1. “25 Emerging Filmmakers to Watch” The 25 filmmakers below prove that a singular voice can originate from anywhere.
“Goodbye First Love is Mia Hansen-Løve’s third feature, but for many of us on this side of the Atlantic, it was our introduction to her. The film dealt with a subject inanely lauded in our culture, that of young love, in a manner that treated honestly the narrow, all-consuming nature of first love while also grappling with the ways that adults move on from its inevitable disappointments and heartbreak. As she filmed it, first love is not the standard to which all other relationships must be judged but the necessary rite of passage of disappointment and pain that one must endure to face the world. Hansen-Løve sets herself apart from the horde of stylistically similar teen films with her elegance, in the subtle cues that mark a leap forward in time, or the tacit displays of affection and arousal. Her latest, Eden, is about the electronic music scene of the ’90s. I hope she does for music movies what she did for the teen film.”
2. “Louis C.K. Reveals How to Write, Direct, Edit and Star in Every Episode of a Hit Show (and Not Go Crazy).” As FX turns 20, the Louie multihyphenate shares the secrets to how he writes his comedy: “I typically don’t write out in the world. I think people who do that are exhibitionists.”
“I start each season by thinking of raw ideas and writing them in a notebook—I don’t write on a computer for a while. I compile ideas first. Some are story ideas overall; some are settings like: ’Let’s go on the road. Let’s do something at a hospital.’ And some are just characters or funny moments. Then I make note cards for the stories, but I’m still not thinking about episodes; I just write the stories and themes. I essentially have an ’idea season’ and then a ’writing season,’ where I write all the scripts. They’re just pages, though—I don’t even know if they’re going to be whole episodes or not. Only when we start shooting do we start seeing how long stuff is. For example, I wrote a story that was around 100 pages, and it turned into six episodes. We shoot and figure out in editing what works.”
3. “It Happened to Me: I Auditioned for the “Fat Girl” Episode of Louie, and Here’s Why I’m So Glad I Didn’t Get the Part.” Contrary to what many on the Internet are saying, I did not find this Louie episode to be insightful or brave. I just found it condescending.
“And as I sat there, perplexed and nauseated with the script in my hand, all I could think about was what life was really like for me as a fat girl. My husband kisses me on the subway platform during rush hour without scanning the crowd to see who is disapproving. My husband makes love to me with his eyes open. My husband is attracted to me. He likes me. He loves me. Simple enough, I guess.”
4. “Why Jill Abramson Was Fired.” Ken Auletta on why the New York Times Ousted Abramson as Executive Editor.
“A third issue surfaced, too: Abramson was pushing to hire a deputy managing editor to oversee the digital side of the Times. She believed that she had the support of [Arthur] Sulzberger and Thompson to recruit this deputy, and her supporters say that the plan was for the person in this position to report to [Dean] Baquet. Baquet is a popular and respected figure in the newsroom, and he had appeared, for the most part, to get along with Abramson. (I was told, however, that, at a recent dinner with Sulzberger, Baquet said he found her hard to work with.) He is also someone whom Sulzberger passed over when he chose Abramson. But Baquet apparently felt that he hadn’t been consulted, and, according to two sources, expressed his concerns to Sulzberger. He had also reportedly been approached by Bloomberg about a job there. (Baquet has not yet responded to a request for comment; neither has Abramson.)”
5. ”Mr. Turner: watch the first trailer of Mike Leigh’s JMW Turner biopic.” Exclusive: the first trailer for Mike Leigh’s eagerly awaited biopic of JMW Turner, which stars Timothy Spall as Britain’s favourite painter.
“Mike Leigh’s biopic of JMW Turner, starring Timothy Spall as the British painter, premieres at Cannes this week. Leigh’s keenly anticipated film covers the last 25 years of Turner’s life, before his death in 1851 at the age of 76. It was a period of personal upheaval, beginning with the death of Turner’s adored father, but also of extraordinary creativity. ’Turner was a compulsive artist,’ Leigh says. ’Turner had to paint, had to draw, all the time, he just never stopped. It was an absolute obsession.’”
Video of the Day: Reverse Shot interviews Manakamana filmmakers Stephanie Spray and Pacho Velez:
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