideas take him, and I find his movies to be tremendously entertaining as a result. I don’t know if I’ve laughed so consistently at any mainstream comedy this year as I did at Wrong.
So he’s the guy I want to see putting Napoleon Dynamite‘s Jon Heder in a rat suit. The reason — inasmuch as Dupiex needs one, which is to say “there is no reason” — is the film Realite, which Dupiex has just completed. That’s one of two recently finished films, actually, the other being Wrong Cops, which was previewed at Cannes this past spring. Get some more info on both films below. Read More »
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I know there’s something about Quentin Dupieux‘s films that rub people the wrong way, but I have a deep affection for the absurdity of Rubber. (I haven’t yet had a chance to see his new feature, Wrong.) I get great enjoyment from his irreverent, slightly pretentious take on film.
And so I’ll give some time to what is effectively an ad for the musical half of his career, in which Dupieux performs as Mr. Oizo. He’s got a new record out, and to promote it Dupieux enlisted the aid of one of his actors from Wrong, William Fichtner. Since I have even more fondness for Fichtner, I’m happy to see him struggling through a chess game against a distracted puppet, in the clip that follows. Read More »
Quentin Dupieux‘s 2010 film Rubber starts off with a monologue explaining that many things in the world, or more specifically in the world of movies, happen for no reason. His follow-up feature Wrong, which had its world premiere at the 2012 Sundance Film Festival, is 90 minutes proving that statement. The film is non-stop ‘no reason.’
Jesus Organic Pizza, fecal matter memories, indoor rain and transforming palm trees are just some of the madness that occurs around the simple story of a man who loses his dog. But as Wrong gets weirder and weirder scene by scene, you’ll find yourself chuckling at the absurdity of it and eventually flat-out falling in love with the film and its mad-cap characters. Read More »