Like Crazy
Drake Doremus was inspired to make Like Crazy by the end of his eight-year long-distance relationship with Desiree Pappenscheller, who lived in London while Doremus lived in Los Angeles. Many elements of the film resemble their real-life relationship, such as frequent travelling between Los Angeles and London, trouble with American immigration laws, a brief marriage, a trip to Santa Catalina Island (where Jacob takes Anna in the early stages of their relationship), and the gift of a bracelet (in the film, a bracelet is given to Anna by Jacob).[3][1] The story was co-written by Ben York Jones, who had also been involved in long-distance relationships.[4] Together, they assembled a 50-page outline of the film which read more like a short story than a traditional screenplay.[5] The outline included backstory, plot points, specific scene objectives, themes and emotional moments, but had minimal dialogue.[5][6]
Like Crazy
I ask this as a male who brought some cynicism to my viewing. It may be love at first sight and Anna (Felicity Jones) may not have spent a lot of time with Jacob (Anton Yelchin), but she is deep and true and trusts her heart, and she wants to build a nest with this man. Jacob, however, feels sincerely for her, but what's required is loony love, not sincerity. If you're in love like crazy, you do what the situation requires.
Anna can't get into the United States. Jacob can get into London, but he can't move there because, you see, he designs and builds chairs, and his business is in Santa Monica. Say what? You can't design chairs in London? You wouldn't rather live in London with the girl you love than build chairs in Santa Monica? His chairs look ordinary to me. The one we see is a straight chair made of wood. We see him lovingly perfecting a sketch of it. Assemble a dozen second graders, assign them to draw a chair, merge their drawings into one, and they would look like a Jacob Chair. This guy is no Eames.
What am I arguing? That the movie requires a happy ending? It's not that it doesn't have one. It's more that the complications over the visa feel like a contrivance to separate them so we can share their loss. Since one of them, Jacob, is free to do something about that, we have two choices here: (1) they mourn sadly on two sides of the ocean, or (2) he bites the bullet, shuts up his shop and moves to London. That would open the way for authentic grown-up challenges, in which they find it can be harder to make sacrifices and live together than it is to suffer narcissistically while apart. As convincing as it is when it begins, "Like Crazy" tilts too much in the direction of a weepie and not enough in the direction of the facts of life.
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The economic lines are particularly zig-zaggy at the moment. Some, like the strong job market, point to continued growth in spending. Others, like the rising number of overdue car loans, point to a looming slowdown.
If you feel like you've intruded into someone else's relationship while watching this Sundance sensation, you're not alone; it's that intimate, that true. Director-writer Drake Doremus and his writing partner shared extensive outlines with the actors but allowed them to improvise their own dialogue through an intense rehearsal period, lending the entire enterprise surprising authenticity -- and deeper heartbreak. Thanks to Jones and Yelchin's prodigious talents, it really does feel like watching two people fall in love -- and, given the hindrances that viewers are made acutely aware of from the onset, we ache knowing they're choosing a very cobbled, potentially treacherous path.
What LIKE CRAZY does very well is capture the feeling of your first grown-up romance: how full of possibility it seems, as well as the impossibility of it. And how we plunge in headlong anyway, because what other choices do we really have? The impulsivity of youth has consequences here, but they don't feel forced or affected. You may question the motivations of some of Anna's and Jacob's decisions -- a plot point revolving around how they conduct themselves when they're away from each other is particularly confusing -- but we don't question the characters themselves. For a movie like this to work, that's supremely important. We root for them despite our hard-won wisdom. Isn't that the way it is with a love like this?
As an actress and occasional director Italo-French star Valeria Bruni Tedeschi (Slack Bay, A Castle in Italy) has made a career out of playing flinty and flighty women who are often way in over their heads. In Like Crazy (La pazza gioia), which reunites her with her Human Capital director, Paolo Virzi, she finally gets to play an actual crazy person locked up in an institution and the role both fits her like a glove and again reveals what makes Tedeschi such a fascinating performer.
In Los Angeles, Jacob and his British college collegue Anna fall in love with each other. Anna was supposed to return to the UK after graduation but she violates her student visa to stay with Jacob during the summer and because of that she was banned to enter in the US. They are madly in love. How a love like this can survive? That's what we see in this beautiful and heartbreaking little indie film.
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By working in this manner, Doremus created a film that is both timeless and universal, easily relatable to anyone who has loved and lost or, like the then-19-year-old me, never even experienced love at all. Despite the modest budget and simplicity of the story, Like Crazy still has the same impact as it did a decade ago. When scrolling Twitter or reading reviews of the film posted as recently as yesterday, audiences grapple with trying to grasp the appropriate words to explain why the themes and messages woven throughout the film matter so deeply to them.
When the film first came out, journalists were somewhat obsessed with it being a semi-autobiographical film and I believe you said to IndieWire that you were crying every day while writing and shooting it. Although your past films carry the same emotional weight, Like Crazy in particular always felt like a diary entry from you.
Which is interesting when we think about the film in regards to the pandemic because I know last May you posted about it being 10 years since you started making it and you were reflecting on that time. Obviously, the pandemic forced everyone to be away from their loved ones in a different way. What was it like to be revisiting those memories during the pandemic?
The montages you create are always some of my favourite parts of your films, like the bed scene in Like Crazy, the driving scene in Endings, Beginnings. Is that just a creative choice or something you feel really helps progress a movie such as Like Crazy in regards to the time that passes in the film?
For nearly three years, Bennett valiantly fought Pearson Syndrome, an extremely rare mitochondrial disease that affects multiple systems in the body. Despite all her endured, Bennett was a vibrant, happy boy. His smile and laughter were contagious. His bravery and resiliency were endless. Everyday, he love and was loved like crazy. The Love Like Crazy Foundation exists to show love in tangible ways to children and their families as they fight various medical challenges and to enhance and expand education and resources to the community regarding pediatric mitochondrial disease, especially Pearson Syndrome, as well as other complex illnesses. Simply put, the Love Like Crazy Foundation has three goals: Loving Families Sharing Knowledge Supporting Research
If you have read the hugely entertaining Crazy Rich Asians trilogy and are now craving an engaging read about the life of the rich and their glamorous lifestyles, this list of books like Crazy Rich Asians will take care of your TBR.
The Trope Namer is the "Weird Al" Yankovic car song "She Drives Like Crazy". Compare Driver Faces Passenger. See also Captain Crash, Dinky Drivers, The Trouble with Tickets, Car Meets House, Drunk Driver, and Kids Driving Cars. Often a cause of Watch the Paint Job or The Precious, Precious Car, or may be a reason someone Does Not Drive. If the driver is deliberately trying to kill someone with their driving skills, that's Car Fu. Someone in a Chase Scene or Wacky Racing can be excused for this sort of behavior, unless they're having far too much fun. If their car looks like a testament to their driving, pray for as smooth a ride as you can get.
Advertising Any of the old 1980s commercials featuring Vince and Larry the Crash Test Dummies (at least ones where they actually drive), and they don't wear seatbelts either (seeing as they're supposed to encourage you to wear them by acting like morons).
A Visa commercial has a Thai taxi driver pick up Pierce Brosnan and (assuming he's carrying the actual James Bond on a mission) fulfill this trope. As a tie-in to No Time to Die (when it was to be released in 2020), Heineken would do something similar with Daniel Craig in Spain.
In this South African car insurance ad, two old ladies are driving at high speed through town in a huge car, while people scream as they leap out of their path. After a while, Mavis, the passenger, says "Muriel, did you know you've just gone through a red light and over a roundabout and you haven't even slowed down?" Muriel looks at Mavis in surprise and replies, "Am I driving?"
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