![]() ![]() ![]() In “Papyrus,” Ryan Gosling plays a man haunted by the fact that the movie “Avatar” used the Papyrus font for its logo. Speaking about his unmade pieces, Torres told me, “I have mourned every loss.”īut the ones that made it to air were strange and fanciful enough to earn him a cult following-rare for a writer who doesn’t appear on the show. Another was an infomercial for a miniature staircase that people can put next to their ears at night, so that their dreams can come out and dance, to prevent headaches. Also, a lot of “Saturday Night Live” sketches are tailored to the celebrity guest hosts, and, as Torres said recently, “one of the pivotal flaws in ‘The Chandelier’ is that there was no juicy human role.” Many of his rejected ideas dwelled in the surreal, closer to Ovid or Gabriel García Márquez than to “Dick in a Box.” In one, a man goes to Heaven and discovers that the angels act like birds, building nests and eating in terrifying, beaky thrusts. The show would need to take over the Met for an evening. The piece never got made, because it presented practical problems. It’s an idea for a digital short that Julio Torres pitched again and again at “Saturday Night Live,” where he worked as a writer from 2016 to 2019. This peculiar romance is not from a magical-realist novel or a quarantine fever dream. They settled into Rocco’s apartment, blissful in their union, the chandelier’s light blazing through the window onto the street below. Late one night, Rocco broke into the Met and stole the chandelier. Rocco returned the chandelier’s love, but when his boss found out about the affair he was fired. The chandelier fell in love with one of the janitors, a man named Rocco, and wanted only Rocco to change his bulbs. ![]() There once was a chandelier at the Metropolitan Opera who thought that the audience was applauding just for him. ![]()
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