#Neel always being so nice to others and encouraging others to be kind instead of hateful all the time

[sicktrix]

Something about how Jod described the good in the world as “pinpricks of light in the dark.” Something about how keeping the Barrier up only let the pirates in but finally taking it down let the X-Wings chase they away— let the real good guys come in and save them. Something about how taking the Barrier down let the citizens of At-Attin see stars for the first time, see all the pinpricks of light in the dark, and see just how many there really are. Something about how even in the worst places, even in the worst moments, there will always be more good than you realize, and if you hide away you’ll never be able to see it.

[justanothercinemaniac]

Epic Movie (Re)Watch #154 - The Jungle Book (2016)

Spoilers below.

Have I seen it before: Yes

Did I like it then: Yes.

Do I remember it: Yes.

Did I see it in theaters: Yes.

Was it a movie I saw since August 22nd, 2009: Yes. #419.

Format: Blu-ray

1) The respect for the original 1967 film is established IMMEDIATELY, both by the use of a hand drawn opening logo and by the fact that the opening score for this film is the opening score from the original movie. Right away director Jon Favreu and the rest of the filmmakers let the audience know that they��re aware of just exactly what this film is and the expectations it needs to meet.

2) Neel Sethi as Mowgli.

When you have a kid as your lead character, it is important that you establish them as an honest character and not just a trope/stereotype. Through the film’s writing and Neel Sethi’s wonderful performance, we get just that. Paired together they make Mowgli smart, funny, crafty, but still someone who has a lot to learn. He is simultaneously someone you should not underestimate and someone who should learn humility. Sethi portrays these things wonderfully, as well as Mowgli’s issue of identity. He’s not a wolf, he’s not really a man cub, he wants to stay in the jungle but he doesn’t know where he belongs yet. Or who he belongs with. This is an interesting conflict which will carry us through until the end of the film.

3) One of the ways this film improves on its predecessor is that it puts more stock into relationships other than Mowgli/Baloo. Bagheera takes more of an active role in Mowgli’s upbringing, meaning it’s harder for him to take him back. Mowgli’s wolf mother - Raksha - is seen as a more important influence in his life. He has wolf brothers, and even his later relationship with Baloo comes about more organically. It’s wonderful way to build off of the original while staying respectful of it.

4) Grey - Mowgli’s younger wolf brother - is a surprise scene stealer for the film.

(Screenshot grabbed from GIF set posted by @daredvils)

Another instance of a refreshingly honest kid who just warms your heart.

5) This was Garry Shandling’s final film performance as Ikki the porcupine (who’s picture I cannot find), after having worked with director Favreau on Iron Man 2. 

(GIF source unknown [if this is your GIF please let me know].)

Unfortunately Shandling would not live to see the release of this film. But as a final performance it is a nice summation of his humor and heart.

6) This film does a fine job of incorporating elements from the source material which were not in the 1967, which is able to not only make the tone a little darker but also give us a better sense of just how the order of things works. This is most notable with the Law of the Jungle, Peace Rock, and the Water Truce.

7) Idris Elba as Shere Khan.

Through the writing and his performance, Elba is able to take an already great villain from the original movie and make him even better. From the very first moment this tiger steps on screen you feel the danger he carries with him. His presence is bone chilling, heart stopping, and makes your stomach turn. Most of the original 1967 film went without Khan being seen, with his presence being felt throughout. This film makes it very clear why we should be frightened by this tiger and damn it if they don’t make him scary as hell. He’s a stand out character in a film filled with amazing characters, and I think Elba deserves a lot of the credit for that. His voice is just SO menacing it’s amazing.

8) I see a lot of movies. I’ve almost seen 500 in theaters in the past 8.75 years. I can usually tell when something is a special effect. I can usually see the seams. Yet with The Jungle Book - while I KNOW I’m looking at CG through and through - I don’t see that. I see no seams in this; I can’t tell where real life ends and the studio begins, even after I’ve seen the behind the scenes video. These are honestly some of the most impressive CGI effects I have ever seen and THAT is saying something. It is what helps make the film so effective. It doesn’t feel like a computer generated world. It feels like the jungle.

9) I think it is a smart choice having Mowgli decide to leave the pack. In the original film he can be a little passive. He just is taken from one situation to the other and rolls with it. In the 2016 version, however, he determines his own fate. He decides to leave the pack, he decides to go back and face Shere Khan, he is not as passive and that makes him more interesting.

10) Lupita Nyong’o as Raksha and is another example of the stronger relationships this film features. She also breaks my heart with what are meant to be her final words to Mowgli:

Raksha: “Never forget this: you’re mine. Mine to me. No matter where you may go or what they may call you...”

11) Ben Kingsley as Bagheera.

I discussed earlier how Bagheera's relationship with Mowgli comes off in this film than it did in the original, and Kingsley is able to portray that. Each line of dialogue is permeated with a constant care for Mowgli, expressed trhough a soft yet moving sorrow, the actions he takes for this boy, and at times angry concern. The Academy Award winner shines in the part and I don’t know that anyone else could portray Bagheera quite as well as he does.

12) If you’re not scared of Shere Khan yet, you will be. He is at his most threatening not when he comes barging in, growling and clawing at you. It’s when he’s calm. Collected. When he just sits at the top of the rock with Akeela and talks to him in a calm collected manner without ever actually looking at him. And then...

13) Scarlet Johansson as Kaa.

While only a brief appearance, Johansson is able to create a character who is chilling, frightening, and slick. It is a memorable character, switching out the humor from the original character to make one that is much more of a threat. The once peaceful “Trust in Me” is now turned into a dark and heart-pounding score as Kaa introduces some very useful exposition about Mowgli’s parentage and why exactly Shere Khan wants him dead. Again, a short scene, but a memorable one.

14) Bill Murray as Baloo.

As with the original, the life and humor in Baloo’s character are immediate. There is no topping the performance given by Phil Harris in the original, so Murray does the smart thing and doesn’t even try. Instead, he creates a much craftier Baloo than before. One who is defined by Murray’s signature sass and snark to create some incredibly funny moments. But there’s more to him than that. He is the first person to really accept Mowgli for who he is. For while Bagheera has seen it, Baloo is the first one to encourage him to be different. Mowgli has always felt bad about his “tricks” and not fitting in, and here comes Baloo who tells Mowgli he is amazing as is. It is from that solid bedrock that they are able to craft a relationship as strong as the one in the original film, one of respect and love and caring. Murray is able to play both sides of this: the con man and the loving friend. And the film is better for it.

15) This was the hardest I laughed when I saw this film.

Baloo [after three different small critters come up and comment on Mowgli constantly]: “You have never been a more endangered species than you are in this moment.”

16) Jon Favreu and Sam Raimi both cameo in this film as some of the critters which bother Baloo. Raimi is the squirrel and Favreu is the hog:

17) The inclusion of “The Bare Necessities” in this film is nice, I feel. The movie is not a musical, so Mowgli and Baloo aren’t supposed to be singing like they’re doing a big number. They’re just two friends rocking out to a song they like. Musical purists may find it painful to listen to because it’s clear they’re not classically trained, but I appreciate the honesty to it.

18) Baloo and Bagheera have a fun conflict which is established quickly in a nice banter. It’s fun then to see this conflict change to a friendship bonded over their shared concern over Mowgli.

19) I think the scene where Mowgli saves the young elephant is maybe the most important to understanding his character. He approaches a herd of elephants huddled around a pit - elephants being established as the most respected and dangerous creatures in the jungle - and after showing their respect he uses his “tricks” to save the child. It shows off Mowgli’s kindness, his ingenuity, and his bravery. And then he just says, “Hey guys,” when he sees that Baloo and Bagheera were watching like it was no big deal. Because to him it wasn’t. Someone was in trouble and he had to help. That’s who Mowgli is.

20) The scene where Baloo pushes Mowgli away breaks my heart. Because he KNOWS Mowgli needs to get away from Shere Khan to be safe, and the only reason Mowgli is sticking around (or at least the key reason) is because he wants to stay with Baloo. So what does Baloo do?

Baloo: “No, we were never friends.”

Baloo: “I don’t want you around anymore.”

And then after Mowgli runs away, he turns to Bagheera.

Baloo; “Well I did it. And that’s about the hardest thing I’ll ever do.”

Bagheera: “I know.”

21) Did I mention Baloo has some of the funniest moments in the film?

Baloo [while climbing a cliff side to get to Mowgli, after seeing a bird, laughing to himself]: “A bird! That can’t be a good sign!”

But the cliffside scene is also nice because Bagheera supports Baloo. He takes the time to let Baloo know he’s doing fine and that there’s not much more left. I love that.

22) Let’s take a second to appreciate this (keeping in mind King Louie is played by Christopher Walken): Mowgli finds a cowbell in Louie’s treasure hoard...

And then he shakes the cowbell...

(GIF source unknown [if this is your GIF please let me know].)

Only for Christopher Walken to appear.

O_O

23) Christopher Walken as King Louie.

(GIF source unknown [if this is your GIF please let me know].)

According to IMDb:

In The Jungle Book (1967), King Louie (who was created by Walt Disney_ and his people and not by Rudyard Kipling.) was an orangutan. In this film, he's a Gigantopithecus, an ancestor of the orangutan whose range is believed to have included parts of India. This change in species was made to make the film more fantastic, since it would be a good way to represent him as King of the Monkeys and to show that orangutans are not native to India.

Like Kaa, Louie’s comedy is swapped out to make him more villainous. And it works amazingly. He is more frightening and foreboding, with Walken able to make the villain truly scary. His greed (found in the original film) and desire for power is amplified even greater, and he participates in one of the greatest action set pieces the film has to offer when he chases Mowgli through the ruins (inducing even a jump scare at one point). The one issue I have is that the presence of “I Wan’na Be Like You” always felt off to me. It is one of the most iconic songs from the original, but this is not a musical. Mowgli and Baloo were singing before just as friends do, but Louie pretty much breaks into song. I appreciate it’s presence in the movie but it just feels strange to me HOW it’s included.

24) Mowgli claiming the red flower (fire) is a great way to start off the climax of this film.

It gives him a choice: he either becomes a “real” man - the kind that lives in the man village and strikes fear into the jungle’s inhabitants - or he choses to belong in the jungle and fight Shere Khan a different way. It ties directly into Mowgli’s conflict of identity and he choses the latter of the two options, throwing the fire into the water.

Shere Khan: “That was the stupidest thing you could have done.”

But it wasn’t, Shere Khan! Because what happens next? Baloo stands up to defend Mowgli first - reciting the Law of the Jungle - and everyone follows suit.

25) This line.

(Screenshot taken of a GIF originally posted by @anjelia3)

THIS is Mowgli’s conflict of identity resolved. He’s not a wolf, he’s not a panther, he’s not a bear, he’s not a monkey, he’s not a tiger, and the jungle has rejected man. But Mowgli has learned how to be a man that can live in peace with the jungle and be the best version of himself he can be.

26) The final fight between Mowgli and Shere Khan on the dead tree is a great climax. It is wildly claustrophobic and intense and shows off how Mowgli can beat Shere Khan in a battle of the minds more than a battle of strength.

27) I mentioned in my analysis of the original film I didn’t know how I felt about the ending, that Mowgli fought so hard to stay in the jungle but also had a conflict of identity and it played into the latter not the former. On the contrary, the way this film ends - with Mowgli finding his place in the jungle as a man - is a great way to resolve BOTH of those things. I personally prefer the ending of this film to the 1967 movie because of that.

The Jungle Book was one of my favorite films last year. I thought it was truly great. I think the effects knock it out of the park, Neel Sethi is incredible as our only human in the film, the voice cast kills it, and the story is just amazing. I love this film and recommend it to everyone, ESPECIALLY fans of Disney and the original book or film. I just love this movie.

[martywurst]

My First and Worst Year: Producing A Show

I get caught up in the gossip. Shitting on comedians that I barely know. I'm trying to stop that. Early on, I was one those guys that would say something negative because I was trying to start a dialogue and reinforce any negative feelings I had about someone. Usually based in nothing; maybe one lousy first impression or through the grapevine on Facebook. Unfortunately, talking shit is a major way to bond with other inexperienced comics. A lot of miserable, sarcastic, unmotivated, boring comics. Or 10+ year comics that bitch about how unfair everything is. They can't talk to you for 30 seconds without shitting on something.

Now I know that's not me. I never feel good about it and it never helps.

The comics I look up to are modest, rarely say anything bad about anyone because they're just focused. They don't feed the fire. I'd rant about something and they wouldn't have anything to add to it. Maybe something along the lines of,

"Yeah, that can happen," kind of response.

I'd see the look on their face. I'm the problem.

I was the same way in Junior High. Picking on the popular kids and being obnoxious because I was so desperate to be a part of their circle. Afraid to be myself. Afraid to put in that kind of work.

I'll be obsessed with some idiot for hours on a Facebook thread, so tempted to participate in the attack, but where is it going to get me? Fuck, I could've written something. I should be writing jokes now, but I think I know something about blogging and comedy! I feel like I'm just regurgitating boring opinions that have been voiced on hundreds of podcasts already, I'll try to pepper this section up! Check out this sweet ass pimp kitty vest!

 I always want to prove myself to other comics. An audience of strangers is always amazing, but I do feel the pressure of an all-comic mic. It's way too important to me. I don't want to be written off, I know I can be funny. Maybe not the last 20 times you saw me, but I'll get there, don't write me off!

When I had a decent set in front of someone I respected, I felt like I could check that off. Okay, that person doesn't think I'm a piece of shit anymore. I proved myself. Getting closer to being an actual comic! Every good set is a stepping stone. My bad sets would just temporarily render me useless. Instead of doing my homework and adjusting, I would just write something new or beat a bad joke into the ground. Maybe it'll work the 27th time.

"The people that go to Burning Man only need these two words to communicate: Burning...man!"

*crickets slashing wrists*

I bombed in front of Sean Conroy and took it kind of hard. Intimidating dude, (like the Ron Perlman of improvisation) he was sitting in the front row at Echoes Under Sunset with his arms crossed, waiting for his set and just watching me hang myself. He'd probably seen a thousand variations of the heckler character I was doing. I picked on him in character, but he wouldn't roll with it. Why would he? It was more fun to watch me squirm.

Every time I asked him a question he would answer,

"Sure."

Which is sort of the "fuck you" version of "yes and,"  It's an improv thing.

I was berating the audience for being a bunch of hipsters. Yelling out,

"Well I got something for ALL OF YOU!"

Then I started handing out free coffee coupons from a local coffee shop. Sean politely declined.

I had my bombing routine where I would call up Claire afterwards and tell her I just ate shit. Or who I ate shit in front of. She would convince me that it was okay, everybody bombs, and remind me that I'd had good sets before. She would tell me that she loved me and make me feel better about what had happened. Oh, there is life after tomorrow, I forgot! Thanks, baby!

Claire understands the grind. She's a fan of a lot of the people I look up to and we listen to a lot of the same podcasts now. She got into Jen Kirkman and The Longshot Podcast early on and now she subscribes to more comedians than I do. We went to Power Violence and a number of shows at The Improv. Pete Holmes, Todd Glass, Ron Lynch, Eddie Pepitone, Maron, Sebastian, Ian Edwards, and Tig- we love Tig. She pushed me to go on the road. She encouraged me to stop using the train and take her car instead. She makes this all possible. It's unbelievable. She even made cookies when I produced my own show.

I'd done a couple of shows at The Lexington with Tony Bartolone where I did some character stuff. I played a wrestler, a heckler that takes on Mr. Goodnight and a squarish Steve Allen type talk show host. Anyway, the owner liked me enough and said if I ever wanted to use the space, hit him up.

Tony was nice enough to help me too, he ran sound for me. Uggh, I didn't even give him a fucking spot and he ran sound for me- that's how great a guy he is and how SELFISH I can be.

 I think the best thing in comedy after doing standup is booking your own show. Reaching for the stars, pulling in friends, what a great position to be in! Compiling a fantasy list of mostly male comics and shooting them a message on Facebook.

So if you're a new comic wondering, how the hell do I get booked on a show?

Well, a moron like me could accidentally see you at an open mic and then end up liking you! And I'm the guy who did a shitty set before you, remember? You never know who could be running shows.

Most people got back to me pretty quick. Comedians love a full calendar. 

I adored The Walsh Brothers. So original and twisted. They blew my mind at TigerLily and I finally met the guys through a mutual friend.

Brian Scolaro was someone I had talked to outside of The Comedy Store. He's one of the first comics to give me any kind of advice,

"Don't move To Long Beach."

I was a fanboy of Dean Delray. I heard Matty Goldberg on Danny Lobell's podcast and dug his book about his friendship with Angelo Bowers. Ron Babcock was one of the friendly guys on the scene, loved his standup. I'd worked on a webseries with Paul Danke. Just met a lot of the other comics at open mics. I worked with Jeanne Whitney at Arclight Hollywood and we started standup around the same time. I watched Timika Hall do her first set at Echoes Under Sunset and she was great! Ester Steinberg cracked me up at The Palace and then I wanted to book her after I saw this sketch. She just happened to be hanging out with Neel Nanda when I was booking him, so I got both of them right then and there.

Robert Vertrees was brand new like me, but I just dug his story.

I knew I'd never have to worry about Ken Garr.

Just read his awesome blog entry "One Year Later and Why I Should Quit"

I should've taken note and made my blog shorter! That dude is a complete professional and will never hesitate to give you his tour dates at the MGM in Las Vegas.

Jak Knight was edgy and exciting. Jon Durnell was the best thing about a bringer show I did at the Formosa. I didn't even know Lisa Landry, but Brian asked if she could be on. Same thing with Kevin James Moore, a buddy of Matty's.

  Maagic Collins is one of the kindest souls I've ever met. I love his standup. He would show up to my afternoon Tribal mic on Saturdays. Very supportive guy.

I think I saw Rick Wood at Power Violence and he just blew me away.

Anyway, you get the fucking point, this was just an excuse to drop everyone's links. Jesus Christ.

One time I made the amateur mistake of messaging too many people at once and then having to tell one comic I'd put them on the next show. I got a lot of grief for that and I was pulling my hair out. I was getting a guilt trip from the disappointed comic and now I didn't want to book him at all. It was totally my fault, but I was just getting through the learning curve. Book carefully, and wait for your damn responses.

Another recurring thing that kept coming up is a comic wanting to bring a friend for a guest spot. It's a good rule of thumb to keep a spot open for a possible drop-in. Or just book less comics Marty. Aren't you glad you paid $200 for this helpful comedy workshop tip?

I was also planning on doing all these wacky sketches and transitions that had nothing to do with the stand-up comedy. I wanted to make it an event. I asked Chris Walsh if we could have an extended dialogue where the Walsh Brothers get in an argument with me and then pretend to shoot me from the audience...so now I'm suddenly on the level of The Walsh Brothers! Proposing bits. Chris was really nice about it and declined in the best way possible. He made me realize that I should only work on the hosting- not all this extra dressing. I'd be stressed out enough. Plus, The Walsh Brothers have their own thing going on and it's hilarious.

Claire helped me with some basic PR stuff; shooting out emails to various websites with LA calendars of events. Lot of people check online for free entertainment. I hit up LA Weekly early enough to get this delightful blip:

Did I pay anyone? I paid Dean Delray. I paid Brian Scolaro. It seems a little unfair now, I had The Walsh Brothers, Ron Babcock, Paul Danke, and Matty Goldberg, who all have a shitload of experience.

I got this dumb idea that I should write thank you notes to everyone else. Looking back, I gave comedians false hope of money in those envelopes, only to find a badly scrawled "thank you" with some shitty stick figure doodles. At least there were cookies at the gig.

Brian mentioned the 50 bucks onstage and I was really embarrassed. It exposed the inner-workings of my inexperience and that I was holding out on everyone else. I think I would do it differently now, but it was a free show.

Tony watched me have a mini-meltdown. I was stressing out because there was a band that was booked on a show immediately after and it was clear that I was going to run over their time. I thought if I gave up my own set and kept bringing the next comic up, we'd finish on time without cutting anyone's sets down.

Tony explained to me that I shouldn't of worried about that, that it was worse to bring the comics up cold. It's better to keep the audience warmed up, but I was hopping back on stage saying,

"Give it up for Ron Babcock, and now let's keep it moving- Matty Goldberg!"

I didn't get it. I thought running over my time would fuck things up and I'd never get to do a show again. I shouldn't of booked so many comics anyway- Paul Danke was going on dead last, and he'd been waiting around so long, I felt horrible. I should buy his album.

So don't sacrifice your time for the sake of the next show- be a good host, Wurst.

But that first show had a great turnout, especially for The Lexington. The comics were kind of impressed. That extra leg work paid off.

I remember I wanted to bring Dean Delray up to a Led Zeppelin song and I kept bothering Tony about it when the order changed. Then when the music came up, Dean was clearly stoked and that little moment meant a lot to me.

On his way out he yelled,

"Congratulations on your 1st year of stand up!"

Speaking of which, I asked Melina Paez if I could be in her "DropTheSoapTV" series, where comics do stand-up in her shower. It was a fun way to cap off my first year.

Okay, that was rather manic. Just a couple steps away from Denis Leary- uggh. Anyway, I STOPPED doing that. Here's a message to myself as I time-travel back to the shower,

Horrible jokes, asshole! Your taint is hilarious by the way.

I just want to thank the people that encouraged me or gave me useful information when I started bumbling my way through open mics that first year (July 2013-2014)

Brett Gilbert, Ric Rosario, Matty Goldberg, Tony Bartolone, Jason Van Glass, Ron Babcock, Dean Delray, Chris Walsh, Matt Walsh, Danny Lobell, Mollie Gross, Melina Paez, Brian Scolaro, Jamie Flam, Jeremiah Watkins, Mike Celestino, Justin Alexio, Neel Nanda, Mikey de Lara, Paul Danke, Ari Mannis, Lydia Robinson, Ryan Doolittle, Maagic Collins, Don Barris, Elissa Rosenthal, Rob Antus, K-von, Jarrett and Emily Galante, Christiane Georgi, Hiro Matsunaga, Greg James, Carly Craig, Matthew Hilton, Sally Mullins, Matt Sauter, Matt Gamarra, Donald McKinney, Ryan Kain, Jeremy Fultz, Del Weston, Derick Armijo, Alisha Morine, Nicole Malina, Devon Schwartz, Andy Salamone, Barbara Gray, Sean Conroy, Myles Weber, Ricky Winston, Frankie Ma, Rishi Arya, Brandon Birckz, Sean K., Mike Menendez, Jamar Neighbors, Mr. Goodnight, Erica Rhodes, Matt Champagne, David Gerhardt, The Martin Duprass, John Silver, Ryan Pfeiffer, Kevin Anderson, Whitney Melton, Kym Kral, Jared Levin, Kenneth Lion, Alex Croll, Adam Carr, Trevor James, Deon Williams, Amber Brashear, Pat Regan, Brad Silnutzer, Rob Weissman, Marty, Graham Curan, Eddie Pepitone, Quincy Johnson, Blythe Metz, Willie Dynamite, Freddy Morales, Marcela Perdomo, Nick Kaufman, Atelston Fitgerald Holder The 1st, Bruce Boiman, Tom Allen, Melissa Villasenor, Maria Bamford, Todd Glass, Lou Perez, Allison Anders, Jeremy Bassett, Tony Alfieri, Laura Niles, Tamoy Sherman, Chaliss Robinson, Eddie Whitehead Jr, Brent Weinbach, Jill Maragos, Jodi Miller, Luz Pazos, Brianna Murphy, Sasha Kapustina, Alain Villenueve, Brad James, Lauren Kiang, Yoav, Ken Garr, David Gregorian, Jordan Leer, Stefano Della Pietra, Down Under Comedy Club, Mike Garrison, Brad and Sara Harris, Thomas Hussey, Harold, Chino, Tiffany Gomes, Simon Gibson, Joe Wagner, Scott Luhrs, Jay Weingarten, Joe Kardon, Pedro Salinas, Willie Dynamite, Robert Vertrees, Amber Kenny, Karah Britton, Alison Tafel, David Hill, Andy Kosec, Micah Lile, Chris Putro, Kris Rubio, Jade Thom, Brodie Reed, Ryan Talmo, Kevin Lee, Kellie Ann, Jeanne Whitney, Jake Kroeger, Nikki Riordan, Tim Mars, Christian Chavez, Jake Adams, Louise Hung, Michael Donato, my Geffen peeps, all my Arclight friends, Stella friends, childhood friends and family that came out to support.

Or if you're just generally nice to me thanks. You gave me the strength to go out and bomb one more time.

Shout out to Mike Celestino's great documentary "That's Not Funny".

and finally To Claire:

For every time I called you up to moan out my discontent, only to be dissuaded from my stubborn misery because of your constant light, love, and gentle reasoning.

For those open mics you'll never be able to unsee.

I love you more than open mic comedians love pussy jokes.

And as you know, that's a hell of a lot.