Ack! I’ve been rejected for a role in the new Johnny Depp movie before I was even able to try out. I don’t understand how Hollywood can continue to harbor such a backward and discriminatory industry. It’s a little known issue, but in the entertainment industry there is a glass ceiling - a low-hanging glass ceiling that forces tall people to stand all hunched-over and awkward-like.
Thanks, Johnny Depp, for making me an outcast in my own town. Before you know it,pubs and movie theaters will be hanging those big yellow “low clearence” bars across their doors - preventing people like me from enterin. I don’t like where this is going. Not one bit.
It’s time that those of us on the fringes of height rally together - tall and short alike. And remember the words of one of the pioneers in the size-equity movement: “Size matters not!”
Step 1: Watch this: Christoga
Step 2: Stop giggling
Step 3: Read about why this video is a damnable blasphemy.
Step 4: Stop crying.
Some great movie trailer re-cuts that I stumbled across. Listed in order of approximate awesomeness.
“Scary Mary” Poppins (for Nick)
I just finished watching a documentary called “Why We Fight.” The basic premise is to take a look at the effects of the U.S. having a standing army that is tightly woven with big industry (something President Eisenhower warned us about). Maybe “video essay” is a better term than documentary. I think it’s an important film to see. Here’s a Google video link, but if you ask nicely, then maybe I’ll rent it for you or buy you a copy.
I just finished watching Don’t Look Back. It’s a documentary of Bob Dylan’s UK tour in 1965. I wouldn’t call myself a huge Dylan nut, but I have held a fascination with him for a long time. I did a research paper on him in middle school. The assignment was to write about someone we thought was a hero. I’m not really sure what possessed me to write about Dylan to be honest.
What struck me about the documentary was the transparency of the filmmaker. Even though the camera bounced around and the mic made its way into the shot on several occasions, it was very easy to forget that there was a cameraman sitting in the room with Dylan the entire time. It was a fly-on-the-wall sort of experience. There were no chapters, no title cards, no montages. Nothing telling us what was going on or what any of it meant or why it was significant. It was just the footage cut together (I’m not sure, but I got the impression that most of the footage was generally in chronological order). If you’re used to the way documentaries tell stories now (as I am), the film may feel slow - like we’re waiting for a narrator, but eventually I sunk in to just being an observer, just being there. And without anyone telling me where or why or how, I got an impression. The emotion flying around, the pervasiveness of music, the attitudes. The filmmaker left it there for us to soak up and interpret for ourselves which seems very appropriate.
I’d definitely recommend this one, just try to relax and go into it without expectation. Just be in the room.