busy buddies ( film )
the film title
busy buddies
is a play on
busybodies
.
busy buddies is the seventy - eighth columbia pictures short subject starring the three stooges .
busy buddies has a great ending and a somewhat interesting premise, but the humor is lacking and the film also lacks energy in its execution .
busy buddies is a 1956 animated short that is the 100th tom and jerry cartoon. it is such a disappointing episode .
you can watch this cartoon today on your computer. just click below to start viewing
busy buddies
online now .
posted in tom and jerry and tagged animated short films, busy buddies, cartoons, rating, reviews, tom and jerry .
moe: [ in total madness ] i' ll warden you, get busy .
busy america is never too busy to laugh! ... and movie - goers have been laughing at filmdom' s zaniest comedy team for ten years! (trade paper ad) .
i can' t hear pop goes the weasel without thinking of this film .
do you love busy buddies, or do you think it is the worst cartoon ever? let us know what you think! surely you have an opinion... so share what you think. take a minute and post your own comments about this cartoon here .
a scene featuring vernon dent and john merton as detectives was cut from the final film .
back to one podcast: keith poulson on developing as an actor in the ny indie film scene .
( for an explanation of what everyone does on a film set, read the sidebar article. )
this film was adapted in the three stooges # 6 comic book, st. john publications 1954 .
the short is a reworking of laurel & hardy' s feature film pardon us (1931) .
curly’s wife in the film is played by marcia healy, sister of their late boss ted healy .
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acresses judy malcolm and sethma williams appear in lobby cards, the one - sheet and publicity photos, but are nowhere in the film. jules white' s copy of the shooting script does not offer any clues as to their parts in the film. it is assumed that whatever their roles, those scenes were deleted from the final film .
jump in picture a noticeable jump cut in the film when curly crashes off - screen after yanking the phone wire .
leg / hand shaking during a wresting or boxing match, the third stooge' s leg or hand begins shaking. moe asks
are you nervous ?
, and the third stooge usually repsonds something like
no, only in that leg
. also used in: grips, grunts, and groans · busy buddies · fright night · hula - la - la · fling in the ring
' busy buddies' is a nice animated short where tom and jerry have to work together. the babysitter does nothing but talking on the phone to one of her friends while the baby keeps crawling away. tom and jerry have to make sure nothing happens to the baby. it' s a nice and pretty funny short. it is fun to see the cat and the mouse work together for a change .
digesting indigestibles the stooges mistake something else for real food (like a potholder for pancakes). after a while of having difficulties in trying to eat it, they end up coughing it back out non - stop. also used in: uncivil warriors · busy buddies · all gummed up · three hams on rye · baby sitters jitters · bubble trouble · wham - bam - slam! · commotion on the ocean
sometimes, film shoots are awful. directors lose control; producers are scoundrels; people have bad ideas and worse communication skills .
barbara pepper' s name appears on the one - sheet and lobby cards, but she does not appear in the film .
imdb lists this short as having premiered in portugal on october 25, 1943... a full month before the film even started shooting .
this was the final short in which curly cries out his famous
woo woo woo
. it was dubbed in as the film fades out .
“even though this film is so completely different from ‘the incredibles, ’ michael’s range is so great i just knew that he was the right guy for it, ” says bird. “this film is more whimsical than ‘the incredibles’ — a funny, romantic journey into paris — and michael did a tremendous job capturing that. ”
the song the stooges sing, known in the film as swinging the alphabet was originally composed by septimus winner and published in 1875 as the spelling bee. it was director charley chase who brought the song into this film, with a few tweaks. his maid had known the song and had taught the chase children how to sing it .
shooting schedule: 8 / 1 / 1940 - 8 / 5 / 1940. the film' s title is a spoof of the expression
beautiful but dumb
.
{ i love this film so much. it was one of the first hitchcock movies i watched back in 2012 and i agree with you, it... } –
comments john lasseter, chief creative officer walt disney and pixar animation studios and a two - time academy award® - winning director: “the idea of following one’s creative passion against all odds is one that brad bird cares deeply about. and it shows because he’s created an amazing film that’s deeply funny in an original way and has a real emotional core to it, which is so important to us. there’s a level of depth, complexity and humor to this film that i don’t think any pixar film has had before. ”
it' s funny but not in a set - piece or one - liner way. it' s busy but not in a plot development way. swanberg manages to fill the running time with moments that usually make the cutting room floor and still manages to drive the story forward. go see it .
a father (tommy lee jones, with susan sarandon) tries to solve his son' s murder in paul haggis' s film ,
in the valley of elah .
punch drunks is the only stooges film to credit the stooges for the story; moe actually wrote the treatment, and added curly' s and larry' s names to it .
for the 8mm home - movie market in the 1960' s. film historian and author ted okuda recalled a time when wgn television in chicago once broadcast this 9 minute version .
jump in picture a noticeable jump cut in the film when curly removes the poster section of the billboard. same thing later in the short right before the chair hits curly on the head .
hope that no one on a film set will ever again ask me where to get a ladder. (the answer is the grip department. the answer is always the grip department) .
throw away your trash. a film set is a sacred place where creative people engage with one another and make art. every bag of chips and empty coffee cup left behind is an act of disrespect to the art - making at hand. it is also a blemish on the film itself, as an errant water bottle, discovered too late, renders a great shot useless .
delayed response after larry says ã¢â‚¬å
it' s a good thing i had a spare boatã¢â‚¬, moe is supposed to respond ã¢â‚¬å
what spare boat? with this guy on the back? ã¢â‚¬ but he' s too busy helping curly in the boat, so a few seconds later, he finally says his line .
for most of his remarkably busy career—sixteen features in less than a decade— swanberg has worked mainly with actors who are at the beginning of their own careers, and his casting has proved as crucial to his own movies as to the cinema at large: he has given early major roles to such actors as greta gerwig, kate lyn sheil, and amy seimetz. now, with “drinking buddies, ” swanberg is working with experienced actors who have well - developed personae and who have already achieved a high level of success. swanberg’s conception of the movie depends greatly on his stars’ talents and radiance—even as he reveals hidden facets of their art that make for their stardom .
{ this sounds great. the only griffiths film that i have seen is broken blossoms. i have watched very few silent movies -'' sunrise'' is my favorite... } –
brandon tonner - connolly is the production designer of two sundance 2015 competition entries, unexpected and i smile back, as well as drinking buddies, about sunny and sticky notes. his other production credits include robot & frank, while we’re young, a. c. o. d. , choke, inside amy schumer and many more .
with those words, giacchino dove into the project, yet he found that even his creative process had to transform. “before i saw the film, i was thinking about it from a very practical point of view, but after i saw it, it became a very emotional process, ” he explains. “it was the scene at the end of the film where the food critic ego is giving his review made me say ‘wow, that’s what this story is about’ and that scene helped me to come up with the main theme for the score, which we also turned into a song for the film. ”
click here to read our summer 2018 issue, featuring interviews with madeline' s madeline director josephine decker, david leitner on the new cameras of 2018, our overview of film schools and more ...
says the film’s director, brad bird: “i think we all have impossible dreams and we do what we can to pursue them – and remy’s dream might be the ultimate impossible dream of them all. ”
enter the film’s in - house culinary consultant, michael warch, who was a professional chef before he entered the film business, and also worked as a manager for ratatouille’s sets and layout departments. “basically, i was always at the ready. the effects people would call me up and say we need to recreate the soup that remy fixes and i would go down and make the soup, ” explains warch .
yet, to contrast with the visual wildness of ratatouille’s madcap physical comedy, giacchino kept the focus of much of his score on subtlety. “it’s easy in animation to chase every single move, ” he notes. “but the thing i like most about film music is that the slightest thing can be suggestive. so i really tried to pull back and let the picture be the picture, just as if it were a live action film. ”
this is a very underrated curly film. i have seen this and towed in a hole w / laurel and hardy, and i am going to compare them. both films have funny gags, but i like it when the stooges are quick with them, rather than taking up half of the film to build them up like l & h. ; they have better pacing than the veteran duo, and this film is great. not as slapstickish as others, and the only slow part is the beach scene. i love the ending fishing segment before the stooges are almost blown out of the water. memorable scene: the hilarious fishing segment. rating: 3 1 / 2 starsbeatlemoe
filmed in 1960 and in color, the three stooges scrapbook was originally shot as a television pilot... it did not sell. all was not lost however, as the film was distributed to theaters in september of 1963 as
almost no violence takes place on screen, but there are times when “in the valley of elah” feels almost like a horror film. its steady crescendo of suspense builds toward the revelation — and vanquishing — of some unspeakable, monstrous evil .
behind - the - scenes 16mm home movie footage, in color, exists. the silent film materials were discovered in 2007 and feature the stooges, jules white and the actresses who portray the stooges girlfriends on set at the columbia ranch .
in my capsule review of the movie, i liken it to goethe’s novel “ elective affinities, ” from 1809, in which the marriage of a high - bourgeois couple is threatened by the arrival in the household of the husband’s best friend and the wife’s young protégée. goethe called his novel theoretical, and “drinking buddies” is, too, and swanberg works out his moral idea in a surprising way .
the characters in “drinking buddies” are hardly characters, in the way that they’re conceived in the era of highly - detailed, hyper - motivated tv dramas. they’ve got names, they’ve got occupations. they have almost no backstory and almost no psychology—but the performances, which are improvised in dialogue and gesture, render the characters both intensely, physically, tonally specific and give the characters a spotlit intensity of inner life .
classic curly calamities! the whole film is great, but nothing can beat the boy' s opening mayhem as
troubleshooters from the phone company
. extra kudos to bud and lorna. darn, i can' t think of a signature !
viewed from one angle — straight on, from the ground level of its busy plot — “in the valley of elah” might be mistaken for a tidy crime procedural. a retired military police officer named hank deerfield (played by tommy lee jones with his usual brisk, gruff economy) learns that his son mike (jonathan tucker), an army specialist recently returned from iraq, has gone awol from his base in new mexico .
calahan was seduced by the notion of giving the film the feeling of a perfect october day in france. “when we went to paris, it was sunny, but the light was so silvery and diffused and everything felt very soft and warm and inviting. that was the kind of overall quality i wanted for the movie, ” she says. “the film isn’t lit with a lot of heavy colored light and heavy colored shadows in the usual way because i really wanted to celebrate the local color. ”
some of waggoner’s favorite costumes are those of august gusteau himself, who was once a very robust man but has become a ghostly sprite. “we designed the clothes first for the living version of gusteau, then shrank them down to size for the sprite you see in the film, ” waggoner explains. “but we also wanted his clothing to be very sophisticated and highly tailored. there’s really no precedent for designing clothing for some of the body styles we have in the film, so that made it very interesting. ”
in a money - saving move, norman maurer devised a storyline which allowed the reuse of much of the footage from the first half of the pilot, and printed it in black & white for the feature film the three stooges in orbit (1962) .
curly: i' m getting sick and tired of making chips for you guys. i gotta get busy for my radio contest. [ sits down with moe and larry and prepares with pen and paper to write a slogan ] roses are red. and violets are blue. try stick fast glue…and you' ll be stuck to. i got it. oh boy! if i get the best slogan, i' ll make a lot of money. yaaahh !
remy’s dreams would never get a chance to come true if it weren’t for linguini, the lowly garbage boy at gusteau’s who discovers the rat’s talents and finds them changing his own fortunes. although they start out partnered together out of mutual desperation – linguini needing to hang onto his job and remy hoping to finally get his chance to work in a real live restaurant kitchen — remy and linguini slowly become buddies who learn they can truly count on one another .
this is a remake of the 1930 hal roach short the laurel and hardy murder case. two of the original cast members of the laurel and hardy film, dell henderson and fred kelsey, appear in this version, with kelsey reprising the exact same role from 15 years earlier .
as with all pixar films, the heart of ratatouille lies in the characters who – whether homo sapiens or genus rattus – bring their own unique personalities, quirks and passions to the story’s mix. their life - like natures and wonderfully familiar dilemmas – from family squabbles to job headaches to standing up for friends — are the result of a collaborative artistic effort that starts with a stellar voice cast and continues with the film’s cutting - edge animation, filled with a layered artistry that makes both the film’s animal and the human characters stand out creatively in the cg world .
the presence of an adult is interesting and i really liked that the duo teamed up here. of course that ending where the mischievous baby winks to the audience is the highlight and the film does have its moments, but given its premise, it should have been much better executed .
great short. all three are at the top of their game. so many of the standard stooge gags were first seen here which makes me think that the stooges should have gotten writing credits more often than they did. arthur houseman almost steals the film, though, as the timekeeper .
the misunderstanding implicit in all these statements is that the priority of the day is your time, your enjoyment, your feelings, your creative fulfillment or your education. instead, know this: every day on a job in film is an opportunity to prove that you deserve to come back tomorrow, nothing else. instead of asking yourself if you are having fun, ask yourself if you’ve done everything you can to help the film succeed. instead of asking yourself if something is worth your time, think about why it might be important to others. if you make yourself valuable, you will begin to be valued .
a film set is a uniquely judgmental place. everyone is relying on each other, so everyone is constantly evaluating whom they can rely on. it’s not enough to do the job, or even to do the job right. you have to do it right and look like a pro while you’re doing it .
re - review: the worst curly short. over half of this episode is reused footage. even though the
we put all the yeast in bit
is good, the rest of the film just drifts, especially the
so long mr. chumps
footage. overall, a very lousy short .
i thought this was a rather dull, uninvolving film. there was too much focus on one couple and not enough on the other. it' s no surprise that the distributor has essentially buried it - two cinemas in dublin giving it a single late show only. that' s usually not a good sign .
just as a film set is broken up into departments with specific responsibilities, departments are broken up into individuals with even more specific responsibilities. your department head has a million things to be concerned with, and their mind must be clear for high - level strategizing and communication. you are there to eliminate their concerns .
amidst the perils and pratfalls, the film also traverses through universal themes: the bonds of friendship and loyalty; the battle against family expectations and finding your own independence in spite of them; and most of all, the importance of being true to who you are, even if you’re not quite what anyone expects .
another key theme in the film is that of colette, which giacchino explains “surrounds the whole cooking process. ” he continues: “you hear it for the first time when colette is teaching linguini what to do in the kitchen and what he needs to know to be a great chef. then, it kind of changes throughout the film, depending on what’s going on. when linguini has to come up with an off - menu dish and remy starts improvising, that same theme is used in a much more improvisational way, the same way that remy is just going off the cuff and making up the recipe as he goes. the themes and the music constantly change with the story. ” skinner’s theme also shifts with his mercurial moods – starting out with a hipsterstyle french jazz theme that grows increasingly frenetic and orchestral as he loses control of the kitchen. “the theme starts out cool and suave and ends up a little insane, just like the character does in the film, ” laughs giacchino .
“drinking buddies” is a brilliant sleight - of - hand, which i mean in a positive way. most of the classic hollywood movies that we love—whichever they may be—are works of magnificent trickery, from the use of studio sets to the painted backdrops of cityscapes to the use of rear - screen projections and miniatures. though swanberg’s methods are resolutely naturalistic—he films actors on location, in places where any viewer could theoretically go—he projects the micro - crises of daily life with a big - time hollywood grandeur. it’s the second movie currently in release—the other is david lowery’s “
the rats of ratatouille might have an engaging realism, even humanism, to them, but they are also very much a part of a fairy tale – which becomes especially clear in the scenes in which remy controls linguini like his own chef marionette. for the filmmakers, the entire success of the film hung on getting the audience to believe in this fantastical and funny notion. “the animators worked it out so just the slightest tug of linguini’s hair creates a movement of his hand, ” says brad lewis. “it’s just so funny. this film has so much old school buster keaton physical humor, it has you laughing your pants off without a single word being uttered. ”
the original working title was three duds in the suds and was originally intended to be a two - reel version of laurel and hardy' s feature, pardon us (1930). the original script contains many gags used in the laurel and hardy film, including a reworking of the scene in prison school that appears in pardon us .
indeed, with its fast - and - furious comic pacing, its madcap antics and its painterly beauty, ratatouille features some of the most sophisticated visuals yet seen in a cg animated film, once again nudging the technical bar for animated filmmaking skyward. among the film’s many unique qualities is its locale — an ornately magical imagining of paris. then there is the food. not just any food, but the most delicious, scrumptious, artistically presented gourmet meals imaginable. all of which takes audiences into a realm of sublime visual delights previously unexplored in cg animation and helping to create an utterly authentic world in which audiences might even believe that a rat could be a chef in the kitchen .
it’s unlikely that a veteran m. p. , whose service covered at least some of the vietnam years, would entertain the illusion that all fighting men are boy scouts. but it is clear that hank has both a general fondness for soldiers and a father’s assumption that he knows his own son. that may be part of why the grisly nature of mike’s fate, and the possibility that some of his buddies were responsible for it, disturbs him so much. something, he suspects, has gone terribly wrong with the institutions and the men he has always loved and trusted .
in 1958, screen gems used a slightly edited version of this short as the pilot film to help sell the stooge comedies into television syndication. many stations did not return the print (which had a specially made title sequence) and it remained in the rotation of shorts for many years... turning up on wtbs as late as 1984 .
bird ultimately hopes the film will take audiences on a journey that keeps them constantly off guard, yet rooting for remy to achieve the seemingly impossible and save not only himself but his new friends at gusteau’s restaurant. sums up bird: “when you can get audiences to believe in something that might seem inherently unbelievable, that’s the real magic of movies. ”
for this sensitive underlying plot, some television stations pulled the film from their rotation. listen for emmett lynn to mumble the word
bastard
uring the scene where the stooges trade their car to the farmer for his run - down farm. it' s the last thing he says (under his breath) as he attempts to start the car .
the dining room at gusteau’s was equally important to the film’s whimsical look. it was inspired by an amalgam of several famous parisian restaurants, including guy savoy, taillevent, la tour d’argent and le train bleu, the beloved belle epoque dining spot in the gare de lyon railway station, as renowned for its grand, eclectic décor as for its classical cuisine .
when it came to finding the right music to fuel the manic action and subtle emotion of ratatouille, brad bird returned to the composer who had done such a bang - up job with “the incredibles”: michael giacchino, who conjured up a brassy, jazzy, percussive score that is as fun, fast - paced and french - themed as the film itself .
a hilarious short and the dogs were delightful! i always found it interesting that for all of the stooges' roughhouse antics, no gags were ever written in about the dogs getting hurt. i wonder how we got from there to movies like
there' s something about mary
where a dog in a bodycast is the main attraction to the film ?
the collaborative spirit between brad bird and giacchino is part of what spurred the two on to define a fresh sound for the film. “these two guys are basically able to read each other’s minds, ” observes producer brad lewis. “brad speaks in a visual language and michael speaks in a musical language, but somehow they find a way to intertwine them perfectly in the film. sometimes the music is subtle, sometimes it’s very broad and comic and michael has this great way of creating the right mood to go along with each moment in the story. he can get really grand and emotional, he can get really small and light, and he can get a little bit goofy, all of which we needed in this movie. ”
to his great credit, mr. haggis tries to coax an answer out of his story rather than imposing one on it from the start, as he did in “crash. ” that film, which owes its best - picture oscar to the dedication of its cast and the obviousness of its themes, turned racial intolerance into fodder for a self - righteous, schematic allegory .
with so many original characters and situations, ratatouille constantly inspired the filmmakers to push the technology to new limits. notes the film’s supervising technical director michael fong: “there were so many technical challenges to tackle on this film, starting with lots and lots of furry characters, as well as very complex human characters, intense water scenes with rapids and the recreation of the beloved city of paris. along the way, we significantly changed the way we shaded models, the way we light the scenes and the way we do cloth. we took technology from our previous films and found ways to make it even better. and all of this contributes to a really different, original look that audiences will experience along with all the fun of the story of ratatouille. ”
the parents go out and leave jeanie to look after the baby, but she is irresponsible and it is up to tom and jerry to do the task themselves. the plot is typical and the babysitter is such a clichéd female character. the problem here is that the film is just not funny and it is never particularly exciting. we’ve seen this before and nothing here is memorable .
back home, the entire team got into the act with a series of cooking classes, in which computer artists more used to clicking and tapping instead learned to slice and dice like the pros — gaining essential insight into tiny but vital details about how chefs hold a knife, chop an onion, stir a soup and interact with others in a wildly busy kitchen. the cooking classes provided lots of creative fodder – and even had some interesting side effects. “it kind of ruined me, ” laughs supervising animator mark walsh. “i used to be a top ramen, tuna - outof - the - can man and suddenly i realized how much more fun it is to make something really good! ”
swanberg' s opening scenes set the tone for this un - rom - com rom - com, using a handheld camera under harsh fluorescent lighting; it' s as if to doll it up, to shoot his actors in flattering light, would be disingenuous. while avoiding conventions, swanberg aims for familiarity: he knows that half the battle here is the audience recognising that they have been in a friendship that veered towards something else, enjoying its flirty nature and having fun ignoring it. that' s drinking buddies' charm, and it' s this that will hit home more than anything else. plus the ad - lib approach from wilde and johnson works a treat .
“drinking buddies” is a movie of sublime paradox: a quartet of actors—jake johnson, anna kendrick, ron livingston, and olivia wilde (who co - executive - produced) —play characters living in very ordinary circumstances, and they improvise their dialogue within situations that developed spontaneously in the course of the shoot. yet swanberg’s ideas—and he has always been a director of ideas—are so strong and clear that the actors realize them as if within the orienting pull of a magnetic field. i’d argue that the only reason swanberg’s earlier work hasn’t been recognized for its abstraction is that the intimate scale of the performances focusses attention on their personal element, and this movie is even more abstract in its conception than his prior work .
yet the technological achievements of the film are always in service to spinning an even more enveloping and laughter - filled tale that celebrates the challenges of being true to friends, family and the search to find real happiness in life. notes john lasseter: “these characters are so charming and so emotionally believable that the audience isn’t likely to even realize they are seeing new technology. you’re just too caught up in their story. ”
naturally, jessup started with an inspirational journey, along with director of photography / lighting sharon calahan, to france. “we were looking mainly at color, shapes and surfaces, ” jessup explains of their whirlwind trip. “it really inspired us to use a very different kind of a palette than ever before. we realized that much of paris has this kind of classical, stone quality that is then filled in with little accents of color. we’d see a woman walk by in a red coat and she would just sparkle against the gray background – and we wanted to get that in the film. that’s why the palette is more muted than any other pixar film. it was a little scary, because usually animated films are so outrageously colorful we were using colors more as accents, but i think the restraint of color can also make it much more powerful. ”
that space becomes the scene of all kinds of comic mayhem when remy enters it, which also challenged the film’s directors of photography. although remy loves to cook, a human kitchen is filled with dangers he has to avoid, from falling into pots to paddling through a sink filled with dishwater, which leads to much of the film’s physical comedy. says robert anderson, director of photography / camera: “a lot of times, the cameras are hustling just like the kitchen is hustling. in some scenes you’ve got remy cooking in his own world and the camera will start out graceful and flowing with the music as he prepares this amazing meal. and then suddenly, remy will be discovered in the kitchen and now the camera’s chasing after him, as people are throwing things at him and he’s almost getting run over and thrown into an oven. the camera is always right there with him. ”
the process started in paris, where the filmmakers’ “research” consisted of eating their way from one famous restaurant to the next, sampling the mouth - watering delights and peeking behind - the - scenes at the most creative kitchens in the world. “there was some concern that we might die of eating too much good food in too short a time, ” laughs bird. “but we really learned a lot that adds to the fun of the film. ”
the only clues he has are some jpegs his son e - mailed to him, the memory of a desperate late - night phone call from the war zone and some smeary, scrambled video recovered from mike’s cellphone. these hectic, unfocused clips stand in jarring, pointed contrast to the neatly composed frames and carefully paced shots that make up most of mr. haggis’s film, and they pose an agonizing challenge: how do you extract meaning from such chaos ?
it' s hard to believe that only their second columbia short is considered a classic today. but i guess that just goes to show how extraordinary the boys were. i like that larry also plays a significant role in this film, too. he' s not the star of the short, but watching him run in fast motion looking for anything playing
pop goes the weasel
cracks me up everytime .
i lost my ba - lance !
disney•pixar presents ratatouille, directed by brad bird, the film is produced by brad lewis and executive produced by john lasseter and andrew stanton. bringing to life a wide - ranging roster of memorable characters is a voice cast that includes popular stand - up comedian patton oswalt, golden globe® award - winner brian dennehy, emmy® award winner brad garrett, comic star and emmy® nominee janeane garofalo, academy award® nominee ian holm and the legendary 8 - time academy award® nominee peter o’toole .
from academy award® - winning director brad bird and the amazing storytellers at pixar animation studios comes ratatouille, the most original comedy of the summer about one of the most unlikely friendship’s imaginable. the film’s protagonist is a rat named remy who dares to dream the impossible dream of becoming a gourmet chef in a five - star french restaurant. together with a down - and - out garbage boy named linguini, the pair carves their own imaginative path to becoming the greatest chef in paris .
although many of the film’s locations are fanciful, jessup faithfully recreated several legendary landmarks, most notably the pont alexandre iii, the beautiful arched, lamp - lined bridge that spans the seine, where linguini and remy first form their reluctant partnership. “that’s really a low point emotionally for linguini and remy so brad wanted it to play out against the dramatic scenery by the seine with the soaring notre dame cathedral in the background, ” explains jessup. “we tried to recreate it very authentically. ”
an extraordinary current of pain runs through joe swanberg’s new romantic comedy, “drinking buddies, ” a deep melancholy that turns out to be the driving force of the action, which is the sustenance of the life of a couple—and the incommensurable gap between a member of a couple and a single person. there’s a stern morality at work in the movie, which begins with the irrepressible flirtation of two seemingly kindred souls—luke (jake johnson), who runs a chicago craft brewery, and kate (olivia wilde), the marketing director. they and their respective partners, jill (anna kendrick), a schoolteacher, and chris (ron livingston), a music producer, will soon learn that playtime is over, that couplehood is a vast but unstable edifice that can be shaken and even shattered—or, for that matter, defended valiantly by a single action .
yet, for waggoner who is as much an artist as a programmer, the real fun came in putting everything together into a dramatic big picture. “the primary challenge for me was really nailing the look, because brad likes things to appear both realistic and caricatured at the same time. so it was never just a case of scientifically studying the way different cloth moves and then entering in the numbers. instead, it was an overall subtle process of fitting every detail into the film’s overall aesthetic, ” she says .
eventually, keller would also voice the role of a restaurant patron in the film, but first he served as a dynamic guide into the world of culinary adventure for lewis. “brad wanted to see what a real kitchen looks like and feels like, the energy, the dynamic, how people work together and move around the kitchen – “the dance” as we call it in our restaurant” explains keller. “brad and his team also took a lot of video at the french laundry so they could study it and turn reality into animation. ”
so on the one hand, we have some of our talented in - house artists doing voices and on the other we have acting legends such as brian dennehy, ian holm and peter o’toole – yet they each bring something really specific and special to their roles. we also were lucky to cast patton oswalt, janeane garofalo and brad garrett, who are all gifted stand - up comedians. i think they give the film a special comic edge. in every case, the voice performers provided the animators with a creative turbo charge. ”
in weaving together the film’s many styles and tones, giacchino made a musical separation between the human and rodent worlds. “there’s certain instrumentation that i used a lot in the rat world, including a giant thumb piano that’s layered into the orchestration, and a lot of pizzicato strings, ” he says. “brad really loved the sound of the pizzicato strings for the rats, but again, there was no hard and fast rule. what was right for one scene with the rats might not be right for the next, so it is always changing. ”
bird was especially excited about injecting the film with wild twists and turns from nail - biting suspense to no - holds - barred comedy, from navigating the whitewater rapids of paris’s famously intricate sewers to the high - pressure hustle of a restaurant serving dinner with a critic in the house. “part of the joy of ratatouille is simply that it is so unpredictable, ” bird notes. “if we’ve done our job right, when you think it’s going left it goes right, and vice versa, hopefully all in a way that’s not only humorous but from the heart. ”
as for the theme that emerges between linguini and remy, giacchino says: “the buddy theme only really happens when they are working together. the prime example of it is when remy first learns how to control linguini – that’s the embodiment of their theme. then, it progresses into a very big, kind of heroic action cue at the end of the film when all the rats band together and linguini’s on his roller skates. it’s almost like a british world war ii theme because their friendship has evolved to the point where they’re going to get this done together. ”
as in an episode of “law & order, ” suspicion veers one way and then another as new information comes to light. was it drug dealers? gang members? soldiers from the young man’s own squad? was mike himself guilty of terrible things? paul haggis, the writer and director, obeys the rules of the whodunit genre by providing answers to some of the basic, literal questions at the center of the film. and considered strictly as a crime drama, “in the valley of elah” is a bit pedestrian, with a few too many set pieces, extraneous subplots and predictable turns .
bruce bennett appears as two different characters in the film. first as a truck driver at the beginning and later as the rock pile prison guard. during the rock pile scene, larry is placing rocks on curly' s head and moe swings down a sledge - hammer to bust the rocks. at one point, as larry places a rock on curly' s head, it appears that an ad - lib by curly (
hey! ... that' s a real one... i' m no fool! ! !
) causes both moe and larry to break character and smile
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already renowned for its pioneering work in cloth motion, the team at pixar went a step further with ratatouille by creating the most complex “wardrobe” ever for cg animated film. for a long time cloth was a sticking point in creating authentic - looking cg animation because clothing, by nature, isn’t static and the laws of physics – from gravity to friction – are subtly operating on it all the time. it was pixar that first opened up new possibilities for cloth with the life - like rumpled t - shirt in “monsters inc. ” and then made amazing breakthroughs with the array of credible, retro - futuristic clothing styles presented in “the incredibles. ”
producer brad lewis believes that brad bird was the perfect man to take on this mission of pushing the boundaries of animated comedy in the name of innovative storytelling – in part because of his remy - like refusal to believe anything is impossible. “brad bird is as intense and passionate as remy is in the film, ” lewis muses. “i’ve never seen someone so locked into what’s going to make a story work creatively and emotionally. he’s got these skills of perception where he always hones right in on what’s going to make things a little more natural, or a little more funny or a little more true. and he’s a genius with physical comedy. ”
warch worked throughout the film to assure the kind of authenticity that even the snobbiest gourmand would appreciate. this was especially true in gusteau’s kitchen. “the idea was always to create something that was stylized and fun but also true to a real french kitchen, ” he says. “we needed to have the right french copper pots, the right french knives, the correct sense of the workflow with the chefs always in perpetual motion – right down to the way the food is plated with the different types of sauces and the architectural presentation. we wanted anybody who has been behind the scenes of a great kitchen to say ‘wow, they really got it’! ”
the enchantment of ratatouille begins with the charm of the characters, developed by bird and jan pinkava, who first invented the film’s premise, and whose characters join the pixar pantheon with real and relatable inner lives. at the center of the tale’s emotional appeal are remy’s many different relationships – including those with the affectionate but flummoxed father who doesn’t understand the road he has chosen; with the ghost of the legendary french chef he has idolized all his life, despite their different species; and especially with linguini, with whom he forms an unusual symbiotic friendship based at first on their mutual desperation but which turns into something truly life - altering for both of them .
the new scenes actually have production values, so some of the time is taken up with reused footage. while that would normally knock any film down a couple notches, some of this short' s dialogue has become part of the american lexicon with
we all put the yeast in !
and
goiter !
surviving to this day. the goiter bit was used before but this is the one everyone remembers. the over - yeasted beer was done by keaton in the silent days but this is the one everyone remembers. and the bucket of sand is my favorite vernon dent scene ever. only the stooges could take a
nothing
short and make it seem worthwhile .
in some of the film’s most uproarious scenes, linguini lets remy literally control his own attempts at cooking. explains bird: “linguini is somebody who doesn’t like to attract attention and thanks to remy he gets a huge amount of it. he’s a great example of someone who thinks they aren’t anything special, but when the going gets tough, they find it within themselves to be amazing and do the right thing. ” character supervisor brian green admits he had another contemporary movie character in the back of his mind when it came to linguini – “i thought of him a little bit like napoleon dynamite; he’s appealing, he’s funny and somehow you can’t help but root for him, ” he says .
watching their new pets lead their daily lives also gave green and his team plenty of fun ideas and opened up new areas of exploration. “one of the things that became very important to the film is that we began to realize how squishy rats are. a rat can do all kind of amazing things with its body – they go through tiny holes you would think impossible or shrink into a little tiny ball because their rib cages are so small and flexible – and that was something that we knew would be a lot of fun inside the story. but first, we had to create special technology to simulate that and try to capture it in a way that was realistic, ” green explains.
busy buddies is the 78th short film released by columbia pictures in 1944 starring american slapstick comedy team the three stooges ( moe howard , larry fine and curly howard ) . the comedians released 190 short films for the studio between 1934 and 1959 . 
busy buddies is the 78th short film released by columbia pictures in 1944 starring american slapstick comedy team the three stooges (moe howard, larry fine and curly howard). the comedians released 190 short films for the studio between 1934 and 1959.
busy buddies is the 78th short film released by columbia pictures in 1944 starring american slapstick comedy team the three stooges (moe howard, larry fine and curly howard). the comedians released 190 short films for the studio between 1934 and 1959.