Long looks.

In the New York Times Magazine, Ian Buruma has a lengthy profile of Park Chan-wook.Park's daughter was allowed to see "Lady Vengeance" but not "Oldboy," because of the incest. A faint, slightly embarrassed smile illuminated Park's face. "If it had been a mother and son," he said, "I might have felt better about it, but since it is about a father and daughter, I would have felt awkward."Alexa Moses chats with "Somersault"'s Abbie Cornish (who everyone swooned over as a young, not yet monochromatic Nicole Kidman in various film festivals around the world).For her role in "Candy," Cornish had to appear naked onscreen, but the nudity didn't bother her too much. "I've met people who don't come out of the shower naked but I run around everywhere naked; I love it, I think it's great."And...fame! At the New York Times, Randy Kennedy attempts to interview Mr. and Mrs. Björk...

In the New York Times Magazine, Ian Buruma has a lengthy profile of Park Chan-wook.

Park’s daughter was allowed to see "Lady Vengeance" but not "Oldboy," because of the incest. A faint, slightly embarrassed smile illuminated Park’s face. "If it had been a mother and son," he said, "I might have felt better about it, but since it is about a father and daughter, I would have felt awkward."

Alexa Moses chats with "Somersault"‘s Abbie Cornish (who everyone swooned over as a young, not yet monochromatic Nicole Kidman in various film festivals around the world).

For her role in "Candy," Cornish had to appear naked onscreen, but the nudity didn’t bother her too much. "I’ve met people who don’t come out of the shower naked but I run around everywhere naked; I love it, I think it’s great."

And…fame!

At the New York Times, Randy Kennedy attempts to interview Mr. and Mrs. Björk about "Drawing Restraint 9."

The decision to cast himself and Bjork, he stressed, was far less autobiographical than it was practical. "I don’t know how to direct actors," he explained, so telling a love story was simply easier with a real-life template, "without getting involved in a level of theater that I’m not equipped to direct."

In other words, while some romantically involved actors might see the dramatic possibilities of performing together from a Taylor-and-Burton perspective, Mr. Barney saw it decidedly from Duchamp‘s.

"It almost belongs to the plastic art tradition of the found object," he said, "the readymade."

And in the Observer, Anthony Haden-Guest talks to the remnants of Andy Warhol‘s circle, his assistants and friends, trying to get a better sense of the Screen Test days.

In 1966, Warhol, [Gerard] Malanga and Edie Sedgwick went to Paris for Warhol’s first European show. He was showing the Flower paintings at the Sonnabend Gallery. They took in Jean-Luc Godard‘s "Alphaville."

‘And when we walked out of the movie theatre,’ says Malanga, ‘Andy was complaining [he puts on Warhol's distinctive whine] "Oh, Godard’s copying me!" I said, "Stop it! That’s total nonsense!" He’d only been making movies for less than two years when we saw ‘Alphaville.’ It was like talking to a little kid, you know?’

+ Mr. Vengeance (NY Times Magazine)
+ Abbie’s excellent adventure (Sydney Morning Herald)
+ The Bjork-Barney Enigma Machine (NY Times)
+ Factory fresh (Observer)