Chris Lowell’s behind-the-scenes photo countdown, Day 13:
The Boys! This was the most fun day on set, by far. Love this team. #veronicamarsmovie
I can’t even handle this picture. LOOK AT THEM.
"Be chill and don’t be a downer, act like a dude but look like a supermodel."
Beautifully researched and written piece from Anne Helen Peterson. One of my favorite sections:
“We’d like to think of ‘cool’ as connotative of something progressive, even radical. But Cool Girls are neither, at least not precisely. We love them because they seem to offer an alternative to the polished, performative femininity visible in both our stars and our peers. Because they ‘don’t give a shit’; because they don’t truck with the regulations and rules of dating and mean-girling that prove so infuriating. But to be ‘cool’ is to tread a fine line between something different, something almost masculine, but never anything toomasculine, or assertive, or independent. The Cool Girl can talk about poop, and video games, and eating Doritos, because those things are ultimately benign: Even with her short hair, Jennifer Lawrence still has the body and the face and the wardrobe that conforms to dominant beauty ideals.
“We say we want to be Jennifer Lawrence’s BFF, but what does that mean? Like Bow, and Lombard, and early Fonda, she’d be so incredibly fun. But would she challenge us to think differently about ourselves or the world? And if — or when — she does, will we still like her so much?
"We dispose of even our most beloved female stars with startling swiftness, changing celebrity best friends the way 7-year-olds switch real ones. The Cool Girl will stay safe, but what does our swift embrace and rejection of its proxies communicate about our standards for women in the actual world?"
I didn’t know Harold Ramis well. Our main point of contact was that we worked together for a few weeks in 1992 on the movie “Groundhog Day.” However, that was no ordinary film. The experience was like walking on a rope bridge in the Himalayas. Every gust of wind was memorable. I would like to share the essential shapes I saw and the impression he made on me.
“As he talked to me about the movie, I noticed something in his expression that, as I look back, was an essential characteristic. Whatever he said, whatever he did, he looked like he was trying to suppress a smile. It was as if laughter was always trying to escape. It didn’t matter if Bill Murray and I were shooting our street scene, or the weather had blown in, attempting to ruin our schedule, or if Harold was trying to settle some conflict on the set; he always seemed on the verge of laughing.
“He taught me a lot about comedic directing in those few weeks. I asked him if he thought I was a bit over-the-top in my characterization as Ned Ryerson, the obnoxious insurance salesman forever accosting Phil Connors. Harold smiled and shook his head, ‘No, Stephen, in comedy you have the stew—and you have the spice in the stew. Bill is the stew. He has to play it straight. You’re the spice. Have fun!’
"When the scene called for Bill to punch me out on the corner, I went to Harold and asked if there was anything he wanted me to do. He leaned in and whispered with that half-smile, ‘Do whatever you want. I’m setting the camera up wide. No close-ups. Comedy only happens when there is a relationship. We’ll see both you and Bill at the same time. Comedy lives in the two shot.’”
"Harold understood the power of poetry and had the courage to tell the story his way."