Yes Man, out this month, is Carrey’s latest existential parable. If, as has been speculated, Hans Christian Andersen and Søren Kierkegaard shared a libertine moment in the salons and cellars of 19th-century Copenhagen, they could have brainstormed this movie over drinks. Carrey plays Carl Allen, an office drone and cautious Cuthbert who abruptly starts saying “Yes!” to everything—Korean lessons, cans of Red Bull, love, and life itself. This impulsive assent to existence is characteristically presented in the form of a gift/curse, laid upon Carrey, in this case, by a New Age positivity guru played by Terence Stamp. (The tie-in with Red Bull is a brilliant stroke, of course—no other legal product so generously extends the promise of turning you, if only for half an hour, into Jim Carrey.)
AVC: The generation of filmmakers that emerged in the '70s—Scorsese, De Palma, Steven Spielberg, George Lucas, Francis Ford Coppola—were all friends. Do feel like you're part of a group the way they were part of a group?
WA: Yes and no. Quentin Tarantino, I really love his movies. He's such a good writer—and he was always a good director, but then over those first three movies or so, he really became a great director, so original and obviously so imitated. But I don't really know him that well. And Paul Thomas Anderson, I don't know at all, but I love his movies too. I guess I know more the New York filmmakers—Noah Baumbach in particular. Noah's obviously a very good friend. I think Quentin and Paul Thomas Anderson may be friends, too. Maybe if we spent more time in Los Angeles, they'd invite us over. [Laughs.]
(Atlantic/AV Club)
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