kottke.org posts about movies
Errol Morris writes several hundred words about two iconic photos taken by Roger Fenton during the Crimean War, during which he explores the interplay between “clear” evidence and the interpretation of that evidence by people with different agendas and ideas.
As I’ve said elsewhere: Nothing is so obvious that it’s obvious. When someone says that something is obvious, it seems almost certain that it is anything but obvious - even to them. The use of the word “obvious” indicates the absence of a logical argument - an attempt to convince the reader by asserting the truth of something by saying it a little louder.
This might be the best blog post I’ve ever read. I can’t wait to see Standard Operating Procedure, Morris’ upcoming documentary on Abu Ghraib and, from what it sounds like, the culmination of his exploration of truth in photography.
Look, I know it’s Friday you’re just looking for some fun stuff to end the work week with, but we’ve got a pressing matter to discuss. Let’s say you’re a new father and a movie fan. When your child is of an appropriate age to start watching movies, in which order will you show him/her the six Star Wars movies? By original release date (Star Wars, Empire, Jedi, Phantom Menace, Clones, Sith) or according to the intra-movie chronology (Phantom Menace, Clones, Sith, Star Wars, Empire, Jedi)?
We’re currently leaning toward by original release date, but I can see the advantages of the other way around too. At dinner the other night, a friend asserted that not only was original release date the way to go, but that viewing the original versions on VHS was essential as well. I believe the relevant tapes and a cheapo VCR have been stashed away for this purpose already.
What do you think? How would you approach this? (thx to rehan for the suggested topic)
Hotel Chevalier, the short film by Wes Anderson that takes place before the action in The Darjeeling Limited, is available at the iTunes Music Store for free.
New York magazine takes Wes Anderson’s spiritual temperature on the eve of the release of The Darjeeling Limited, his fifth film.
That we happen to be traveling by train to discuss a movie that takes place on a train was not part of the original plan, though I’m starting to think of it as yet another example of Anderson’s knack for retouching reality with an idiosyncratic gloss. (It may be connected to his fear of flying as well; until recently, Anderson traveled to Europe by boat, and he far prefers trains and automobiles to anything airborne.) Also somewhat peculiar is the fact that buried in one of Anderson’s monogrammed suitcases is 10,000 euros in cash — about $14,000 — an amount that may or may not be legal to carry, and that was given to the director by Bill Murray, who asked that the money be “delivered to Luigi.”
Remember the Transformers movie from this summer? Those were fun times. Here’s a letter to Optimus Prime from his Geico auto insurance agent. “Mr. Prime, I am going to remind you again: Your policy with GEICO only reimburses you for accidents that occur while you are engaged in the reasonable use of your truck and trailer. As I told you when you originally purchased the policy, GEICO does not offer Megatron coverage, Starscream coverage, Soundwave coverage, Decepticon coverage, or Energon-blast coverage. Those are just not the types of damages we would expect from reasonable use.”
Trailer for No Country For Old Men, a film by the Coen Brothers based on a book by Cormac McCarthy.
The New Yorker’s Nancy Franklin pans Ken Burns’ The War.
They’ve taken a subject that is inexhaustible and made it merely exhausting. Scene by scene, interview by interview, the series doesn’t bore, if you are of the school that believes that everyone’s experiences are at least somewhat interesting, and that the experiences of those who went through the Second World War are more interesting than most.
Jessica Lagunas’ Return to Puberty, an artwork consisting of a “video close-up of my pubis in a static single shot, in which I depilate most of my pubic hair with a pair of tweezers continuously for one hour”. It’s like the female version of Empire. NSFW.
Video of a Charlie Rose interview with Pixar’s John Lasseter and Steve Jobs. This was about a year after Toy Story had been released and a few months before Apple bought Jobs’ NeXT.
Graph of the movie poster colors of the top-grossing movies, from the brightly colored G-rated movies to the dark and fleshy NC-17 films.
A collection of the best 150 documentaries as determined by Kevin Kelly. Kelly’s got good taste in movies — or at least it jibes with mine — and True Films is a fine guide for those looking to introduce more documentary films into their media diet.
Laurel over at TV Picks noticed that the conjoined twins documentary I mentioned the other day is on the Discovery Health Channel tonight at 9pm and 12am ET. DVR, set. (thx, laurel)
BTW, TV Picks looks like the rare useful entertainment site that’s not just absolutely plastered with ads and attitude. It’s a daily one-pager about what’s new, good, and notable on TV that day.
Title of the upcoming Indiana Jones film: Indiana Jones and the Kingdom of the Crystal Skull. Doesn’t exactly roll off the tongue.
It’s been a few weeks since I saw the movie, but I still can’t get the Rhubarb Pie song out of my head:
But one little thing can revive a guy,
And that is home-made rhubarb pie.
Serve it up, nice and hot.
Maybe things aren’t as futile as you thought.
Mama’s little baby loves rhubarb, rhubarb,
Beebopareebop Rhubarb Pie.
Mama’s little baby loves rhubarb, rhubarb,
Beebopareebop Rhubarb Pie.
Related “fascinating” facts:
Garrison Keillor got the idea for doing A Prairie Home Companion (the radio show) after writing an article for the New Yorker about the Grand Old Opry in 1974.
While driving in unfamiliar territory in an episode of The Wire, Bodie Broadus ends up listening to A Prairie Home Companion on the radio when he can’t find any hip-hop.
A 1993 New Yorker story by John Seabook called The Flash of Genius is being made into a movie starring Greg Kinnear. The story revolves around Bob Kearns, the inventor of the intermittent windshield wiper and his struggle to get the US auto industry to pay him for infringing on his patent. “There’s no question that Dr. Kearns’ wiper circuit was interesting. He had a three-brush motor, with dynamic brake and intermittent on one speed only — his system was a concatenation of a lot of different ideas. But we figured there was just no way in the world it was patentable. An electronic timing device was an obvious thing to try next. How can you patent something that is in the natural evolution of technology?”
BTW, the phrase “flash of genius” refers to a test of patentability enacted in 1941 saying that the act of invention had to be a “flash of creative genius” on the part of the inventor and not the result of tinkering. That standard was replaced in 1952 by the non-obviousness test.
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