1. “James Horner Dies at 61.” The two-time Oscar winner, 61, worked on three James Cameron films, two Star Trek movies and classics like A Beautiful Mind, Field of Dreams and Apollo 13.
“James Horner, the consummate film composer known for his heart-tugging scores for Field of Dreams, Braveheart and Titanic, for which he won two Academy Awards, died Monday in a plane crash near Santa Barbara. He was 61. His death was confirmed by Sylvia Patrycja, who is identified on Horner’s film music page as his assistant. ’We have lost an amazing person with a huge heart and unbelievable talent,’ Patrycja wrote on Facebook on Monday. ’He died doing what he loved. Thank you for all your support and love and see you down the road.’ Horner was piloting the small aircraft when it crashed into a remote area about 60 miles north of Santa Barbara, officials said. An earlier report noted that the plane, which was registered to the composer, had gone down, but the pilot had not been identified.”
2. “The Life of Riley.” Reverse Shot’s Jeff Reichert on Inside Out.
“[Pete] Docter’s attempts to represent various facets of mind function are many, and are often quite clever—from explaining how annoying jingles come to obsess our consciousness, to literalizing a train of thought running from memory to the control room, to a brain freeze that turns the group into icicles, to an amusing sequence that finds Joy and Sadness stumbling into the place where Riley’s dreams are made (a movie studio, of course). Between long-term memory and the elevated control room where Joy and the others work lie Riley’s Personality Islands—theme park-like structures built to honor her love of family, hockey, honesty, and goofiness. On one of her first nights in San Francisco, Riley tries out for a local hockey league, but with her emotions thrown out of whack, she misses a shot, falls flat on the ice and storms off in a huff. After a tantrum at home in which she vows to give up hockey forever, the personality island devoted to hockey crumbles into the void below. Whether a child viewer will grasp this all enough for it to resonate is questionable, but here adults are invited to reflect on their own lives, likely filled with crumbled islands, doors once open, shut, often cruelly, in our faces by fate, luck, our own weakness or inability. Life, suggests Inside Out, is destined to include disappointment.”
3. “Harmony Korine on Kids: ’It would be impossible to make that film now.’” In 1995, photographer-turned-director Larry Clark and a bunch of novice actors made Kids. On its 20th anniversary, writer Harmony Korine and actor Leo Fitzpatrick remember the film dubbed a “wake-up call to the modern world.”
“For Fitzpatrick, his newcomer naiveté was what made him, a 16-year-old skater with no real aspirations, willing to take on the role of Telly, a self-described ’virgin surgeon’ whose unwittingly depraved actions are the focus of the film. ’What helped me pull it off, was being fucking naïve,’ laughed Fitzpatrick. His inexperience also made it easier for him to engage in intimate moments on camera with ease. ’The first day of shooting was supposed to be me and Justin [Pierce] walking down the street talking, to get us used to the cameras, and used to the dialogue and so on, but it rained,’ said Fitzpatrick. Because of the weather, the shooting order was re-arranged and Fitzpatrick found himself in bed with a half-naked girl.”
4. “Scorsese’s Achievement with Goodfellas.” Richard Brody on the classic gangster film.
“Scorsese conjures the new world into which Henry, a talented young gangster, initiates her. It’s the scene of their first date; he brings her to the Copacabana, in Manhattan. There, leaving his car in the street in the care of an underling, Henry takes Karen by the hand and, cutting through the line of customers, they dip down a short stairway that leads to the basement. A single swooping Steadicam shot follows the couple from the street downstairs, through the corridors and the kitchen, and surfaces with them in the swank and velvety air of the night club. The sublime metaphor connects the public face of life—the street and the ballroom—with its hidden and private one, the subterranean work spaces (a literal underworld) where the gangster illusion for public consumption is produced.”
5. “No Weapon Formed Against Me Shall Prosper: Los Angeles, 2015.” For MUBI, Neil Young on his travels through the City of Angels.
“In the annals of Los Angeles crime, it was hardly an episode to titillate James Ellroy. Was it even really a crime? I was on the short stairwell that connects the 11th—the top—floor of the Bendix Building, a Garment District block on the corner of Maple St and 12th St, when I spotted the square of white-patterned black cotton. Into my pocket it rapidly went, compensation for the fact that my quest for rooftop access had been stymied. An orange plastic sign across the door up ahead, warning (bluffing?) of alarms that would ring out if opened, dissuaded further progress. I wasn’t too disheartened—my unplanned visit to the Bendix Building had yielded sufficient delights. And besides, I wanted to reach Bela Lugosi before sundown.”
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