#do i think marty often tried to spend much more time at doc's place in tp than at home? yes absolutely

[doctorbrown]

MCFLY JULY ‘24 ⸺ 「 29 / 31 * 24 HOUR SCIENTIFIC SERVICES 」

March 1983, Twin Pines Timeline

“It’s hopeless, Doc. I’m never gonna figure out this chemistry stuff in time for the test tomorrow.” Marty sighs heavily, dropping his pencil down on the table. His head follows suit barely a second later, his forehead thunking against the workbench. “Can we run through it again?”

Emmett sets the circuit board and screwdriver he’d been tinkering with down on the table, pushing the remnants of their late dinner aside. Burger King again, at Marty’s insistence, when their study session had gone well into the late evening and Marty’s growling stomach had reminded them both that—again—they’d forgotten to eat, lost in their own world. “It’s getting late, Marty. It’s already past eleven; you should get going, get some rest before the morning.”

“One more time, Doc—let’s just run through it again.” Marty lifts his head up and trains his big, pleading eyes full-force on Emmett. “I’ve almost got this balancing equations thing down. Let’s just do one more.”

He shouldn’t—he should send Marty on his way for the night, clean up their small mess, and turn his attention back to his own plans, work out a solution to the conundrum he’s been putting off and putting off until the moment was right. But Marty looks at him as if the entirety of his fate hangs in the balance of his answer and if he really is still having difficulties with this, he can’t very well turn him away when there’s still time to drill the material into the boy’s head.

But something tells him there’s far more to it than that.

“Alright, we’ll go through it one more time. But first I want you to let your parents know you’ll be staying late so they don’t wonder where you are or think I’ve kidnapped you for use in one of my nefarious experiments.”

Marty appears to visibly shrink into himself, confirming Emmett’s suspicions. A hundred and one questions leap to his lips but he keeps his mouth shut, waiting for Marty to answer. Something has been up recently—it has been written all across his face, in his eyes, clear as day after all this time getting to know him. Marty wears his heart on his sleeve and it didn’t take him long to understand all the boy’s little quirks and mannerisms, to know when to push and when to give him the space and freedom to open up on his own time and fall into a comfortable synchronisation that he can hardly imagine his days without, now.

Lately, he has been reluctant to leave even after spending all of his free time after school here, helping about with various tasks, practising his music, or even just sitting on the couch, working through his homework with his headphones on and Einstein curled up against his side.

He hasn’t pried yet. This, whatever it is, he knows Marty will open up about when he’s ready, but it’s enough to keep him from wanting to return home.

“Yeah, alright Doc. Dad might still be up.” Marty walks to the phone as if he’s being marched to the gallows. After a few minutes of silence with the receiver held up to his ear, he looks over as if to say well, I tried, only for his brows to fly up when someone must have finally answered.

“Dad? Yeah, it’s me, it’s Marty—no, I’m—I’m gonna stay at Doc’s place for a while. No—no, Dad! We’re in the middle of something big and Doc needs my help. Yeah. I’ve got them. Okay. I’ll see you tomorrow.”

Emmett raises a brow as Marty turns triumphantly away from the phone. “’In the middle of something big?’”

Marty rubs the back of his neck. “I—didn’t want to tell him why I was really here. Sometimes I think Dad gets disappointed that he can’t do everything, you know? He knows a lot of things about sci-fi, but he’s not a scientist and he doesn’t know a thing about chemistry. So I didn’t want him to feel bad that you were helping me.”

“Ah.” It’s a rather thoughtful lie on Marty’s part, all things considered, and not one he feels he has the personal experience to contest. “Alright, let me grab my blackboard and you read me out one of the problems you’re having trouble with.”

Emmett slides a few miscellaneous boxes out of the way in order to roll the blackboard over to the living area and Marty sits himself down on the couch, paper and pencil in hand. “You were working on combustion reactions, right?”

“Uh—yeah, I think so.” Emmett writes the equation down on the board as Einstein decides he, too, wants to hear the lesson and takes a seat on the couch, ever the attentive student. It has been years since he gave a lecture like this, even one as unofficial and impromptu as this, but he finds he slides back into the role of instructor quite easily, old habits returning with each stroke against the board.

His explanations are careful, methodical, and Marty has always been more of a visual learner, he’s noticed, easily picking up on things that are shown to him rather than learning through mindless lectures being thrown at him, so he accompanies his explanations with drawings, breakdowns of each individual molecule.

Once he’s arrived at the answer with all the work to show for it on the board, he turns back to Marty, finding the kid flopped over on the couch using Einstein’s back as a pillow. Emmett lifts the study sheet off his lap, grabs the pencil off the ground, and looks over the problems he’d already solved.

They’re all correct.

[movietvtechgeeks]

Latest story from https://movietvtechgeeks.com/sundance-film-festival-ghost-story-bone-hit-home-day-4/

Sundance Film Festival 'A Ghost Story and 'To the Bone' hit home on Day 4

Day 4 of the 2017 Sundance Film Festival brought quite an interesting mix beginning with David Lowery, who reunited with Casey Affleck and Rooney Mara in a very unconventional ghost story.

If you were told that Affleck would be walking around in a bed sheet with blacked out eyes, you’d think twice about checking it out, but Lowery is able to create a very delicate portrait of a spirit that just can’t get to the next level. The film takes place almost entirely in one house with very little special effects (the white sheet), but it works.

For audiences looking for the ‘by the numbers’ straight horror, they’ll be disappointed, but if you love a film that haunts you long after it’s ended, this is the one for you.

A Ghost Story

David Lowery has become something of a poster boy for parlaying independent filmmaking into a successful Hollywood career. After years of directing, editing, and shooting both his own and others’ modestly budgeted films, including Ain’t Them Bodies Saints, which premiered at the 2013 Festival, he went on to write and direct last year’s remake of Pete’s Dragon for Walt Disney Pictures, and is currently working with the company on a new Peter Pan film. Yet Lowery’s career is quickly turning out to be less linear, and far more interesting, than that narrative of big shot ascension.

Exhibit A: his latest film, A Ghost Story, a lean, elegant, and cinematically adventurous fable that premiered on Sunday afternoon at the Library Theater. The film reunites Lowery with his Saints actors Rooney Mara and Casey Affleck, who play a young couple suddenly separated by an untimely death. While one of them struggles to cope with the loss, the other returns as a specter in a white sheet, ever-present but also invisible and powerless.

Lowery talked during the post-screening Q&A about the ideas behind the film. “My wife is here in the audience. And I love her very much. But we did have an argument one time about where we were going to live,” he said. “It was a very small-scale thing, but it felt huge at the time, and that’s sort of where this movie came from. Also I have a lot of anxiety about our place in the universe. And about time. And this was a way to work through some of those anxieties. I just also really liked the idea of a guy wearing a sheet haunting a house.”

Lowery also talked about why he and producer Toby Halbrooks made this unexpected turn, which began when Pete’s Dragon was still in post-production. The extended time it takes to complete a film of that magnitude actually opened them up to “test some new creative muscles” and start something new. “As a director, one of the things that is really important is to keep directing things,” Lowery said. “You spend a year or two making a movie and when you’re not on set you can get soft. To make this film so quickly after the other one taught me a lot about myself. What I’m good at, what I’m interested in, the things that I like. Because if I wait to long I’ll forget who I am as a director.”

That sense of discovery extended throughout the shoot, according to Lowery and DP Andrew Droz Palermo. They decided to shoot the film in a classical 4:3 aspect ratio, a format that neither of them had ever worked in before. “When we discussed shots before we starting shooting, we kept describing shots that were impossible for us to do in 4:3,” Palermo said.

“We had a really bold approach to the movie. We knew we wanted it to be these striking tableaus that would last for a long time,” Lowery added. “We found ourselves consistently reinventing our approach every time.”

“The general conversation every morning was, ‘What movie are we shooting today?,’” Palermo said.

ROXANNE ROXANNE –THE ’80S RAP STAR YOU’VE NEVER HEARD OF

If you’ve never heard of Roxanne Shanté, it’s about time that changed. And while you’ve almost certainly never heard of Chanté Adams either, that’s about to change as well. The agent of those changes is Roxanne Roxanne, directed by Michael Larnell (Cronies, 2015), in which newcomer Adams plays legendary battle rapper Lolita Shanté Gooden, a.k.a. Roxanne Shanté, who went from precocious teenager in New York’s Queensbridge housing projects to an overnight sensation in the mid-1980s after she recorded “Roxanne’s Revenge,” an answer rap to U.T.F.O.’s popular single “Roxanne Roxanne.” The U.S. Dramatic Competition film premiered on Sunday at the Library Theatre, with both women joining the director and crew for a lively Q&A.

Shanté had just watched the film for the first time, and she talked about its fidelity to her life. She struggled through a tug-of-war with her single mother, played by Nia Long, and later with an attractive but abusive partner, played by Mahershala Ali. “What you see on screen is the story. It’s unfiltered,” she said, and she recalled meeting Larnell in Central Park last year to tell it to him. “We sat down, had sandwiches, and I told him everything as if he was a distant family member — as if he was just too young to remember what happened.”

Larnell said he had some other ideas for what the film could be, but after he heard Shanté’s version of events he decided to let that guide him. Things came together quickly, and producer Mimi Valdes said they didn’t cast Adams until less than two weeks before shooting was to begin. “We really wanted an unknown for this role,” Valdes said, “because we felt it would not only be great to introduce a young actress to the world, but we wanted someone who could absorb themselves into the character, who didn’t come with too much baggage.”

One bit of baggage that the part required was Roxanne’s trademark braces, which she wore for five years during her teens. “Too long,” joked Adams, who doesn’t appear onscreen without them until the final scenes of the film. “I mastered the braces. They became like my lucky charm,” Shanté said.

Shanté tried to give the audience a sense of what it meant to be an artist in Queensbridge, which, though it brought wider acclaim both to Shanté and later on to hip hop legend Nas, has a thriving culture unto itself. “Coming from the largest housing project in the world, which is Queensbridge public housing — you’re talking 96 buildings, and 30,000 tenants at any time — you kind of live in your own world,” she said. “So if you are like the queen there, the champion there, nothing outside of that seems to matter. Because you’re like, look, I’ve got 30,000 people with me. And I felt the need to represent them everywhere I went. I felt I was representing Queensbridge. Because there are so many talented people there, not everyone had a chance to make a record. But when we would have park jams, I was just another little kid with all of the greats.”

LILY COLLINS PORTRAYS AN ANOREXIC TEEN IN TO THE BONE

For her feature directorial debut, Marti Noxon followed the timeless show biz adage “Write what you know.” The television powerhouse, known for writing and producing hits such as Buffy the Vampire Slayer and UnREAL, channeled her own suffering with an eating disorder as a teen into her screenplay for To the Bone, an aptly titled and often engaging dramedy about a young anorexic woman.

In the semi-autobiographical tale, Ellen (Lily Collins, in a transformative performance both physically and likely career-wise) has spent most of her teenage years in various recovery programs without much success. Her home life hasn’t exactly aided her: her father is MIA and her bipolar mother (Lili Taylor) lives in the Arizona mountains with her outspoken girlfriend (Brooke Smith). So her stepmother (the always lively Carrie Preston) convinces her to begin in-patient treatment at a group home run by an innovative but tough therapist (Keanu Reeves). As these things tend to go, here she develops a surrogate family with the other patients and even a possible romance with a male resident (the completely charming Alex Sharp), and she finds courage to confront her addiction with more determination than before.

During the Q&A that followed the comedy-drama’s premiere at the Eccles Theatre, Collins opened up about her own experience with an eating disorder as a teenager and admitted it was what drew her to the project. “I felt so attached to the material, and to have the opportunity to step into the shoes that 10 years later I’d moved on from was terrifying,” she admitted. “At the same time it was a huge honor and something I needed to do for myself, as well as the character.”

Collins revealed that drawing upon her own experience with its emotional turmoil and doing additional research was a therapeutic process for her.

Noxon, who noted that an incredible number of women were involved in the making of the movie, hopes To the Bone will become a conversation starter. “I hope people will recognize that people who have trouble with eating or body image problems or anything on the spectrum, they’re not weak and it’s not that they’re vain or lazy or obsessing for no reason,” she said, adding that anorexia is often caused by a number of problems.

“I needed to hit bottom,” she shared. “I needed to live for myself. Everybody’s path is different. I just hope people will ask how they can see this in a more compassionate way, rather than be judgmental.”

OKLAHOMA CITY DOC MAKES ITS TIMELY PREMIERE

On April 19, 1995, former U.S. Army veteran Timothy McVeigh parked a Ryder rental truck loaded with explosives in front of the Alfred P. Murrah Federal Building in Oklahoma City and detonated a bomb that would kill 168 people, including 19 children in the building’s daycare facility. It was the country’s deadliest act of domestic terrorism until the September 11, 2001, attacks. Barak Goodman’s gripping documentary bears the title Oklahoma City, but the filmmaker is also concerned with providing context and showing how the government’s involvement in two previous massacres are linked to McVeigh’s motive to attack.

The engrossing film, which premiered at the Sundance Film Festival and will be broadcast on PBS in February, begins with the sounds of a board meeting in the Murrah building that’s interrupted by the deafening explosion, graphic scenes of the bombing aftermath, and harrowing accounts from the survivors and first responders. With rare archival footage and new interviews with biographers, reporters, and witnesses, Goodman then backtracks to expertly explore the rise of white nationalist groups in the 1980s, as well as FBI-led sieges on Ruby Ridge, Idaho, in 1992 and Waco, Texas, the following year and the effect they had on McVeigh, a social misfit obsessed with guns and a deep distrust of the U.S. government.

Goodman said he’d planned to focus solely on McVeigh, but as he delved into research, he realized the story went much deeper than he’d originally expected.

As stories of white supremacy, often under the less ominous moniker “the alt-right movement,” continue to dominate the news cycle today, questions about the movement dominated the post-screening Q&A. The arrival of this documentary could hardly be more timely.

“We didn’t predict when the film would come out, so the fact that it has acquired a different sort of resonance was not intentional,” Goodman noted. “We felt it deserved attention anytime because this phenomenon of anti-government extremism is as old as America itself.”

The director insisted that his film is a work of history and it’s purely up to the audience if they make connections between the events depicted in the film and those in the headlines today.

“We don’t pretend to be experts on the alt-right or what’s going on today,” he told the audience. “We had the luxury of looking backwards. Twenty years from now there will be a lot of films done on what’s going on today, but this is the past.”

  Movie TV Tech Geeks News

[doctorbrown]

DOCTOBER '23 ⸺ 「 25 / 31 * CAFE 」

November 7, 1955

❝Alright,❞ Emmett says, holding up the bag in his hand, ❝this should be enough time-appropriate clothing for you to get you through the rest of the week. I would have given you something out of my closet, however—❞

Marty puffs out his cheeks, looking the much-younger iteration of his best friend up and down. ❝I know, Doc. I'd be swimming in anything you gave me out of there. Thanks, by the way. For buying this stuff for me. I didn't want to put you out or anything—❞

Emmett shakes his head. ❝Nonsense, Marty, it's no trouble. It's the least I can do.❞ The last thing the boy needed to add to his mounting pile of worries was clothing and lodgings and despite this being the result of the negligence of his future counterpart—how could I have allowed this to happen?—the fault seemed to ripple back through the timestream to fall solely on his shoulders.

Marty may have inadvertently jeopardised his existence, but it was his time machine that had sent him back here in the first place, perpetuating the entire situation.

❝Doc, you've already done so much for me. Or, uh, you will. Besides, I don't have a chance of getting back to the future without you.❞

Emmett checks the time on one of his wristwatches and presses his lips together in a tight line. 15:27. It's still early enough in the afternoon where they have plenty of time to start gathering more of the necessary supplies needed to finish the modifications to the time vehicle, but given Marty's rough arrival in this time period barely two days ago and the way he had collapsed on the couch in the early hours of the morning leaves him wondering if he would be up for any further running around.

There was still much to be done, but he didn't want to exhaust Marty further than was necessary and he still had to be conscious of his needs.

They had managed a small breakfast earlier that morning once Copernicus had decided to leave Marty in peace, but if his hunch was correct, Marty would need much more of a meal than the eggs and toast he'd whipped up to hold him over.

Perhaps their purchasing an additional meal would have some drastic effect on the diner's revenue, or prevent ingredients from being used as they were meant to be. Perhaps the ingredients would never have been used and simply gone bad.

Possibility brought with it uncertainty, but Marty's presence in this time period meant that he needed to be cared for just as he would have in his own time, and that meant the essentials: food, clothing, and so on. With things being the way they were, it was unavoidable that his presence should have some small effect on the timeline.

If they didn't go out for lunch now, he would spend that additional money at the grocery store. And since they were already out...

Emmett would simply have to hope this didn't all catch up with him for the worst in 1985.

❝It's three-thirty now; how do you feel about stopping for lunch, Marty? Lou's Cafe is just a block over and we still have plenty of time before Saturday.❞

Marty scrunches his face as he tries to pretend his stomach isn't growling at the thought of food. ❝Isn't this going to, I don't know, screw something up if we go there? Buying another meal that wasn't purchased before or something, changing the timeline?❞

Emmett sighs and Marty gives him a look when he doesn't even take a couple seconds to think over his answer. ❝Such things are unavoidable; you need to eat.❞

When Marty starts to rub anxiously at the back of his neck, Emmett's brows furrow. Even after two days, it was becoming apparent that this was one of the boy's tells; that he would often touch the back of his neck or run a hand through his hair when he was nervous or withholding information.

❝Did something happen here, too, Marty?❞

His awkward laugh says it all.

❝Well, uh, this is where I first ended up when I got into town because I saw they had a phone. That's how I found you; you're in the phonebook. Spelled your name wrong, too. Oh, and this is where I first met my dad—by accident!—and—anyway, the guy in there, he also thought I was with the Coast Guard and, uh, let's just say things got a little...awkward.❞

He doesn't need Marty to fill in the gaps; he can already imagine the future boy's far-forward slang and mannerisms garnering weird looks from the people of Hill Valley.

❝Don't worry about that,❞ Emmett says, and Marty throws a curious look up at him. ❝I have an idea.❞

❝You're the doc, Doc,❞ Marty acquiesces after barely a moment, placing a level of trust in Emmett that is both foreign, yet oddly comforting. ❝Then let's go; I'm starving.❞