![]() ![]() On screen “Afro Bot” is made by Robert’s friend Miles (Miles Emanuel), who Robert treats as a hanger-on. There’s a bit of personal anthropology spread throughout “Funny Pages.” Not only did Kline recruit elders he admired, he used one of his childhood friends’ mini comics in the movie. In some shots, Kline would film his own hand as Robert’s inking. For some of the pieces that feature characters in the film, Ryan would send Kline scanned versions of different stages of the drawing process, so the director could recreate it on screen. But then Kline called him up again with more specific requests based on characters that were in the film, including two sweaty older men who Robert moves in with in Trenton, New Jersey. Ryan drew the random assortment of fucked up drawings for Robert’s portfolio around four years ago when he didn’t hear back from Kline, he assumed the project had been scrapped. It was Josh who sent him an early version of the script. Though Ryan knew of Kline from when he was just a kid, he also had a relationship with “Funny Pages” producers Josh and Benny Safdie. “It’s not the type of thing I like to draw or the way I like to draw.” “It definitely wasn’t an ideal situation,” Ryan says. “I was feeling like, this kid is basically me.” The one time Kline asked Ryan to diverge from his style was when he asked him to recreate a page from an Image Comics superhero book worked on by Wallace (Matthew Maher), the former color separatist who reluctantly agrees to teach Robert after Mr. “Owen was like, ‘I want you to draw like you,’” he says. (According to Kline, Ryan identified him as “the guy that jerks off in that movie,” referring to Kline’s childhood role in Noah Baumbach’s “The Squid and the Whale.”) Ryan didn’t feel like he had to alter his aesthetic in any way to draw for Robert. Ryan reconnected with Kline prior to “Funny Pages,” when the latter stopped by a signing at Desert Island Comics in Williamsburg. Katano (Stephen Adly Guirgis), and Ryan’s style would be a better fit for Robert. Kline decided that Altergott would provide the drawings for Robert’s teacher, Mr. “It’s sort of between cartooning and this bleak, Charles Burns, stark realism,” Kline said. Initially, Kline had approached another alt-comics figure, Rick Altergott, but his art was “too lavish” for what a high school senior would produce. (The discussion of readability, a comics term, sent him on a tangent about “Spy vs. ![]() Ryan’s comics were helpful to have at their disposal because of their “readability,” according to Kline, whose knowledge of the medium is encyclopedic. ![]() ![]() “Sometimes you do a little dirty over the shoulder,” Kline says. Crumb, “Crumb,” and Jim McBride’s 1983 remake of “Breathless,” in which Richard Gere reads “The Silver Surfer.” They considered how to give “context” to the comics, involving the character reading in the shot. To prepare for “Funny Pages,” Kline and his cinematographer Sean Price Williams studied how to best photograph comics for the screen, trying to answer the question, as Kline put it, “How do you shoot a comic book in an interesting way?” They looked at the likes of Terry Zwigoff’s documentary about cartoonist R. The Best True Crime Streaming Now, from 'Unsolved Mysteries' to 'McMillions' to 'The Staircase' 'Ant-Man and the Wasp: Quantumania' Director Peyton Reed Explains Those Very Kang-Centric Post-Credits Scenes Think It's Totally Insane 'Cocaine Bear' Got Made? So Does Its Screenwriter Jimmy Warden “I just wrote some sick list out of my head,” Kline said. “And Owen’s direction was just kind of like, ‘It can be as dirty or crazy as you want it to be.'” Speaking to IndieWire, Kline remembered throwing out some ideas of his own: Hanna-Barbera characters Wally Gator and Augie Doggie jerking each other off a female WWF wrestler milking a cockatiel. “When you’re looking through the portfolio at the beginning, that was pretty much me riffing,” Ryan said. Kline was in need of drawings to represent his protagonist’s body of work, and, soon, Ryan was on the case. ![]()
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