Eyes Wide Shut

Sex itself is, I think, pretty low on the list of things this movie's about but ymmv

really? “let’s fuck”?

The last line of the picture, and it’s just “Fuck.” (And it’s a punchline.)

okay well i mean don’t be coy the idea idea that eyes wide shut isn’t about sex is an unusual one you have to admit, say more

I'd say it's about the fear of sex?

It's "We fuck" isn't it?

"You know, there is something very important that we need to do as soon as possible"
"What's that?"
"Fuck"
https://www.youtube.com/watch?v=bOHvgvRVCDo

Schooled!

The podcast is a treasure obviously but I forgot how Longworth hits all her “t”s “EroTic eighTies” .. frankly it’s not just that, her whole Chef John intonation drives me to distraction. but i will listen for the info :)

She veers very very close to Moira Rose territory

It’s been driving me crazy all day just needed to share

Her delivery has definitely gotten more arch and affected over the years, to the point that if you’re not highly invested in the content, it’s practically unlistenable

She used to get criticised a lot online for not ennunciating properly and has overcorrected. Can't win.

The podcast is a treasure obviously but I forgot how Longworth hits all her “t”s “EroTic eighTies” .. frankly it’s not just that, her whole Chef John intonation drives me to distraction. but i will listen for the info :)

It's close enough to an incantatory delivery that I look forward to listening

(Which means it'll be a good match for Kubrick)

Roffle. I roll with it, it's fine! Met her years ago well before the podcast started, she's a good sort.

If you join her patreon you can get transcripts, for those of you here who find it so horrible TO HEAR A WOMAN SPEAK.

I've always liked her delivery. She also has a very wry sense of humor.

I haven't given her podcast the attention it deserves. I'm streaming the sex, lies and videotape ep.

The series she did on Polly Platt and the one on Dead Blondes were especially good.

if you don't have the 2.5 hours free to watch EWS then just watch the video for Laura Branigan's "Self Control" which is the same plot and many of the same shots but is like 5 minutes long, predates EWS by 15 years and has a really cool song over it:

https://www.youtube.com/watch?v=oZtn9AwgfQQ

― jed_, Wednesday, 2 July 2008 01:31

lmao otm

Saw this for the first time today and it was much more watchable and good than I was led to believe, although there were several false notes.

Cruise has taken a beating itt for his acting but Kidman is worse, consistently too mannered. I guess pot smoking was new at the time of this film, because it wasn't portrayed at all believably.

Can I just complain about the "West Village" set - why do studios trying to recreate NYC always show a street that ends by running into a cross street, thereby forming a T-shape? That is not a configuration that really exists in NYC with possibly a few exceptions. Many old Hollywood films use a "NYC" backlot set with the same configuration - MGM maybe? Definitely the Universal lot was like this. You see it in TV shows right through the 1970s.

Nevertheless, the mystery and the surrealism of the film were overall quite captivating.

https://i.imgur.com/YWdTpPo.jpeg

why do studios trying to recreate NYC always show a street that ends by running into a cross street, thereby forming a T-shape?

Unacceptable. Just shoot in NYC ffs. But they couldn’t in this case because Kubrick was too afraid of flying there.

I don't think his fear of flying wouldn't have changed anything. With the way he worked, he wouldn't have shot on location, it would have to be in a 100% controlled environment like a soundstage.

I never bought the criticism against his decision to work this way. It reminds me of the story Truffaut told in the intro of his book on Hitchcock. “In the course of an interview during which I praised Rear Window to the skies, an American critic surprised me by commenting, ‘You love Rear Window because, as a stranger to New York, you know nothing about Greenwich Village.’ To this absurd statement I replied, ‘Rear Window is not about Greenwich Village, it is a film about cinema, and I do know cinema!” He could've said something similar about Eyes Wide Shut. Shooting a fabrication of NYC ultimately works in favor of the dreamlike nature of the film - having the night time surroundings feel unreal rather than allowing a documentary element to flow in was the right call.

Yeah, exactly. It’s a film about constructed reality on many levels.

I can buy that. Because at the same time they did get a lot of detail correct in their street set - specific lettering on signs, decals on newspaper stands etc. - which contributes an uncanny aspect to those scenes.

Parts of the film reminded me very much of Scorsese's After Hours. I wonder if that was an influence.