Amy Schumer Feels Like a ”Ticking Time Bomb,” Says She’ll Piss Someone Off … | News Entertainment

Amy Schumer Feels Like a ”Ticking Time Bomb,” Says She’ll Piss Someone Off …

21 Jul 2015 | Author: | No comments yet »

Amy Schumer Feels Like a ”Ticking Time Bomb,” Says She’ll Piss Someone Off Someday.

Amy Schumer’s new movie, “Trainwreck,” which she wrote and stars in, has received general acclaim. It’s inevitable, after all, that the candid comedian will say something that rubs somebody the wrong way, and the Trainwreck star admits she’s waiting on pins and needles for when that time will come. “Like, I wonder what the thing is going to be that will make people want to burn me at the stake.

CLEVELAND, Ohio – As noted yesterday, Amy Schumer’s comedy vehicle “Trainwreck” beat expectations, earning $30.2 million at the box-office over the weekend.Trainwreck writer and star Amy Schumer and director Judd Apatow have a great friendship and working relationship — which certainly benefited the film with its whopping $30.2 million opening weekend. “When you are working with someone who is so smart and so funny, it’s a real gift,” says Apatow. “We had so much fun while she was writing it, it’s really why I wanted to direct it.” It was early during Trainwreck’s filming in New York City. It was a surreal time for Schumer — it was the first film she’d written, let alone her first starring role. “Everything felt so weird already,” she says. “The first day we were on set there were these director’s chairs and they said ‘Trainwreck’ on the back and it was like: why is everyone f–king with me?

He was in the nation’s living rooms for multiple nights during the NBA playoffs, and now he is in the nation’s multiplexes – at 3,158 theaters – as part of the cast in “Trainwreck.” The Amy Schumer movie took third place at the weekend box office, scoring about $30 million. But while “Trainwreck” showcases Schumer’s obvious writing and comedy talent, it also demonstrates what has become a recurring discomforting theme in her work: a tendency toward racial humor that walks an awkward line between poking fun at racism and actually being racist. But yeah, I’m really enjoying the love right now.” “I know inevitably I’ll get more political, just as an adult with changing interests, which is good—no one wants to hear me talk about who I f–ked or whatever for another twenty years.” “It’s exhausting.

Not bad for an R-rated comedy, especially since it was battling the Marvel marketing machinery behind “Ant-Man” (which was No. 1 with about $58 million), and the family-friendly “Minions,” which earned about $50 million, according to boxofficemojo.com. “Trainwreck,” written by and starring Schumer, and directed by Judd Apatow, also features Bill Hader, Tilda Swinton and Vanessa Bayer. However, the film also exploded in Cleveland, performing a jaw-dropping 66 percent higher than expected. “Trainwreck” also did surprisingly well in parts of Florida, which The Hollywood Reporter attributed to James’ time as a member of the Miami Heat. Schumer had pre-ordered food for expediency’s sake at a nearby restaurant and she, her sister Kim Caramele, and co-star Vanessa Bayer (whom Schumer called her real-life “love interest”) walked over to pick it up. Schumer insists that she depicts bigotry in order to mock it, but “Trainwreck” is not especially clear in its judgments, and the viewers’ laughter at the characters’ racism may ultimately bleed into laughing right along with it. Unbeknownst to them, Apatow and his producers were having a working lunch at the same restaurant. “They don’t know that we pre-ordered our food and lunch is only for a half an hour,” she says.

Manohla Dargis, in her praise of the film for The New York Times, wrote that “the looming appearance of LeBron James, who plays himself as well as Aaron’s odd-couple-like best friend, may be a heat-seeking gimmick (he’s the movie’s biggest star), but he’s a surprisingly limber comic presence.” “LeBron James, playing himself, is very, very funny,” wrote Moira Macdonald of the Seattle Times. “(Maybe sports fans knew this already? So I decided to scare them.” Schumer sat at a table and asked for a waiter. “I’m like, ‘Will you go get us a couple of bottles of wine and just pour it like we’re tasting it and deciding on a bottle?’ We filmed Judd’s table with our phones,” she says with a laugh. “You could see them mouthing to each other, ‘What the f–k is she doing?’ They were losing their minds.” When she let everyone in on the joke, there was much relief. But, seriously, if that basketball thing doesn’t work out, someone should get this guy his own rom-com; his exuberance and timing, particularly when he suddenly starts quoting Kanye West, are terrific.)” John DeFore of the Hollywood reporter: “That best pal is LeBron James, one of a few celebs who continue the Apatow tradition of working famous non-actors into the cast. At their first meeting, Aaron comments that he enjoys working in sports, because it means he gets to work with a lot of — at which point, Schumer interjects: “Black people?” This sets off a discussion between the two on the subject of whether Amy has any black friends.

Apropos of nothing, Amy’s friend Nikki (Vanessa Bayer) leans forward during the service and whispers to the mourner in front of her, a black man, that she has previously had black boyfriends. When Nikki makes an awkward racial come-on, or Amy can’t dissociate sports from black people, these are simply silly caricatures of the clumsy prejudices of white women. But that defense doesn’t quite work for “Trainwreck.” It’s true that Amy’s character is portrayed in the beginning as unpleasant, even “broken.” But once the film displays her bigotry, it never mentions it again.

Amy undergoes a transformation throughout the film, abandoning a life of self-hatred and debauchery as she finds her one true love. (We can leave aside, for now, the moralizing tone the film takes in depicting promiscuity as somehow shameful and monogamy as a woman’s salvation.) But even as Amy changes, it’s unclear whether her racial prejudice ever disappears. According to the film, the problem with Amy was that she couldn’t love, not that she was a racist. “Trainwreck” handles another racist character far more deftly. But the film has little sympathy for Gordon’s bigotry; because he is unforgivably unpleasant, his daughters have to work hard to love him. “Trainwreck” shows Gordon as a philanderer whose cruelty alienated many around him.

The Guardian complained that her stand-up act “repeatedly delves into racial territory tactlessly and with no apparent larger point.” That criticism carries over perfectly to “Trainwreck”: It’s not that the film depicts casual racism, it’s that Schumer doesn’t use it to make a point. One sensed hundreds of moviegoers squirming uncomfortably as they tried to figure out how to react: How were we supposed to take the fact that our protagonist just so happens to be racist? When Schumer was previously criticized, David Sims of the Atlantic defended her by pointing out that the jokes in question were works-in-progress, and that no comedian should be taken to task for unpolished work. Why hasn’t Schumer learned from her critics, and given some meaning and purpose to the race jokes? (Furthermore, since Schumer defended herself partly by insisting that she retired her “ignorant white girl” character years ago, why did she decide suddenly to revive it?) Schumer has responded defensively to criticism of her racial humor.

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