Patton Oswalt

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I’m not on any social media even though I acknowledge there are a great many wonderful things about it. I just don’t know how healthy it is to live inside that machine. And that’s what it seems like to me–a machine. In fact, it probably most resembles a retro one, a pinball machine. The glass is transparent, there’s a lot of jarring noise and the likely outcomes are TILT and GAME OVER. At the end, you’re a little poorer and unnerved by the cheap titillation and the spent adrenaline. I think it’s particularly questionable whether we should be so linked to our past, that every day could be a high-school reunion. Sure, there’s comfort in it, but maybe comfort is what we want but not what we need. And, of course, being virtual isn’t being actual. Like an actor who goes too deeply into a role, it’s hard to disconnect ourselves from the unreality.

In stepping away for a spell from social media and his neverending Twitter wars, Patton Oswalt shared a quote he loves: “For fear of becoming dinosaurs we are turned into sheep.” It comes from Garret Keizer’s 2010 Harper’s essay,Why Dogs Go After Mail Carriers.” Here’s the fuller passage from the piece:

“More than the unionization of its carriers or the federal oversight of its operations, the most bemoaned evil of the US mail is its slowness {1}. No surprise there, given our culture’s worship of speed. I would guess that when the average American hears the word socialism the first image to appear in his or her mind is that of a slow-moving queue, like they have down in Cuba, where people have been known to take a whole morning just to buy a chicken and a whole night just to make love. Unfortunately, the costs of our haste do not admit to hasty calculation. As Eva Hoffman notes in her 2009 book Time, ‘New levels of speed … are altering both our inner and outer worlds in ways we have yet to grasp, or fully understand.’

The influence of speed upon what Hoffman aptly calls ‘the very character and materiality of lived time’ [my emphasis] has been a topic of discussion for decades now, though its bourgeois construction typically leans toward issues of personal health and lifestyle aesthetics. Speed alters our brain chemistry; it leaves us too little time to smell the roses – a favorite trope among those who would do better to smell their own exhaust. In essence, the speed of a capitalistic society is about leaving others behind, the losers in the race, the ‘pedestrians’ at the side of the road, the people with obsolete computers and junker cars and slow-yield investments. An obsession with speed is also the fear of being left behind oneself – which drives the compulsion to buy the new car, the faster laptop, the inflated stock. For fear of becoming dinosaurs we are turned into sheep.'”

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Writer Harlan Ellison, a brilliant wiseass who has never taken any shit from anybody, even that insecure thug Frank Sinatra, recently made a public appearance in Los Feliz, getting a haircut and addressing an audience. Patton Oswalt and David Ulin were there. (Thanks L.A. Review of Books.)

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New DVD: Big Fan

Patton Oswalt as a small man who roots for Giants.

Robert Siegel follows up The Wrestler with this dark comedy about an obsessive football fan, making the screenwriter a patron saint of sorts for emotionally stunted men who can’t express their feelings unless they’re in the presence of organized violence. Siegel also debuts as a director with Big Fan, in which 36-year-old Staten Island parking attendant Paul Aufiero (played perfectly by Patton Oswalt) subsists on a steady diet of sugared drinks, comfort food and nonstop adoration for the New York Giants. Paul’s meager life is thrown into disarray when a chance meeting with his greatest football hero leads to him being brutally beaten by his idol.

The character of Paul, someone who can’t even measure up to the mundane standards of the everyman, isn’t without antecedents. He’s Marty Piletti, but not looking for love. He’s Travis Bickle, but not out for blood. He’s Rupert Pupkin, but without the career goals. He’s just really a very powerless man who lives vicariously through the giants (and Giants) he feels he can never be.

The film, leavened only slightly in the latter stages, is another example of Siegel’s abundant talent and a good reason to fast-track Oswalt into a slew of dramatic roles.

Read Afflictor’s Top 20 Films of the Aughts list.

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