3 & 4 Bedroom Apts Avail Fall 19/20
$1800 ‑ $2680 + Utilities
Laundry On Site, Parking Avail
1015 Packard ‑ 734‑996‑1991

EFFICIENCY ‑ 1 & 2 Bdrm 
apartments Fall 2019/20
Rents range $875 ‑ $1850 
most include heat and water
Showings scheduled M‑F 10‑3
734‑996‑1991

Classifieds

Call: #734-418-4115
Email: dailydisplay@gmail.com

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

