Month: December 2024

4 Dec

Taika Waititi remembers the reactions that he would ruin Thor when he accepted directing duties for Thor: Ragnarok

By . FilmTV No Comments

Taika Waititi‘s resume before Thor: Ragnarok doesn’t suggest he would ever be put on the path to helm a multi-million dollar franchise as part of a multi-billion dollar universe in Hollywood. The New Zealand director was famous for his quirky comedies like HBO’s Flight of the Conchords, What We Do in the Shadows and Hunt for the Wilderpeople. He brought a lot of his signature dry humor to Ragnarok with great acclaim, then a whiplash in reception would seem to happen when the consensus was that he brought too much of it for the follow-up Thor: Love and Thunder.

Entertainment Weekly recently sat down with Waititi for a retrospective of his career and he would reflect on the initial reaction that he was going to ruin the Thor franchise. Waititi remembered, “That really propelled me into the nerdosphere, if you will. I was living a really lovely, peaceful life, and as soon as I did this, well boy, did the nerds come for me. They said, ‘This guy’s gonna ruin this. He’s gonna ruin Thor!’” He, then, took a job at the least well-received entry at the time, Thor: The Dark World, “It’s like, ‘What, you mean again?’ And they were like, ‘He’s gonna ruin this for everyone, Thor’s so cool!’ And I said to them on Twitter — before I left Twitter — I said, ‘You don’t know what you want until I give it to you.’”

While Waititi wouldn’t go into depth about what he thought about Love and Thunder, he did run down a list of the things from that entry that he was fond of, “Look how jacked Chris got. One of my favorite things about this is that I so love Natalie [Portman]. Also, Christian Bale. I mean, it’s Christian Bale. Also, Guns N’ Roses, a lot of the songs. I did meet Axl Rose once, actually. He had a lot of stories to tell, which I will not share.”

Last year, Taika would get candid about his real reasoning for joining the MCU as he hadn’t aspired to become a big Hollywood director, but he needed the money. He explained, “You know what? I had no interest in doing one of those films. It wasn’t on my plan for my career as an auteur. But I was poor and I’d just had a second child, and I thought, ‘You know what, this would be a great opportunity to feed these children.’” Waititi added, “And Thor, let’s face it — it was probably the least popular franchise. I never read Thor comics as a kid. That was the comic I’d pick up and be like ‘Ugh.’ And then I did some research on it, and I read one Thor comic or 18 pages, or however long they are.” However, he did find it to be a valuable experience, “But I love Marvel, I love working with them. I love Chris [Hemsworth]. We’re in an open relationship and it’s like, if they want to see other people I’m happy for that. I’d still get back into bed with them one day.”

The post Taika Waititi remembers the reactions that he would ruin Thor when he accepted directing duties for Thor: Ragnarok appeared first on JoBlo.

4 Dec

Tim Burton rules out Edward Scissorhands and Nightmare Before Christmas sequels

By . FilmTV No Comments
Nightmare Before Christmas

It took thirty-six years, but director Tim Burton finally got around to making a sequel to his 1988 hit Beetlejuice – and with that sequel, Beetlejuice Beetlejuice, having made over $450 million at the global box office, it wouldn’t be surprising to hear that Warner Bros. wants another sequel. Burton has said not to expect Beetlejuice Beetlejuice Beetlejuice from him… but perhaps he could be persuaded. We’ll have to wait and see. In the meantime, Burton has completely ruled out the idea of making sequels to two other films on his résumé, Edward Scissorhands and The Nightmare Before Christmas.

Speaking with IndieWire, Burton said, “There are certain films I don’t want to make a sequel to. I didn’t want to make a sequel to (Edward Scissorhands) because it felt like a one-off thing. I didn’t want to have a sequel for The Nightmare Before Christmas because it also felt like a one-off thing. Certain things are best left on their own and that for me is one of them.“

Burton directed the 1990 film Edward Scissorhands from a script he crafted with novelist Caroline Thompson. The synopsis: A scientist builds an animated human being, the gentle Edward, but dies before he can finish assembling him. This leaves the young man with a freakish appearance accentuated by the scissor blades he has instead of hands. Loving suburban saleswoman Peg discovers Edward and takes him home, where he falls for Peg’s teen daughter. However, despite his kindness and artistic talent, Edward’s hands make him an outcast. The film stars Johnny Depp, Winona Ryder, Dianne Wiest, Anthony Michael Hall, Kathy Baker, Vincent Price, and Alan Arkin.

Although The Nightmare Before Christmas is often mistakenly referred to as one of Burton’s directorial efforts, the stop-motion animated movie was actually directed by Henry Selick. Burton produced it and came up with the story, which was then fleshed out by writers Michael McDowell (who also worked on Beetlejuice) and Caroline Thompson. The film follows the misadventures of Jack Skellington, Halloweentown’s beloved pumpkin king, who has become bored with the same annual routine of frightening people in the “real world.” When Jack accidentally stumbles on Christmastown, all bright colors and warm spirits, he gets a new lease on life. He plots to bring Christmas under his control by kidnapping Santa Claus and taking over the role. But Jack soon discovers even the best-laid plans of mice and skeleton men can go seriously awry. Chris Sarandon, Danny Elfman, Catherine O’Hara, William Hickey, Glenn Shadix, Paul Reubens, Ken Page, Ed Ivory, and Joe Ranft provided the vocal performances.

Burton passionately spoke out against the idea of any further stories being told in the world of The Nightmare Before Christmas last year, despite the fact that Selick and Sarandon have both expressed interest in making a prequel.

What do you think of Tim Burton ruling out any sort of follow-ups to Edward Scissorhands or The Nightmare Before Christmas? Let us know by leaving a comment below.

The post Tim Burton rules out Edward Scissorhands and Nightmare Before Christmas sequels appeared first on JoBlo.

4 Dec

2-time Oscar winner Sean Penn slams…the Oscars

By . FilmTV No Comments
Sean penn oscar

Sean Penn would like to thank the Academy…for nothing. Despite two Best Actor Oscars — putting him in the company of Marlon Brando and Gary Cooper — Sean Penn is calling out AMPAS for their lack of risk taking.

It’s been more than 15 years since Sean Penn won his last Oscar (for Milk; he won his first for Mystic River), but he keeps himself in the loop enough to have some thoughts on how simple the Academy can be in their choices. “The Academy have exercised really extraordinary cowardice when it comes to being part of the bigger world of expression, and in fact, have largely been part of limiting the imagination and very limiting of different cultural expressions.”

So what does Sean Penn hope to see at this year’s Oscars? Surprisingly, he has some high expectations with what is currently projected to score some major nominations. “I don’t I get very excited about what we’ll call the Academy Awards [except for] when a film like ‘The Florida Project,’ or ‘I’m Still Here,’ or, you know,  ‘Emilia Pérez,’ of the things that are likely to happen this year.” Right now, Emilia Pérez is poised to land a slew of nominations, including Best Picture, Best Director (Jacques Audiard) and Best Actress (Karla Sofía Gascón), with Zoe Saldana possibly even looking at a Best Supporting Actress win (yeah, there’s a little bit of category controversy there…). Speaking of The Florida Project, Sean Baker’s latest film, Anora, is also shaping up to capitalize on its Palme d’Or win. You can read our 9/10 review here.

Sean Penn also took the stance that the Oscars should be seen as a “television show first”, suggesting winning a statue doesn’t have the prestige that most think it does. Penn might have a point overall, as a lot of people tend to think that there is still so much campaigning and “buying” of votes that it complicates the whole scene, while there’s also the argument of how you can compare one performance to another. But it’s hard to deny that the Academy Award is still — and always will be — seen as the highest accolade in cinema.

Nomination for the 97th Academy Awards will be announced on January 17th, while the ceremony itself takes place on March 2nd, with Conan O’Brien as host. Just like Sean Penn said: television show first!

What do you make of Sean Penn’s comments about the Oscars?

The post 2-time Oscar winner Sean Penn slams…the Oscars appeared first on JoBlo.

4 Dec

Fallout season 2 is now filming; Walton Goggins is back in the saddle as The Ghoul

By . FilmTV No Comments
Fallout

The Prime Video TV series adaptation of the popular Fallout video game franchise already had a second season in the works before the first season even started streaming – which turned out to be a good move, because Fallout quickly became Prime Video’s second most-watched title (after The Lord of the Rings: The Rings of Power), drawing in 65 million viewers in its first 16 days of release. Now, we’ve learned that Fallout season 2 has started filming, and we’ve been tipped off by the fact that Walton Goggins, who plays The Ghoul, shared an image on social media that shows him getting back into Ghoul character.

Like the video games on which it is based, the “Fallout” series is set in a world where the future envisioned by Americans in the late 1940s explodes upon itself through a nuclear war in 2077. The TV series is telling an original story that is set in the world of the video games and will be canon to the game franchise. The story plays out in and around a fallout shelter in Los Angeles called Vault 33.

In addition to Fallout, Fallout 2, Fallout 3, and Fallout 4, the video game series also consists of the spin-offs Fallout: New Vegas, Fallout 76, Fallout Tactics: Brotherhood of Steel, Fallout: Brotherhood of Steel, Fallout Shelter, and Fallout Pinball. The first game takes place 219 years after nuclear war and is set in a post-apocalyptic Southern California. The protagonist, referred to as the Vault Dweller, is tasked with recovering a water chip in the Wasteland to replace the broken one in their underground shelter home, Vault 13. Afterwards, the Vault Dweller must thwart the plans of a group of mutants, led by a grotesque entity named the Master.

Geneva Robertson-Dworet and Graham Wagner are the showrunners on the Fallout TV series and are executive producing the series with Todd Howard of Bethesda Game Studios, James Altman of Bethesda Softworks, and Athena Wickham, Jonathan Nolan, and Lisa Joy of Kilter Films. Amazon Studios and Kilter Films are producing the series, in association with Bethesda Game Studios and Bethesda Softworks. Nolan and Joy developed the concept for TV, and Nolan directed the first three episodes.

Prime Video’s Fallout stars Ella Purnell (Yellowjackets), Kyle MacLachlan (Twin Peaks), Walton Goggins (Justified), Xelia Mendes-Jones (Sans Comic), Aaron Moten (Father Stu), Moisés Arias (The King of Staten Island), Sarita Choudhury (Homeland), Michael Emerson (Person of Interest), Leslie Uggams (Deadpool), Frances Turner (The Boys), Dave Register (Heightened), Zach Cherry (Severance), Johnny Pemberton (Ant-Man), Rodrigo Luzzi (Dead Ringers), and Annabel O’Hagan (Law & Order: SVU).

Purnell’s character is Lucy, who has lived her entire life inside a subterranean vault, where every need and want has been satisfied while generations and generations await the day when it is safe to surface. When a crisis forces Lucy to venture above on a rescue mission, she finds that the planet above remains a hellscape crawling with giant insects, voracious mutant animal “abominations,” and a human population of sunbaked miscreants who make the manners, morals, and hygiene of the gunslinging Old West look like Downton Abbey. Moten’s character is Maximus, who grew up aboveground but, like Lucy, was also raised in a cloistered “family” of sorts—a brutal collective of warriors called the Brotherhood of Steel. The Brotherhood is made up of battalions of super-soldier knights in shining power armor, who stalk the landscape enforcing the Brotherhood’s notion of order. Maximus serves as a squire. MacLachlan plays Lucy’s father, the overseer of Vault 33, which essentially makes him the mayor of their hometown, while Choudhury is a different kind of leader in this world, willing to sacrifice anything for her band of people. Arias plays Lucy’s inquisitive brother. Emerson is an enigmatic researcher named Wilzig.

As Vanity Fair noted, “in the Fallout games, Ghouls are typically cannon fodder, mindless zombies whose bodies have been mutated by radiation.” Goggins’ character is Cooper Howard, a legendary Ghoul who still retains some of the person he used to be. He’s “a gruesomely scarred roughrider who has a code of honor, but also a ruthless streak. He’s also quite a survivor—having existed for hundreds of years. The show occasionally flashes back to the human being he once was, a father and husband named Cooper Howard, before the nuclear holocaust turned the world into a cinder and transformed him into an undead, noseless sharp-shooting fiend.“

Joining the cast for Fallout season 2 is Home Alone star Macaulay Culkin, who will be playing the recurring role of “a crazy genius-type character.”

Are you a Fallout fan, and are you glad to hear Fallout season 2 is now filming? Let us know by leaving a comment below.

The post Fallout season 2 is now filming; Walton Goggins is back in the saddle as The Ghoul appeared first on JoBlo.

4 Dec

Grand Theft Hamlet review – all the world’s a stage

By . FilmTV No Comments

Whether through isolation, financial uncertainty, grief or trepidation over whether life would ever feel the same, the pandemic did a number on all of us. For many artists, there was the added challenge of losing access to the resources needed to make new work, but for some, seeing through their sudden and random bouts of creativity became somewhat a necessity. This was the case for Sam Crane and Mark Oosterveen, two out-of-work actors who, during the UK’s third lockdown, decided to mount a production of Shakespeare’s Hamlet entirely within the virtual world of Grand Theft Auto Online.

We follow Crane and Oosterveen’s avatars who are joined by Crane’s wife, filmmaker Pinny Grylls, her avatar documenting their pursuit with an in-game phone camera. There is much to enjoy in the anarchy of this film, the unsuspecting players that show up to audition while dodging the bullets coming at them from all directions, and the moments of earnest connection and serendipity borne out of banding together to pull this crazy thing off.

The film’s spontaneous spirit is muddied by a sense that some ideas are retroactively staged (like when Crane and Grylls, who live together, have an in-game domestic over how this project is taking over life commitments), but what ultimately stays with you is the actor duo’s commendable ability to find inspiration and poetic gravitas in silliness, horseplay and tomfoolery, even (and especially) in the darkest of times.

Little White Lies is committed to championing great movies and the talented people who make them.

By becoming a member you can support our independent journalism and receive exclusive essays, prints, film recommendations and more.

ANTICIPATION.

All the world’s a stage. Apparently, that includes GTA.
4

ENJOYMENT.

An unusual, impressive feat, albeit more due to the novelty of its premise.
3

IN RETROSPECT.


Too long, but for the most part entertaining and surprisingly poignant.
4

Directed by



Sam Crane,

Pinny Grylls

Starring



Sam Crane,

Mark Oosterveen,

Pinny Grylls

The post Grand Theft Hamlet review – all the world’s a stage appeared first on Little White Lies.

4 Dec

Nightbitch review – Amy Adams is back

By . FilmTV No Comments

Marielle Heller’s Nightbitch is the kind of sincere, mid-budget indie that was all the rage in the late ‘90s and early ‘00s. During the turn of the century, films began to deconstruct the traditional roles of the American family that were established as a luxury of post-war society. We all know the image – the father goes to work, the children go to school, while the mother stays at home and tends to the house, cooking and cleaning while always waiting for a return. From Pleasantville to American Beauty to more arthouse fare like Far From Heaven and The Hours, cinema has long scrutinized the role of stay-at-home mothers, but no matter how long popular culture has been highlighting the intensity and unfairness of such gendered labor, nothing seems to change.

To be a mother is to be occupied for the rest of your life. Even after the child has physically left your body they remain a part of you, and as the mother, you more than anyone else, are held responsible for how that child turns out. Sometimes, it can feel like a test you’re failing, as if every time the child leaves your sight there’s a chance for irrevocable damage. These fears are explored thoroughly in Nightbitch, a meditation on the nature of motherhood itself.

Nightbitch follows a mother (Amy Adams) who feels like she’s lost herself after leaving her job as an artist to be at home full time. Her husband (Scoot McNairy) isn’t much help, cluelessly stumbling through the small amount of parenting he manages to contribute. When she tells him she’s unhappy, his response is maddening: “Happiness is a choice.” In her mind, she slaps him but she can’t bring herself to argue with him in reality. Nightbitch is driven by the mother’s internal monologue, which interrogates the role of motherhood intellectually and philosophically. On the surface she’s a sweet, playful, endlessly patient mother. But inside, she’s bubbling with rage over the marginalization and isolation of being the sole caretaker of her son. Heller skillfully portrays the repeated routines of motherhood – breakfast, lunch, dinner, bath time, bedtime – as both meaningful and exhausting. And in the midst of parenting chaos, the mother becomes convinced she’s turning into a dog.

In the first half of Nightbitch, Heller explores the body horror aspects of the transformation – fur, extra nipples, a tale hiding just beneath the skin of the small of her back. The mother gains a heightened sense of smell and craving for meat. Her husband doesn’t take it seriously but, charmingly enough, her son responds to her new animalistic persona. And that’s when Nightbitch takes a turn towards a more analytical approach to the mother’s situation. She realizes that to be a mother is to be an animal – governed by instinct and the fierce desire to protect her offspring.

Adams is having a blast as the mother, taking center stage with renewed energy and vigor. It’s been a while since she’s had this much fun on the big screen, and it’s a relief to see after recent misfires. McNairy is in top comedic form as the clueless husband who thinks of raising his own son as babysitting; the fact that he’s younger than Adams enhances the dynamic, especially when she’s explaining to him the complexities of motherhood. As corny as Nightbitch can be, there’s no denying the universal truths behind the narrative. Mothers still so often deny parts of themselves in the service of their children and husbands, but those artistic, rebellious impulses don’t just go away after marriage and family. And frankly, they shouldn’t have to – Nightbitch is about a mother’s need to be free.

Little White Lies is committed to championing great movies and the talented people who make them.

By becoming a member you can support our independent journalism and receive exclusive essays, prints, film recommendations and more.

ANTICIPATION.

Always excited to see what the great Marielle Heller has to offer.
4

ENJOYMENT.

Amy Adams is back, delivering a performance of unselfconscious commitment.
4

IN RETROSPECT.


A worthwhile and rare film about the emotional, professional and domestic burdens of motherhood.
3

Directed by



Marielle Heller

Starring



Amy Adams,

Scoot McNairy

The post Nightbitch review – Amy Adams is back appeared first on Little White Lies.

4 Dec

Inside the design world of Jean-Luc Godard

By . FilmTV No Comments

A new exhibition dedicated to Jean-Luc Godard’s last work highlights his artistry and focuses on how the influential French filmmaker implemented a haptic approach not only to filmmaking but the entire creative process. Scénarios, his very last short film, completed a day before his assisted death, is a visual collage accompanied by an actual notebook that shows Godard’s way of thinking. A mix of images, painting and writing gives us an exclusive look into the mind of one of the most innovative and experimental directors ever, who shaped an aesthetic that would influence filmmakers and artists for generations to come.

His fearless kamikaze way of creating films meant that he would write scripts on set practically from scratch, in between takes. Not a great believer in preparation, his motto was “Seeing precedes the written word”, so much so that he drew parallels with fine art and contemporary design throughout his films. The run through the Louvre in Bande à Part can be understood as a depiction of the way he absorbed and utilised inspiration that came from the world of fine art.

In Pierrot le Fou, eclectic collages of “industrialised” artworks by Picasso, Modigliani, Chagall, Renoir and others appear in the form of posters and postcards taped on the walls, juxtaposed with bold red magazine covers of Paris Match. A celebration of post-modernism but also a cultural observation on the relationship art has with mass reproduction. By using postcards of the greatest works of art, and ripped out magazine covers, the wall becomes ever-changing and alive. This constant movement is also true of the protagonists who are on the run across the country from the police. When they get to relax in a bathtub, they are seen to be avid readers of Elie Faure’s History of art. Pierrot’s blue painted face can be seen as a then contemporary reference to Yves Klein and his iconic blue as Pierrot vanishes into the blue sea and sky. But Godard goes a step further: By positioning the profile of his creation, Jean-Paul Belmondo and Anna Karina, in the midst of two Picasso portraits, he seems to issue a statement: If Picasso is the greatest painter, then Godard is the greatest filmmaker.

Where other French filmmakers such as Éric Rohmer were strongly inspired by classic literature, Godard’s interests span philosophy, painting, music, design, advertising and the consumerist, visual world we live in. Despite the ever occurring references of modern art and advertising, typography seems to be the thread that ties it all together and became a focal point in his work. The tension between text and image and the use of specific fonts went beyond creating a layout; it became a reflection of both his musings on zeitgeist and his dual Swiss-French origin.

His typographic choices can be divided into multiple parts, as observed by Paule Palacios Dalens. Films like Pierrot Le Fou, La Chinoise, Weekend, Masculin, Féminin and Weekend were marked by the French font Antique Olive, designed by Roger Excoffon and released in 1960. Not only was it a very contemporary choice but also one that is strongly entwined with a typically French aesthetic. The dot on the capital ‘I’ was possibly custom-made by Godard and added playfulness to a lively font that also possibly has its counterpart in the British Gill Sans. Except for the black and white Masculin, Féminin, each film makes clear that it is a French font by utilising the flag’s emblematic tricolour, which gives a strong sense of belonging and socio-political affiliation. Particularly 2 or 3 Things I Know About Her looks critically at the consumerist world we live in. Godard even lines up multiple items such as cigarettes, toothpaste, washing powder and cereals in the shape of a flat lay, pretty much predicting today’s consumerist Instagram aesthetic. In no other Godard film does he highlight the bombardment of advertising as dramatically and hopelessly as he does here. Large billboards in bold type on colour blocks, contrast the whispering off voice, it is all too powerless against corporate entities. Individuals seem small and irrelevant, almost disappearing into its busy backdrop of messages. This is a favoured frame of his, which he uses in the same manner in other films. In A Woman Is A Woman, whenever Angela leaves her domestic enclave, she is surrounded by advertising, as is Nana in My Life To Live, the farmers in Weekend and the youth in Masculin, Féminin.

The films using Antique Olive are in contrast to those displaying the Helvetica. Films like Alphaville, Keep Your Right Up and Film Socialisme display the Swiss font because its usage was a thematic reflection and one of the modern age. Helvetica remains one of the most widely used fonts in the world. It is often considered a safe option and to this day still praised in design schools which ensures its continuum.

It has swept over contemporary culture and its imprint on logo design is overwhelming; the New York subway, American Airlines, Panasonic, Lufthansa, and many other tech and transport companies use the font due to its powerful properties of modernity, progress and pragmatism. Magazines use it paired with fashion for a cool retro look and to signal they are young and ahead of the curve. It becomes clear why Helvetica was used for his dystopian Alphaville instead of the French Antique Olive. By using Helvetica, he purposefully swaps the red, blue and white palette to replace it with a more sombre black, white and grey. The films become more experimental musing on politics as opposed to the provocative expressiveness that is present in a film such as La Chinoise, but now they contain the cold soberness and distance of a neutral country that is his other half, Switzerland. It’s a font that remains devoid of personality and accentuates the tone of the meditation on human values by Anna Karina in Alphaville, when she wonders what the word “conscience” means. A topic that cannot withstand the tricolour Antique Olive.

The typographic choices that Godard made were thematic and not only chosen for their stylistic properties. It is for this same reason that the off voices are so distorted in Alphaville and hushed in 2 or 3 Things I Know About Her. Godard said he was a “painter with letters”, perhaps Scénario(s) can help us discover how all encompassing his perception of moving image really was so we can reflect about it, possibly in our own handwriting.

Scénario(s) runs from the 14 – 22 December with accompanying film programme at The Institute of Contemporary Arts (ICA)

The post Inside the design world of Jean-Luc Godard appeared first on Little White Lies.

4 Dec

Mark Duplass wanted The Creep Tapes to be comfort viewing like Friends and Seinfeld

By . FilmTV No Comments

Back in 2014, writer/director Patrick Brice and co-writer/star Mark Duplass teamed up with Blumhouse Productions to bring us the found footage horror film Creep – which was so well-received that a sequel, appropriately titled Creep 2, followed in 2017. Before Creep 2 was even released, Brice confirmed that a third film was in development and was meant to wrap everything up as a trilogy – but along the way, the plan changed from making another feature to making a TV series called The Creep Tapes. The six-episode series made its premiere on the Shudder and AMC+ streaming services last month – and during an interview with The New York Times, Duplass revealed that he made the show with the intention of it becoming comfort viewing for the audience, much like Friends and Seinfeld.

Created by Brice and Duplass, the first season of The Creep Tapes continues to unravel the mind of a secluded serial killer who lures videographers into his world with the promise of a paid job documenting his life. Unfortunately, as the tape rolls, the killer’s questionable intentions surface with his increasingly odd behavior and the victims will learn they may have made a deadly mistake.

Duplass provided the following statement: “A little over 10 years ago, Patrick Brice and I spent a week together in my cabin with a small digital camera. We emerged with a found footage horror film that was so wildly strange and uncomfortable we assumed no one would see it. To be continuing this unholy legacy in the series format is a true nightmare come true.” Duplass previously let us know, “The series is based on a collection of video tapes in the secret vault of the world’s deadliest and most socially uncomfortable serial killer, who hires his victims to film him for the day under false pretenses. Each episode exposes a new victim from one of the fabled ‘Creep Tapes.’“

Duplass told The New York Times, “I wanted The Creep Tapes to feel, as crazy as it sounds, the way I felt with my family during the pandemic when we binge-watched Friends and Seinfeld. There’s a cold open, and the credit sequence hits, and we just feel comfortable. This is going to be a comfort show, weirdly, for people who love this character. It’s the comfort of discomfort.” He was concerned that viewers might be too familiar with his creepy character to be scared by him anymore, but he found that the enhanced humor in the show made the scares more effective. “We found that by incorporating more humor into it, people got way more relaxed. When it came time for the scares, they got got at a more intense level. The humor allows us to bring back the shock factor that we’ve lost by the fact that everybody already knows I’m a killer.“

Have you been watching The Creep Tapes, and have you been finding it to be a “comfort viewing” experience? Share your thoughts on this one by leaving a comment below.

The post Mark Duplass wanted The Creep Tapes to be comfort viewing like Friends and Seinfeld appeared first on JoBlo.

© 2024 - DIGIGROSS | All rights reserved