The internet is split on the new crossguard lightsaber shown in the Star Wars VII: The Force Awakens trailer, which features two mini-sabers on its hilt. Some have derided it for its impracticality, while others see it as just plain cool. But what does George Lucas think? We sat down with him to discuss this very topic:
It’s no secret that there hasn’t been much activity here at Smug Film as of late. Posts became sporadic during the six months of hell the first half of this year was for me, and then after my mom’s passing, the scarcity became only more so. Some of this is because many of our critics are just plain busy with other things—Greg DeLiso started a full-fledged LLC doing videography, was recently married, and is doing quite well for himself; John D’Amico is about to start production directing his crime film set in the Bronx; Alex Hiatt is busy looking at various rocks under various microscopes as always; I’m in a band with my friend Lauren called To Be Young, writing delightful acoustic pop songs and enjoying myself immensely, with recordings expected before the end of the year. But, those wonderful developments aside, the reason, mostly, for the sparsity around here comes down to the fact that I, your dear steward, just can’t stomach watching movies as of late.
Jennifer Lawrence, renowned thespian and overnight self-portraiture sensation.
In what contemporary scholars are calling one of the largest disseminations of heretofore unseen art in recent years, dozens of examples of self-portrait photography by notables in the entertainment industry have been uncovered by renegade art archivists and released free to the art-appreciating public through the internet.
Continue reading Self-Portraits Of Notables Unearthed By Renegade Art Archivists
Uncle Buck (1989) | Dir. John Hughes
Interior. Leather Bar. (2013)
Directed by Travis Mathews & James Franco
Written by Travis Mathews
60 min.
Spoiler-free.
“Fuck Scripts.” – James Franco, Interior. Leather Bar.
There is no greater summation of this film than in this seemingly throwaway line, which Franco barely ekes out without smirking, in the scene from which I’ve grabbed the screenshot above. Within his delivery of it lies an acknowledgment of its hyperbolic untruthfulness, as well as its inherent truth—what he means is, ‘yes, of course scripts are important, but at the same time, they’re just scripts, and their being there or not being there isn’t worth worrying about’. And his mouth lets us know that he knows we can’t help but wondering anyway, and that this is the right reaction.