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1015 Packard ‑ 734‑996‑1991
EFFICIENCY ‑ 1 & 2 Bdrm
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Rents range $875 ‑ $1850
most include heat and water
Showings scheduled M‑F 10‑3
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Call: #734-418-4115
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FOR RENT
By Bruce Haight
©2019 Tribune Content Agency, LLC
01/18/19
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
01/18/19
ANSWER TO PREVIOUS PUZZLE:
Release Date: Friday, January 18, 2019
ACROSS
1 Figura de __:
Spanish skating
move
5 Besides
9 Cut back a lot
14 It might not be
proper
15 Secular
16 Edmonton athlete
17 Likely to B
surprisingly
difficult
20 __ space
21 Spring bloom
22 __-fa: set of
musical syllables
23 One might Q
Shamu
26 Cycle starter
27 Place to drive
from
28 Not irr.
29 Affirmative reply
32 “The Aviator”
(2004) Oscar
nominee
34 Buffoons
37 “The fool __ think
he is wise ...”: “As
You Like It”
38 U can soak in
one
41 Biblical hunter
43 It was originally
called a “Biscuit”
44 They’re mostly on
the phone
48 Bygone predators
50 Long-legged
runner
52 Bulldog booster
53 Component of a
sweep, maybe
54 Something to C
at Carnegie Hall
58 Downed
59 Countenance
60 Lenya of “From
Russia With
Love”
61 Possible reason
Y lights get
turned off
65 They’re changed
on the road
66 Sandwich staple
67 Frequently
68 French greeting
69 Reach
70 Out of __
DOWN
1 College town
WSW of Albany
2 Island resort near
Cancún
3 Went like a
runaway train
4 It’s a start
5 Lord of the ring?
6 Brit’s bud
7 Sub (for)
8 Earthy tone
9 Juniors, maybe
10 Razz
11 “My temper got
the best of me”
12 Holiday candle
holder
13 Heat at a meet,
for short
18 LAX landings
19 Opposite of
stuffy
24 Entire range
25 Shoshone Falls
state
30 Academic
address ending
31 Nagano noodle
33 “Iliad” warrior
35 Behind
36 Handle the
wheel
39 Ont. neighbor
40 Heavy reading?
41 Coastal East
African country
42 Coastal West
African country
45 In a small-
minded way
46 Army outfit
47 Bit of obscenity?
48 Musical saw
sounds
49 Bias
51 Pauley Pavilion
Pac-12 team
55 Fits one within
another
56 Best
57 Frat letters
59 Guinness book
adjective
62 French
vineyard
63 Biological chain
letters
64 Moving aid
A candid chat with Centeno on ‘Big Time Adolescence’
6 — Friday, January 18, 2019
Arts
The Michigan Daily — michigandaily.com
“I Get No Joy”
Jade Bird
Glassnote Records
SINGLE REVIEW: ‘I GET NO JOY’
We’re only two weeks into
2019, but already it’s shaping
up to be a huge year for British
singer-songwriter Jade Bird.
She recently announced the
official release date for her
self-titled debut album, the
anticipation of which has been
bolstered by one high-quality
single after another. Her new
single, “I Get No Joy,” was
released in tandem with the
more razor-edged “Uh Huh”
and “Love Has All Been Done
Before,” and hints at a fresh
frustration and yearning that
feels true, even this early on,
for an artist like Bird.
The premise of the song is
an interesting take from Bird,
who, upon first glance, seems
able to derive joy from almost
anything, whether it’s the joy
of embarking upon her first
major tours or that of recording
her first full-length album. But
Bird’s music itself runs the full
gamut of self-consciousness,
from the questioning nature
of a troubled relationship in
“Love Has All Been Done
Before” to the righteous self-
awareness of “Good Woman”
from her debut EP, Something
American. “I Get No Joy” turns
this critical eye to her artwork,
bursting with a frustration
and a specific creative drive
that harkens back to Alanis
Morissette hits like “Right
Through
You.”
Wielding
the moody electric guitar
that is swiftly becoming her
trademark,
Bird
questions
herself and others with lines
like,
“Electric,
connected,
unexpectedly
affected
/
What do you need? What do
you need? / I get no joy.” Her
optimism peeks through with
the
almost-murmured
line,
“I know the sun will shine /
Another day, another time,”
which expertly leads the song
toward its close. “I Get No
Joy” feels like a new branch for
Bird in terms of subject matter,
and that it speaks well of her
upcoming album’s potential at
this point comes as no surprise.
— Laura Dzubay, Daily Arts
Writer
“It’s not saturated. It’s not going to look
colorful. It’s going to be very subdued.
Sometimes, it’s not as pretty as you want it to
be,” says Waldemar Centeno (“The Goldbergs”).
He’s talking about the look and feel of one
of his recent projects as a film editor: Jason
Orley’s (“The Intern”) “Big Time Adolescence,”
a coming-of-age comedy starring Pete Davidson
(“Saturday Night Live”) and Griffin Gluck
(“American Vandal”). The film has been selected
to premiere later this month at Sundance Film
Festival as part of the U.S. dramatic competition.
I spoke with Centeno about “Big Time
Adolescence” for upward of 45 minutes. Not
once did he assume personal credit for the
festival honor —or for any aspect of the film, for
that matter.
He recounted the day he found out about the
film’s selection for the festival. He remembers
hearing it from Orley, who “with a very stoic
face, just said, ‘We got the call. We got into
Sundance.’” Centeno explained the personal
significance of that moment, admitting, “I won’t
lie to you: It has been 13 years of really hard work
to even get the phone call to work on a project
starring Pete Davidson, but I obviously kind of
teared up, and gave him (Orley) a hug. You know,
I went home, and pretty much cried for a whole
night.” But he also spoke to what it means for
the entire team involved, whom he got to know
while cutting the film on set: “We were shooting
for that (the Sundance recognition). It wasn’t
expected, but we’re really excited as a group.”
Even when I gave Centeno a premium
opportunity to foreground his contributions
to “Big Time Adolescence” in asking about the
particular role he played as editor, he refused,
and instead underscored the collaboration
necessary for effective storytelling in film.
Centeno praised the performances of the cast:
“As an editor, that’s all you really want, some
really great acting, so you can actually do your
job.” He added, “I was always told as I was
coming up as an editor, working as a technician
and running the edit is just twenty percent of the
work. 80 percent
of
it
is
the
camaraderie that
you
have
with
the person you’re
working
with
when I’m giving
feedback, it’s not
that I go, ‘This
is how I want
it.’ I go, ‘This is
the
way
Jason
(the director) is
envisioning going
forward.’”
This
vision
centers
on
the
friendship
of
teenage
Mo
(Gluck)
and
twentysomething
Zeke (Davidson),
and
the
strain
that
helpless
matters
like
age
difference
and growing up
puts
on
their
relationship over
time.
Centeno
told me that this
story is “close to the heart” and named the aspect
of the story that he found most persuasive: “It’s
about an outsider, essentially, that thinks he’s
an insider, but then ends up being shunned later
on in the story. I grew up on the East Coast,
understanding this type of person that was the
page … that’s what drew me to it.”
Of course, with Davidson and Gluck playing
the lead roles, the film foregrounds male
companionship. I pressed him about that, and, to
my surprise and delight, Centeno did not plead
the Fifth, regurgitate a rehearsed response
or dodge the crucial, oft-dodged question of
representation on screen. Instead, he answered
the question directly and thoughtfully and did
not feel the need to go on the offensive when
supplying a counterpoint. He assented that the
film “does center on these two male companions
and some of their friends that are male,” but
clarified, “Since the beginning of our screenings
of this, we really wanted to make it a point to talk
about this: How do people feel about the women
in this movie?” He then added, “there are three
women in the movie who really shine. They play
these three really strong female characters that
are entwined with Zeke and Mo’s life. They have
some powerful moments. They’re not just there
to let the boys do whatever they want. They’re
there to make sure they speak up for what’s
right,” and are able to “speak for themselves.”
As
a
coming-of-age
film,
“Big
Time
Adolescence” also situates itself in a genre that
never sees a shortage of films and that has, as
of late, seen an increase in representation of
marginalized voices and experiences. Pressed a
second time, Centeno was once more refreshingly
direct and earnest with his answer. “We still
have a long way to go in the film industry,” he
recognized, in terms of honoring diversity and
tipping the scales of representation. But he
pointed out another important dimension of
diversity that lies in the storytellers themselves,
commenting, “There is diversity in the people
that worked on it (“Big Time Adolescence”),” and
drawing on his own experience as an example.
“I’m Puerto Rican, and a Puerto Rican editor, I
was able to give my insight on something that
was not necessarily of my culture. I was able to
say, ‘No, that’s not the way you should say that.
There’s a better way to say this.’”
In
terms
of
what
makes
“Big
Time
Adolescence” stand out in a crowded genre,
Centeno
highlighted
the
unique
interplay
between comedy and drama at work in the film.
“The way we looked at it was a comedy where
we would try not to heighten the comedy;
we’d heighten the drama,” Centeno explained,
“because Pete Davidson’s story is a cautionary
tale of this older kid who befriends this younger
kid and thinks they’re really good friends and
will be for a very long time. But at some point,
people get grown out of.” Elaborating on what
it meant to heighten the drama in the context of
a comedy, Centeno contrasted the unremitting
speed of some comedies to the more measured
pace of “Big Time Adolescence.” “That’s
essentially what we did: we lived in those
moments” — meaning the slower, dramatic
scenes in the film — “instead of trying to get to
the next joke.” Centeno distinguished the breed
of comedy that emerges from this sensitivity
from the network comedies he has cut in the
past, calling it “a very real, natural, dirty
comedy that a network show would never be.”
The anchor of the comedic dimension of “Big
Time Adolescence” is, according to Centeno,
Pete Davidson. He called Davidson “one of the
driving forces of the comedy,” and indicated that
“the way he acted really drew the comedy out of
everybody else.” As a bonus, however, Centeno
believes the film will also show audiences
Davidson “has a lot of depth in him,” as do “all
the other characters.”
At that point in the conversation, we had hit
the 40-minute mark. For my last question, I
asked if Centeno wanted to say anything about
his experience at the University as an alumnus
and former sports writer for The Michigan
Daily. After narrating his jagged trajectory
toward undergraduate degrees in English and
film, he remarked, “I always tell people I did
storytelling as a major.” After elaborating on
his investment in storytelling at the University
and The Daily, I posed my standard, “Is there
anything else you’d like to add?” Centeno’s reply
was one of the last things I would ever expect an
interviewee to say to an interviewer: He told me
he would like to hear about my experience at the
University and The Daily.
Pleasantly
surprised for the
third
distinct
time, I began to
ramble about my
love of The Daily
and my inability
to
declare
a
major;
Centeno
listened patiently
and
responded
thoughtfully.
When
I
finally
stopped
talking
and let Centeno
go,
I
returned
to what Centeno
had
said
about
majoring
in
storytelling.
Because
in
my
rambling,
I
had
responded
to
Centeno
as
though he were
someone I could
unhesitatingly
trust
with
my
story — as though
I’d been speaking
with a storyteller.
JULIANNA MORANO
Daily Arts Writer
AMERICAN HIGH/LD ENTERTAINMENT
FILM INTERVIEW
FABER AND FABER
“We still have
a long way to
go in the film
industry,” he
recognized,
in terms of
honoring
diversity
and tipping
the scales of
representation
“The way we
looked at it was
a comedy where
we would try
not to heighten
the comedy;
we’d heighten
the drama,”
Centeno
explained