New tumblr called “Dali Lama’s Daily Llama” where it’s the Dali Lama with a llama photoshopped into the picture.
Or “Dali Lama’s Obama Pajamas” where you photoshop all photos of the Dali Lama to look like his robe has pictures of Obama on it.
Or “Dali Lama’s Momma Drama” where you photoshop Dali Lama into the sets of daytime talkshows where couples are finding out who the real dad is.
These are just some dumb ideas I’m too lazy to make.
“We romanticize everything about people in movies, and I decided that one of the things I don’t like in movies is that people feel alone with their bodily functions in the real world, as if people in the movies don’t do these things. We had a lot of fun making the different artificial feces in the prop department.”
– Charlie Kaufman
Jungle - Platoon
Watch this, but be ready to catch your jaw when it drops, ok
I like for people to figure things out for themselves. It’s not like I have the right answer, but if I have a visceral reaction to something, I’m sure that other people will, too. And there are a lot of different things you can react to. It’s like a Rohrschach kind of thing. I try when I’m writing to leave enough “space” for people to have their own interpretation, and not to direct it toward one conclusion. Then the audience would not be reacting, because they are being preached to or lectured at. I don’t have that much to say that I think people should listen to me.
I think it’s good when someone comes to a book or a movie and interacts with it. It’s the difference between an illustration and a painting. An illustration serves a specific purpose, and a painting is something you can immerse yourself in.”
– Charlie Kaufman
“I often have a theme in mind when I’m starting. I know that I want everytihing to be in a world of, say, evolution, or guilt. But also I do a lot of things intuitively. I’m not often consciously aware of what I’m doing. It’s like in a dream: There’s something going on that’s powerful but you don’t know exactly why. As I’m writing, though, I start to see connections, and themes I didn’t see, and that sparks other things. So then I go back and rewrite things or alter them. It’s a combination of intuition and a lot of finessing. It becomes a combination of the rational and the irrational. I always go in circles. I have OCD to a certain extent, so I tend to do a lot of circular thinking. I think I do have OCD a bit.”
– Charlie Kaufman
“He can’t do anything that isn’t truthful. He won’t allow himself. He works really hard. His commitment is complete. If he doesn’t understand something, he won’t do it. When he’s crying in a scene, which he does a lot in this movie, it’s like he’s going through it, and of course the camera records that. It hurts. And that’s what I needed for this character, and I got it.”
– Charlie Kaufman on Philip Seymour Hoffman in Synecdoche, New York
“I never fucking said that”
– Buddha, Gandhi, The Dali Llama, Marilyn Monroe, Audrey Hepburn, Oscar Wilde, Sylvia Plath and everyone else probably (via buddhabrot)
The Dali Llama is our favorite quadruped.
Roger Ebert on Synecdoche, New York
Here is how life is supposed to work. We come out of ourselves and unfold into the world. We try to realize our desires. We fold back into ourselves, and then we die. “Synecdoche, New York” follows a life that ages from about 40 to 80 on that scale. Caden Cotard (Philip Seymour Hoffman) is a theater director, with all of the hangups and self-pity, all the grandiosity and sniffles, all the arrogance and fear, typical of his job. In other words, he could be me. He could be you. The job, the name, the race, the gender, the environment, all change. The human remains pretty much the same.
Here is how it happens. We find something we want to do, if we are lucky, or something we need to do, if we are like most people. We use it as a way to obtain food, shelter, clothing, mates, comfort, a first folio of Shakespeare, model airplanes, American Girl dolls, a handful of rice, sex, solitude, a trip to Venice, Nikes, drinking water, plastic surgery, child care, dogs, medicine, education, cars, spiritual solace — whatever we think we need. To do this, we enact the role we call “me,” trying to brand ourselves as a person who can and should obtain these things.
In the process, we place the people in our lives into compartments and define how they should behave to our advantage. Because we cannot force them to follow our desires, we deal with projections of them created in our minds. But they will be contrary and have wills of their own. Eventually new projections of us are dealing with new projections of them. Sometimes versions of ourselves disagree. We succumb to temptation — but, oh, father, what else was I gonna do? I feel like hell. I repent. I’ll do it again.
Hold that trajectory in mind and let it interact with age, discouragement, greater wisdom and more uncertainty. You will understand what “Synecdoche, New York” is trying to say about the life of Caden Cotard and the lives in his lives. Charlie Kaufman is one of the few truly important writers to make screenplays his medium. David Mamet is another. That is not the same as a great writer (Faulkner, Pinter, Cocteau) who writes screenplays. Kaufman is writing in the upper reaches with Bergman. Now for the first time he directs.
“We’re all hurtling towards death. Yet here we are, for a moment, alive, each of us knowing we’re going to die, and each of us secretly believing we won’t.”
– Charlie Kaufman, Synecdoche, NY
2024’s criminal justice system is a trivia gameshow where it’s Cops vs Defendants and if the defendant wins the cop goes to jail.