1. “Interview: Ellen Burstyn.” The Actress on Her Glorious Career, Being Under-Directed, and Wormholes.
“Directors tend to kind of let me do what I want to do. As a matter of fact, when I was doing Law & Order: Special Victims Unit, the one I won my first Emmy for, the director came up and he gave me a direction. He said, ’What do you think about doing it this way?’ And I said, ’Oh, yeah, sure.’ But as he walked away, he said, ’You don’t mind me saying that to you, do you?’ And I said, ’Mind? It’s the first piece of direction I’ve gotten in ten years! I love it!’ I tend to do a lot of homework before I come in, and I offer my interpretation. I haven’t really had the experience of a director not liking it. They’re usually pretty good, enthusiastic partners, but they don’t impose usually a concept over mine. I’ve liked all the directors I’ve worked with a lot. And the ones I like best are the ones that have really good taste about what take was best.”
2. “Quentin Tarantino Withdraws Lawsuit Against Gawker Over Hateful Eight Leak.” The sudden reversal comes a week after the director filed a second complaint against the site.
“According to U.S. District Judge John F. Walter, ’Plaintiff’s complaint fails to allege the identity of a single third-party infringer, the date, the time, or the details of a single instance of third-party infringement, or, more importantly, how Defendant allegedly caused, induced, or materially contributed to the infringement by those third parties.’ Still, it wasn’t yet over because the judge allowed Tarantino to amend his lawsuit, which he did, this time with the claim that Gawker itself illegally downloaded to its computers an unauthorized infringing PDF copy of the screenplay and thus committed direct copyright infringement. Tarantino also attempted to buttress his contributory claim too with the assertion that Gawker had solicited its readers before the original post, asking them to provide Gawker with the screenplay, and then later, amending its post with a new link to a copy that one of its readers had uploaded.”
3. “Cannes got radical in 1969, awarding violent teenage rebellion top honors.” A.A. Dowd on If….
” More than 40 years later, If… can still make audiences squirm; no matter how symbolic it may be, the schoolyard violence of the ending inspires a whole new level of discomfort in a post-Columbine, post-Virginia Tech world. (Maybe Elephant, which won the Palme in 2003, should be considered a bookend companion.) Yet beyond its anarchic spirit and revolutionary slant, Anderson’s film may be more fascinating today as a lively inside look at its milieu—the boys-only British boarding school, a petri dish of resentments, predilections, and unchecked cruelty. Anderson is said to have taken inspiration from Jean Vigo’s controversial 1933 short ’Zero For Conduct,’ about a rebellion in a French boarding school. But he also drew extensively from his own experiences at Cheltenham College (where the film was primarily shot), modeling several characters on people he really knew. The results, while much too surreal to pass for memoir, certainly benefit from a touch of authenticity.”
4. “Interview: Ralph Bakshi.” The filmmaker on the animation industry, then and now.
“This thing about creating and being an artist and being a cartoonist is the most important thing we have: you, me, anyone else. There are other things more important, but that’s what we love. Now, how much money we make at it and how much we suffer is different for everybody, regardless of talent and that’s the way life is, it’s not fair. But if you [ever] give up drawing or painting or learning more about the arts, you’re hurting yourself because that’s all we really are.”
5. “Book Excerpt: Vanessa: The Life of Vanessa Redgrave.” An excerpt from Dan Callahan’s upcoming book on the Oscar-winning actress.
“Judging from her other work, surely Redgrave would have preferred a more sober accounting of this woman’s cracked personality, but she enters into [Ken] Russell’s engrained bad taste and vulgarity, using it when it is useful to her and discarding it entirely when she wants us to feel the depth of this woman’s depravity and pain. If The Devils is a major film, it is Redgrave who makes it so. No other actress of her time could have given such an extreme and dirty and comic performance while still remaining somehow immaculately pure and so sad at the core.”
Video of the Day: The trailer for Dawn of the Planet of the Apes:
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