Grab a joint and revisit the 2007 cult classic, a masterful and still under-appreciated entry to the stoner comedy canon.
a sub-subgenre that likely didn’t have as much top-down support in that stretch of years between. It also has to do with the solid work from the movie’s supporting cast, which in addition to Lynch and Masterson also includes Adam Brody as a weed dealer with cringe-y white-boy dreads and John Krasinski as Brevin Erickson, Jane’s dweeby lovesick admirer. But’s MVP is irrefutably Faris, whose extraordinarily committed performance transcends stoner slapstick, turning Jane F.
too. She was the person that really popped and stole the show. I was so excited when she responded to the script.I personally am not a big stoner, but some really good friends of mine were big stoners. They used to sit around watching old movies all day with their bongs on the coffee table. When I read the script by Dylan Haggerty, I was struck by how authentic it was, how real it felt, and how much it described the way your brain works when you're stoned.
came out when I was 17, and really into getting high all the time. I remember appreciating it on that absurd laugh-out-loud level. Watching the movie as an adult, I find myself thinking more about Jane as a character, paying closer attention to her offbeat intelligence and deranged charisma. I have a lot of affection for her.
In your opinion, how does this movie relate to the rest of your work? There are some obvious thematic and aesthetic throughlines — text appearing on the screen, a twisted sense of humor, the highs and lows of life in Los Angeles., but I count it as one of my children. And stylistically it's very much of a piece with everything else. The script itself has had an influence on my work, too.
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