1. ”Twin Peaks to Return to Television on Showtime.” It is happening again…
“If you’re a fan of Twin Peaks, you might want to pour yourself a cup of damn good coffee and have a seat: that influential and utterly surreal murder mystery, which aired on ABC in 1990-1991, will be revived by its creators, David Lynch and Mark Frost, as a limited series for Showtime, the cable network said on Monday. When it made its debut in April 1990, Twin Peaks was the first foray into scripted series television from Mr. Lynch, the director of films like Blue Velvet and Eraserhead, pairing him with Mr. Frost, a writer of Hill Street Blues and The Equalizer. The series introduced viewers to Special Agent Dale Cooper (played by Kyle MacLachlan) who arrives in fictional Twin Peaks, Wash., to solve the murder of Laura Palmer, and meets a world of probable suspects and dreamlike characters, including a dwarf who gives him clues in his dreams, and a lady with a special connection to her log.”
2. “Marian Seldes R.I.P.” The Broadway legend has died at 86.
“Marian Seldes, the Tony Award-winning star of A Delicate Balance who was a teacher of Kevin Kline and Robin Williams, a muse to playwright Edward Albee and a Guinness Book of World Records holder for most consecutive performances, died Monday at age 86. She died peacefully at her home after an extended illness, her brother Timothy Seldes said. ’It is with deep sadness that I share the news that my dear sister Marian Seldes has died,’ he said in a statement. ’She was an extraordinary woman whose great love of the theater, teaching and acting was surpassed only by her deep love for her family.’”
3. “NYFF ’14: David Cronenberg’s Maps to the Stars and Consumed.” For Filmmaker, Vadim Rizov on Cronenberg’s latest film and first novel.
“Maps to the Stars brings the news that actors are neurotic, child stars insufferably privileged, studio executives hypocritical bottom-liners and the entire labor force of Los Angeles just waiting for a big break that never comes. To hammer home the closed nature of this toxic cesspool, the plot brings in incest. There is a scene of actress Havana Segrand (Julianne Moore) constipated on the john, her farts loud and sterile in the way that careless post-sync sound tends to be. Satire! (If this scene needed to be filmed—and I’m not convinced—more resonance and echoing of anal wind within the bowl would really have sold it. This is one of the odder complaints I’ve articulated in prose, and I’m a little mad I even had to think about it.)”
4. “Move On, Next Question.” Rich Juzwiak attempts to communicate with Tommy Wiseau.
“After more long-windedness about the creative process being at times a necessarily solitary one, Wiseau finally revealed that he would not be so revealing as to actually answer that question as completely as he could. ’I don’t want to be too specific because it’s my life, but I can give you little bit that I’m not that lonely,’ he said. ’I mean, I have friends around me and I do exercise, I do all that stuff. But sometimes actors need to be lonely. ’Waiting for the subway on my way over, while brushing up on my notes and rereading my research, I had realized that Wiseau benefitted from the same ambiguity that The Room does—his mysteriousness and bizarreness only make him more fascinating. He really could be an alien, for all we know. I was not only at peace with the idea that I would be able to pry very few hard facts from Wiseau; I realized that doing so would be a disservice not just to him but for everyone who delights in his charmingly enigmatic ways. At times, I wondered if he was even capable of having a candid conversation. He sometimes appeared to have the limpest of grasps on facts. A few minutes into our conversation, he referred to me as, ’Richard…right?’”
5. “10 Filmmaking Lessons From Paul Thomas Anderson.” Flavorwire’s Jason Bailey on the filmmaking philosophy PTA imparted during his “On Cinema” talk at this year’s New York Film Festival.
“Inherent Vice isn’t exactly a model for narrative cohesion—and that’s entirely on purpose. Its plot is, in many ways, convoluted for the sake of being convoluted, an idea Anderson explained with a clip from Alfred Hitchcock’s North By Northwest, a film whose plot was basically a clothesline upon which Hitch could hang set pieces he’d already devised. In that film, the intricate plot is explained in an airport sequence, where the roar of the planes overpowers it entirely on the soundtrack—a way, according to Anderson, to cue that this is ’exposition that nobody cares about.’ Expanding on this theme, Anderson explained, ’I never remember plots of movies. I remember how they make me feel, and I remember emotions and I remember visual things that I’ve seen.’”
Video of the Day: Interstellar got another trailer last week:
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