bill murray

‘The Dead Don’t Die’ Confronts Climate Change with Deadpan Whimsicality

‘The Dead Don’t Die’ Confronts Climate Change with Deadpan Whimsicality

With The Dead Don't Die, Jim Jarmusch deliberately deprives his latest film of the propulsive terrors innate to most zombie films, instead using the genre to matter-of-factly rhapsodize about consumer culture and the inevitability of the apocalypse.

The Subversive Creativity in Wes Anderson’s ‘Isle of Dogs’

The Subversive Creativity in Wes Anderson’s ‘Isle of Dogs’

Wes Anderson has created a powerful (though unassuming) sociopolitical statement about the causes and consequences of segregation.

‘Improv Nation’ and the Birth of Saturday Night Live

‘Improv Nation’ and the Birth of Saturday Night Live

Improv Nation tells the long and astonishing history of the spur-of-the-moment stuff that makes audiences laugh.

Farewell Songs and New Beginnings in Late Night TV

Farewell Songs and New Beginnings in Late Night TV

How late night TV talk shows move on musically.
‘Life Moves Pretty Fast’ Hits Some Slowdowns

‘Life Moves Pretty Fast’ Hits Some Slowdowns

Freeman frequently complains about Hollywood's stereotypes about what male and female audiences are willing to watch, yet her own tastes are pretty stereotypical.
‘The Big Bad Book of Bill Murray’ Boldly Goes Where No Reasoning Mortal Has Gone Before

‘The Big Bad Book of Bill Murray’ Boldly Goes Where No Reasoning Mortal Has Gone Before

Robert Schnakenberg provides a humorous string of golden informational nuggets about the existence and philosophy of one of the world’s least understood and most fascinating weirdos.
The Stultifying Speeches of ‘The Monuments Men’

The Stultifying Speeches of ‘The Monuments Men’

Theoretically an adventure film about saving the culture of the Western World from rampaging Nazi philistines, George Clooney's first serious misstep as a director is somehow both painfully serious and trite.

In Defense of Hoping Chris Brown and Rihanna Don’t Work Out, Again

NYFF: The Royal Tenenbaums’ 10th Anniversary

NYFF: The Royal Tenenbaums’ 10th Anniversary

Luke Wilson was in town for an MTV related New York Comic Con panel a day or two afterwards. Ben Stiller had just completed hosting Saturday Night Live the prior weekend. And Owen Wilson may have possibly been still lounging about following a New Yorker Festival appearance a few weeks back. So I presumed offhand that they would be amongst the “other members of the cast” reuniting with director Wes Anderson following the 10th anniversary screening of his most successful film The Royal Tenenbaums held at Lincoln Center as part of the NY Film Festival. As it turns out none of them were present. The actors participating in a Q&A alongside director Wes Anderson and his brother, Eric Chase Anderson, were Gwyneth Paltrow, Anjelica Huston and the show-stealer, Bill Murray. The moderators were Noah Baumbach and Antonia Monda, both collaborators with Anderson at one point or another.

Eric Anderson, Gwyneth Paltrow, Wes Anderson, Anjelica Huston, Bill Murray. Photo Credit: Godlis

Aside from the aforementioned actors, the film also includes Danny Glover and Gene Hackman, who received the bulk of the attention in the discussion even though he wasn’t present. Countless laughs were shared over stories about Hackman’s powerful acting and serious, sometimes scary, demeanor. As Murray started a train of thought, “You know the word ‘cocksucker’ gets thrown around a lot”, he let the audience laugh before continuing, “But I will take that word and throw it out of this room because it doesn’t belong here. I’d hear these stories like ‘Gene tried to kill me today’. And I’d say, ‘Kill you? You’re in the union. He can’t kill you.’” Paltrow took Hackman’s side as well indicating that she “found something very sweet and sad in there.” Murray also took some shots at Luke Wilson and Kumar Pallana (Pagoda) suggesting that he preferred acting alongside Pallana since Wilson had a fascination with Paltrow.

Murray, Huston, Paltrow, Anderson. Photo Credit: Godlis

Caught up in Murray’s jokes, I could have sat for an hour laughing in hysteria. But some of the conversation proved to be informative and topical as well. One of Anderson’s regular talents, Jason Schwartzman, was not in Tenenbaums but it was not for lack of trying. Schwartzman was originally considered for the role of Mordecai (not Richie’s hawk) a boy living in an attic over an embassy. And ten years ago, Anderson originally screened a version of Tenenbaums at the NYFF whose score consisted entirely of Beatles tunes. Yet the songs were removed since he had been unable to secure the rights. Paltrow backed him up as she admitted she had been recruited by Anderson to ply Paul McCartney with bowling and a screening of the film to see if it could happen. Yet afterwards, McCartney admitted he had nothing to do with the rights.

In the end the Beatles score seems less important as Mark Mothersbaugh composed a fitting score. The Royal Tenenbaums works because of Anderson’s direction and it’s stellar ensemble. The film continues to be celebrated for the same.

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Being the Ball: What We Talk About When We Talk About ‘Caddyshack’

Tribeca Film Festival 2010: Get Low

The Limits of Control