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Wiessner shares that while the movie is set in Austin, Texas, Arnaud, “Go Tigers”, is a product of the Hurricane Katrina diaspora. Life often feels like it’s one big constant riff on the parable of Job. Is it a redemption story or Grimm Brothers’ fairy tale? But we shot it both ways just in case one of the takes worked better. One of them has to be perfect, and whichever one is perfect, that’s the one you go with. That shot ended, and it was just like, “Oh, that’s eleven minutes of the movie.” You could just tell right then. Brad: Well the miracle of the movie to me, is – Jim: Here we go! In the span of one sentence, you have to go from a place where he’s ripe for mockery to pathetic to sad to hilarious. Ben: We talk a lot about hinges as these opportunities. With Ben and Danny and the rest of the crew, sitting on the cars before we leave the parking lot. Me saying “John Wayne” came about because I was riding with Zack Parker, a producer, and he said, “You know, I grew up in Austin. We started at five in the morning, waited for the sun to come up, started shooting, and by the 12th take or something, I would go, “Nope! And then everybody would reset because I wasn’t feeling it. By the time you get to lunch, you’ve already had six takes. For the next takes, if it’s not as good as that last one, you can say, “Cut! If any member of the team says, “We should do it again,” we do it again. takes the story of Job and heaps an impossible load on the narrow shoulders of Jim Arnaud. Director, writer, and star Jim Cummings and producer Ben Wiessner. We wrote an alternate eulogy that didn’t have the song in it. He is this like, oddly relatable, clumsy guy because we’ve all been there. I think I’ve got the parking lot scene down.” And then I’ll just do it at half volume for people. We started it 18 times, and we probably only got through it 12 times altogether. And now you have the luxury of seeing almost instantaneously, what you’ve done. If it’s a long take and it’s an important one, we’ll watch it and then go, “Yeah we got it. Let’s get outta here.” But if one person of the team says, “I could use another one.” Or like, “Eh, the focus wasn’t that great in this one shot.” Or like, if I was like, “I can do it better, I can do it better.” For any reason. Then we’re in a Northern Virginia, and now we’re here in Winchester, and it’s getting to see this and meet these audiences that are just like us, these southern folks who want something about the South that isn’t just like- Jim: A caricature.
Then we would have these long walks to my car and Ben would say stuff like “We’ll figure it out tomorrow.” That kept me showing up.
Episode as a GIF: Get In That Ass: “May I always have the wisdom to look past your shortcomings and appreciate all of the goodness you possess,” begins Cheryl’s vow to Larry, basically summing up their entire marriage.
Almost a full four seasons into the show, we’re more than familiar with Larry’s shortcomings and his inability to stay out of unnecessary awkward and cringeworthy situations.
It’s crazy to think that unless you’re making a drama in America you can’t make the audience cry. Comedy is everywhere, and I feel like the thing that connects to somebody is poignancy or grandeur.
To see life portrayed in moving images, and we’re supposed to feel moved.
One big difference being, no Bruce Springsteen song. I’m sorry, I was not expecting the conversation to segue way that way. Ben: And this character is somebody who’s part of that kind of diaspora that happened after Katrina. Or, I mean, that aspect of him felt very organic and real to me. There’s that moment of him making the good joke about not wanting to see his wife get hit by a train. And it’s these hinges that can kind of get you into the next place that you need to be emotionally. William: So, what hat are you wearing to figure these things out? Ben: Part of it was driving around, looking for locations together for a month straight. Ben: That’s what’s been so rewarding about this little thing that we’re doing. That guy was so inspired by Roy Orbison, who would just sing songs for sad and lonely people, and that sharing of being sad and lonely is the thing that drew people in.
Evacuation and then bring in wet clothes to Boston. You see somebody struggle and it’s, “I’ve been that idiot.” The only real auto-biographical thing about the movie is that I am a divorcee. There are moments where we write over-the-top dialogue for something, and then I’m like, “No, you can sell it to an audience with facial expressions.” For example, when I was writing the short film I had a line in the back pew, where Arnaud would sit down with his daughter and actually say, “Hey, uh honey, I’ve gotta talk to you about something.” And that was the end of the film. It tells the entire conversation just from him moving his face a certain way. It’s also been nice to see it with southerners who have a deep understanding of the language, Dillard’s, and small jokes like that are local. I grew up loving the Blue-Collar Comedy guys, but that’s kind of the forward-facing image of comedy in the American South. William: But that’s an essential element of the comedy. But, really, it’s trying to convince people who are unhappy to change their lives for the better.
It was always in that idea of no matter what, “Let’s go to work tomorrow.” That was going to be this thing that saved us.
Ben and I drove from Texas to Los Angeles, and we just talked about that movie and how it’s gonna start this renaissance. They made something in a backyard for not much money and just started something. It takes a long education on the internet and in schooling and friends to actually make something that’s gonna be good. Ben: I think it’s exactly what Jim said because our solace wasn’t in something that had happened.
Socially Assassinated: The loser of “The Survivor” has to be Solly, the Holocaust survivor, who was utterly embarrassed debate with Colby Donaldson and later when Larry was almost blinded by his glass eye.
He went down fighting, however, spilling on Larry twice, having the last laugh when Larry had to go through his vow renewals with a massive wine stain on his suit.
The inability to communicate and express our emotions is fatal. I feel like there I was working where it had to be viral and contained. The quarterbacks or the lovable guy who’s the wide receiver or whatever. And then it’s like, “Okay, it’s going to be like that, but serious.” That kind of rehearsal process, where it is growing. Like, “I have to say that.” If I had known that expression for the short film, it would have been in there. Ben: Tech scouts were a big part of that, and really walking through what needs to happen for each moment. And Lowell has this playbook of where the lights go for everything, and all of that, where you walk in and you’re lighting the space within a minute. So, we had that back-end of day 13 and 14 where we had a little wiggle room in this schedule so we could go, “Oh!