- Nick Pinkerton: Why send a critic to do a fan’s job? –
- The Most Famous Sitcom Residences In New York City – Did you know Lucy and Desi lived on the Upper East Side? I had no idea, but apparently, their apartment was located at 623 East 68th Street. There’s just one problem – that puts them right in the middle of the East River. While Lucy and Desi’s apartment might not have a real world counterpart
- Damien Chazelle on what is and isn’t ambiguous about Whiplash / The Dissolve – Certainly, one thing I should clarify—he did pretty much all of the visual drumming onscreen, but the audio of the drum solo at the end is mostly not Miles. He’s not actually the greatest drummer on planet Earth. [Laughs.] But he learned how to seem like he was the greatest drummer on Earth. It’s all about visual tricks. It’s about doing stuff that looks difficult, but isn’t that difficult. As a drummer myself, I knew what those things are. Piano’s the same thing. It’s really easy for pianists to do fast arpeggios, and people look at it and go “Wow,” but it’s still actually easy. As a drummer, it’s pretty easy to do fast stick work, and spin around, and do stuff that’s really fast, or do over/underarm stuff. There are just certain kinds of things you can do that look impressive.
New Yorkerin juttu Laura Poitras’s Closeup View of Edward Snowden käsittelee myös Citizenfour-dokkarin tekemistä:
“Plot is so relentless,” she said. “It’s totally unforgiving, and it also can be simplifying. It can provide resolution where there should be none. It can provide false catharsis.”
But at some point the thread of her “Zeitgeist” film began to run out.
“I realized that I lost something kind of big, which is emotion,” she said. “It’s harder to create emotional through lines without a plot. It just became apparent when I started to assemble scenes that I was less moved.”
Then, in January of 2013, a plot came to Poitras, in the form of e-mails from an anonymous government official.
Pienistä asioista huomaa, että nyt ollaan varmoissa käsissä: kamera, joka jää tuijottamaan tyhjää käytävää vielä sen jälkeen, kun ihmiset ovat poistuneet; ääni, joka muistuttaa aiemmasta tapahtumasta ilman, että sitä tarvitsee näyttää uudelleen; auton penkki, joka erottaa makuulle asettuneet päähenkilöt toisistaan muurin lailla. He ovat paenneet on täynnä tällaisia hetkiä.