Their films – they made more than 125 – “were unconnected to nearby Hollywood. Short, experimental, nontheatrical, and nonnarrative, they belong more to an avant-garde or independent tradition – and sometimes a commercial one. Charles said himself, ‘They’re not experimental films, they’re not really films. They’re just attempts to get across an idea.'”
Author: Matthew Westphal
The Guy Who Played Barney The Dinosaur For Ten Years Tells Us What It Was Like Inside That Big Purple Costume
David Joyner (who used to be a software analyst for Texas Instruments): “Now Barney is about 70 pounds, and it can get over 120 degrees inside. … The head doesn’t come off. The head doesn’t swivel. There’s no facial expressions that can be made. I can only see a certain amount, because of the peripheral of Barney’s mouth. And when Barney’s mouth is closed, I can’t see anything. So what I would literally do [to prepare] is I would walk around my apartment as if I was blind.” (video)
How To Make Yourself Work When You Really Don’t Feel Like It
In just the article we need for a summer Friday at the office, Melissa Dahl offers three suggestions that generally work for her.
‘The Most Puzzling Music Director Departure Of Recent Years’ – The Unanswered Question About Alan Gilbert And The New York Philharmonic
“Many pundits say he did all the right things – modern music, standard repertoire, plus staged operas. In a world that’s being dazzled by high-personality Gustavo Dudamel and Yannick Nézet-Séguin, the question is whether Gilbert did them right enough, with the personal magnetism to pull it off. Or with a fighting spirit, which, he suggested in exit interviews, was in shorter supply.” Or, asks David Patrick Stearns, “might the unanswered question be, at least in part, the New York Philharmonic?”
Need To Stage A Sex Scene In Your Play? Call The Intimacy Choreographer
Oh yes, it’s a real job. Laura Collins-Hughes profiles Tonia Sina, who works with actors and directors on performing love and sex onstage in a way that’s both convincing for audiences and (more or less) comfortable for the people doing it.
How St. Augustine Made Sex Dirty (And Invented Biblical Literalism In The Process)
Stephen Greenblatt leads us through the 4th-century theologian’s life and writings to explain how he invented the doctrine of original sin and associated it with sex and conception – and how, to justify that doctrine, he constructed an elaborate argument to take literally a biblical story that thinkers had treated as an allegory.
What Critics Are For – And How Artists (And Politicians) Can Learn To Live With Them
“The contempt of artists for critics is, of course, understandable. To create an artwork is to give the world a kind of gift, and no one likes having a gift rejected, or even inspected too carefully. … [Yet] once a work of art emerges from its creator’s study or studio, it becomes the possession of anyone who interacts with it, and therefore it is open to judgment: Do I actually derive pleasure and enlightenment from it? … Every reader or viewer or listener asks it, whether they want to or not. A critic is just a reader or viewer or listener who makes the question explicit and tries to answer it publicly, for the benefit of other potential readers or viewers or listeners. In doing so, she operates on the assumption that the audience for a work, the recipient of a gift, is entitled to make a judgment on its worth.”
US Gov’t Wants Rights To ‘Dumb And Dumber’ Sequel, Due To International Corruption Case
“The US Justice Department is seeking to acquire the rights to films, including the comedy sequel Dumb and Dumber To, as part of an effort to recover $540m in assets it says were stolen from Malaysia’s troubled wealth fund.”
Where All The Art Goes When The Art Fair Is Over
Art storage facilities have become a big, global business, and one art storage mogul (yes, they exist) estimates that 80% of the world’s artworks is in storage at any given time. Georgina Adam takes a look inside the often-secretive industry.
Three Years From Now, Streaming Video From Netflix And Amazon Will Pull In More Money Than Cinemas
“Paying for TV content from on-demand digital video services will grow by more than 30% to £1.42bn at the turn of the decade, claims consultancy firm PwC. This rise in popularity will see revenue from video services edge ahead of an estimated £1.41bn from cinemagoers.”