![]() ![]() And if you tried to describe all those things, I don’t think that would sell the movie. could ever accurately describe what’s happening at any given moment during this maximalist fantasia. No amount of description - alternate timelines, jumps, existential crises, moms, hot dog fingers, butt plugs, etc. The funny thing about that is that this movie is impossible to explain. So I want to ask: In your estimation, what accounts for that success? What about it grabbed people enough that they had to grab their friends? What’s the secret sauce? Why did you see it?Īlex Abad-Santos: Throughout EEAAO’s theatrical run, one of the big explanations of why it was doing so well was word of mouth - basically that people who saw the movie went and told everyone how great it was. That’s the way movies used to be, but few get that chance anymore. People who saw it liked it, and they grabbed their friends by the shoulders and yelled, “You too must see this!” and went back a second and maybe a third time to see it again. And those numbers tell a story - in this case, that the main ingredient in its success was word-of-mouth buzz. ![]() All that with a modest budget of around $25 million, and without a Marvel star or preexisting IP in sight. It opened modestly and never really exploded, but it played in theaters for months (which most movies don’t get to do these days) and ended up making a very healthy amount of money: over $70 million in the US, and over $100 million worldwide, the magic number that turns a movie from a “modest success” to a hit. Yet it really turned out to be the little movie that could. Maybe I’m just brain-poisoned from years of seeing only franchise films top the charts, but I thought this kooky, frenetic, big-hearted, wild-imagination film might be too much for audiences. everything.Īlissa Wilkinson: Everything Everywhere All at Once (EEAAO) turned out to be a bona fide sensation, and I confess I was a little surprised. Sometimes German humour gets hopelessly lost in translation.Why Everything Everywhere All at Once won. I hope we can now all apply ourselves to our vocation, namely music. Lücker in a personal letter has settled the matter for me. It appears to the viewers that I am saying these things about myself. Yesterday, an open letter was published on social networks, which prompts me to make the following correction: The heart of the matter is a Shred video, edited by Arno Lücker, which mixes a performance of mine with explicit words about genitalia, excrement, and sexual acts. Ich würde mir wünschen, dass wir uns nun alle dem widmen, was unser Beruf und Berufung ist: der Musik. ![]() Nach einer Entschuldigung durch Herrn Lücker in einem persönlichen Schreiben ist die Sache für mich nun geklärt. Dem Zuschauer erscheint es so, als ob ich diese Worte über mich selbst spreche. Gestern ist ein “offener Brief“ auf sozialen Netzwerken veröffentlicht worden, der folgende Richtigstellung veranlasst: Im Kern geht es um ein von Arno Lücker bearbeitetes Video („Shred“), das einem Moderations-Auftritt von mir eine andere als die originale Tonspur hinterlegt – und zwar explizite Worte über Genitalien, Exkremente und sexuelle Handlungen. Last night, Daniel Hope issued the following statement to Slipped Disc: A German music blogger, Moritz Eggert, took up the cudgels with an open letter to Hope. His supporters are linking his dismissal to the Hope incident. Then, on January 12, the Konzerthaus fired Lücker. Why they have just reached Berlin is a mystery, but I guess the Germans don’t always have to be first.ĭaniel Hope, seeing the shred video, was upset by the content and got his lawyer to issue a Trump-like cease and desist letter, threatening heavy penalties if the shred was not taken down. ![]() Shreds were all the rage three years ago. Lücker recently posted a musical shred video crossing a Daniel Hope performance with the snoozy-listening composer Ludovico Einaudi. German social media are abuzz with news of the firing of Arno Lücker, a curator and dramaturg at the Konzerthaus Berlin, connecting his dismissal to a recent confrontation with the violinist and conductor Daniel Hope, who has a series at the Konzerthaus. ![]()
0 Comments
Leave a Reply. |