Hello anyone that looks at this. I guess it probably sounds presumptuous that anyone would care, but if anyone does, first of all thank you, and second, I apologize for the lack of updates. I’ve got a handful of things in the works. Podcast: The Musical‘s first draft is winding down, and let me tell ya, it’s a doozy. I just recently finished a draft of a script for my comic bros over at Old College Comics, and I think it turned out well. I’ve also been telling jokes to crowds more often these days, and as always, I have a couple Cracked.com pitches in the works. All of which may or may not ever turn into published articles. We will see on that front. So that’s some of what I’ve been up to. How are you?
But what I’d really like to talk about today is crackers. For 3 months of my life, I worked at an internship. Basically what ended up happening was I got hired to do social media for a company, but I quickly found out they were a government contracting firm and had no need for any kind of marketing or web presence. Plus I was at the corporate office so the boss only showed up once every other week. And when she was around, she would give me week-long assignments like “find out what Twitter is.” I realize now I was probably a bad intern because I lacked motivation and I wasn’t proactive, but oh well. Who can really claim they were a motivated and proactive 20 year-old? Or maybe that was just me.
What I’m getting at is: I had a lot of down time. And a good portion of my time was spent eating cheese and crackers for lunch. Most of my day was spent anticipating my delicious crackers and cheese waiting for me in the office kitchen. So I had an unhealthy amount of time to ponder cheese and cracker combinations. Here are my conclusions on the subject:
Right off the bat, I should say I was only eating Wheat Thins and Triscuits. Feel free to weigh in with your own thoughts about Ritz or Oyster Crackers or whatever, but my experience lies with those two products. This is a whole other blog post, but I think the Wheat Thins vs. Triscuits dichotomy is a fascinating one, and it probably says a lot about your personality which one you prefer. Next time you’re on a date, ask them if they like Wheat Thins or Triscuits! Debate your preferences! Or try and guess what your best friend or long-time spouse prefers! The answer might surprise and shock you and tear apart your relationship. If I were to come up with a set of questions like the Bernard Pivot questions James Lipton uses on Inside the Actor’s Studio, “Wheat Thins or Triscuits?” would honestly be right at the top. Or at least near the top.
Not to seem unbiased, but I’m a Triscuit man. Don’t get me wrong, I love Wheat Thins too, but my down time at my internship allowed me to come to terms with who I am, and I realized that I simply prefer Triscuits. Also I probably don’t even have to clarify this since I doubt any corporation would touch this blog with a 10 foot ethernet cable, but I am in no way sponsored by any sort of cracker company. A guy can dream! Maybe one day when I’ve really honed my cracker blogging skills, but as of right now, I am a free agent which gives me the freedom to say that Triscuits are my favorite crackers. But I like Wheat Thins too.
So let’s talk about Triscuits first. They are the saltier, more savory snack. As such, a sharp cheese works best with their saltier flavor. A milder, smoother cheese ends up getting overpowered by the salt and crunch of the Triscuit and it feels like someone melted a candle on top of your cracker. That’s no good.
Bottom Line: if you’re eating a Triscuit, put a sharp cheese on there if you know what’s good for you. Try a nice cheddar, or a blue cheese, or even some feta if you’re feeling Mediterranean. Anything with a nice kick won’t be overpowered and will compliment the more aggressive flavor and crunch of the Triscuit.
Now for Wheat Thins. Since Wheat Thins are much sweeter than a Triscuit, a milder cheese is going to work a whole heck of a lot better. If you try putting a sharp cheddar on top of your Wheat Thin, you are going to hate yourself for having wasted that Wheat Thin. It doesn’t work. The sweetness clashes with the kick of the cheese and it makes a weird texture contrast and basically, you’re gonna have a shitty time eating that cracker and cheese so don’t do it.
Bottom Line: Grab yourself a Havarti cheese, or maybe some brie if you’re fancy. If you reaaally absolutely need a kick with your Wheat Thin, Pepper Jack always works since it’s a milder cheese with a bit of spice on the back end.
So there you have it. I wrote a whole bunch of words about crackers and my topping preferences. Clearly I have wasted some of the best years of my life thinking about snacks. And now I’ve wasted some of your precious time on this earth as well. I hope you enjoyed! Thanks for reading. Keep an eye out of more big, cool new stuff from me in the future. Goodnight.
As 30 Rock wraps up its phenomenal 7 season run, I’ve been doing what most of us have been doing: crying with my clothes on in the shower. Oh, and remembering all my favorite lines from the show’s characters.
Here’s something to ponder while you reminisce: three of the show’s main characters–Tracy, Jenna, and Liz all seem to perfectly line up with Freud’s facets of the psyche–the id, ego, and superego.
Take Tracy for example. He’s the perfect encapsulation of the Id, what Freud described as “a striving to bring about the satisfaction of the instinctual needs subject to the observance of the pleasure principle.” In less fancy-pants terms, Tracy says and does whatever the heck he wants, and he refuses to censor himself. All of his actions–such as his love of strip clubs or his bizarre outbursts–all stem from him wanting to immediately satisfy any urge he might currently be having. Take one of my favorite exchanges between him and Jenna for example. After finally cracking a problem the duo was facing, Jenna enters his dressing room and says “Tracy, I’ve got it!” To which Tracy replies: “Give it back! It’s mine!” Of course, this is one of hundreds of quick jokes that 30 Rock packs into every episode, but what makes those jokes so hilarious is that they are true to the characters. Tracy has become so rich and famous that he is used to his every urge being satisfied immediately, so of course he is going to want whatever “it” he mistakenly thinks Jenna is talking about. Now that joke is completely unfunny now that I’ve tried to explain it. Sorry. But my point still stands. Tracy is all about satisfying his carnal desires.
Or what about Jenna? The “ego” seems to describe her to a T. The ego is all about balancing one’s desires (Id) with one’s morals and ideals (the Superego) in order to create the personality that is on display to others in our everyday actions. Freud kept changing around his definition throughout his lifetime, but ego has come to represent our sense of self. Freud observed a common phenomenon where the ego began put up defense mechanisms when a person’s desires did not match society’s standards. Don’t worry I’m getting to my point here. Take a look at a list of some of these defense mechanisms and tell me who you think they describe: Denial, displacement, intellectualisation, fantasy, compensation, projection, rationalization, reaction formation, regression, repression, and sublimation. (JENNA it’s Jenna, dummy).
Basically put, Jenna’s storylines within the show are almost exclusively related to when reality contradicts her extremely unrealistic sense of self. Take the scene in season 4′s “Black Light Attack” where Jenna is auditioning for Gossip Girl. She is humiliated when she realizes she has to play the role of a college girl’s mother who is dying of old age. She tries to compensate by acting youthful and wearing a shirt that says “barely legal.” Her ego is overcompensating to try and block out reality from messing up her skewed sense of self. Which is why that is funny. Ha, betcha didn’t know all these funny jokes you like have some solid psychology underneath them did ya?? Well they do! This is me compensating.
Which leaves the superego.This one’s pretty easy to sum up. The superego is our conscience. It’s the part of us that tries to do good things. It’s the part of us that strives for success. Liz Lemon’s personality lines up perfectly with these traits. But you might be thinking “but Liz Lemon is a hilarious character! What’s so funny about someone trying to succeed and do the right thing?” Well by itself, nothing. BUT, the humor in the show comes from when Liz’s environment prevents her from doing these things. She has good intentions, but the people around her and society in general often prevent her from following through with these intentions. Most of the time, the main source of her frustration is Jenna and Tracy. And the same thing is true inside your brain! The things preventing you, the reader, from doing what you think is right all day forever is either your carnal desires (Id/Tracy) taking over, or you’re afraid of how people/society will judge you (Ego/Jenna). There are probably other reasons, but you get my point. The episode “The Problem Solvers” illustrates this dynamic perfectly. Liz negotiating the contract for her “Dealbreakers” talk show. She is confident and collected at first. But when Jenna and Tracy approach her and give her advice on show business, suddenly her confidence is shaken, she is a mess, and things goes horribly. And I’m sure there are countless other examples of Tracy and Jenna using their Id and Ego powers to screw things up for Liz.
The other source of tension for Liz also comes from frustrations in society like Liz’s nemesis: a plastic bag, or from her boss, Jack. Both of which play similar roles. Jack–in relation to Liz–represents the cynicism of society. He frequently mocks Liz’s attempts at doing the right thing and attempts to push his viewpoint onto Liz’s more idealized attitude. All the other issues and people that cause Liz Lemon’s frustrations in the show represent the countless frustrating things in everyday life that prevent people from doing what their moral compass thinks is right.
This is what the inside of your brain looks like.
So what does this psychoanalytical approach to the show really teach us? First, it teaches us that comedy writing is all about strong characterization. Although 30 Rock always crammed so many perfect jokes into its 20 minute runtime, all of these jokes stemmed from the show’s strong grasp on its characters and their personalities. Going off of that, this reading of the show also shows how much humor can be taken from exaggeration of real life things. Sure there’s no one out there that is actually a walking Id like Tracy Jordan, but I’m sure we’ve all had moments where we’ve acted like him. 30 Rock’s writers have extrapolated on those moments where we let our Id take over for a second and we just do whatever the hell we want, and they created a character out of it. And same goes for Liz and Jenna. It’s the formula for comedy that goes back probably to when humans first realized that acting outrageous was funny: odd things about life we take for granted are made more extreme to highlight their ridiculousness. It’s like when cereal boxes have giant pictures of cereal and the box says “enlarged to show texture.” It’s like that. But with jokes about how plane food is weird.
If we want to get really psychoanalytical here, these characters also might reveal a lot about the person that created them: Tina Fey. The Id, the Ego, and the Superego are constantly having a battle in your brain, and whatever bloody pulp is left over after that battle is your personality.
You could argue that the “brain” in this scenario is the show of 30 Rock as a whole, but I think the real brain of interest here is Tina Fey’s. I think the characters of Liz, Tracy, and Jenna actually represent the facets of Tina Fey’s mind. Liz represents the career-minded side of Fey. She wants to have a balance between family, friends and work, but at the same time she wants to be successful. Which I’m sure is a thing Fey struggles with, as we all do. Whereas Tracy is the comedy side of Tina Fey that wants to just be goofy and say ridiculous shit to get a laugh. Jenna represents the performer side of Fey. The person that is constantly in the public eye. The one that wants to be liked and accepted by the public. And then maybe throw in a dash of Jack’s cynicism also. Maybe juust a pinch of Meatcat in there too.
Meatcat clearly represents Carl Jung’s Shadow archetype, which refers to our repressed animal urges.
[Insert radical guitar solo here]
Much like a Captain Planet or maybe to a lesser extent a Power Rangers Megazord, the principal characters of the show all combine to create the real, complex person of Tina Fey. Much like the Id, the Ego, and the Superego create our mind, or how a hot dog, jack cheese, and pizza create a delicious Cheesy Blaster.
To be perfectly honest, the main reason I’m writing this right now is to put off watching the finale of 30 Rock. I don’t want it to be over! I’ll miss you 30 Rock, but I am glad to see you go out on top as being one of the most consistently funny shows out there. Congratulations. I guess I’ll watch that episode now. Thanks for reading.
A little while ago, a bunch of my friends got together and made a comic that premiered last year at the Long Beach Comic and Horror Convention. We made an anthology of 15 stories, one of which I wrote based off of an idea I used previously in my Frightpod Spookcast. Since we named ourselves “Old College Comics,” it was only fitting we called the anthology The Freshmen 15.
Anyway, as most people know, goods and services in life are not free. They must be exchanged for some type of currency. So we started an IndieGoGo page asking for donations. Given that I have no other thing I could possibly offer, I volunteered to write a song for people that donated in a certain price bracket. WELL GUESS WHAT? Four people donated that amount, and so there I was with four requests for songs that I had to fill. And I just filled them! I did them all. I filled those requests. Innuendo. Funny.
Here they are in order of how much I like them.
I was waffling for a while when deciding which song was my absolute favorite. Making waffles helps me make decisions hahahahah stupid. I ultimately went with the song “Talking Dog” though, because I think it’s the one that works best without any context. But here’s the context anyway. Also, keep in mind that I told everyone that the more specific someone got on what kind of song they wanted, the easier it would be for me.
I had to make a song for the brother of one of our collaborators. He lives on the other side of the country, and all his brother told me was that he liked pop-punk bands such as Rise Against. Or is it Against Me? I always mix those two up. The band that’s on rock radio all the time. Also that he wanted it to be funny. So for a bit I was trying to imagine how I could possibly come up with just a “funny” song. Could I adapt a sketch I wrote at some point? Or maybe make it all unrelated puns? Then I realized I didn’t have to do any of that. I decided to just take an old joke and turn it into a song. I took a page from the king of old jokes–my grandpa–and used a joke he always tells about a talking dog. Once I got the concept and the lyrics down, the recording actually went pretty smoothy.
Second, I’ll have to go with “Techno Love” or “Eric Techno” or whatever the hell I ended up calling it. A nice fellow named Eric ended up donating a good chunk of money to us, and on top of that, I’ve met him a few times and he is a stand up dude, and people like that in life deserve a nice thing every once in a while from this cruel and uncaring world so I thought I would write a nice song for him. He decided he would like a song that sounded like “90′s Techno,” so I did my best. Since a computer’s favorite genre is techno (obviously) I did it from the point of view of his macbook that has fallen in love with him. I don’t know. It felt right at the time. I’m really happy with the way it turned out even though it was my first real attempt at doing a techno/trancey kind of deal. So yeah. This is it.
While most of my requests were pretty vague, I ended up getting one that was extremely specific. My friend’s mom asked for a hip-hop song about a dinosaur and/or a pig. I could have given her just a rap song about a pig or just a rap song about a dinosaur, but why cut corners when it comes to a person who so generously donated to our cause. I wouldn’t stand for it! So I wrote her a borderline nonsense song about dinosaurs traveling through time and becoming buddies with a pig. And since I am good friends with her son, I decided to strengthen the song’s themes of friendship by inviting some of my friends over to (hip) hop on the track and give it some character with their very raw rhyme styles. By raw I mean we were all pretty bad at rapping. Also my hip-hop production could use some work. It’s hard to make that beat really snap, so I tip my hat even farther to great producers who can make songs with so many different elements sound so clear and pristine. BUT I will say that I am proud that the beat changes depending on what’s going on in the story. Take a listen! When they are back in time, I have marimbas and other percussion instruments that sound more primitive. Once the space meteor shows up with special alien powers, I put in some fun synths. And when they travel to the farm, I added a banjo and some guitar into the beat to give it a more rural feel. I just realized that if you’re reading this before you listen to the song, it probably sounds like absolute nonsense I made up for a joke but you’ll find this is absolutely real and I am absolutely the kind of human that chooses to spend his time on this sort of thing.
Another donor–who I am only tangentially related to–requested something Classical. While I’ve done some things that have a kind of Classical flair in the past with mixed results, I’m not super happy with the way this one turned out to be honest. I hope the people that donated the money still enjoyed the song. I bet they did, I’m just being critical of my own shit probably. Not much to say about this one. I did my best but it’s hard to make and my midi keyboard that I record this on is an awful piece of shit and life and time is only a perception. OK are your expectations lowered? Cool. Click on it now.
Well, there you go. I thought it might be a good idea to update this blog with what I’ve been working on. I thought the story behind some of these songs and how they came about might be kind of interesting. There aren’t many songs commissioned these days, which I find curious. Why not? You don’t have an idea or a story that you think would make for a great song? I find that hard to believe. People should pay musicians to make songs for them more often. It’s fun for everyone involved. Am I volunteering? If the price is right… hehhehehhh give me lots of money to do things I already do for free… hehehaehahahah bye.
So I’ve really been enjoying John Legend’s song “Who Did That to You?” off the Django Unchained soundtrack. I’m a huge sucker for songs that have that old Motown/Soul vibe. I noticed it was missing one thing though, that all great Motown and Soul songs seem to share: a catchy bass line. So since I played bass I figured I’d play all over the top of this and try and add one. I probably just made it worse but who cares it was fun. Did I mention how hard it is to record and mix a bass track into a song? No? Well it is. Oh well, you can still listen anyway and hear the awful intricacies of my playing. Enjoy!
Pretty exciting stuff, a plugs theme I wrote was recently featured on the popular Comedy Bang Bang podcast. For anyone not in the know, the podcast accepts user-submitted themes for their “plugs” segment of the show, and last week, they picked mine. I’m not in the mood to joke around so here it is!!! JUST TAKE THE LINK. I have no time for such blog nonsense. That’s not true. I have plenty of time. How are you? Anyway here’s the link.
Check out them play my song around 64 minutes. Kristen Schaal very politely waited to talk while my music was playing, and Scott Aukerman genuinely laughed at my song. Also, the very funny Neil Campbell and Pamela Murphy were listening. Very flattering.
Here’s a link to the song by itself:
ALSO, you may remember that I entered in Earwolf’s Carol Contest. I didn’t win possibly because I didn’t exactly follow the rules (my song was about every podcast on the network instead of focusing on one), but it was fun and I’m happy how it turned out because I think practicing harmonies and a capella stuff will really help when it comes time to record Podcast: The Musical.
Here it is:
Also here’s another one that I did that didn’t get played BUT I just finished editing it down a bit, so I will repost that again at some point and hopefully it will be a more acceptable length.
And I’m working on another plugs them right now. COOL well there’s a bunch of podcast related music links for you to enjoy. If you can find another dope that spends this much time writing music about podcasts, you send him my way. I wanna invite him over for a pizza party. Thanks for reading. Stay tuned for more updates. love ya. Bye.
1/16 Update:
It’s a day later and I did another plugs theme. I don’t know. It just is. Enjoy if you want. Goodbye.
Way back in July of 2011, I reviewed Quentin Tarantino’s recently leaked script for Django Unchained. You can read my review here. First of all, I’d like to apologize for reading the script even though it wasn’t officially released. 2011 was a weird time. Was the world really going to end in 2012? Would Obama get re-elected? Would I finally realize my dream of becoming a blogging superstar? But most importantly, everyone was wondering if Tarantino’s new film would deliver as much tension, excitement, and straight up film-making glee as his previous movies. Luckily, everything turned out for the best. 2013 has just rolled around and the world hasn’t ended, Obama is our president, I am the world’s most popular and successful blogger, and Django Unchained turned out to more than live up to the Tarantino name both in thrills and in depth. For more on the “depth” part of that, check out my other article about Django Unchained. Yeah I’m on a Tarantino writing kick. So what? Wanna fight? Go ahead. Click that X in the corner. See if I care. Go on do it. I dare you…
NO WAIT COME BACK. I was just kidding. Please stay a while on my blog.
But anyway, sometimes it’s fun to look back. Django Unchained turned out to be pretty damn good, but how does it compare to the script completed over a year ago? The differences provide an interesting look into Tarantino’s writing and editing process, as well as explain a confusing choice included in the final film. So let’s take a look.
What Was Cut From the Script?
Before we get into the nitty-gritty here, I should explain a few things. First, Tarantino has clearly said several times that when he’s writing, he is writing for the page. He isn’t necessarily planning on including every single scene and bit of dialogue in the completed movie, and a lot of the time he will add things to the script in order to make it read more like a novel. So some of the stuff that didn’t make it to the screen may have never been intended to be filmed anyway. Though, many of these scenes were probably filmed. Up until a couple of weeks before Django’s premiere, Tarantino was sitting on a 3+ hour cut. Which would have been fine by me.
Regardless of Tarantino’s intentions with these scenes, anyone interested in writing films, or anyone interested in how a film is made can get some insight through these examples. Great writing doesn’t just happen on the page or on the screen. A lot of great writing happens through editing and character work, and the stuff we see in Tarantino’s earlier script draft show just how much of a master he is at that kind of stuff.
Also, I just want to make it clear I’m not going line-by-line here. I don’t have all damn day, OK? Actually I do, but I’m going to be talking about main plot points and things like that anyway. So if you don’t like it, feel free to kiss my butt. Just kidding. Stay.
Broomhilda’s Backstory
One of the main things cut out from the film is much of Broomhilda and Django’s backstory, which was to be told in a flashback. In the completed film, we only learn about the past from what Django reveals when talking to Dr. Schultz, or through extremely brief flashback sequences, where we see all the horror, but none of the story of their shared past.
The script, on the other hand, diverged for a bit about Django and Broomhilda’s past under the Brittle Brothers. We saw more of the torture they endured, and what would have been possibly the most disturbing scene in the film: where the Brittle brothers rape Broomhilda and force Django to watch.
Tarantino mentioned in an interview that due to his encyclopedic knowledge of film, he has become a bit desensitized to movie violence, and has no problem separating it from reality. But when he put some of the more extreme scenes of violence in front of an audience, it became clear which scenes went to far. I’d assume these scenes ended up being cut for time as well as content.
Additionally, the script took a pretty large detour when describing Broomhilda’s situation after being separated from Django at the Greenville Slave Auction. She ended up being sold to a family where she served as a non-consenting girlfriend for the meek son of the family. The son eventually lost her to Calvin Candie. I’ve heard rumors that this role of the son was supposed to be played by Joseph Gordon-Levitt, then Sacha Baron Cohen, and then Jonah Hill, who all eventually dropped out. Jonah Hill then supposedly came back when he had an opening to play a smaller part. Or at least that’s what I’ve heard.
BUT, to be honest, this portion of script seems like one of those instances where Tarantino was writing for the page, and not for the screen. It was interesting getting more of an idea of Broomhilda’s past and the journey she took to end up being in the clutches of Calvin Candie, but on film, it may have been too much time to spend on something that wasn’t related to the film’s main revenge storyline.
Writers, take note. Even though it didn’t make it to the screen, this is how in-depth Tarantino gets on all of his characters. He’s mentioned before that for films like Inglourious Basterds, he told every actor that played a member of the Basterds what they were doing before the war, and what they were going to do afterwards. When you know your characters this well, then you have the ability to let what you know about their personality to dictate where a scene is going to go rather than you forcing them into actions that may not fit who they are. Just some tips from a guy that sucks at writing. Feel free to ignore.
Dr. Schultz and Django
More of Dr. Schultz and Django’s general palling around was included in the script. Instead of Django being a naturally good marksman, we instead got several training sequences where Dr. Schultz teaches Django how to quick draw and how to shoot and also how to read, which we saw a bit of in the final movie. There definitely is more of their buddy-cop kind of camaraderie somewhere out there on some Hollywood cutting room floor and gosh darnit, I’d like to see it. Luckily, I’m sure a lot of this will be on a DVD or “Blu Ray” for you all you fancy people out there with your your HD’s and 1080p’s and your Netscapes and stuff. Good for you. Yeah. Enjoy it. See if I care.
Stephen and Django
More of Stephen and Django’s interactions were included. There was a scene in which Django calls Stephen up to his room, and then discreetly beats him up, knowing that Stephen can’t complain to Candie, who has taken a liking to Django. This is further cause for Stephen to suspect that something is up with Schultz and his partner, which ultimately leads to Stephen figuring out their ruse.
Additionally, in the scene where Django is hanging naked upside-down, Stephen takes the time to not only fondle Django’s genitals a little bit, he also cuts him and burns his nipples. Again, this is probably due to the film being too violent for general audiences in its uncut form.
More about Mandingos
While Calvin Candie’s interest in Mandingo fighting is still very present in the final film, there is more of a subplot involving the buying and selling of Mandingo fighters. This includes the character of Ace Woody, who was supposed to be Candie’s slave trainer. The character was supposed to be played by either Kevin Costner or Kurt Russel, both of whom ended up dropping out.
Ace Woody was eventually dropped along with a good portion of the Mandingo subplot, and some of his more important actions like almost cutting off Django’s balls were given to the character of Billy Crash instead–who played a much smaller role in the original script. It’s interesting to think that in some alternate universe, there is footage of Kevin Costner grabbing Jamie Foxx’s genitals, but alas, it was not to be.
Australians
Some were pretty confused (and rightfully so) at Tarantino’s inclusion of Australians at the end of the film. And were even more confused at Tarantino’s decision to play one of these Australian fellows. I’ve heard an explanation that it was a nod to a film where an actor had such a terrible Southern accent, that people claimed it sounded Australian. While this might also be true, we can chalk this choice up to another detail left out in editing.
In the script, when traveling Django to the LeQuint Dickey Mining Company, Django was able to convince the Australian guys to let him go by relating to them. One of the Australians explained that the mining company paid for their passage to America, and that they were working off their debt over the course of several years. Django was able to gain their trust by explaining that they were slaves as well in a manner of speaking, being taken advantage of and being forced to do work for free.
He then used this trust to convince them of the bounty waiting for them back at Candyland, and then he totally explodes them with dynamite.
The Ending
Speaking of dynamite, this movie was an explosive thrill ride! Sorry I just thought I’d add that in case someone wanted to but my stupid dumbass blog on a DVD cover or something.
The original script played pretty much the same as what we saw on the screen, other than the minor cuts explained above. However, Tarantino changed the ending quite a bit.
Instead of a final massacre of the rest of the film’s villains in the Candie household, Django intercepted the wrongdoers on their way back from Calvin’s funeral. He then gives all six of them guns and holsters. When they reach for their guns, Django uses his quickdraw skills to kill all 6 of them before they can get a shot off. He then throws a bundle of dynamite among the wounded and blows them the heck up. Then he and Broomhilda ride off and probably make a bunch of babies with weird names and live happily ever after.
So as you can see, a pretty good amount was cut from the film. Not too surprising, considering that Tarantino had a 3 hour+ film on his hands less than a month before it was released. And while what he cut it down to was quite cohesive and entertaining as hell, the world of Django Unchained is one I’d like to spend as much time in as possible, so I am anxious to see some deleted scenes.
Also, there were some loose ends that weren’t in the script, and were never explained, such as Zoe Bell’s red scarfed tracker that had her own introducing shot, but was quickly gunned down once Django made his violent entrance on the trackers’ cabin. While he was brief, Walter Goggins (Billy Crash in the film) said this about the character: “Yeah, you don’t really get anything from her character but she’s lethal.” So yeah. Color me intrigued.
Tarantino has even said he will most likely do a director’s cut some time down the road. Hopefully this will happen, I’d like to see what is included, how that affects the overall pacing, and hopefully more Jamie Foxx and Christoph Waltz being rootin tootin cowboy buddies.
This is the first time I’ve read a script before seeing a film, and it was a really enlightening experience. Tarantino has said that he considers the film’s final edit to be his final draft of the script, and I see exactly what he means now. While a lot of interesting and compelling content was cut, it ultimately led to a film that is engaging, entertaining, and leaves the audience wanting more.
Alright. That’s about all I have to say about Django Unchained for right now. Feel free to tell me I stink in the comments or just post your thoughts or whatever. Also feel free to click around on my blog anywhere you like. You have my permission. OK. I’m done. Play me out, Frank Ocean.
You know that feeling where you are just so excited for something that you can’t help but tell all your internet friends about it? Well this is one of those moments. I hereby shout from the rooftops of cyberspace, I am currently in the middle of writing Podcast: The Musical. You hear me internet?? I AM CURRENTLY WRITING PODCAST: THE MUSICAL.
Tadaaa check this shit out
It’s a project I’ve had developing in my head for a while, so I’m happy to say that the writing is going smoothly so far, and writing a musical is as fun as I thought it would be. I look forward to being the first idiot to make a podcast about podcasts. In song form. It’s probably a dumb idea, but hey, that’s what this darn blog is here for. Me following through with my dumb ideas.
Here’s some pixxx of what I’ve written so far to get you “in the mood” heheh :~**
Also you can look forward to some more musical things from me very soon. So yeah. Prepare for face holes for that. Goodbye good friends.
Goodbye you beautiful bastards.
Tadaaa check this shit out
Here’s some pixxx of what I’ve written so far to get you “in the mood” heheh :~**
