1. “Eddie Redmayne.” Jennifer Lawrence interviews the star of The Theory of Everything.
“I had these three images in my trailer—one was Einstein with his tongue out, another was James Dean, because Stephen is just effortlessly cool. He has this kind of shambolic confidence to him. And the last one was a joker in a pack of cards, a marionette with a puppet, because when you meet Stephen—I describe it as a ’Lord of Misrule’ quality—he’s got a great sense of mischief. I worked with a dancer as well, an amazing woman called Alex Reynolds. My instinct was to try to learn the different stages of the physicality like a dance. Like learning steps, you never have a hold of it—I’m a shit dancer by the way—but once you know the steps, you can then play.”
2. “Michael Mann Mourns Collaborator Edgar Froese of Tangerine Dream.” The legendary director shares his memories of joining Tangerine Dream in their Berlin studio to craft the soundtrack to his first film Thief.
“The score was adventurous with some real voyages of discovery. Working with analog sequencers and synthesizers we were also processing sound effects, which I had brought in a suitcase on mag, so that ocean waves might crash in G Major, the same key as the cue. It was a wonderful artistic collaboration. Thinking back to what was at the time cutting edge technology but so primitive now, it was more fun. They were innovating processes and re-combining components to do stuff on frontiers that Moog never envisioned, as new ideas showed up.”
3. “Tumbling Into the Screen.” Dana Stevens on how watching movies with her daughter changed the way she thought about film.
“Our current public discourse about children and filmed entertainment—the debates about the proper doling out of ’screen time’ at different ages, etc.—starts from the assumption that they naturally occupy this larval position, and that it’s our job as—the adult insects? Bleh—to feed them the proper balance of audiovisual royal jelly so they can transform into viewers like us. But participating in P.’s improvisatory way of watching is the very opposite of self-erasure. The 4½-foot tall poststructuralist philosopher I live with demonstrates a radical mode of viewership daily. Because of her, and with her, I am able—by moments—to move out of my own natural larval state and experience movies not just as deliverers of entertainment, conveyors of meaning, or objects of aesthetic contemplation, but as pure fields of emotional and sensory intensity, almost like rooms to which one can return.”
4. “Sundance Diary, Day 5: Shut-ins, Gamblers, and Greta Gerwig.” Wesley Morris’s second dispatch from the festival.
“God bless Noah Baumbach. He’s fallen so deeply under Greta Gerwig’s spell that he can’t see straight anymore. The energy of his movies has always been European and the acidic sensibility distinctly American. With Gerwig, he’s found whimsy. The two movies they have written together and she has starred in—Frances Ha and Mistress America, which premiered here a couple of days ago and will be released by Fox Searchlight—have an eventually endearing unruliness. I’d say they’re unfocused, but the focus is her and her selfish, aloof persona and odd sense of timing.”
5. “Left Behind.” For Reverse Shot, Michael Sicinski on Hard to Be a God.
“The manner in which German depicts this world is, of course, thoroughly hideous, and Hard to Be a God’s unremitting three-hour tour makes for a pungent yet oddly cleansing viewing experience. This is as tactile and visceral as cinema gets, and at the same time our cognitive faculties are stretched like taffy, struggling to connect one peasant to another or suss out which warring faction is which. One imagines that Theodor Adorno, never the latitudinarian where art and especially cinema were concerned, might have approved of German’s 180-minute Rabelaisian acid test. But German’s achievement lies less in his creation of a fetid faux-medieval blunderland than in how he encourages us to see and even participate in it.”
Video of the Day: Richard Brody on Daughters of the Dust:
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