"I wanted to work on a high-school comedy for a long time because the best ones are timeless and timely," said Silberman. The opportunity to try to do that with brilliant young women was very exciting." "The best ones are very reflective of the generation they’re talking about, but the stories and the arcs and themes are timeless.
There’s nothing new if you don’t take a step further," she said at a screening of her film at the Film Independent Forum on Friday. "It turns out when you see all actors and you just hire the best people, you actually end up with a really representative set. The problem is most people don’t look at everyone. If we keep drawing from the same pool, it becomes this recycled pot of inspiration.
Olivia Wilde didn't have trouble finding a diverse cast for her high-school comedy "Booksmart."
"I Shazamed so many songs on set that I had to go to premium," added Silberman.” />
Film Independent kicked off its weekend of programming with a screening of "Booksmart" and a Q&A with Wilde and writer Katie Silberman at the Harmony Gold theater in Los Angeles. They make up for it with one wild night of antics the night before their graduation. Feldstein and Dever lead the side-splitting, coming-of-age tale as two top students who realize they missed out on partying and having fun in high school in favor of hitting the books.
Victoria Ruesga and Nico Haraga, who play classmates of the hilarious leading duo, Kaitlyn Dever and Beanie Feldstein, are professional skaters and had never acted in a film before. However, their lack of experience on screen didn't stop Wilde from hiring them. Wilde even had a couple first-time actors in her feature directorial debut.
"In order for casts to become more diverse and representative –– the same goes for crew behind the camera –– you have to look beyond resume. If we keep hiring based on resume, we will just continue this paradigm and everything will be the same as it’s been. We have to break the mold, we have to change the way we hire people. Maybe you could be a little bit nervous to hire an actor who’s never been on a film set and has a pretty sizeable role, but I found that pretty exciting," she said. You have to hire people based on their talent, their skills, their ideas, their passion.
Wilde and her all-female team of writers make "Booksmart" feel like the feminist version of "Superbad" or "American Pie." Feldstein and Dever's characters routinely hype up other up with compliments, sport an Elizabeth Warren 2020 bumper sticker and reference Malala Yousafzai, Rosa Parks and Ruth Bader Ginsburg throughout the film. They greet each other with dance-offs in the middle of the street, something that became the opening scene of the film when Wilde's original idea fell through.
Watching them one day, we were like, 'That’s it,'" she said. "Beanie and Kaitlyn just had this thing they did –– every time they saw each other, they would dance.
She played a lot of Lizzo between scenes and said she might make a good music supervisor someday. Having directed music videos for the Red Hot Chili Peppers and Edward Sharpe and the Magnetic Zeros, Wilde's ear for popular tunes spread to the film and on set.
One surprise hallucination sequence also transforms the two women into their ultimate fears: Barbies.
"What would make that even worse would be if one of them started to like it." "We wanted a fresh spin on the accidental drug trip moment, and I thought, 'What would be the worst possible nightmare for two young, ardent feminists?' It would be becoming the literal physical manifestation of what’s wrong with the patriarchy," said Wilde.

"This was a technical error that emanated from the graphics team," a Fox News spokesperson confirmed to Variety.
Earhardt added, "We apologize, big mistake."
Co-hosts Steve Doocy and Ainsley Earhardt both addressed the error and apologized later in the segment.
The graphic ran during the morning show "Fox & Friends," displaying a photo of Ginsburg with the dates 1933-2019.
Ginsburg had surgery in December to remove two malignant growths in her lungs. The growths were found when she was being treated for a fall that caused her to fracture three ribs in November.
Fox News has apologized for airing a graphic that incorrectly implied Ruth Bader Ginsburg has died. The 85-year-old Supreme Court Justice, who is very much alive, is at home recovering from lung surgery.

While on the press tour for "On the Basis of Sex," a film about the Supreme Court Justice's early days as a young lawyer, Ginsburg emphasized she has no plans to step down.
Earlier this month, Ginsburg missed oral arguments on the court for the first time in her over 25 years on the bench.
That was an accident." "We don’t want to make it seem anything other than that was a mistake. "A technical error in the control room triggered a graphic of Ruth Bader Ginsburg with a date on it," Doocy said.
"I will do this job as long as I can do it full steam," she said.” />

It’s precisely the intimacy of small movies — the human scale of them — that’s rendered large-than-life when you go out to see them at the movies. Here’s why it’s not actually the perfect movie to watch at home, and why the whole Kneejerk Case For Spectacle misses as much truth as it captures. That’s the primal beauty of cinema, and always has been: It turns everything into spectacle. Yes, a movie like "Avengers: Infinity War" was made, in an obvious way, for the big screen. You’ll miss out, perhaps, on a certain dazzling kinesthetic dimension of it if you wait to see it at home. Yet the notion that "small" movies are perfect for the small screen is, in fact, exactly the opposite of the truth. It takes life itself and makes it large.
If the choice comes down to the megaplex vs. Netflix, we all know, in 2018, who the winner too often is. Serial television is the form of our time, because good serial storytelling, with its sprawl and detail, allows characters to acquire deeper, richer colors and dimension than they would in a two-hour movie. Because of the rise of serial television, going out to the movies has become unnecessary. It’s easier, and more appealing, to stay at home, where your screen is now plenty big enough, and you can avoid all the hellacious trappings that have become the mythological annoyances of the theater experience: the endless trailers and commercials, the talkers and popcorn munchers staring into their glowing phones, and the price (which can rise to $100 bucks for a family, once you throw in the oversize candy boxes and the barrels of Coke).
So this year, at least, no slippage. In that light, a certain slice of the movie pie chart this summer tells a fascinatingly noteworthy — and encouraging — story. Maybe even an echo of going great guns. No, it’s not about smashing box-office records, though 2018 will undoubtedly go down as a very solid summer (up 11% over the last one), and if you extend your gaze back earlier in the year, when "Black Panther" and "Avengers: Infinity War" and "A Quiet Place" ruled, the situation looks even healthier.
Each year, as the summer movie season winds down, we get to hear the box-office analysis of the previous four months, and these days it tends to be more than just a who’s-up/who’s-down postmortem of the business of Hollywood. Or slipping? The grand narrative the numbers of the last 10 years generally add up to is: slipping. Merely holding their own? Are they going great guns? It’s become a way of reading the tea leaves of where movies stand in American life.
You know it like a mantra, and it goes like this: television, a certain slam-dunk argument has come to dominate the discourse and a lot of people’s minds. When it comes to the issue of movies vs. The success of all these films, in its way, flies in the face of an insidious conventional wisdom, and it’s important that we listen to the message they’re giving us.
I don’t say this to be a negative nabob, but because it’s the stark reality that the powers of the movie industry are up against. (MoviePass may or may not prove to be a successful business, but it has tangibly demonstrated that audiences are increasingly hostile to higher ticket prices.) But it’s still just offsetting the slow shrinkage of the domestic market. We all know the larger trends. The international box office takes up a growing segment of the business, and in certain ways (though not all) that’s a good thing. For years, higher ticket prices (and carny-barker gambits like 3D) have been working to compensate for the fact that movie attendance is gradually sliding downward.
Not if you go out to the movies to experience them. Are these movies "small"? That’s because they have a hunger, a desire, a need that has not gone away. They want to go out to the movies to experience the old-school definition of what a real movie once was, and still is. Okay, that last example isn’t an "independent film." But here’s why it belongs on my list: It’s one more drama told on a rivetingly human scale, and one that has drawn audiences like a magnet. At that point they are, by definition, large.
Have they been trumped by the small screen in the renaissance age of television? This isn’t just an issue of how many people are watching what. Then, of course, there’s the real story, the one that's percolating beneath the numbers, and that is this: Are movies, in some inexorable way, becoming a secondary pop-cultural art form? It’s about what’s driving "the conversation" (these days, usually television), and about something that’s just as central but harder to pin down: how much people are actually loving what they watch.
They want to see documentaries (in droves!), to experience the fearless crusader spirit of Ruth Bader Ginsburg in "RBG" ($13 million), or the extraordinary story of separated triplets on a karmic path in "Three Identical Strangers" ($10 million), or the weirdly timely and counterintuitive power of the goodness of Mister Rogers in "Won’t You Be My Neighbor?" ($22 million). They want to sink into the briny depths of racial animosity in "BlacKkKlansman" ($23 million), and they want to experience the glory of what diversity in entertainment really means by reveling in the narcotic banquet of glitzy over-the-top wealth porn and delicately intense and moving love story that is "Crazy Rich Asians" ($34 million). They want to see "Hereditary" ($44 million), a ghost story spooky and original enough to make the audience feel like it’s the ghost. They want to see "Sorry to Bother You" ($16 million), a down-and-dirty surrealist fairy tale of African-American desire and ambition in a world overtaken by commerce. They want to see an enveloping drama like "Eighth Grade" (domestic gross thus far: $11.5 million), which plugs you into the experience of a shyly reflective middle-schooler trying to hold onto her sincerity in the wilderness of a mean-girl culture gone wildly digital.
And you can only experience it when you go out to the movies. It’s a privileged space — maybe even, in its way, a religious one. It might have something to do with the times; these days, who doesn’t want to escape the news? It’s a trend that just might keep an art form thriving.” /> But the truth is that for every viewer who wants to wait until something arrives on the small screen, there’s another who is eager to seek out a movie not merely for spectacle, but to feel the quiet thrill of being in an audience and sharing a space that can encompass that audience and the people on screen. And this summer’s run of indie hits tells a comparable story — though, if anything, an even more important one. It might have something to do with MoviePass; maybe those lower tickets prices helped to swell the ranks of audience members.
Simply put: It’s the argument that spectacle — special-effects fantasy, comic-book epics and multiverse space operas, over-the-top action-adventure flicks — is the one thing that still requires the sheer awesome size of the motion-picture screen. How many times have I heard people who actually like independent films say about a movie like "Eighth Grade," "I want to see it, but it’s the perfect movie to watch at home." Mainstream movies are very much alive, but one of the results of the preceding mantra has been The Kneejerk Case For Spectacle. It’s the argument that spectacle, and spectacle alone, justifies the sheer bother (and expense) of going out to the movies.
Where Film Forum set the standard for a long time (and still does), the scene has grown more fluky and adventurous with the arrival of Metrograph and the new Quad Cinemas, where I recently went to see an old Hammer horror film on a Friday night — a 1971 curio called "Dr. These days, there’s a lot of anecdotal evidence that people are going out to the movies as a conscious and thrillingly cultivated entertainment choice. You can now see old movies at home like never before, yet audiences have proved to be stubbornly addicted to going out to the movies to see them. Jekyll and Sister Hyde" — and watched it in a packed house. The freshly thriving repertory scene of New York City is a telling example.
But while the matter of how well blockbusters do is fundamental to the life of the industry, I’m focused on a smaller group of numbers: the robust slate of independent films that have connected with audiences, in a decisive and passionate way, during the height of blockbuster season. Yet the stubborn success of movies on that underlying tier adds up to a thrilling and highly significant story about what audiences now want to go out to the movies to see. True, the amount of revenue they generate — $20 million here, $40 million there, another $10 million over there — may not seem like much compared to the whopping numbers generated by the sci-fi/action/fantasy/franchise/ monster sequel mega-smash of the week.