@khamalas posted saying “does parse also watch those bts clips or?” and I think the clear answer is yes. Because what good is having essentially a mini documentary about your ex ? ex best-friend? ex maybe if you don’t watch it.
So he watches them alone in his empty apartment with his cat and expects to be mad about everything he couldn’t have had but thats not what happens.
He learns stuff about Jack through the videos that he didn’t know because they have both grown up and Kent hasn’t talked to him enough in recent years to know them.
He learns that Jacks pre game rituals are no longer the same, that he smiles differently now and Kent almost doesn’t recognise him until he laughs and then its the exact same as the way he use to when they were together.
He watches the mini games they play and Jacks still a sore looser even after all these years.
They do a trivia quiz and Jack is only marginally better at pop culture than he was 6 years ago, but since when is Zimms so good at history. Kent swears Jack never paid more attention in history than he did in high school but maybe that was just another thing he missed.
They do a gift wrapping challenge for christmas and all Kent can think about is all the horribly wrapped gifts he got through juniors and how it turns out that Jack got lots of parts of his life together but not that part.
He learns that Jack still tapes his stick the exact same way that they made up together in juniors, the same way Kent still does as well.
Slowly but surely Kent fills in the gaps about what he didn’t know about Jack, that he was a history major, that he once flipped a table over a board game, and waged war on a rival sports teams house. That his best friend goes to law school, and that his proudest moment from collage was walking across the stage to receive his diploma.
Jacks exactly the same but entirely different and over time Kent comes to realise that this Jack isn’t the Jack he fell in love with when he was 16 and maybe its for the better but it still hurts to know that Jacks not his.
Eventually Kent realises that he’s not the boy Kent loved when he was young, but maybe Kent can let him go if he knows there’s no going back now
The new Amy Winehouse documentary, essentially: “Let’s blame her parents!” Presumably made by people who have never had to deal with a raging suicidal drug addict for a child. Hey, I loved Amy. I absolutely adored her music. But I can’t imagine what her mother and father went through having to deal with her. It’s shitty to blame them. She made her own choices, you know? Why rub salt into the wounds of grieving parents? How classless.
FYI, I went through something similar with my dad. Me (and my mum and my two sisters) tried to save him, but he simply didn’t want saving. He was crazy, in his own way. There was nothing we could have done. NOTHING.
So, yeah, Fuck this whole “the family could have done more” point. It offends me as a person. They were in an impossible situation.
Writing this headcanon down for posterity: Tony Stark is a trekkie who gets into mock-serious arguments with Peter Quill, who is a die-hard Star Wars fan. Steve gets caught in the middle. Eventually he takes a third option and discovers he prefers Lord of the Rings. Bucky can’t understand why cowboys aren’t a thing any more. Gamora wants to know why Peter’s such a big fan of what is, essentially, an inaccurate documentary.
The essential documentaries on John Cassavetes, including Cinéastes de notre temps – John Cassavetes (1969), I’m Almost Not Crazy: John Cassavetes – the Man and His Work (1984), Anything for John (1993), Cinefile: John Cassavetes: Out Of The Shadows (1993), John Cassavetes: A Constant Forge (2000), John Cassavetes: To Risk Everything to Express It All (1996), rare footage, John Cassavetes directing, from the French TV series “Cinema Cinemas,” a 1983 feature on Cassavetes directing the movie Love Streams (1984), which Cassavetes both wrote and directed, and a super-rare look behind the scenes of Cassavetes’ first ‘big budget’ film, Husbands.
While at first the Cinéastes team was more interested in capturing on film the titans of Hollywood, many of them already quite elderly, attention was also given to the “New American Cinema,” as seen in these two terrific films. The Cassavetes film was shot in two parts, over three years. The first part, shot in 1965, catches Cassavetes as he is editing Faces; he recounts his unhappy experiences trying to work in Hollywood, and his palpable excitement for what he’s done in Faces is apparent throughout. The second part, filmed in Paris in 1968, reveals a more focused Cassavetes, as the success of Faces has shown him the direction in which he wants to continue.
John Cassavetes, America’s greatest independent filmmaker, died in 1989. The wonderfully titled I’M ALMOST NOT CRAZY… captured Cassavetes on the set of his last personal film, LOVE STREAMS (1984). “We’re making a picture about inner life,” we hear Cassavetes saying. “And nobody really believes that it can be put on a screen. Including me. I don’t believe it either–but screw it.” We then see the director in action on the last day of the LOVE STREAMS shoot, after which he tells us that his sole theme is the search for love. Gena Rowlands, Cassavetes’ wife and the leading lady of most of his films, testifies that her husband has an affinity for characters who are borderline crazy. “I hate entertainment,” he admits, maintaining that most movies are mere “fluff.” Later he observes that audiences tend to remember his films even when they hate them.
Earlier in the shooting of LOVE STREAMS, Rowlands is startled to learn that she will be improvising a scene that day–the only improvised scene in the film. Surprisingly little of Cassavetes’ body of work was in fact extemporized, though he had no qualms about rewriting dialogue on the set, and is shown doing so in I’M ALMOST NOT CRAZY…. Then two clips from LOVE STREAMS, including the improvised scene, are screened followed by excerpts from four earlier Cassavetes movies: SHADOWS (1959), FACES (1968), A WOMAN UNDER THE INFLUENCE (1974), and OPENING NIGHT (1978).
Cassavetes refers to his wife as “absolutely private” and she in turn calls him “very mysterious.” During a backgammon game, Cassavetes is seen arguing with his opponent about Socrates, “a jerk” in the opinion of the Greek-American director. Several members of the LOVE STREAMS team are asked to comment on the movie’s creator. Co-producer Menahem Golan calls him America’s Ingmar Bergman. Co-scripter Ted Allan offers a pricelessly revealing anecdote about a preview screening of OPENING NIGHT: Cassavetes was so disturbed by the standing ovation the audience gave his film that he recut the last half hour to make it less ingratiating. Carole R. Smith says that as LOVE STREAMS’s production coordinator she is in no position to comment on the artistic talents of her boss, whom she describes, with wry affability, as “totally unpredictable” and “a pain in the ass.”
I’M ALMOST NOT CRAZY… ends with a freeze frame of Cassavetes and Rowlands at work, their arms around each other’s shoulders.
“Backed by Cannon Films, which also made LOVE STREAMS,” Variety reported, this documentary “by no means stands as a promotional piece, emerging rather as an evocative glimpse of one of filmdom’s genuine mavericks.” Those who revere Cassavetes and his films will embrace I’M ALMOST NOT CRAZY… as a rare and invaluable chronicle of their hero doing and talking about what he loved best: filmmaking. Those who don’t should gain new respect for the man, his methods, his passion, and his absolute commitment to his own unique vision of the human comedy.
An intimate portrait of actor-writer-director John Cassavetes and a loving tribute to his genius for studying and depicting the human character. In-depth, candid interviews with his wife and muse Gena Rowlands as well as his most trusted friends and co-workers like Peter Falk, Ben Gazzara, Seymour Cassel, etc. Clips from Cassavetes’ greatest films, and many rare photos illustrate this touching documentary.
Great stories from Peter Falk, back in '93.
Charles Kiselyak’s A Constant Forge—The Life and Art of John Cassavetes is a detailed journey through the career of one of film’s greatest pioneers and iconoclasts. Assembled from candid interviews with Cassavetes’ collaborators and friends, rare photographs, archival footage, and the director’s own words, the film paints a revealing portrait of a man whose fierce love, courage, and dedication changed the face of cinema forever.
Rare footage, John Cassavetes directing. From the French TV series “Cinema Cinemas,” a 1983 feature on Cassavetes directing the movie Love Streams (1984), which Cassavetes both wrote and directed.
This is a super-rare look behind the scenes of Cassavetes’ first 'big budget’ film, Husbands. It depicts several scenes which never made it into the final film, and a few that did. Also great is to watch Cassavetes working out scenes with Peter Falk and Ben Gazzara, sitting around a table smoking, brainstorming, joking, and singing – just like Archie Gus and Harry! Picture quality isn’t tops, being this was taken from a VHS copy from a 16mm print that’s seen better days, and it has a timecode window burned in at the bottom left, but everything is visible that counts.
From the original BBC copy:
Arts documentary series. Director John Cassavetes has been shooting a new film called HUSBANDS in London and New York. This documentary shows, with film from script sessions, locations and rushes, how three American actors, John Cassavetes, Ben Gazzara and Peter Falk, worked together to get the “unscripted moments that can never be planned for”.