Asteroid City (2023) - I Still Don't Understand the Play Scene | Movieclips
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- Опубликовано: 28 сен 2024
- Asteroid City - I Still Don't Understand the Play: Augie (Jason Schwartzman) searches for answers.
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FILM DESCRIPTION:
World-changing events spectacularly disrupt the itinerary of a Junior Stargazer/Space Cadet convention in an American desert town circa 1955.
CREDITS:
TM & © Focus Features (2023)
Cast: Adrien Brody, Bryan Cranston, Jason Schwartzman, Jeff Goldblum, Margot Robbie
Screenwriter: Roman Coppola, Wes Anderson
Director: Wes Anderson
Producer: Wes Anderson
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One of my favorite lines of all time will always be “I just need a breathe of fresh air - okay, but you won’t find one”
“Maybe there is one!” “Right, well, that’s my question…I still don’t understand the play” “doesn’t matter..just keep telling the story” is definitely up there with lines like that
I’m so glad someone has uploaded this scene. It’s what ties the whole movie together into such a unique film experience for me. Am I feeling emotional for the character of Augie finding closure for the death of his wife through a dream sequence; or am I emotional for the actor Jones Hall finding closure through the words of his dead lover Conrad through revisiting a scene that was ultimately deleted? Both are ultimately fictional yet it feels like Wes Anderson is asking us which one do you feel is the most real. Wonderfull film , if people are patient with a rewatch of it I hope they come to understand it better.
It’s the scene that turned this into my third fav movie this year
I’d never made the Augie/wife and Hall/Conrad connection before. Makes sense though, the parallelism. There’s always more to pace through with Asteroid City
very interesting but im not sure i buy the Hall/Conrad interpretation. before that scene the narrator tells us that their 'casting' meeting has become "the stuff of legend"--i.e. we don't know if we're actually seeing something that really happened between the two of them or if we're seeing it the way it's been turned into a legend over the years by fans etc. i lean toward the latter due to how surreal the entire scene is presented and how we never see even the subtlest hint of anything between them later on. and if that's the case yet another layer is added to the film--the way the genesis and production of a much-loved play and/or film can take on a sort of mythic status in the years that follow, and the line between reality and fiction becomes blurred. (or Hall is deliberately playing Conrad so that he'll get the part and finally escape obscurity--note how he did his homework and even brought Conrad's favorite "cool and delicious" ice cream to condition him.)
i feel pretty certain that this (incredible) scene between Augie and the "wife who played my actress" is about the actual story of loss of a spouse/mother that the play/film is conveying. but yeah, also about coming to terms with death in a broader sense.
what a scene, and what a film. virtually everyone i know either slept on it or mistook it for something it wasn't, but im 99% certain that a couple decades from now Asteroid City will be looked back on as WA's masterpiece and quite possibly his magnum opus. it's like his Inland Empire or Twin Peaks: The Return.
@@pgumshoe13 "The stuff of legend" as an expression in this context doesn't mean that something didn't happen. It means something later becomes famous and memorable enough to be constantly retold and talked about. (Aka, "Neil Armstrong's first walk on the moon would become the stuff of legend.")
I definitely read the Hall/Conrad meeting as happening as presented-in fact, it parallels the Mercedes Ford/Understudy scene that happens later (with a similar implied romance between those two actors). I didn't read anything calculated in Hall's approach, though, other than him having known and desperately admired Conrad from afar for a while, and being eager to impress him in his own eccentric way. It ends up working better than Hall could have hoped, of course, and lights the spark for them both.
More saliently, in my opinion we see echoes and marks of Hall mourning Conrad throughout his performance as Augie. We see the other actors acknowledge it too. Especially in the "use your grief" sequence between Jones Hall and Mercedes Ford, which teeters constantly between 'are the actors breaking character in this one moment, or just reading their lines?' (And then it ends with Hall burning his hand on the grill for real, on purpose, and Mercedes breaking character to exclaim "You really did it... that actually happened!")
My question is, why doubt that Hall could be mourning Conrad for real? For me, it makes certain aspects of the film just make more sense-not less. Hall's desperation to understand the play... It isn't just an actor lost in a work he doesn't fully get. It's someone performing the last work of his lover, and being afraid he's failing at it. Seeking reassurance that can only be given to him by Conrad... who is no longer there to give it to him. And being reassured, finally, by the actress of the dead wife speaking Conrad's own words to Hall: "Maybe I think you’ll need to replace me. Maybe I think you'll need to try. I'm not coming back, Augie."
And we, the audience, learn of how Conrad died in the scene immediately after those lines. It is an intentional placement.
@@smellingsaltsproductions8682 not saying i discount the interpretation that says the underlying (overarching?) story is that Hall is mourning Conrad, just saying i dont think it's as certain a thing as most fans of the film seem to think it is. ive watched the film many times and i just dont feel that subtext to the extent most ppl do. i could be wrong, maybe im right, i dunno.
what i do know is that Asteroid City is a masterpiece of cinema, and im pretty certain it will be looked back on a couple decades from now as the "stuff of legend", and likely as Anderson's magnum opus.
I love that they cut this scene from the play. They couldn't give Augie that closure. The whole thing is about him not knowing how to live without his wife. She can't just tell him what to do, he has to figure it out on his own. The movie is about loss, and death, and the unknown, and how we deal with it all. Here's this wonderful scene that tells us we won't know if we're doing it right we just have to keep going. Then there's this little string of closure dangled in front of us, that poignantly addresses all our concerns, and just like that it's gone.
This scene is obviously the key to the movie, but there's one detail in it that I noticed: the score repeats the delicate violin motif that plays as the alien is descending from its ship, but the motif doesn't play when the actress mentions the alien; it plays when she mentions Woodrow.
what is the significance of the motif playing when she mentions woodrow
@@HughDancy-l9e To me, it demonstrates that Woodrow is quite literally alienated from other people by his shyness and detachment.
When we first see the alien, we watch it descend from its ship, then we get a POV from its perspective, then we get a shot of Augie, which pans over to Woodrow looking at Augie (then back at the alien), suggesting that we were seeing the alien from Woodrow's perspective in the first place. Anderson likes these shot/reverse-shot setups, and this one reminds me of the jaguar shark scene from Life Aquatic - we see the shark from Zissou's perspective, then we see Zissou from the shark's perspective, then we get a medium shot of Zissou and we watch him grapple with what the jaguar shark means to him (death, artistic irrelevance, etc.). Similarly, I think Woodrow learns something about himself when he sees the alien ("the meaning of life; maybe there is one!").
What I like about the use of that motif in this scene is that it folds that relationship between Woodrow and the alien up into a higher dimension: with the distance of an author (for Wes Anderson) or an audience (for us), we can admit that Woodrow and the alien are similar (maybe even the same): possessed of unique insight into the nature of the universe, but also shy and foreign to us. Anderson's typical tenderness towards his adolescent male protagonists takes it one step further: maybe Woodrow is also Anderson himself (and maybe Anderson's using Asteroid City to grapple with his intellectualized detachment from real human emotions (which he's been ubiquitously parodied for)).
I could write an essay about pretty much any aspect of Asteroid City - it fractally rewards close watching.
@@digitdean you should write them! I enjoyed reading your explanation. It was very insightful, especially the shot analysis. I have such a hard time grasping Wes’ movies sometimes and would definitely love to read one on French Dispatch, Asteroid City, and Zissou.
@@HughDancy-l9e I'm very glad that you enjoyed it (I enjoyed writing it)! French Dispatch didn't grab me as forcefully as Asteroid City did, but it's so dense that I'm sure each of its (countless) stylistic decisions is as weighted with meaning as this one musical cue - I probably owe it a rewatch!
@@digitdeanif it's not too much to ask, what is your analysis of Midge/Mercedes?
It’s been sixteen weeks since I’ve seen this film and I’m madly in love with this scene. My dad and I have never been able to cry at funerals, and I’ve felt heartbroken and lost and not knowing anything, but unable to cry. Margot’s monologue is how it feels internally when my grief ends, even though I never uttered a sob.
2:02 "oh, its you. The wife who played my actresses." I love this movie
when i heard that, i had to loop that sveral times, pause, and tried to figure what the hell he meant
@@Wonton-the-Sea-Snail Can you explain it? I don't think I completely understand.
@@BraydonKlineStudios he messed up his words, he meant to say the actress that played his wife (might be due to nervousness or the character's confusion as how meta this movie has become). There was suppose to be a flashback scene where the photographer's wife was still alive and they hold a conversation, however that scene was cut and the character for the wife was removed completely except for a single photograph of her. The actor for the photographer wanted to go over that scene to see if there was some additional meaning the writer took out that could help him play his role better
I know, right? What a great line.
This scene moved me greatly. I know a lot of people in the comments say “it’s an incoherent mess” but it’s about presentation. The actor breaks character, realizing he’s been blindly following his interpretation, believing he doesn’t understand the writer’s. He’s told it doesn’t matter, that the character he plays is now following him, trying to be him. Then, in the sweetest reversal, it is not the character in the dream, but the actor. A step away from the “material” as showcased by leaving the stagedeck. And here he stands, playing out the scene they cut, with the actress they cut, which allows the actor to find new meaning in the character. And so the mask becomes the man.
Imagine watching this and thinking this movie deserved zero awards nominations.
It's a late bloomer.
@@cifeyit came out before most of the nominated films though
@@smittyjjensin558not sure if you get the joke or not, but it’s a reference to the movie mentioning that Woodrow is a late bloomer
Sorry if you got that already
In a bittersweet irony, Wes Anderson finally did end up winning his first ever Oscar in the very same year as this film came out. Just a couple of months after this movie's release, 4 short films he directed based on Roald Dahl stories released on Netflix, and one of them (THE WONDERFUL STORY OF HENRY SUGAR) got Wes an Oscar for Best Live Action Short.
So I clicked on this for kicks, realized it was a Wes Anderson movie because of the filming, and then felt like I witnessed a really tender moment between two divorced lovers, but I didn't have the context of the entire scene, so I walked away feeling quite eerie, but nostalgic at the same time.
The characters are actors, and throughout the film Jason’s character has been grieving over the unexpected death of the writer while also trying to figure out the emotions of his character, ironically a widow.
He steps outside for some fresh air, and she was supposed to be the wife, and in a way it’s kind of a farewell scene from the playwright saying “l love you.” It’s definitely a movie you have to rewatch a couple of times, but it capture beautifully the confusing nature that is Grief.
I’m pretty sure this is or represents his dead wife and mother of his kids
Watch the movie its amazing
It’s such an interesting scene because he’s looking to find any meaning from his dead lover. He’s talking to a woman who is in some way *supposed* to be linked to him but of course the only way they’re connected is through the characters they play and as people they have no connection to each other.
@@greenf77 This is the actress who was meant to play Augie’s dead wife (but she got cut from the play). But this is not Augie she’s talking to; it’s Jones, the actor playing Augie. He has his own grief: the death of the playwright, who was his lover.
Hands down the best scene of the movie.
This scene redeemed the whole movie, “I’m not coming back Augie..”
Not knowing ”how to play the part” clearly reflects how we awkwardly play a part at a love one’s funeral. Shell shocked like Augie but soldering on.
Correct. Everything in the film led up to this.
I’d give her the best supporting actress Oscar for just this scene honestly
"I still dont understand the play."
"It doesnt matter, just keep telling the story. Youre doing him right."
The real conversation between the screenwriter and Wes Anderson on this film
I couldn’t help but think of my dad during this scene. RIP dad, love you forever.
My thoughts were that Wes had something he wanted to say, couldn't put it into words to explain, made this whole movie, then still couldn't explain what it was. Just that he had to finish this strange thought.
To me, this scene and the line 'The wife who played my actresses.' is a cute twist to show the one of the biggest theme in the movie. "You can't separate the actor and the role but they're not same one person."
This is such a stunning scene. Completely makes the movie for me.
This movie is a multi-leveled masterpiece that keeps going forward and back, with millions of little pieces of detail.... it's magnificent...
Don't we wish we could all pause life sometimes and just stop playing our roles and take a moment to get some clarity?
I kind of see these as two separate scenes. His conversation with Schubert is everything to me. To me, it's just about life. We're all trying. None of us knows what we're doing or what's going to happen. "Just keep telling the story." So perfect.
But then ... it's almost like he goes on a little journey and meets guides who can help him understand, but the guides are the divorced man living behind stage and the actress who played his wife in a cut scene.
And they're both emulating their characters. Him being kind of confused and lost. Her being so wise and gracious and well-composed. I can't pin down why we are receiving the story this way instead of having the scene play out as they described it in the movie, except, it feels like something that might happen on a snowy night in between takes.
Someone goes looking for something--guidance, clarity--and happens to run into exactly the person they need to hear it from.
I try to wrap my head around why Wes is telling two stories at all, why all this background information about the play and the actors, but then that's kind of the whole point of the movie to me. The facade of life and the roles we play, and how the mundane isn't mundane at all.
I didn't even recognize it was Margot Robbie in the theater. She's such an amazing actress
I took this scene to be asking a question that breaks the fourth wall, as evidenced by him looking directly at the camera when he asks, "Am I doing him right?"
That's a question a lot of people could ask when they step out of this play we're all stuck in.
This right here is the whole point of the movie in my opinion.
Two key lines
1. "Am I doing him right" (emphasized by looking straight at the Audience) and
2. "I still don't understand this Play" (repeated twice at 2 key points for emphasis).
Those two lines communicate clearly Wes Anderson's opinion on Absurdism.
For me “Am I doing him right?” has a double meaning but a different one.
Of course the first meaning is “am I playing Augie in a way that beat represents him” but the second is “am I honoring Conrad Earp’s memory with this performance?” and him is Conrad
@@MicoDossun Augie's character is supposed to act lost/confused in the world while dealing with grief. When the director says "you're doing him just right -- in fact, [...] he (Augie) became you" -- which means the actor was so into his character that he became as wounded, lost and confused as Augie, which leads him to ask "Am I doing him right?". This also shows the thin line for actor between acting and reality -- sometimes actors get so much into their characters that they kind of learn/grow/become them.
I was very surprised by the enormous cast this movie has.
Jason Schwartzman, Tom Hanks, Margot Robbie, Willem Dafoe, Edward Norton, Tilda Swinton, Steve Carrell, Matt Dillon, Bryan Cranston and Jeff Goldblum.
Wes Anderson really knows how to direct them.
Ok I missed Jeff Goldblum...
Scarlett Johanson
This is one of the coolest and best directed scenes of Wes Anderson’s career. It’s a very motivating scene with a unique twist.
This movie not getting any oscar nominations is the biggest crime of existence
The ultimate irony is that the director of this movie (Wes Anderson) still ended up winning his first ever Oscar anyway in the same year. Wes won Best Live Action Short for THE WONDERFUL STORY OF HENRY SUGAR, which was part of a collection 4 short films based on Roald Dahl stories he directed for Netflix and released just a couple of months after this film.
Augie를 연기한 배우가 원인도 모른 채 마음아파 했던 것은 사실 아내를 잃었으나 그녀와 제대로 작별인사도 하지 못한 Augie의 후회와 아쉬움에서 비롯된 것이었죠.
그러다 그는 발코니 건너편에서 우연히 아내를 연기한 여자를 만나고, 그녀와 함께 미처 극중에 싣지 못한 작별인사 씬을 회상합니다. 이렇게 그녀와 작별인사 씬을 추억함으로써 비로소 그는 아내를 잃은 상실감을 극복하게 되죠.
그러나 감독이 진정 따뜻한 위로를 건내주고자 하는 대상은 나아가 영화를 보고 있는 관객들인 것 같습니다.
우리들 중에서도 소중한 사람과 작별인사도 못한 채 이별해버린 아픔과 아쉬움을 간직한 사람들이 있을 테니까요. 그들에게 영화의 형식으로나마 작별인사를 할 기회를 만들어주는 것 아닐까요?
I had to watch the movie a few times to understand it...
This movie wasn't liked by critics, probably because its not easy to review. I think only Wes Anderson fans will be patient with it.
That's just not true lol. The film was by liked by critics, far more than it was by audiences.
@@Lamidemonami7891 lol, you wrong... IMDb gave it 6,6/10 and 76% on rotten tomatoes.
@@mircagardenman7629 IMDb are not critics. 76% on RT literally proves my point; 76% of critics thought the film was good. A better metric is Metacritic, which Asteroid City as an impressive 75 on.
Don’t try to keep arguing this, you’re out of your depth.
Wes Anderson movies are so pretentious and boring
@@Gorfan_Lee stop throwing around the word pretentious when you clearly don’t understand what it means
This is the dream. The "making of" parts and Bryan Cranston's TV production are the bewildering, bedazzling celestial mystery that Conrad Earp keeps mentioning. "I Don't know what the play is about," is a psychic scream about how life makes no sense, and so Augie has dreamt his life as a production of a play. This gives him the emotional distance to feel his feelings of loss as someone else. Someone who is pretending. Hence how he sees the "wife who plays his actress."
I could go on and on but that is the throughline. This is the dream. And it matters because you can't wake up if you don't fall asleep.
I cant tell you how many times I’ve watched this clip, (COUNTLESS. It is TIMELESS.)
But every time is the same reaction/emotion.. 🥺 Margot 4EVR. ThankU Wes. 🙏🏻
such an amazing, emotional film.
I feel sorry for Augie.
Never noticed the snow starting to fall at the end until now...
This is a very intuitive movie that hits a lot of feelings around the masks we wear, how we process grief, and how we handle tragedy and unexplainable phenomena. I think people are trying to hard to draw 1:1 metaphors or analogues to find what it’s saying but if you just stop thinking and allow the movie to take you it will make you feel exactly what you need to feel.
This particular scene feels like it is commenting on the real emotions actors bring to a part and how the emotions you see and interpret as from the character are often times actual emotions that the actor is accessing from their life. And you are seeing a part of them in this fiction they are portraying. The scene also makes me think about disassociation in grief and the weakness of memory in our grieving and processing.
"I'm not coming back Augie"
My favorite movie I was able to watch this summer, shame some critics say this was one of the worst films of this year. I feel that spot is more reserved for some other films *cough* marvel *cough, cough Disney *cough cough cough*
Correct, quite right.
Crying like a baby in the theater
I think hes shy..
The Academy, as in Academy Awards, has made so many mistakes at this point it's like the blind leading the blind. I no longer pay a bit of attention to those fools.
if I accept that there is a play with performers acting out parts in full color then I can think of the black and white sequences as stepping out of that context. One might think that this is just back stage and the characters are really there. I may not be following but I thought the actress on the opposite balcony was the dead wife. If that is true that suggests that the black and white sequences may exist in the mind of the main character but in a back stage dream like sequence. The interactions and the dialogue the sub conscious mind deliberating over the anxiety taking place as the main character acts out his scenes. Are we to get out of this a message about the human condition and the constant anxiety, doubts and regrets or the search for real meaning? Is this Wes sharing with us his own journey through the main character or even his experiences with actors in films he makes with this having more of a presence.
Did anyone notice or it might be the most obvious thing ever, but at 3:57 if you look down at the people you notice there not moving (i think there props), and I'm pretty sure it's apart of the set in the set of the movie, Idk there might be meaning but I'm clearly not getting it. I Love this movie:)
That’s such a cool detail!
i still don't understand the play!
Margot Robbie in the one scene in “Asteroid City”.
After reading several, but not all, of the comments one thing is clear. There are a lot of people who really like this movie. I am not one of them. It reeks of self-indulgence. Lacking in any real cohesive narrative it ALMOST makes Tree of Life look straightforward. No real story, just a bunch of events that happen. It was very nice to look at and I will always remember it for introducing me to Last Train to San Fernando.
That’s life dude, this was more of a homage/thank you to acting/theater first and existentialism symbolism second with some beautiful shots and editing. Sucks you don’t like it
This movie feels like a competent 2 acts without a third one to tie it together, didn't really like it that much because of that.
Somebody arrest Robbie. She stole Amsterdam, and she's stealing this one.
Should we arrest Ryan Gosling and America Ferrera for stealing “Barbie”?
Yes
I feel embarrassed for all those actors… Good actors, stuck in nonsense…
I hope she does more roles like Amsterdam
@@craigledger4645 I think that was just greta gerwig tbh
I really didn’t care for the play background framing device, pretty much anytime they went to black and white…except for THIS SCENE. I don’t know why but it really affected me in the theater and was almost worth the incoherent rest of this subplot
Maybe it wasn’t so incoherent.
@@GuppyPupplesmaybe there is one!
@@tylerbraud5960Just keep looking. You’re doing it right.
It’s not a subplot, if anything the play is a subplot
@@MicoDossunnot sure if this guy realized the color part is the play and the black and white part is real life.
They should have had the understudy go on for one act. That would have been fun.
My wife, a very smart woman, decided we needed to bail on this self-indulgent nonsense about 60% in.
Hey can you guys grab us some clips from teenage kraken?
What an amazing movie. Adrian Brody always kills it.
😢 this scene my God I could right and essay
The whole movie is about how the kids who lived during the age of nuclear anxiety and golden age of sci fi would end up inventing modern Hollywood blockbusters: Spielberg，Lucas, Cameron.
Don’t worry, I don’t understand it either… I think the whole movie is not understandable nor of value… Oh, Wes Anderson… if only you could get back to the understanding of human relations that you demonstrated in “Moonlight Kingdom“…
Now you’re stuck on this inscrutable cuteness… I couldn’t wait to get out of the movie theater…🤦♂️😳👎
Which part do you not understand? I’ll answer some questions if I can
he's moved on from anything resembling human emotion, sadly. this and french dispatch really missed the mark.
@@RB-.-how did this miss the mark. This scene ties it all together really.
He looks at us when he says "Am i doing it right"
Then he says i still don't understand the play to which he's told it's not important what is is to keep telling the story.
I think it's Wes Anderson's way of saying perhaps there is a meaning to life. Perhaps there is a deeper meaning to the alien (who Goldblum confirms is a metaphor but isn't sure for what).
What really matters is just keep telling the story.
@@e-ben616funny i keep seeing people say that the point is "keep telling the story" yet they cant explain why , ellaborate it better
hahaha thats his weakest movie...