Hulking Bandana Boy

Glenn Kenny has written a not-yet-posted piece for Vulture that takes issue with the portrayal of the late author David Foster Wallace in James Ponsoldt‘s The End of the Tour. It won’t appear until just before the film opens on 7.31, but it’ll probably be fairly interesting as Kenny knew the late writer fairly well (as an editor as well as on purely personal terms) and considered him a pally of sorts. He told me this morning that Tour is a “really inaccurate” portrait of what Wallace was like as a person.

I replied that it can’t be that inaccurate as Donald Margulies‘ script is based on David Lipsky‘s book, “Although Of Course You End Up Becoming Yourself,” which is largely based on cassette recordings of his conservations with Wallace when he was interviewing him in ’96 (when Wallace was 34) for a Rolling Stone piece.

Kenny had strong retorts but those are on background. As noted, his piece is up later this month.

Margulies knew Ponsoldt from having taught him writing at Yale, and sent him the script directly. Margulies had no idea if he even knew who Wallace was but thought on the basis of his other films (The Spectacular Now, Smashed) that he would be perfect. It turned out Ponsolt was a Wallace devotee who had waded heavily into “Infinite Jest” at college and had read almost everything else Wallace had written. He even quoted Wallace’s “This Is Water” commencement speech at his own wedding.

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Ponsoldt Does It Again

A couple of years ago I posted a rant about an egregious form of road-ignoring in James Ponsoldt‘s The Spectacular Now. For years I’ve been twitching in my seat during car-chat scenes in which a driver mainly looks at the person riding shotgun and only glances at the road sporadically. (Roughly five or six seconds of eye-contact for every one or two seconds of road-watching.) But Ponsoldt and Miles Teller doubled down on this in a Spectacular scene in which Teller, bold as brass, totally ignores the road for ten or twelve seconds as he chats with some girls in a car that’s cruising alongside. I almost threw my shoe at the screen.


Jesse Eisenberg, Jason Segel in James Ponsoldt’s The End of the Tour. Obviously not the scene I’m referring to the piece as Segel is behind the wheel.

And now Ponsoldt has crossed the line again in The End of The Tour. In a second act scene Jesse Eisenberg (playing Rolling Stone journalist David Lipsky) is driving and talking to Jason Segel (as David Foster Wallace) and doing the usual “I don’t really need to look at the road…well, okay, I do every so often but c’mon…I’m actor and I need to make eye contact…this is what I do and I can’t just stare at the road and read lines.”

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The Mystical Oneness of All Things

I’m sorry to say I wasn’t all that taken with James Ponsoldt‘s The End of the Tour (A24, 7.31), which I saw last night at the Aero. It’s a dialogue-driven thing with not enough going on underneath. The basic focus is the renowned David Foster Wallace (Jason Segel), author of “Infinite Jest” and other respected works, and particularly a five-day-long interview he did in ’96 with Rolling Stone correspondent David Lipsky (Jesse Eisenberg), when Foster was 34. (Wallace offed himself at age 46.) It’s largely set in Wallace’s grungy, cluttered home in rural Illinois, which seems like a horrid, barren, show-covered gulag. I’ll get into this in a subsequent post but I wouldn’t want The End of the Tour to get in the way of anyone enjoying (or listening to for the first time) Wallace’s “This Is Water” commencement address, which he delivered a decade ago at Kenyon College. Here’s the whole thing and here’s a video that conveys a portion:

Fassbender Will Be Fine

I was afraid there might be some kind of inability to suspend disbelief with Michael Fassbender playing Steve Jobs because he looks nothing like the guy. But he sure seems to behave like Walter Isaacson’s version of Jobs in this trailer and the film (or at least this hinting of it) seems to have its ducks in order so I’m starting to feel more relaxed. On top of which I’ve read a draft of Aaron Sorkin‘s script and it’s a strong, riveting, rat-a-tat-tat deal, let me tell you.

Again, that hacked Sony email written by Sony marketing exec Michael Pavlic about the script: “It’s brilliant. It’s perfect. There are marketing liabilities. It’s long, it’s claustrophobic, it’s talky, it could be a play, it risks being all one medium close-up, it’s periody…a mediation on Jobs himself. It’s insistent upon itself, it’s relentless. I kept begging for someone to walk outside, for some daylight, for an opening…

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