![]() So basically the person is saying, that he/she is either about to do something that might get him/herself killed or sent to prison and thus making the newspaper. ![]() I think the funny pages, while it used to refer to the comic section of the newspaper, now means just the newspaper. Usually, the phrase "see you in the funny pages" is uttered when someone is about to do something very dangerous and there is a chance that they might not see each other for a long time. Really I'm basing my definition of the phrase based on countless dialogues I've seen in movies and tv shows, but I think I have it down. How many gags could he stuff in? How many wild angles could he have? There’s so much filmmaking in his cartoons-cuts, whip pans, angles, getting under Daffy’s beak in some sort of weird way.While the phrase origin may have come from a derogatory phrase, I don' think that's how it's used anymore. animator who wanted to be a filmmaker and a studio director but was trapped as a cartoonist, so he was auditioning with every cartoon. But thankfully in high school I was determined to understand animation. I had to storyboard a lot of stuff, which was a learning curve. And it focuses you in a way: You have to know what’s essential. You can find a way to shoot film if it’s important to you. But then once we were shooting and getting the rushes and playing around with these very colorful Kodak stocks, we ran toward the saturated Looney Tunes colors. I intended this movie to be more drab and gray, really going against the neon aesthetics sensibility of our time a little bit. It just lends so much to this particular movie. How do you feel now about the way you used 16 millimeter in Funny Pages ? 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. 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. ![]() And then, a few sentences later: “I’m assured it’s destined to become a cult favorite.”Įventually we were on set, and the first stuff we were filming was that basement stuff. “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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