"But my favorite period for actors is the 70s. I think so many great movies were made in the 70s. The 90s just seem to be a confused decade. Nobody knows, really, what's going on"
About this Quote
Nostalgia is doing real work here, but not the cheap kind. Ethan Suplee’s praise of the 70s isn’t just a film-bro postcard to Scorsese and grime; it’s an actor quietly voting for an era when performances were allowed to be human-sized and movies didn’t apologize for being messy. The 70s, in the popular imagination, is the decade of risk: studio power wobbling, auteurs elbowing in, stories ending badly on purpose. For actors, that means fewer brand obligations and more behavioral truth - characters who can be contradictory without the script rushing to redeem them.
Then comes the jab: “The 90s…a confused decade.” It lands because it’s both blunt and oddly generous. He’s not calling the work bad; he’s describing an identity crisis. The 90s is when indie credibility became a product, when irony hardened into a default tone, when studios learned to market “edgy” safely. Everything is self-aware, but not necessarily self-possessed. Actors are asked to signal attitude as much as interior life, to perform taste.
The final line - “Nobody knows, really, what’s going on” - is the tell. It’s not historical analysis; it’s an actor’s complaint about the loss of a shared grammar. In the 70s, the rules were breaking but the stakes felt legible. In the 90s, the rules multiply: genre mashups, postmodern winks, culture accelerating. Suplee’s subtext is pragmatic: give me a world that commits, so I can commit inside it.
Then comes the jab: “The 90s…a confused decade.” It lands because it’s both blunt and oddly generous. He’s not calling the work bad; he’s describing an identity crisis. The 90s is when indie credibility became a product, when irony hardened into a default tone, when studios learned to market “edgy” safely. Everything is self-aware, but not necessarily self-possessed. Actors are asked to signal attitude as much as interior life, to perform taste.
The final line - “Nobody knows, really, what’s going on” - is the tell. It’s not historical analysis; it’s an actor’s complaint about the loss of a shared grammar. In the 70s, the rules were breaking but the stakes felt legible. In the 90s, the rules multiply: genre mashups, postmodern winks, culture accelerating. Suplee’s subtext is pragmatic: give me a world that commits, so I can commit inside it.
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| Topic | Movie |
|---|---|
| Source | Help us find the source |
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