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Except that if you actually read the link at all you'll see he said this more than 10 days ago on Jeff Goldsmith's Q&A podcast (which was likely recorded even earlier still), where he mentioned that he'd had an entire year to think about the idea, had rejected it initially and was only now warming to it as the vaguest of potential future possibilities.

I'd be more interested in a documentary about a filmmaker making a film for 15 years!

What we all don't realise is that Ellar Coltrane is actually 54 and Linklater has been filming him for years already. His youthful appearance during the publicity for the film was just an elaborate animatronic robot created to fool everybody.

Seriously though, I like the idea that we might possibly have another François Truffaut and Jean-Pierre Léaud style partnership going on. But that shouldn't be the type of film project that should ever be forced by a weight of expectations of when, when, when it will happen (it would probably destroy it, or result in imperfect, inauthentic-feeling films), more one that if it does ever happen gets received as a pleasant surprise!

A question that hopefully won't ignite too many passions: does anyone know how they assembled the soundtrack for this? The songs on the score seemed very of-the-time-when-the-scene-was-shot (particularly the Coldplay over the opening credits) so I'm curious to know if they were decisions made in the last couple years during post-production or at the time of production. They thankfully did a good job of not loading it with really on-the-nose Now! That's What I Call Music jams.

No idea, but I do think that they did a very good job of picking ubiquitous, perhaps even generation-defining songs that weren't also completely annoying. Which is no small feat!

A decent portion of the soundtrack came together just prior to release - an April fest screening featured OutKast, Daft Punk, and a few other needle drops that were eventually replaced (presumably due to licensing issues) in the theatrical edition.

There should be a second cut of this film with the kind of embarrassing music young teenagers actually listen to. Like OutKast.

swo17 wrote:No idea, but I do think that they did a very good job of picking ubiquitous, perhaps even generation-defining songs that weren't also completely annoying. Which is no small feat!

I definitely have to thank this movie for introducing me to Family of the Year's Hero.

In what world is OutKast embarrassing

AN ALL WHITE WORLD

Drucker wrote:AN ALL WHITE WORLD

Please reconsider this post....

Michael Kerpan wrote:

Drucker wrote:AN ALL WHITE WORLD

Please reconsider this post....

An all white world loves it when you don't get down.

It reminded me of Dazed & Confused which was almost 100% spot-on in choosing songs actually on the radio during the month the movie depicts.
This being said, I also felt Boyhood was less precise than that : if it starts well with Coldplay or Blink-182, the use of Arcade Fire's Deep Blue felt off-timed to me. I would expect the movie to end somewhere in 2013 but uses a 2007 song for the end credits ?

2010 song actually (about 1996), which still doesn't work. I really like Deep Blue though, and thought it was a good not-obvious choice from the band that tied into the themes about time passing. I give it a pass for being over the end credits and thus being sort of non-diegetic.

Anyway, I think the only super annoying ear-worm of death song I remember being in this was Soulja Boy. And I'm sure opinions may vary on that Gotye song.

Correct, 2007 was the year Arcade Fire put out Neon Bible (no relation to Toole's book). "Deep Blue" came from their third and IMHO best album. I think it's a great choice as Boyhood has a similar sensibility to that album - both are built around a middle-class suburban experience, and I believe the Butlers grew up in Texas as well. They both have one foot in the mainstream and another in their respective "indie" worlds.

And next to Public Enemy, OutKast is the greatest hip-hop group on record, ain't nothing embarrassing about that. Speakerboxx made them mainstream sensations, and it still stands as maybe 50-60 minutes of great music with a lot of filler on Dre's disc, but Stankonia is their best. It holds up as a masterpiece, unlike, say, Eminem's increasingly dated album from the same year.

domino harvey wrote:In what world is OutKast embarrassing

Ignore that, I somehow mixed them up with Korn.

I wrote too quickly and realised I mismatched Neon Bible and The Suburbs. But yeah, it still isn't spot on on the release date. This being said, I also think it works very well both in terms of mood and in terms of thematic.

In terms of pop music, 2013 is kind of wasteland. For something Mason would listen to - and I imagine he'd lean towards indie then - maybe Deerhunter? I always thought Monomania was a great record that for some reason didn't get the same level of attention as his previous albums.

I remember Linklater said about D&C soundtrack that he intentionally picked songs that were on the radio at the time, and not his own "deep-cuts" favorites in an effort to be more authentic, so I assume a similar consideration was in play here. Cranky old man bias here, but IMHO (as you kids say) the aughts sound absolutely dreadful.

Zot! wrote:I remember Linklater said about D&C soundtrack that he intentionally picked songs that were on the radio at the time, and not his own "deep-cuts" favorites in an effort to be more authentic, so I assume a similar consideration was in play here. Cranky old man bias here, but IMHO (as you kids say) the aughts sound absolutely dreadful.

Speaking of D&C, I re-watched it recently (I believe at the time Rick recorded his commentary, Mason and his family was dealing with ever alcoholic and even more abusive stepdad). This was why nothing about Boyhood - structurally, conceptually, thematically - really surprised me, right down to the whole notion of treating each moment as its own thing rather than as some "preamble to the future".

And yes, the 2000s - as far as pop music goes - was pretty terrible. 2010s is picking up slightly.

Boyhood always struck me as the apotheosis of Linklater's career, which is to say that the approach was never a departure from what he had done before. His previous films kind of build to this point, so for longtime fans, I can't imagine it having any real surprises, and for those who aren't fans, I can't imagine it becoming a revelation. That's not really a knock on the film - I think it's a masterpiece, but really a refinement, not a reinvention.

Also, I'd argue that the 2000's were a terrible time for mainstream music, but a lot of great music was being made, just more and more on small indie labels, transitioning into the current state of popular music. Still some bright moments at the top of the charts - first OutKast, than Kanye West - and from 2005 to 2007, we got great albums from LCD Soundsystem, The White Stripes, Spoon, MIA, TV on the Radio, Sleater-Kinney, Sufjan Stevens, Arcade Fire, Neko Case, The New Pornographers and many more. I know plenty of fans of Arctic Monkeys, the Hold Steady, Jenny Lewis/Riko Kiley, and anyone around Kanye West's orbit (Lupe Fiasco, Common) or Danger Mouse (Gnarls Barkley, etc.)

Members of the Boyhood cast on Instagram.

If that's all he's passed, then he still has a ways to go. Like, maybe he'll be done by the end of Manhood.

by swo17

I agree. Having passed 8 of the CAS actuarial exams, I concur that they are the most difficult barrier of entry of any profession. Yes, ANY profession.

Makes me want to see this now.

Having not attempted entry into any other profession, I completely agree with you.

Coming in October, no alternate cut

Criterion wrote:There has never been another movie like Boyhood

:-"