Time‘s Lev Grossman gets to watch the semi-reclusive (he has been on Oprah, after all) writer Cormac McCarthy chat it up with the Coen brothers. They talk about dogs and movies and other reclusive types.
C.M. Days of Heaven is an awfully good movie.
J.C. Yeah. Well, he is great, Terry Malick. Really interesting.
It’s so strange; I never knew what happened to him. I saw Richard Gere
in New Orleans one time, and I said, "What ever happened to Terry
Malick?" And he said, "Everybody asks me that." He said, "I have no
idea." But later on I met Terry. And he just–he just decided that he
didn’t want to live that life. Or so he told me. He just didn’t want to
live the life. It wasn’t that he didn’t like the films. It’s just, if
you could do it without living in Hollywood …
J.C. One of the great American moviemakers.
C.M. But Miller’s Crossing is in that category. I don’t want to embarrass you, but that’s just a very, very fine movie.
J.C. Eh, it’s just a damn rip-off.
C.M. No, I didn’t say it wasn’t a rip-off. I understand it’s a rip-off. I’m just saying it’s good. [Everybody laughs.]
We ended up at a place where Sally Kellerman
(before she became a star) was working as a waitress, and as Chuck and
I vied with each other, trying to top each otherâ€™s sardonic or
subversive ideas, appealing to Sally as a referee, she sat down at the
table with us, and the three of us worked out the rest of the story
Roger Ebert will be honored at the Gotham Awards this year, says the AP, as will Mayor Bloomberg, Javier Bardem and Mira Nair. Afterward, we’re sure, they’ll head over to Gym and spend the night doing shots and telling saucy anecdotes.
Yet in Warholâ€™s films the illusions of Hollywood, with its seamless narratives and industrial imperatives, are self-consciously replaced by other illusions, notably those pertaining to identity. The performers in his films play a shifting catalog of roles â€” biker boy, hustler, debutante, faded movie queen, aged grand artiste â€” that are simultaneously constructed and poignantly real. This is who we are, each seems to say, whether aggressively staring into (or perhaps, more accurately, staring down) the camera or pretending to ignore it altogether. Though Warhol rarely appears on camera, the films feel profoundly autobiographical; theyâ€™re individualistic records of the world in which he played, made art and helped construct his own slippery, elusive identity. They are part ethnography, part memento mori and wholly personal.
Gregg Kilday at the Hollywood Reporter compares Kevin Smith‘s "My Boring-Ass Life: The Uncomfortably Candid Diary of Kevin Smith" to Pepys‘ diary, and pulls a quote on Smith’s famous web battles:
For Smith realizes that if you’re going to open yourself up to the Web’s malcontents, you must respond in kind. "Even though some would consider it a waste of my time, I’ve always felt that if I can’t spare a few minutes to show up the jackasses in life, I’m not living to my fullest potential," he writes.
And Charles Taylor at the Star-Ledger tells the tale of two rock biopics: "I’m Not There" ("what’s high-flown in ‘I’m Not There’ is matched by what’s low-down. The movie has a visionary craziness and a carny barker’s wiliness") and Anton Corbijn‘s great, great "Control" ("The elegant black-and-white photography and the careful framing of the shots might have made the movie seem almost too composed if Corbijn didn’t have such a grip on the life teeming in it").
+ What Happened When a Very Private Writer (Time)
+ Wild Imagination (LA Weekly)
+ Ebert to Be Honored at Gotham Awards (AP)
+ Unblinking Eye, Visual Diary: Warholâ€™s Films (NY Times)
+ ‘Boring’ book of blogs true to Smith’s roots (Hollywood Reporter)
+ High & Low: Two rock’n’roll films to rattle you (Star-Ledger)