1. “Steven Soderbergh On Why He Really Quit Movies.” The director talks about his new TV show, his old films, and the one-asshole theory of everything.
“And I’ll tell you why. This country is too fucking big. I honestly think…In nature, if a cell gets too big, it divides. You can’t come up with a set of rules that’s going to work for 350 million people. You’re just not. So we’re stuck. Robert Kennedy had this great quote: ’20 percent of people are against everything, all the time.’ That’s a big number now. And you know what? ’No’ is easy. ’No’ doesn’t require any follow-up, commitment. ’Yes’ is hard, ’yes’ has to be worked on. It needs a lot of people to keep it as ’yes.’ That’s where we’re at. When I’m president, we’re going back to the Thirteen Colonies, is what we’re going to do. It’s a weird time. Because the trajectory…Wow, I look around and I’m alarmed. I guess every generation feels that way, I don’t know, but I’m really alarmed. I talk to smart people who work in fields either, you know, neuro-cognition or social analysis, I go, ’Am I going nuts or is this thing going a certain direction, really fast?’ All of them go, ’You’re not imagining things.’ And I go, ’What do we do?’ This could turn into Mad Max, like tomorrow. The fabric is so thin, I feel like.”
2. “Christopher Nolan: Films of the Future Will Still Draw People to Theaters.” When Movies Can Look or Sound Like Anything, Says the Dark Knight Director, Extraordinary Work Will Emerge.
“This bleak future is the direction the industry is pointed in, but even if it arrives it will not last. Once movies can no longer be defined by technology, you unmask powerful fundamentals—the timelessness, the otherworldliness, the shared experience of these narratives. We moan about intrusive moviegoers, but most of us feel a pang of disappointment when we find ourselves in an empty theater. The audience experience is distinct from home entertainment, but not so much that people seek it out for its own sake. The experience must distinguish itself in other ways. And it will. The public will lay down their money to those studios, theaters and filmmakers who value the theatrical experience and create a new distinction from home entertainment that will enthrall—just as movies fought back with widescreen and multitrack sound when television first nipped at its heels.”
3. “The Movies of 1994: Looking Back at the Forrest Gump Sweep.” Wesley Morris looks back at Robert Zemeckis’s Oscar-winning film.
“But generally, with Zemeckis it’s the gimmickry of his filmmaking that can thrill you. Forrest running with Bubba in his arms while napalm bombs explode behind them is still impressive, and some of the cutting has a good comic rhythm. But as a director, Zemeckis doesn’t make great, grand movies. All the thought with him is technical. The ideas are all surface—and, at best, they’re murky. In something like the Back to the Future series, the technology was the idea. It was a license to play with time, space, and pop history. Genre suits him; it gives him something to tinker with and combine. What Lies Beneath was a ghost story/marital drama/murder-thriller, Flight a plane crash-rehab dramedy. Gump is more like Roger Rabbit, though: live action and animation.”
4. “Richard Linklater Reviews His Entire Filmography, from Slacker to Before Midnight and Boyhood.” You’ll never believe how many of the director’s films incorporate Texas, children, time stunts, and Ethan Hawke.
“At 53, Linklater is too young for career retrospectives, but Boyhood feels so climactic—so much like the culmination of his work so far—that VF.com asked him to walk us through his complete filmography: 17 theatrical features in all. (To keep things manageable, we didn’t get into any shorts, docs, or TV productions.) Read on (using the key above for reference) to find out why he doesn’t blame McConaughey for all those romantic comedies, why he considers the portrait of marriage in Before Midnight ’optimistic,’ and why he had no qualms about inviting a convicted murderer to move into his garage apartment.”
5. “Meet the Badass Women Who Stunt Double for Angelina Jolie and Jennifer Lawrence.” Three of Hollywood’s top women stunt doubles reveal what it’s like to act as coaches for major celebrities—while sometimes getting their eyelashes singed off in the process.
“It’s totally different with every job. Some jobs, like Hunger Games: Catching Fire, Jennifer Lawrence had been training with someone else on the bow and arrow for months on end, on the first one. And then when they hired me on the second one, I came out to do some of the harder stuff. She works with a stunt team called 87eleven. They hired me, and I had to learn the routine the day I got there. They liked to joke around: ’She’s had months to work on it, but you only have one day, and you’ve gotta look better than her!’ Then there’s something like The Bourne Legacy, where I had months of preparing, months of training on the back of a motorcycle for the big chase at the end, because it was so important to learn what we had to do—whereas Rachel was kind of thrown into it. It was good that I had time to work on it. I could say, ’Hey, I’ve been doing this for months; here’s what I’ve found works, here’s what doesn’t. Maybe try to do this more.’”
Video of the Day: Ridley Scott’s Exodus: God of Kings gets a first trailer:
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