|SUICIDE SQUADJAMES GUNNDAVID AYERREINVENT|
With large swathes of the population sitting at home, audiences have a chance to catch up on films that were released years ago and find new insights into their narrative. Recently, a fan who had been watching Suicide Squad with his family reached out to the film's director David Ayer to ask about the meaning behind the scene where the Joker is lying in the middle of a room lined with a circle of knives, guns, and baby clothes. Denying that the baby onesies were trophies after an infanticide spree on the part of the cackling psychopath, Ayer provided the following explanation for the scene instead.'No it's more innocent. Harley wanted a normal family with Joker hence the baby in her vision. I figured she would have endlessly pestered Mr. J about having a kid. So he had Mr. Frost buy some onesies. The circle represents how he sees Harley.'
The scene under discussion comes up early in the story. Harley Quinn, played by Margot Robbie, is locked up in Arkham, and we see Joker, played by Jared Leto, in his mansion mourning her absence. He has also shown to have drawn a grin across his face using a sharpie, which according to David Ayer, is because...'He was having a hard time smiling without Harley so gave himself some help with a sharpie.'
This introduction sets up the fact that this Joker is unlike any other live-action portrayal of the supervillain as a man who is missing his demon lover. The onesies we see lined up on the floor next to the Joker later make an appearance in the scene where the Enchantress offers Harley her heart's desire, and she imagines a life of domestic bliss with her beloved Mistah J, with their babies wearing the onesies.
How the circle of knives represents Harley in the mind of the Joker is up for debate. Perhaps he fears that his affection for Harley makes her dangerous to him, and thus views her as a circle of knives drawing closer, threatening to destroy him.
This sentiment of Joker being attracted towards Harley and simultaneously hating the fact that she has made him care for her is also played out in the scene where Harley willingly throws herself into a pit of acid on Joker's command. After trying to walk away from the whole thing, Joker almost unwillingly jumps in after her and rescues her, proving that she means more to him than he can bring himself to admit.
From his explanation, it is clear that Ayer had a solid backstory and reasoning behind the script for Suicide Squad, which unfortunately did not translate very well to the big screen. But now that James Gunn has taken over directorial duties on the sequel, there is a chance to see a Suicide Squad film that gets critical acclaim in addition to minting money at the box office. David Ayer on Twitter brings us this news.
Most of us are looking to kill some time right now, what with being cooped up in the house and all. What better way to do that than to watch one of the most beloved movies in the Marvel Cinematic Universe with the director that brought it to life? Those who enjoy 2014's Guardians of the Galaxy will have the chance to do just that tonight, as James Gunn is attending an online watch party for his first MCU entry.
The folks at Comicbook.com have been hosting a #QuarantineWatchParty series during this period of self-isolation and social distancing. During some of these events, filmmakers who helped make the movies have joined in to share insight about the movies. James Gunn, taking to Twitter, recently revealed that he will be attending the Guardians of the Galaxy watch party. Here's what he had to say.'Okay I'll make it to this #GotG #QuarantineWatchParty tomorrow night at 9 pm EST.'
Guardians of the Galaxy marked a major turning point in the MCU. Up to that point, Marvel Studios had largely played it safe with characters that were at least semi-popular or well known to comic book readers. Even the most devoted comic fans were, at best, tangentially familiar with this obscure group prior to the movie. That makes what James Gunn did all the more impressive, as he turned a rag-tag group of aliens, led by a human named Star-Lord, along with a talking tree and raccoon, and turned it into one of the most surprising blockbusters of the last decade. It also expanded the scope of what the MCU could be and helped pave the way for movies like Doctor Strange and Black Panther. It also led to a sequel, 2017's Guardians of the Galaxy Vol. 2.
With that, having James Gunn watch along and share insight about the movie sounds like a solid way to kill a couple of hours. Who knows? Maybe someone will finally find the one, big elusive Easter egg that hasn't been discovered yet. James Gunn, meanwhile is currently busy working on The Suicide Squad for Warner Bros., which wrapped filming before the widespread production shutdown went into effect. After he's done with the DC universe, he'll be heading back over to Marvel to work on Guardians of the Galaxy Vol. 3, which will be part of Phase 5 of the MCU.
Guardians of the Galaxy was a massive box office hit, grossing $772 million and earning high praise from critics upon release. To this day, it is consistently ranked as one of the best MCU movies to date. Those who wish to attend the #QuarantineWatchParty simply need to push play on a copy of the movie, be it a physical or digital one, at 9 p.m. EST. The movie is also available to stream on Disney+. For more information, head on over to Comicbook.com.
David Ayer does not make light movies. Ayer’s name is most known to mainstream audiences for Suicide Squad and Bright, but his filmography is mostly hard-hitting crime thrillers. Harsh Times, Street Kings, and End of Watch – they’re Los Angeles crime movies with plenty of brutality, believability, and attention to detail. They feel legitimate, perhaps partly because Ayer is a longtime resident of Los Angeles, having moved to South Central in the ’80s.
This year, there are two more projects from Ayer set in L.A, starting with Fox’s new drama, Deputy. The Stephen Dorff-led cop series is executive produced by Ayer, who directed the pilot and another episode. While the network drama is not as brutal as Ayer’s crime movies, the story, character, and world are very familiar to him. Sometime in 2020, we’ll see another L.A. crime movie from the filmmaker, called The Tax Collector, which he confirmed will hit VOD. The director also told us about his experiences in Los Angeles, working in television versus film, dealing with creative differences, and working with movie stars.
You’ve portrayed law enforcement many times throughout your career. What’s the difference depicting law enforcement now in 2020 than, say, 10, 15 years ago?
I think it’s a changing world. I think the cops are more reflective of the community they police now. I think there’s definitely the awareness of any decision you make is going to be viral in two seconds. I think the climates and variance of law enforcement in general, it kind of makes the job harder, but I also think they’re looking a lot at themselves in their culture and making a lot of positive change.
You’ve depicted Los Angeles many times. When did you first move out here?
Oh, man. It was before the Olympics. That was a lot of fun.
How was it? Was it an exciting or interesting time?
Boy, I was living in South Central, just became my world, I guess. I just kind of got absorbed into it, and then I was close to downtown, so I was always in downtown, real wild. East LA and South LA, it’s always been where I feel at home.
The last time you shot city for Bright they were tearing down so many buildings and locations. You saw a lot of changes, including even some gentrification around skid row. What did you notice this time shooting L.A. for Sherrif?
It’s hard to find anything that really looks like iconic LA. So many new apartment buildings. So much stuff is getting torn down like… The roller derby rink is gone and it’s new apartments. It’s old restaurants that have been around forever, gone, shuttered. So you’re seeing the switch from family-owned businesses and neighborhood people to just a lot of people from out of town and in...
There have been so many riffs on the “Groundhog Day” formula that it can sometimes feel like the movies themselves are stuck in an endless time loop, but each subsequent iteration has tweaked the original in some way. “50 First Dates” stripped away the unexplainable metaphysics of it all for a romantic comedy that was equal parts Adam Sandler and Oliver Sacks. “Edge of Tomorrow” added aliens, Tom Cruise, and “Gears of War” cosplay to the mix. “Before I Fall” applied Harold Ramis' concept to teen anxieties, “Happy Death Day” added a horror twist, “Russian Doll” revitalized it with an episodic approach what a concept!, etcetera etcetera ad infinitum.
And yet, despite “Groundhog Day” becoming a genre unto itself, Max Barbakow's witty and wise “Palm Springs” is the first movie that doesn't just apply that old formula to a new problem, but also fundamentally alters the basics of the equation. It's a simple adjustment, and yet the difference feels as radical and transformative as pouring milk into a bowl of cereal, or adding Waluigi to “Mario Tennis” there had been plenty of tennis games before, but holy shit. What if, instead of relegating one person to a cyclical purgatory they're forced to repeat over and over until they learn the error of their ways, you relegated two people to the same pocket of the Twilight Zone?
Oh SNAP. The mind boggles at the implications! Imagine spending the rest of your meaningless existence with the same person. Imagine being stuck in a perpetually static purgatory where meaningful change can only be seen through the eyes of the sad bastard suffering alongside you. Imagine being surrounded by a million strangers in a world of limitless possibilities, and winding up with the same one every night because of one fateful choice that seemed like a good idea a million years ago. Imagine... being married.
But Nyles Andy Samberg, doing great sad boy Andy Samberg stuff and Sarah Cristin Millioti, a delightful force of comic violence aren't married — they don't even know each other — and the ridiculously bleak desert wedding where they first meet wouldn't make anyone want to rush down the aisle. Nyles is there with Misty Meredith Hagner, his sociopathic Instagram model of a girlfriend. He despises her, and she doesn't think about him at all, but who can tolerate being alone? A little misery might be worth a reliable wedding day. But Misty isn't the reason why Nyles is depressed “we're all just lost” he mopes to anyone within earshot, or why Samberg exudes a disaffected Bill Murray vibe even before the premise reveals itself. That might have more to do with the fact that he's woken up at this wedding a million times before, and he's running out of ways to...