According to a Hollywood Reporter article, Oogieloves began its strange journey to infamy when Viselman attended a theatrical screening of Madea Goes To Jail. Viselman had long been trying to convince Anne Wood, the creator of Teletubbies, to let him bring her creation to the big screen by arguing that the entire paradigm of children’s films needed to be reinvented. Viselman was convinced that the problem with most kid films is that they demand that children behave like adults once they enter the theater, that the oppressive conventional paradigm forces children to repress their natural ebullience and propensity to scream obnoxiously for no discernible reason like, well, stupid fucking children, just so that adults around them do not instantly get migraine headaches and ponder slaughtering their young.

Then Viselman saw Madea Goes To Jail and the pieces began to come together. According to the article, Viselman found himself “marveling at the way the audience shouted advice to the characters and generally made the screening a community event instead of a solitary two hours.” The marketing visionary had stumbled upon a potentially life-changing idea: What if someone made a film that encouraged children to do all the things they weren’t supposed to do in a theater? What if he made a movie where kids were asked to get out of their seats and sing and dance and wobble and wiggle and act like children? What if someone made an interactive children’s film where the audience was as much a part of the show as the characters onscreen?

That was the beautiful, idiotic dream of The Oogieloves In The Big Balloon Adventure. Why should Tyler Perry fans be the only folks fortunate enough to experience a film that was a “community event” involving strangers yelling advice to fictional characters instead of a solitary two hours of tediously concentrating and thinking and losing yourself in a film’s narrative? Viselman was going to empower children to yell and scream and make noise and get out of their chairs and act a fool.

MadMedico posted:

Lol
http://www.avclub.com/articles/something-close-to-madness-case-file-24-the-oogiel,85088/

According to a Hollywood Reporter article, Oogieloves began its strange journey to infamy when Viselman attended a theatrical screening of Madea Goes To Jail. Viselman had long been trying to convince Anne Wood, the creator of Teletubbies, to let him bring her creation to the big screen by arguing that the entire paradigm of children’s films needed to be reinvented. Viselman was convinced that the problem with most kid films is that they demand that children behave like adults once they enter the theater, that the oppressive conventional paradigm forces children to repress their natural ebullience and propensity to scream obnoxiously for no discernible reason like, well, stupid fucking children, just so that adults around them do not instantly get migraine headaches and ponder slaughtering their young.

Then Viselman saw Madea Goes To Jail and the pieces began to come together. According to the article, Viselman found himself “marveling at the way the audience shouted advice to the characters and generally made the screening a community event instead of a solitary two hours.” The marketing visionary had stumbled upon a potentially life-changing idea: What if someone made a film that encouraged children to do all the things they weren’t supposed to do in a theater? What if he made a movie where kids were asked to get out of their seats and sing and dance and wobble and wiggle and act like children? What if someone made an interactive children’s film where the audience was as much a part of the show as the characters onscreen?

That was the beautiful, idiotic dream of The Oogieloves In The Big Balloon Adventure. Why should Tyler Perry fans be the only folks fortunate enough to experience a film that was a “community event” involving strangers yelling advice to fictional characters instead of a solitary two hours of tediously concentrating and thinking and losing yourself in a film’s narrative? Viselman was going to empower children to yell and scream and make noise and get out of their chairs and act a fool.

Theaters full of black people sound like a veritable riff-fest worthy of the Joel era

stegosaurus posted:

personally I just didn't like their outfits.

personally i dont like Jews

Meursault posted:

thirdplace posted:

girls lost me mostly when i caught an after-interview of the creator and found out that she didn't envision the title characters as tragic-comic female Larry Davids, inspiring empathy and schadenfreude because they exemplify all the terrible traits that any honest 21st century American can see in themselves (like i'd thought she did) but that its actually supposed to be a sympathetic and heartwarming tale of personal growth and empowerment

The author is dead bitch.

Also the creepy bf was the best although they almost basically destroyed him once he started wearing shirts and being her actual bf

and then he became creepy again when he snuck up on dunham in the shower and peed on her.

tpaine posted:

why

people are always saying it's forced quirky and one of wes anderson's weaker movies overall. everyone likes rushmore, which I agree with of course, but at the same time a lot of people like the life aquatic and darjeeling limited for some reason, both of which I really disliked (the latter much more than the former). I feel like if you say the royal tenenbaums, they're rolling their eyes behind your back and assuming it's the only anderson movie you've heard of.

Goethestein posted:

tpaine did u c Evil Jerry Seinfeld on 'Louie'

i knew what was up immediately because i am smart

rosicrucianplot posted:

it seems like everyone has a different favorite anderson film and I wonder if any other director has that same phenomenon. its not like there is a whole lot of stylistic and thematic variance between his films. royal tenenbaums is great but his best is

the only good wes anderson movie is the one with the dude from scrubs and natalie p- oh wait