Anyway, back to life lessons.
Point #1: Now everyone not just Silicon Valley hipsters know who Megan Ellison is, as more than just the eccentric daughter of Larry Ellison. Suck it, Silicon Valley?
Point #1: Now everyone not just Silicon Valley hipsters know who Megan Ellison is, as more than just the eccentric daughter of Larry Ellison. Suck it, Silicon Valley?
Point #2: The Disney channel is not just one giant black hole of mind-numbing content and jail-bait and can actually produce genuine talent. I know, I was shocked too when I found myself saying the following; Selena Gomez can act, ya’ll.
Point #3: St. Petersburg, Florida is a toilet.
Point #4: Where did Gucci Mane’s ridiculous face tattoo disappear to? Was it ever there in the first place?
Point #5: Rachel Korine is married to Harmony Korine, you guys
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And finally, let’s wrap things up with the man that encompasses the most important life-lessons of all, Mr. James Edward Franco of the Palo Alto Franco’s is a Renaissance man.
Let's face it folks, and fellow Columbia students who saw him walking the circumference of Dodge Hall smoking two cigarettes in his mouth, fiddling with his smart phone and then falling asleep in class. Maybe he had just shut off that part of the brain that actually does stuff so he could meditate on further projects...Like perhaps reading the script of Spring Breakers in that labyrinthine craziness that is his mind. Anyway, no one would give you any kind of argument if you say that James Franco completely stole Spring Breakers for himself, so much so, that he could stand head and shoulders next to his directors like they both contributed equally to the outcome. Most of Alien's dialogue, mannerism, and general debauchery was ad-libbed and conceived by Franco himself (case and point the sucking a gun like a dick scene as well as the infamous 'Look at my shyyyit' speech). Alien is truly one of the greatest anti-heroes in contemporary cinema.
But lets please give credit where credit is due. This film is the brainchild, and the labor of love of longtime contraversial director Harmony Korine. But let me back up. There are two kinds of iconoclasts in the film world, ones who do it in the face of art to break rules in order to make their own artistic artistic statement which almost always comes of preachy and pretentious, and then you have a real iconoclast like Korine;
Let's face it folks, and fellow Columbia students who saw him walking the circumference of Dodge Hall smoking two cigarettes in his mouth, fiddling with his smart phone and then falling asleep in class. Maybe he had just shut off that part of the brain that actually does stuff so he could meditate on further projects...Like perhaps reading the script of Spring Breakers in that labyrinthine craziness that is his mind. Anyway, no one would give you any kind of argument if you say that James Franco completely stole Spring Breakers for himself, so much so, that he could stand head and shoulders next to his directors like they both contributed equally to the outcome. Most of Alien's dialogue, mannerism, and general debauchery was ad-libbed and conceived by Franco himself (case and point the sucking a gun like a dick scene as well as the infamous 'Look at my shyyyit' speech). Alien is truly one of the greatest anti-heroes in contemporary cinema.
But lets please give credit where credit is due. This film is the brainchild, and the labor of love of longtime contraversial director Harmony Korine. But let me back up. There are two kinds of iconoclasts in the film world, ones who do it in the face of art to break rules in order to make their own artistic artistic statement which almost always comes of preachy and pretentious, and then you have a real iconoclast like Korine;
He breaks the rules because it's in his bloody nature. It is completely impossible for him to make a film that is not completely his, and just his aesthetic and talent are so out of bounds of anything, they force him through his art and process to not only break the so-called rules, but not to give a shit when they are. He's a real whistle-blower, devoid of pretension and personal gain or loss. He just wants to make a film damn it, it's really that simple. And when he does, it's pandemonium. Critics are ripping their hair out deciding whether to like it or pan it knowing that when a Korine film comes out, you better be en pointe considering no one likes to be the unpopular voice in that cannon, not even Armond White. But the one thing that's sure is that whether achieving any kind of indie box office success, the film culminates with instant cult status, and films haven't done that since the 70's...or Verhoeven. The wild success of Spring Breakers (2013) is just proof of how multi-faceted Korine has always been. Not only can he make a quirky bizarre indie cult hit a la Vincent Gallo, but he can make it a huge commercial success considering its modest budget and also make it the film du-jour of not only snooty New York intellectuals but right down to your average, run of the mill, dumb it down teenagers. He had us all saying 'Look at my Shyiit!' He has impacted not only as a film industry but society as a whole with his free wheelin', devil-may-care attitude and proletariat filmmaking approach that shakes us, provokes us, and ultimately makes us deeply admire his spirit, and an aesthetic that danes not to take itself seriously at all and yet still maintain a serious impact with its precedence. I smell honorary Oscar.
Fun stuff below
Fun stuff below
