Tag Archives: wild at heart

Smug Film Podcast Episode #7 – Acting Class / Steven Seagal / Homegrown Cinema

homegrown
1:22:58 | View on iTunes | Download Mp3

On this episode, I am joined by fellow Smug Film contributors John D’Amico and Jenna Ipcar. We discuss an acting class John took, Jenna’s foray into the films of Steven Seagal, and for our main topic, we tackle the idea of homegrown cinema. As always, we go on tangents along the way, take a quick break for a movie joke by comedian Anthony Kapfer, and then close the show with questions from our mailbag.

If you have a movie-related question you’d like answered on the show, leave it in the comments or email us at Podcast@SmugFilm.com.

If you enjoy the podcast, be sure to subscribe on iTunes, and leave a rating and a comment on there as well. Doing this helps us immensely as far as our ranking on there, which is what allows people to be able to discover us. Word of mouth is always best of all though, so spread the word!

Movie Stuff Referenced in this Episode:
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Movies Can Make Any Song Good

volare

I don’t care who you are or what music you typically like, if Step Brothers doesn’t make you fall in love with the song Por Ti Volaré by Andrea Bocelli, there’s something wrong with you.

Aside from being a huge film buff, I’m a huge music buff. Hell, I’m just plain buff. (25/m/nyc/d&d free ;-* ). Basically though, there ain’t a genre of movies or music where there ain’t at least some stuff I dig. And that’s the way things should be. Who are these people who, for instance, ‘don’t like rap’ or ‘don’t like horror’ or whatever? How can anyone be so lazy? There’s tons of different types of horror movies, tons of different types of rap. To write off an entire genre is just lame. It’s 2013, people—if you don’t have eclectic taste, get the fuck outta here.

However, I can understand people not liking something if they don’t have any context for it. If you’ve never heard, for instance, reggae, hearing it for the first time will be a love it or hate it experience—it either speaks to you or it doesn’t. Its context is either hardwired inside you, a sleeping giant in your brain waiting to be woken by the right tones, or the context must be instilled. And to instill said context takes volition—it may necessitate listening to lots of different reggae artists, and various styles of reggae, and reading up on the history of the genre, until something clicks in your brain. Or, you could just fucking watch The Harder They Come.
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An Open Letter To David Lynch

Til presse m¯de p Gammel strand, hvor han udstiller.


Dear Mr. Lynch,

Beyond the joy of creation, recognition, and the obvious benefits of fame like money and girls, I think the biggest ambition of any artist is to gain the respect of the guys who influenced them.  To be considered an equal by them for just five minutes.  To talk as peers.

Mr. Lynch, you’re on my short list.  However, the road to fame is long, hard, and wrought with happenstance, obstacles, luck, and a zillion other x factors out of my control.  I just might not ever make it.  And even if I do, I might not ever do anything up your alley.  And, not to be crass, but you’re getting up there in years.  So, in the unfortunate and likely event that our paths never cross, I figured I’d at least send this little message out into the ether.  Maybe you’ll pluck it out of the universe one day while you’re meditating.  Or maybe you have a friend who’s a huge Smug Film fan. (Hey, I can dream, can’t I?!)
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Not All Movies Should Have Jokes, But All Movies Should Have a Sense of Humor

fargo2
Click for bigger version.

There is a moment in Fargo (I’ll never stop talking about Fargo) that makes me die with laughter every single time I watch it. The movie is packed with black comedy and irony and brilliant deadpans (the license plate joke, holy shit) and some basic but perfect physical gags (Jean Lundegaard bursting out of the shower draped in its curtain like a kid in a homemade ghost costume), but I ain’t talking abaout all that stuff. I’m talking about the stills above. This moment seems to be more of an editorial in-joke than an actual written joke, but of course you never can tell with the Coen brothers. After Jean’s dad and Stan Grossman and Jerry discuss the plot’s central ransom over breakfast, Jerry is at the counter. The beaming cashier asks how Jerry’s meal was. After he answers rather shortly, he comes back with an affable “How you doin’” and when it cuts back to her, we see her cock her head to the side before it cuts again. All she does is cock her head to the side. No response, no change in expression, just a slight pitch. It’s hilarious. It’s insanely funny.
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