![]() No, I just never had any kind of inclination towards show business and sort of - I guess I was a little bit repelled by it, but only by virtue of growing up in New York. KLINE: At least being maybe a bit exaggerating. But you were also you were in a celebrated movie when you were 13, "The Squid And The Whale." But I have read that you grew up in show business, but reviling - and that's the word I think I saw attributed to you in a, quote - reviling show business. SIMON: You were still at that point in your career where you are introduced as the son of two great performers. You know what I mean? It's one voice in doing everything visual, all the dialogue, all the - everything. It's just probably the most self-reflexive medium. And I guess just seeing your immediate fingerprint in terms of your inclinations on the page, I think it - they come through in surprising ways. KLINE: You know, I was - I drew comics as a kid and - you know, comic strips. SIMON: What do Robert and his acquaintances find in comics? But he tries to get the kid to sort of wake up and observe the things that the kid is already preoccupied and inclined to be observed and connect him a little bit more to his particular voice. ![]() KLINE: I think really the lesson at the beginning of the movie - there's a drawing lesson at the beginning of the film from a sort of irascible, possibly manic mentor figure who's helping the kid with his drawing portfolio. Were you out to, if I might put it this way, subvert the usual flow of storytelling like Robert's teacher tells him to subvert? At least I certainly wasn't expecting it. There's a - I don't mind calling it - a surprising and shocking kind of unexpected turn in the first few minutes of the film. So that fabric - I just - I put that into this film. I mean, I wanted to be a cartoonist as a kid. KLINE: Fifteen - at the rumblings of - you know, anyway. And they're teenagers, conveniently - 19 and 15 - but, you know, models of deportment. And those hormones and the teenage mind just kind of interact and explode in an - in all sorts of interesting ways. You know, just coming out of puberty is pretty uncomfortable and awkward. ![]() KLINE: I think everybody has a bad bout when - in their - you know, 15, 16, 17. SIMON: I have to ask, to what degree is this story drawn from your own story? SIMON: The film stars Daniel Zolghadri, Matthew Maher, Miles Emanuel and writer and director Owen Kline, who happens to be the son of Kevin Kline and Phoebe Cates - joins us now. MAHER: (As Wallace) Are you guys Martians? Those are for 10-year-olds in the '50s. Some of those Carl Barks Duck comics are actually pretty sophisticated. ZOLGHADRI: (As Robert) Donald Duck and his nephews, Daisy, Scrooge McDuck, Fethry Ducks. MATTHEW MAHER: (As Wallace) I don't really understand what you guys see in the funny animal comics.ĭANIEL ZOLGHADRI: (As Robert) You can't appreciate any funny animal comics? - Pogo, the Ducks. He moves to a barely habitable basement in Trenton, gets in modest trouble with the law, is uncommunicative and sullen with his parents and throws himself full time into trying to become as subversive as his drawings. It's the story of Robert, a 17-year-old cartoonist in Princeton, N.J., who doesn't want to be a college student because he fears it might stall and corrupt his creativity. It was screened at the Cannes Film Festival, has raves on Rotten Tomatoes, albeit after just a few reviews. "Funny Pages," a new film by Owen Kline that opens in over 30 theaters this weekend, has already been acclaimed a cult classic.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |