50
" A genius must sometimes be a racist if we are to hope for elucidation. History is generously peppered with geniuses who despised the Jews, who dismissed the blacks, who objectified women. Are we to bury their great works because of this? The answer is a resounding no, we are not to. We are, all of us, human. We are, all of us, imperfect. Prejudice is evolutionarily implanted in our genes. We need to know The Tiger is a dangerous animal. We need not know that all tigers are not. Identifying the personalities of individual tigers does not serve our need to survive. Granted, it might make us more enlightened individuals and friends with some tigers, and I am all for that. I applaud that, but one must recognize that there is a tribal instinct in humans and it is at its base an instinct for survival. So accept that, mourn it, decry it, rail against it, but recognize it is a very human trait and have patience with it. Have compassion. Thank you and good night. "
― Charlie Kaufman , Antkind
56
" I WANDER THE film criticism district, formulating theories, grinding axes; it keeps me sane in these insane times to return to my roots, to praise those films and filmmakers worthy of an audience’s attention, to destroy those filmmakers who loose self-satisfied garbage onto the world. Consider Stranger Than Fiction, I say to my imagined lecture hall full of cinephiles: a wonderfully quirky film starring William Ferrell and the always adorkable Zooey Deschanel. The work done here by director Marc Forster (who directed the unfortunately misguided, misogynistic, and racistic Monster’s Ball) and screenwriter Zachary H. Elms is stellar in that all the metacinematic techniques work, its construction analogous to that of a fine Swiss watch (no accident that a wristwatch figures so prominently into the story!). Compare this to any mess written by Charlie Kaufman. Stranger Than Fiction is the film Kaufman would’ve written if he were able to plan and structure his work, rather than making it up as he goes along, throwing in half-baked concepts willy-nilly, using no criterion other than a hippy-dippy “that’d be cool, man.” Such a criterion might work if the person making that assessment had even a shred of humanism within his soul. Kaufman does not, and so he puts his characters through hellscapes with no hope of them achieving understanding or redemption. Will Ferrell learns to live fully in the course of Stranger Than Fiction. Dame Emily Thomson, who plays his “author,” learns her own lessons about compassion and the value and function of art. Had Kaufman written this film, it would have been a laundry list of “clever” ideas culminating in some unearned emotional brutality and a chain reaction of recursional activity wherein it is revealed that the author has an author who has an author who has an author who has an author, et chetera, thus leaving the audience depleted, depressed, and, most egregiously, cheated. What Kaufman does not understand is that such “high concepts” are not an end in themselves but an opportunity to explore actual mundane human issues. Kaufman is a monster, plain and simple, but a monster unaware of his staggering ineptitude (Dunning and Kruger could write a book about him!). Kaufman is Godzilla with dentures, Halloween’s Mike Myers with a rubber knife, Pennywise the Clown with contact dermatitis from living in a sewer. He is a pathetic— "
― Charlie Kaufman , Antkind
