#cmbyn talk

[alittlefrenchtree]

So glad to see people are still passioned about CMBYN 😇 ... Did you read the book before the movie came out and if yes, did this effect your experience about watching the movie? And which parts/aspects of the book do you think was missing in the movie ? 💙💛

Dear Anon, you have no idea how happy your message makes me. You're welcome in my inbox at anytime, with any cmbyn thought or any question 💙💛

I've watched the movie first, in the most random decision you can think of. I barely knew what it was about walking into the screening room. I've started the book around a week later (I think I wanted to see the movie a second time before starting, but i don't remember why exactly) and finished it 48 hours later.

Seeing the movie first did affect my experience with the book actually. The main way of it is how I felt about Elio. I think if I had started with the book, I would have needed a bit more time to start loving this boy. I don't think it's because book!Elio is less lovable than movie!Elio but because as a reader, you're way deeper inside Elio's head and the intimacy of it. I find it quite uncomfortable as a first introduction to a character. But thanks to Timmy's work, I already knew him.

About the parts of the book I might have missed in the movie-- there are some, but in the narration of the movie, they wouldn't have made sense, so I don't miss them that much.

The movie is very much anchored in the present of 1983. Unlike the book, the narrator isn't a 20-years-later-Elio talking to the audience. So all the last parts of the book aren't missing as much as they would have in another type of narration.

For a while, I was a bit angry because all the lines where Oliver speaks his feelings for Elio during their summer weren't in the movie. But again, with the narration, it makes sense. 1983!Elio hasn't really understood any of Oliver's declarations in the present of the movie so him not hearing them for real makes sense. The older narrator in the book, because he had 20 years to think about his lover's words, can understand what they meant and what Oliver meant bacj then so the reader is allowed to read them. In the movie, it's more subtle. You can see things on Oliver's face with Armie's acting but Elio doesn't really catch them.

What I can say is, I liked their time in Rome better than their time in Bergamo. The movie version of this part was really short and less deep or meaningful than it was the book. And I miss the ocean in the global scenery and I miss it even more in the "days wasted" scene.

I hope this answers your ask. Thanks again for sending it 💜

[kafka-ohdear]

i feel like. the gesture of giving someone you deeply love and care for an object that is important to you like your lucky charm when they're away somewhere you can't reach out to, is like giving them a small part of you that they can carry with them on their journey, to know that you care about them, and you want them to always be safe.

[liljafish]

when people say the peach scene is gross but they don't realize it represents his sexual fluidity. the peach resembles his bisexuality- he's experimenting with his desires. after he gets the job done and oliver walks into the room, he cries because he feels that his attraction to men was abnormal- he asks oliver if he's sick for what he did and he responds saying "i wish everyone were as sick as you"- and he eats the peach to try and show elio that it isn't abnormal, and that he isn't repulsed by him. and after that elio realizes that his yearning is much more than he assumed, yet their time together is shortening

[liquidisedfrogs]

me at any minor inconvenience:

*turns on CMBYN*

[scatter-the-stars]

I feel like Robbie Taylor Hunt, the intimacy coordinator on the film, took a jab at CMBYN here and he’s not wrong.

[weclassybouquetfun]

GQ has a nice profile on Barry Keoghan

where he talks meeting Daniel Day-Lewis, his son, dream projects and his friendship with Jacob Elordi which offers this tidbit about an obvious cut scene.

That's like when I went to a Q&A with the artisans of SALTBURN and the editor says they shot a scene where Oliver does answer the question of whether he was in love with Felix, but they decided to just leave ambiguous (it's not ambiguous to me...) but I'm glad they left it out because then what would everyone on Reddit talk about because every 9th post is asking that question.

I mean it makes sense that they would shoot at least one kiss. Even cinematographer notes Linus Sandgren says of Oliver and Felix's dynamic.

Creasing that GQ went as far back as MY OWN PRIVATE IDAHO for that comparison as if the CALL ME BY YOUR NAME press push wasn't that times 100. Call me when Barry records Jacob urinating next to him in the urinal like Timothee Chalamet did Armie Hammer.

The SAG Awards nominations will be announced tomorrow at 7am (PST). Hopefully, Barry will get a nomination and have the chance to meet more of his heroes like he did at the Golden Globes.

Two Jokers

-Jacob Elordi's look for Paul Schrader's OH CANADA starring Richard Gere,

Uma Thurman and Michael Imperioli. The film centres around "Leonard Fife, one of sixty thousand draft evaders and deserters who fled to Canada to avoid serving in Vietnam, shares all his secrets to de-mythologize his mythologized life."

Elordi will also be seen (who knows when) in HE WENT THAT WAY with Zachary Quinto.

What is is about? Based on a true story, HE WENT THAT WAY is, "...a wicked spin on the buddy road trip pic, the film is set in 1964 and follows 19-year-old serial killer Bobby (Elordi) as he is picked up by a celebrity animal handler, Jim (Quinto), on a desolate stretch of Route 66, with priceless cargo in tow: his chimpanzee, Spanky, an American TV darling. As stress between them rises and their fiery personalities combust, the road only becomes more treacherous the farther they go.

[praetorpercy]

so i’m reading cmbyn and....... what the fuck guys

[aryomengrande]

so i just finished saltburn (2023)…it’s like joe goldberg but he’s in parasite (2019) lmao i’ve only watched barry keoghan in the one other movie—the killing of a sacred deer (2017); he kinda plays the same weird/outcast character and he does it so well. as always, a24 never fails to make my stomach churn ( ꩜ ᯅ ꩜;) ꩜⋆｡๋࣭ ⭑

[rayssion]

Currently watching CMBYN, 40 minutes in and I'm really scared....

[asukiess]

when cmbyn said "no one my age had ever wanted to be both man and woman--with men and women" I really felt that

[apricusapollo]

last line game!!

(thanks for the tag @star4daisy <33)

The moment he’s close enough, Din holds a piece of folded paper out for Luke to take, which he does almost instantly, and then he looks at the flower crown on Luke’s head.

“Pretty.” He whispers softly and without saying anything else, he starts walking towards Padme and Anakin in the garden.

Luke takes a shuddering breath in and carefully opens the paper.

I’ll see you at midnight.

(feel free to do this if you want)

[just-slightly-chayotic]

i keep seeing discount timothée chalamets and discount tom hollands but when will i ever see a discount jeff satur???

[altereddime]

‘ because it was him

and because it was me. ‘

[theophagie-remade]

The rise of ~anti shipping~ as a phenomenon in recent years is largely attributed to idiotic Voltron: Legendary Defender shipping wars, which, true, but I feel that not enough people give credit to other crazy discourses™ that were happening around that same time, such as the alleged predatoriness of the two (2) years age difference between Yuri and Otabek from Yuri on Ice, or how allegedly awful it was that Killing Stalking ("bad representation", "romanticisation of abuse", etc etc etc insert any other buzzword that you like) was gaining popularity just as Yuri on Ice was ending

[weclassybouquetfun]

As YA cannibal love stories go BONES AND ALL is very accessible.

A sweet story about seeking connection amidst eating people. Wasn't that essentially what NBC's HANNIBAL was about?

I attended the Q&A Sunday night with producer Peter Spears, composers Atticus Ross and Trent Reznor, writer David Kajganich, actor Taylor Russell and director Luca Guadagnino on panel.

BITS FROM THE Q&A. NO SPOILERS

What is it about: Taylor Russell (who is sublime in this role) plays Maren a cannibal - excuse me, an eater - who embarks on a road trip where she meets a cast of colourful characters including Lee (Timothee Chalamet).

-Sense the film is set in the Eighties, while waiting for the film to begin they were piping in music of the era and one of the songs they played was The Psychedelic Furs "Love My Way". One of the first things Luca said included, " The possibilities of impossibilities".

The Maestro on crutches.

ON WHY LUCA CAST TAYLOR:

Luca: I was very enamored with her in that movie (the film WAVES). And when I got the script I read the script, I loved the script and I decided to make the movie it took me a few moments to think and then let my unconscious pick the right person (and) it was her.

WHAT WAS TAYLOR'S FIRST REACTION TO THE SCRIPT and TO THE PROJECT

Taylor: I was just excited that Luca knew who I was and asked for a meeting with me which was a FaceTime. As in his words there was a very immediate connection between us. It felt really easy and loving. And then I thought, "Oh, gosh, I get to have a little part in this movie whatever it is it's going to be great - anything to work with him. The exciting thing it was a really big part in one of his movies. So that was my lucky stars. And the vision of Luca. So yeah, from the beginning I was really excited and not scared about the subject matter I just wanted to be in his world.

ON PLAYING AGAINST THE OTHER ACTORS

Taylor: The really exciting thing is at the beginning I started off with Andre (Holland). He was the first ....we didn't shoot chronologically but in terms of my partners throughout the film it was chronological in a sense so I started off with Andre and he kinda eased me in and held my hand, made me feel safe. Then Timmy and then Mark. They're all very different people, of course, but the connective tissue of all of them is that they are very present, spontaneous actors and they're always trying to get the most out of a scene and juice it all out. You never end up feeling like anything is missing at the end; so that's good. I felt like - I mean I'm sitting on this stage now with many wonderful men and I felt at the beginning of shooting that that was how it would feel: I would have all of these supportive totem people near me and that stuck through until today and probably will continue, I hope.

ON FINDING THE SOUND FOR THE SCORE

Trent: We were real excited to work with Luca. When we got the script - first we heard there was interest (in them), we were thrilled. We read a very interesting and tasteful script and we were wondering how Luca would transform that into film. From our very first meeting it was clear that this was a romance - a great and tragic romance and the music needed to support that.

Atticus: (talking about dealing with themes of love and true love and some very untrue, poisonous love and the gore) To do it in a way that felt sinuous and respectful and appropriate.

CHALLENGES WITH MAKING THE FILM

Peter: I'll echo what everyone said here is that when Luca calls and says he's got a project and something exciting brewing you immediately perk up. Him calling me to say he was getting the band back together a bit with working with Timmy again and the chance to get to do that with some new collaborators.

Having read the script and at first thinking, "What is this cannibal love story?", you know, but really being able to dive into it and understanding all the other layers that was there really a testament to work of Theresa Park (producer) who worked on the great script with David who brought this adaptation to a place where we could all jump in and so we did. In the middle of Covid we decided to ...on a dime...go out to the Midwest for too short a time with too little money and on our own, really. We financed it ourselves and putting faith in ourselves to know that we were just going to go make the movie we all believed in and I think that happens so very rarely so we took a chance on ourselves. We battled tornadoes...

David: Cicadas.

Peter: Cicadas. That's right - 17-year cicadas. In making a road movie and having just come off of NOMADLAND we had a fair amount of experience of a road movie but it was a completely new road movie...each one is, I guess, is onto itself with those challenges but it was really an experience of a lifetime to work with this group and see it come to fruition and seeing how people are responding to it. It has been fantastic.

ON WHY LUCA LIKE WORKING WITH THE SAME GROUP OF ACTORS

Luca: Making movies is an opportunity of having a great playground to really play and you meet your friends, then you meet new friends, you invent stories and you create worlds - I think it's great. To really enjoy each other's company...to see great artists come up with ideas and do things is one of the great privileges of my life.

LUCA AS A DIRECTOR

Taylor: I mean this so wholly with my heart...I knew that even if I was going to be terrible in the movie and if I was going to let everyone down that the gift would be that I was on the best film...in the best film school in the world to learn from Luca, to watch him work; to just be directed by him regardless of how...what I turned in. That I would be changed in a way that would change my life internally.

There was so much belief that he had in me and I didn't understand where it was coming from at all. It made me feel really confident. That confidence he instilled in me helped me feel really free when we started working together. Luca is a very strong leader and has a very clear vision but at the same time is really malleable and able to change in every single second of the day and be open to the the ever-evolving flow of life. That's a pretty rare quality because people can get stuck on what they want to do and be very dogmatic and that's not how Luca is. That is why his films are so youthful and wise at the same time. That's the grace of him. That's what I learned.

ON FILMING ON LOCATION in the U.S

Luca: The task that was very important to me was coming from Italy and coming for the first time to shoot a film in America in the Midwest, I was - and we were - ready to immerse ourselves and really see America through a lens that was compassionate and at the same height but not overwhelmed by it...that was my thing because I love this country and I think it's important - in the specifics of this story - we had to find a universe of a balance to involve it.

ON WHAT WAS HER BIGGEST CHALLENGE

Luca: I think there were no difficult scenes for Taylor.

Taylor: (laughing) Nooooo, that's not true. Everything was difficult for me. Everything.

Luca: It doesn't look like it.

Taylor: That's nice. There's that quote - "You only achieve simplicity with enormous effort". I resonate with that very much.

Trent: Ditto for us. Our method is to immerse ourselves as deep as we can into the story and once we pick out what tools we're going to use and what instruments, what cerebral decision-making we need to do then we try to get lost in the emotional core of what the scene needs to say or the film needs to convey through the lens and the guidance of what/how the director wanting to tell that story.

With this one, as I mentioned, a number of things kinda resonated with us: might be the location, might be elements of my own past and relationships but when we finished this film we both realized we crossed the line into an obsession of deeply caring about these characters in a way we haven't experienced in anything else we've worked on. When we finished the film we missed seeing them every day. I just watched the same last hour you did here tonight, but the night before last we saw it for the first time with an audience and we both felt like crying at the end and we have seen it a lot of times. It really struck an emotional core so we try to tap into - the same way as we do when writing a song - how do we emotionally "dress the set" and feel the way we intend for it to. With this film it easy to get into that space...not as easy to get out of it, I found because it's a powerful piece of work.

Peter: I want to add - what's amazing about what Luca does is he calls and says "We're going to make my first movie in America; will you help me?" and sure, you say yes, but what we then said was, "Okay. We'll shoot this in upstate New York and we can just copy all the places out in the Midwest and he says, "Absolutely not. We're going to shoot everywhere that's in the script." He takes us on a trip through our country. He shows us our country in a way I had forgotten about, to be honest. I've seen it over and over again and every time I just...Anyway, thank you for showing us our country, Luca.

David: I remember you (Luca) calling me and saying you were in a Waffle House in West Virginia and I thought, "We're really doing this."

THE SIGNIFICANCE OF BOOKS IN THE FILM

David explains that the books were a combo of things in the zeitgeist of the time, but also of books that people would recommend to Maren. All of the titles are intentional.

[mytortoisegotstuckinatupperware]

i think the most "no im just a passionate ally" shit i did before coming out what obsessively watch that one scene in cmbyn like all the time. "no its perfectly straight to watch two men passionately grope each other wut r u talkn abt"