Tim Grierson and Will Leitch did a pretty good job in this list of All 15 Pixar Movies, Ranked From Worst to Best.
We went back-and-forth on the top two here, but we ultimately had to go with [Wall-E], the most original and ambitious of all the Pixar movies. The first half-hour, which basically tells the story of the destruction of the planet and the devolution of the human race without a single line of dialogue, is total perfection: It’s almost Kubrickian in its attention to detail and perspective, though it never feels cold or ungenerous.
Piece-of-shit Cars 2 is rightly parked at the bottom of the heap, Wall-E is obviously #1, and they correctly acknowledged Up as overrated. I would have rated the original Toy Story lower and Ratatouille higher, but overall: well done.
After Michael Lewis wrote Moneyball in 2003 about the Oakland A’s, their general manager Billy Beane, and his then-unorthodox and supposedly superior managerial strategy, a curious thing happened: the A’s didn’t do that well. They went to the playoffs only twice between 2003 and 2011 and finished under .500 four times. Teams like the Red Sox, who adopted Beane’s strategies with the punch of a much larger payroll, did much better during those years.
But Beane hung in there and has figured out how to beat the big boys again, with two first place in 2012 & 2013 and the best record in the majors this year so far. Will Leitch explains how.
First, don’t spend a lot on a little; spend a little on a lot.
The emotional through-line of Moneyball is Beane learning from his experience as a failed prospect and applying it to today’s game. The idea: Scouts were wrong about him, and therefore they’ll be wrong about tons of guys. Only trust the numbers.
That was an oversimplification, but distrusting the ability of human beings to predict the future has been the centerpiece of the A’s current run. This time, though, the A’s aren’t just doubting the scouts; they’re also skeptical that statistical analysis can reliably predict the future (or that their analysis could reliably predict it better than their competitors). Instead, Beane and his front office have bought in bulk: They’ve brought in as many guys as possible and seen who performed. They weren’t looking for something that no one else saw: They amassed bodies, pitted them against one another, were open to anything, and just looked to see who emerged. Roger Ebert once wrote that the muse visits during the act of creation, rather than before. The A’s have made it a philosophy to just try out as many people as possible — cheap, interchangeable ones — and pluck out the best.
NY Magazine has recent interviews with two of the bigger American filmmakers in the last couple decades, Spike Lee and Oliver Stone.
Will Leitch talks to Spike Lee about about movies, Brooklyn, and Barack & Michelle:
When he was sizing Michelle up, this fine woman, he said, “How am I going to impress her?” I always kid him, good thing he didn’t choose motherfucking Driving Miss Daisy or she would have dumped his ass right there.
And then in an interview by Matt Zoller Seitz, Oliver Stone talks about process:
It’s very intense, and ultimately very painful. I’ve actually done some acting, but I’m not talking about that. I’m using acting as a metaphor. For me, filmmaking is like acting, in the way that it takes over you. It becomes part of you. The role, the lines, the personality of the character — it’s all in you. It’s in your dreams. You think about the character without meaning to, in your sleep. I compare the process to acting because of that quality of immersion, that attempt to internalize the material and become the story. If the attempt is successful, the result is a good or at least an interesting film. But once it’s done, it’s over, and the actor goes back to being himself.