11/14/2022 0 Comments Funny pages![]() How do you feel now about the way you used 16 millimeter in Funny Pages ? So 16 millimeter as a form in itself was sort of always in my head. At least in the mid-century it was basically reserved for cheap porno and independent productions, and rich people would shoot their home movies on it. I helped catalog a huge part of the Harry Smith collection, which was very exciting, but a lot of their preservation was on the Kuchar Brothers stuff and all these personal movies which were shot on 16 millimeter. I’d find things in the basement of the Anthology Film Archives-I interned there in high school, and I helped the archivist Andrew Lambert a little. I collected these old cartoons that I’d find at flea markets, and I’d run them through this old projector that my school library gifted me because they had no use for it. In high school, I was pretty focused on 16 millimeter. So you’ve been thinking about shooting on 16 millimeter for years? Just seeing where they would make a decision, how they were being deliberate with the camera while also letting it run free-it was inspiring. There’s a lot of whip pans and cheapo independent film comedy grammar. The agreement was that I would get to shadow the cinematographer Bob Yeoman and learn the design of a scene and staging and blocking. Funny pages movie#But Noah Baumbach really wanted me to play this kid, and I was like, I would love to do this and just be on a small movie set. I’ve only ever wanted to direct I never wanted to act. As a really young teenager doing The Squid and the Whale-that was shot on 16 millimeter, and it was a very personal movie that was playing with personal fabric, although it was not directly autobiographical. A geriatric steam bath.ĭid you always want to shoot on 16 millimeter? Sean Price Williams, the director of photography, kept saying more sweat, more sweat, we need to spray more sweat! We played around with smoke machines, to create a certain fog. We just had such delirious fun spraying this glycerine all over these kids and old men. It felt like we were starting where I had started with the comic, and it just set the tone for the rest of it. They really helped me tease it out as a character study.Įventually we were on set, and the first stuff we were filming was that basement stuff. I just got in the weeds with those guys on the script, really figuring out a tone and a sensibility. When he moved back to New York, I held the boom mic for a couple of their projects and I acted for a short called John’s Gone, along with Benny. The Safdie Brothers’ shorts just made an impact. I had known Josh since I was about 15, when he graduated from Boston University. And then, a few sentences later: “I’m assured it’s destined to become a cult favorite.” “How unpleasant this all is, from beginning to end, without being actually funny,” reads Deadline’s representative review. (One of my favorite movie moments of the year is one of said men saying, “Dennis the evil menace with his slingshot.”) It’s one of those movies you only need to watch once to never forget. Shot on 16 millimeter film, it’s an aggressively prickly coming-of-age comedy about Robert, an aspiring cartoonist who abandons the suburbs to follow his dreams-and also to live in a basement boiler room with strange old men. His first full-length film, Funny Pages, produced by the Safdie Brothers and A24, is out August 26. When he was a teenager he played the little brother in The Squid and the Whale. His sister is the indie music star Frankie Cosmos. His parents are the actors Kevin Kline and Phoebe Cates. He looked gawky and, counterintuitively, very cool, which in turn made him feel very, specifically New York. His reading glasses hung around his neck on a Croakies-like device. He wore a blue velour fleece adorned with a shiny brooch of a dancer-type figure. On a recent weekday afternoon in Manhattan, the director Owen Kline, 30, sat on a glass-doored conference-room couch. ![]()
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