Louis C.K. sat down with Jonah Weiner for an extended interview where he discusses learning how to fix cars, tell jokes, fry chicken, and more. (Seriously, Medium is milking that whole time spent reading thing now.) He also gives some clues as to what he seems to be up to in the current season of Louie:
JW: You’ve talked about how you’ve had to explain moral lessons to your daughters, but do it in a catchy way. It’s almost as though you’re writing material for them. What’s the place of morality and ethics in your comedy?
I think those are questions people live with all the time, and I think there’s a lazy not answering of them now, everyone sheepishly goes, “Oh, I’m just not doing it, I’m not doing the right thing.” There are people that really live by doing the right thing, but I don’t know what that is, I’m really curious about that. I’m really curious about what people think they’re doing when they’re doing something evil, casually. I think it’s really interesting, that we benefit from suffering so much, and we excuse ourselves from it. I think that’s really interesting, I think it’s a profound human question…
I think it’s really interesting to test what people think is right or wrong, and I can do that in both directions, so sometimes it’s in defense of the common person against the rich that think they’re entitled to this shit, but also the idea that everybody has to get handouts and do whatever they want so that there’s not supposed to be any struggle in life is also a lot of horseshit. Everything that people say is testable.
At the LA Review of Books, Lili Loofbourow has a good essay about Louie’s abrupt shifts in perspective, in the context of its recent rape-y episodes. There’s Louie the dad, who garners sympathy and acts as a cover/hedge/foil to Louie’s darker impulses. There’s standup Louie, who acts as a commentary and counterpoint to dramedy Louie… except when he doesn’t, and the two characters blur and flip.
Louie is — despite its dick-joke dressing — a profoundly ethical show… Louie is sketching out the psychology of an abuser by making us recognize abuse in someone we love. Someone thoughtful and shy, raising daughters of his own, doing his best. Someone totally cognizant of the issues that make him susceptible to the misogyny monster. Someone who thinks hard about women and men and still gets it badly wrong.
I had to stop watching Louie after Season 1. I raced greedily through those episodes, enjoying the dumb jokes and the sophisticated storytelling, and telling my friends, “this is like looking at my life in ten years.” Then my wife and I separated and that joke wasn’t funny any more, if it ever was. The things in Louie that are supposed to indicate the cracks in the fourth wall — the African-American ex-wife and the seemingly white children — are actually true in my life. His character is more like me than his creator is (except Louie has more money). No haha, you’re both redheads with beards. It’s an honest-to-goodness uncanny valley. I had to walk away.
At the same time, I feel like I understand Louis C.K., the comedian/filmmaker, better now than I did three years ago. If you read that interview, you see someone who’s more successful now than he’s ever been, who knows he’s good at what he does, but who’s never been certain that anyone’s ever loved him or if he’s ever been worthy of love.
Now America loves Louis C.K. and hangs on his every word: on gadgets, on tests in school, on what’s worth caring about. How can he not want to test those limits? How can he not want to punish his audience for caring about a character based on him that he doesn’t even like very much?
Adam Phillips is a writer and psychoanalyst, working on (among other things) a digressive, deflationary biography of Freud. He recently gave an “Art of Nonfiction” interview to The Paris Review which is one of those great Paris Review interviews about writing and life and approaching the universe.
PHILLIPS: Analysis should do two things that are linked together. It should be about the recovery of appetite, and the need not to know yourself. And these two things—
INTERVIEWER: The need not to know yourself?
PHILLIPS: The need not to know yourself. Symptoms are forms of self-knowledge. When you think, I’m agoraphobic, I’m a shy person, whatever it may be, these are forms of self-knowledge. What psychoanalysis, at its best, does is cure you of your self-knowledge. And of your wish to know yourself in that coherent, narrative way…
I was a child psychotherapist for most of my professional life. One of the things that is interesting about children is how much appetite they have. How much appetite they have—but also how conflicted they can be about their appetites. Anybody who’s got young children, or has had them, or was once a young child, will remember that children are incredibly picky about their food. They can go through periods where they will only have an orange peeled in a certain way. Or milk in a certain cup.
INTERVIEWER: And what does that mean?
PHILLIPS: Well, it means different things for different children. One of the things it means is there’s something very frightening about one’s appetite. So that one is trying to contain a voraciousness in a very specific, limiting, narrowed way. It’s as though, were the child not to have the milk in that cup, it would be a catastrophe. And the child is right. It would be a catastrophe, because that specific way, that habit, contains what is felt to be a very fearful appetite. An appetite is fearful because it connects you with the world in very unpredictable ways. Winnicott says somewhere that health is much more difficult to deal with than disease. And he’s right, I think, in the sense that everybody is dealing with how much of their own aliveness they can bear and how much they need to anesthetize themselves.
We all have self-cures for strong feeling. Then the self-cure becomes a problem, in the obvious sense that the problem of the alcoholic is not alcohol but sobriety. Drinking becomes a problem, but actually the problem is what’s being cured by the alcohol. By the time we’re adults, we’ve all become alcoholics. That’s to say, we’ve all evolved ways of deadening certain feelings and thoughts. One of the reasons we admire or like art, if we do, is that it reopens us in some sense—as Kafka wrote in a letter, art breaks the sea that’s frozen inside us. It reminds us of sensitivities that we might have lost at some cost.
Ruling is hard. This was maybe my answer to Tolkien, whom, as much as I admire him, I do quibble with. Lord of the Rings had a very medieval philosophy: that if the king was a good man, the land would prosper. We look at real history and it’s not that simple. Tolkien can say that Aragorn became king and reigned for a hundred years, and he was wise and good. But Tolkien doesn’t ask the question: What was Aragorn’s tax policy? Did he maintain a standing army? What did he do in times of flood and famine? And what about all these orcs? By the end of the war, Sauron is gone but all of the orcs aren’t gone — they’re in the mountains. Did Aragorn pursue a policy of systematic genocide and kill them? Even the little baby orcs, in their little orc cradles?
Wells: I am very much obliged to you, Mr Stalin, for agreeing to see me. I was in the United States recently. I had a long conversation with President Roosevelt and tried to ascertain what his leading ideas were. Now I have come to ask you what you are doing to change the world …
Stalin: Not so very much.
Wells: I wander around the world as a common man and, as a common man, observe what is going on around me.
Stalin: Important public men like yourself are not “common men”. Of course, history alone can show how important this or that public man has been; at all events, you do not look at the world as a “common man”.
Wells: I am not pretending humility. What I mean is that I try to see the world through the eyes of the common man, and not as a party politician or a responsible administrator. My visit to the United States excited my mind. The old financial world is collapsing; the economic life of the country is being reorganised on new lines.
Lenin said: “We must learn to do business,” learn this from the capitalists. Today the capitalists have to learn from you, to grasp the spirit of Socialism. It seems to me that what is taking place in the United States is a profound reorganisation, the creation of planned, that is, Socialist, economy. You and Roosevelt begin from two different starting points. But is there not a relation in ideas, a kinship of ideas, between Moscow and Washington?
In Washington I was struck by the same thing I see going on here; they are building offices, they are creating a number of state regulation bodies, they are organising a long-needed civil service. Their need, like yours, is directive ability.
He spent “months and months and months” working out the exact shape of the stand of the desktop iMac computer because “it’s very hard to design something that you almost do not see because it just seems so obvious, natural and inevitable”. When he has finished a product, even one as fresh and iconic as the white headphones that came with the first iPod, he is haunted by the idea: could I have done it better? “It’s an affliction designers are cursed with,” Ive frowns.
It was an affliction he shared with Jobs, although he seemed to apply it to everything, with — almost — funny consequences. Ive recalls traveling with Jobs. “We’d get to the hotel where we were going, we’d check in and I’d go up to my room. I’d leave my bags by the door. I wouldn’t unpack. I’d go and sit on the bed and wait for the inevitable call from Steve: ‘Hey Jony, this hotel sucks. let’s go.’”
Would have preferred more of the actual interview — lots of biographical filler in this to make it accessible for the general public — but there are good bits here and there.
If you’re reading this site, you’ll probably like watching Charlie Rose interview Bill Murray for nearly an hour. The whole thing is available on Hulu (US only):
The video is recent too: Feb 9, 2014. A clip is available on YouTube…check out that leather vest!
And from a different interview with Murray, we learn that everyone has been drinking champagne incorrectly. Here’s the Murray method:
I learned how to drink champagne a while ago. But the way I like to drink champagne is I like to make what we call a Montana Cooler, where you buy a case of champagne and you take all the bottles out, and you take all the cardboard out, and you put a garbage bag inside of it, then you put all the bottles back in and then you cover it with ice, and then you wrap it up and you close it. And that will keep it all cold for a weekend and you can drink every single bottle. And the way I like to drink it in a big pint glass with ice. I fill it with ice and I pour the champagne in it, because champagne can never be too cold. And the problem people have with champagne is they drink it and they crash with it, because the sugar content is so high and you get really dehydrated. But if you can get the ice in it, you can drink it supremely cold and at the same time you’re getting the melting ice, so it’s like a hydration level, and you can stay at this great level for a whole weekend. You don’t want to crash. You want to keep that buzz, that bling, that smile.
About 250 million years ago, Earth suffered its fifth (and worst) mass extinction event. Nearly seventy percent of land species disappeared. And they got off easy compared to marine species. Are we headed for another mass extinction on Earth? I’m not ready to break that news. But something unusual is definitely going on and extinction rates seem to be speeding up. Here’s an interesting chat with Elizabeth Kolbert, author of The Sixth Extinction.
The worst mass extinction of all time came about 250 million years ago [the Permian-Triassic extinction event]. There’s a pretty good consensus there that this was caused by a huge volcanic event that went on for a long time and released a lot of carbon-dioxide into the atmosphere. That is pretty ominous considering that we are releasing a lot of CO2 into the atmosphere and people increasingly are drawing parallels between the two events.
I always forget about Interview magazine but I really shouldn’t because a) Warhol and b) they consistently pair interesting people together for interviews. Case in point: director Steve McQueen (Shame, 12 Years a Slave, not Bullitt) interviews Kanye West for the Feb 2014 issue.
MCQUEEN: You’ve been on the scene as an artist now for 10 years, which is impressive, given the level of interest and artistry that you’ve managed to sustain in your work. In the process, you’ve become incredibly influential. So you talk about doing all of these other things, which is great, but there’s really no amount of money that could make you more influential than you are now. So my question is: What are you going to do with all of the influence that you have right now?
WEST: Well, influence isn’t my definition of success-it’s a by-product of my creativity. I just want to create more. I would be fine with making less money. I actually spend the majority of my money attempting to create more things. Not buying things or solidifying myself or trying to make my house bigger, or trying to show people how many Louis Vuitton bags I can get, or buying my way to a good seat at the table. My definition of success, again, is getting my ideas out there.
Tom Junod writes about Bob Dylan and what we know and don’t know about him and what that says about our ability to know anything about anyone. Maaaaan. *toke*
Bob Dylan is either the most public private man in the world or the most private public one. He has a reputation for being silent and reclusive; he is neither. He has been giving interviews-albeit contentious ones-for as long as he’s been making music, and he’s been making music for more than fifty years. He’s seventy-two years old. He’s written one volume of an autobiography and is under contract to write two more. He’s hosted his own radio show. He exhibits his paintings and his sculpture in galleries and museums around the world. Ten years ago, he cowrote and starred in a movie, Masked and Anonymous, that was about his own masked anonymity. He is reportedly working on another studio recording, his thirty-sixth, and year after year and night after night he still gets on stage to sing songs unequaled in both their candor and circumspection. Though famous as a man who won’t talk, Dylan is and always has been a man who won’t shut up.
In 1963, Studs Terkel interviewed a 21-year-old Bob Dylan, before he was famous.
In the spring of 1963 Studs Terkel introduced Chicago radio listeners to an up-and-coming musician, not yet 22 years old, “a young folk poet who you might say looks like Huckleberry Finn, if he lived in the 20th century. His name is Bob Dylan.”
Dylan had just finished recording the songs for his second album, “The Freewheelin’ Bob Dylan”, when he traveled from New York to Chicago to play a gig at a little place partly owned by his manager, Albert Grossman, called “The Bear Club”. The next day he went to the WFMT studios for the hour-long appearance on “The Studs Terkel Program”.
Bob Dylan is a notoriously tough person to interview and that’s definitely the case here, even this early in his life as a public persona. On the other hand, Terkel is a veteran interviewer, one of the best ever, and he seems genuinely impressed with the young man who was just 21 at the time and had but one record of mainly covers under his belt. Terkel does a good job of keeping things on track as he expertly gets out of the way and listens while gleaning what he can from his subject. It’s an interesting match-up.
Dylan seems at least fairly straightforward about his musical influences. He talks about seeing Woody Guthrie with his uncle when he was ten years old (Is this just mythology? Who knows?), and he mentions Big Joe Williams and Pete Seeger a few times.
Much of the rest is a little trickier. Terkel has to almost beg Dylan to play what turns out to be an earnest, driving version of “A Hard Rain’s a-Gonna Fall.” Dylan tells Terkel that he’d rather the interviewer “take it off the disc,” but relents and does the tune anyways.
We may not have our jetpacks and hover cars, but our future-now has given us Tavi Gevinson interviewing Lorde and that’s just as good.
Tavi: On that note, you have a very unique way of looking at the suburb where you live, which I think you’ve called “the Bubble.” When did you realize the suburbs could be a source of inspiration?
Lorde: Well…this sounds so lame, but I grew up reading your blog, man! [Laughs]
Tavi: Oh no! “Ugh, that’s so LAME, shut up!”
Lorde: [Laughs] But no, I think there is something really cool about that whole Virgin Suicides vibe of making even the bad parts bearable. I hate high school so much, but there’s something kind of cool about walking around on the coldest day listening to “Lindisfarne” by James Blake or something and feeling like something has happened, even though it’s the worst thing ever. The album The Suburbs by Arcade Fire was influential to me in that as way well. I just think that record is really beautiful and nostalgic and so well-written. It’s a super-direct way of talking about what it’s like to grow up [in the suburbs], and I think that’s quite lovely.
You’re asking about stuff I’m not used to talking about in interviews, so I don’t have a stock way of driving the question.
Tavi: OK, then: “Do you feel 17?”
Lorde: AGHHHH! What do you even say to that, honestly?
Tavi: It’s kind of a trap, because if you say yes you’re shitting on their question by making it seem obvious, but if you say no you seem like you think you’re older and better.
Lorde: I always get these weird people being like, “Oh, she’s growing up way too fast, she looks 30.” Oh, god.
Tavi: People always say that. I remember — not to be all Mother Hen —
Lorde: No, go for it!
Tavi: I remember when people started paying attention to what I was doing, and it was like, “She should be getting knocked up like all the other kids her age!” It’s like, you complain when you think teenagers are stupid, and then when they try to do something, you’re all, “Oh, they’re growing up too fast, they don’t know what’s good for them.”
Lorde: It seems like a double standard to me. And there’s another part of it which I find really strange, which is that so many interviewers, even ones that I consider really intelligent and good writers, will do the, like, “Oh, you’re not taking your clothes off like Miley Cyrus and all these girls” thing, which to me is just the weirdest thing to say to someone. But then people will say, “She’s always talking about being bored, that’s petulant,” which I feel like is kind of taking the piss out of teenage emotions-just, like, making light of how teenagers feel. When people react that way about things that every teenager experiences, how can you expect to make anything good?
EG: The punctuated alliteration is gorgeous — “preened and polished”; “matured” and “molded”. How much time would you spend on such a sentence?/eg
GT: Oh, I could spend days. Sometimes these phrases come to you and sometimes they’re terrible. Sometimes you think, “Maybe that’s okay” and you let it in. I throw a lot of stuff away.
EG: What percentage of what you write for any given story do you get rid of?
GT: More than half. Because it’s so easily the case that it’s turgid or overwritten.
EG: Do you throw away more now, now that you use a computer?
GT: I don’t think so. I’ve always thrown a lot away, even when I was working on daily deadlines for newspapers. That was really expensive because at the New York Times we were typing what they called a “book” — it had seven or eight pieces of carbon. A thick thing. If you threw it away, you were destroying 11 cents worth of, well, something.
I don’t know about you, but I can’t wait to get my hands on some fucking gourds and arrange them in a horn-shaped basket on my dining room table. That shit is going to look so seasonal. I’m about to head up to the attic right now to find that wicker fucker, dust it off, and jam it with an insanely ornate assortment of shellacked vegetables. When my guests come over it’s gonna be like, BLAMMO! Check out my shellacked decorative vegetables, assholes. Guess what season it is — fucking fall. There’s a nip in the air and my house is full of mutant fucking squash.
Nissan’s piece is included in a new collection and has spawned a collectable mug. Here’s a McSweeney’s interview with Nissan about the piece and the “the whole gourd pride movement”.
McSWEENEY’S: A large part of what makes “Gourds” so funny is the language. Use of F-bombs in humor is sometimes seen as a lazy way to get a reaction from the audience, but here it just works. How do you fucking explain this?
NISSAN: Fudge if I know. It’s tricky because properly placed F-bombs really do have the power to work readers up into a lather, but they also have the power to make them think you’re a juvenile idiot with a terrible vocabulary. For whatever reason, the swearing worked in this case. I think part of it was the fact that despite the language, the voice in the piece was never really angry or negative, he was just incredibly excited. If he was angry, I actually think the swearing might have turned people off.
Paul Bogard recently published a book on darkness called The End of Night. Nicola Twilley and Geoff Manaugh interviewed Bogard about the book, the night sky, astronomy, security, cities, and prisons, among other things. The interview is interesting throughout but one of my favorite things is this illustration of the Bortle scale.
Twilley: It’s astonishing to read the description of a Bortle Class 1, where the Milky Way is actually capable of casting shadows!
Bogard: It is. There’s a statistic that I quote, which is that eight of every ten kids born in the United States today will never experience a sky dark enough to see the Milky Way. The Milky Way becomes visible at 3 or 4 on the Bortle scale. That’s not even down to a 1. One is pretty stringent. I’ve been in some really dark places that might not have qualified as a 1, just because there was a glow of a city way off in the distance, on the horizon. You can’t have any signs of artificial light to qualify as a Bortle Class 1.
A Bortle Class 1 is so dark that it’s bright. That’s the great thing-the darker it gets, if it’s clear, the brighter the night is. That’s something we never see either, because it’s so artificially bright in all the places we live. We never see the natural light of the night sky.
First of all, I set the menu. I mean, they can request stuff, the riders, if they want. I’ll note it and I’ll do it if it’s possible. But, obviously, then there’s rules to how to assemble the menu. Today’s a rest day, so we do a low-carb lunch for them. They’re not going so far, they just want to keep their legs going, so we don’t want to fill them up too much. And we don’t want to go too hard on the carbs so they don’t gain weight.
Then we have a philosophy of using lots of vegetables, proteins, and cold-pressed fats, and then we use a lot of gluten-free alternatives. So we try to encourage the riders to try other things than just pasta and bread. I do gluten-free breads as well.
It’s all to minimize all the little things that can stop you from performing 100 percent, that promote injuries, stomach problems, all those things. So that’s a big difference (from cooking in a restaurant), because I have to follow all those rules. I can’t just cook whatever I think is amazing. It has to be within those guidelines.
Then I take it as my personal job to take these guidelines and then make an incredible product from it, so they don’t feel like they’re missing out on things. It shouldn’t be a punishment to travel with a kitchen truck and a chef who cooks you food that’s good for you.
Grant’s cooking seems to be paying off for the team…Saxo-Tinkoff currently has two riders in the top five and is in second place overall in the team classification. (via @sampotts)
In Kuwait, people sell all sorts of stuff on Instagram, using the service as a visually oriented mobile storefront instead of using a web site or something like eBay. From an interview with artist/musician Fatima Al Qadiri:
BR: Kuwait is a crazy mix: a super-affluent country, yet basically a welfare state, though with a super neo-liberal consumer economy.
FQ: We consume vast amounts of everything. Instagram businesses are a big thing in Kuwait.
BR: What’s an Instagram business?
FQ: If you have an Instagram account, you can slap a price tag on anything, take a picture of it, and sell it. For instance, you could take this can of San Pellegrino, paint it pink, put a heart on it, call it yours, and declare it for sale. Even my grandmother has an Instagram business! She sells dried fruit. A friend’s cousin is selling weird potted plants that use Astroturf. People are creating, you know, hacked products.
I dug up a few examples: Manga Box is an Instagram storefront selling manga (contact via WhatsApp to buy), Sondos Makeup advertises makeup services (WhatsApp for appts.), sheeps_sell sells sheep, and store & more is an account selling women’s fashion items. There was even an Insta-Business Expo held in April about Instagram businesses.
The Entrepreneurship and Business Club of the American University of Kuwait is holding an “INSTA BUSINESS EXPO” which will consist of all your favorite and newest popular entrepreneurs that grew their businesses through Instagram. Not only that, there will be guest speakers by Entrepreneurs that made it through Instagram as well!
I also have a WeMo motion sensor in my sitting room that looks for movement. When it notices some movement, it posts an @-reply to me on Twitter, so I get notified wherever I am pretty much immediately. It asks me if I’m in the Sitting Room. I often find myself replying to the house. It feels rude not to.
If I’m not in the house and I get a message like this, then I can check on who is in my house by using my Dropcam. This is a little off-the-shelf product that costs about $200. I can, again, view the video feed from it on my iPhone. If it’s dark, I can turn on night vision, or (of course) I can just turn on the lights from anywhere using my WeMo set-up.
By the big plant in my Sitting Room, I have a Twine. This is a slightly odd little product from a company called Supermechanical. They were a Kickstarter project. It’s essentially a little battery-powered box with a couple of inbuilt sensors in it and a port for plugging in a few others. I use it for capturing the temperature of my house, vibration, and whether or not the plant has been watered recently. I have the temperature set up so that it tweets when the house crosses a threshold - allowing it to narrate when it gets too hot or too cold. I have the vibration sensor set up to shout at me if there’s an earthquake, but often it just gets confused when someone slams down on the sofa too hard.
From the beginning, all I’ve ever cared about is things being great. I never cared about when they were done. Because I also feel like I want the music to last forever. And once you release it, you can’t go back and fix it, so you really have to get it right. And that takes time.
A chat with Rick Rubin. You may not know the name, but you definitely know the music (and you’ll probably never forget the beard).
In 1964, when they were teenagers at New Trier High School near Chicago, Michael Aisner and James Stein interviewed Louis Armstrong backstage at one of his concerts. In his boxers.
You can’t take it for granted. Even if we have two, three days off I still have to blow that horn a few hours to keep up the chops. I mean I’ve been playing 50 years, and that’s what I’ve been doing in order to keep in that groove there.
Jon Caramanica talks with Kanye West about his work, his past, his impending child, and all sorts of other things in the NY Times. I started pulling interesting quotes but stopped when I realized that I was copy/pasting like 96% of the article. So, you only get two:
I sat down with a clothing guy that I won’t mention, but hopefully if he reads this article, he knows it’s him and knows that out of respect, I didn’t mention his name: this guy, he questioned me before I left his office:, “If you’ve done this, this, and this, why haven’t you gone further in fashion?” And I say, “I’m learning.” But ultimately, this guy that was talking to me doesn’t make Christmas presents, meaning that nobody was asking for his [stuff] as a Christmas present. If you don’t make Christmas presents, meaning making something that’s so emotionally connected to people, don’t talk to me.
And I don’t want to ruin the amazing last few paragraphs, but I just had to include this:
I think what Kanye West is going to mean is something similar to what Steve Jobs means. I am undoubtedly, you know, Steve of Internet, downtown, fashion, culture. Period. By a long jump. I honestly feel that because Steve has passed, you know, it’s like when Biggie passed and Jay-Z was allowed to become Jay-Z.
Director Steven Soderbergh is not making any more Hollywood movies and plans to focus on his painting, importing Bolivian liquor, reading more, and doing more theater/TV. This conversation with him is informative and delightful.
On the few occasions where I’ve talked to film students, one of the things I stress, in addition to learning your craft, is how you behave as a person. For the most part, our lives are about telling stories. So I ask them, “What are the stories you want people to tell about you?” Because at a certain point, your ability to get a job could turn on the stories people tell about you. The reason [then-Universal Pictures chief] Casey Silver put me up for [1998’s] Out of Sight after I’d had five flops in a row was because he liked me personally. He also knew I was a responsible filmmaker, and if I got that job, the next time he’d see me was when we screened the movie. If I’m an asshole, then I don’t get that job. Character counts. That’s a long way of saying, “If you can be known as someone who can attract talent, that’s a big plus.”
A nice interview with Wes Anderson. He discusses how he got his start in filmmaking, his prospects as the director of the next Star Wars movie, and his new film with Ralph Fiennes, The Grand Budapest Hotel.
DEADLINE: Star Wars was among the films that influenced you early on. What would the world get if Wes Anderson signed on to direct one of these new Star Wars films Disney will make?
ANDERSON: Well I have a feeling I would probably ultimately get replaced on the film because I don’t’ know if I have all the right action chops. But at least I know the characters from the old films.
DEADLINE: You are not doing a good job of selling yourself as a maker of blockbusters.
ANDERSON: I think you are reading it exactly right. I don’t think I would do a terrible job at a Han Solo backstory. I could do that pretty well. But maybe that would be better as a short.
The internet is awash in great Bill Murray stories, but this one might be one of the very best. From the middle of an AV Club interview with Kelly Lynch in October:
AVC: It seems like your sex scene in [Road House] must be one of the most uncomfortable in cinematic history, being up against a rock wall and all.
KL: Oh, I know, but I was padded. [Laughs.] No one knows, so it looks more painful that it was. They really liked everything about the way that scene looked, with the blonde hair against the rocks behind me, but I was like, “Isn’t this kind of… mean?” So they put a thin padding under my dress, so you can’t see it. But he’s still slamming me against the rocks, so I had to be careful not to hit my head. Thank God Patrick was so strong. He could’ve carried me around that room forever.
By the way, speaking of Bill Murray, every time Road House is on and he or one of his idiot brothers are watching TV — and they’re always watching TV — one of them calls my husband and says [In a reasonable approximation of Carl Spackler], “Kelly’s having sex with Patrick Swayze right now. They’re doing it. He’s throwing her against the rocks.” [Away from the receiver.] What? Oh, my God. Mitch was just walking out the door to the set, and he said that Bill once called him from Russia.
AVC: Sorry, not to dwell on this, but you said that Bill Murray “or one of his idiot brothers” will call. Which brothers are we talking about?
KL: All of them! Joel has called; Brian Doyle has called. They will all call! Any and all of them!
AVC: This was already an awesome story, but now it’s even better.
KL: I know, right? I dread it. If I know it’s coming on — and I can tell when it’s coming on, because it blows up on Twitter when it is — I’m just like, “Oh, my God…” And God help me when AMC’s doing their Road House marathon, because I know the phone is just going to keep ringing. It doesn’t matter if it’s 2 or 3 in morning. “Hi, Kelly’s having sex with Patrick Swayze right now…”
Filmmaker Robert Weide asks Woody Allen 12 questions that he’s never been asked before.
I am surprised that he would choose sporting events over movies, but as he says, he’s seen ‘em all at this point. Weide directed the excellent documentary on Allen, which is available on DVD or streaming at Amazon. (via viewsource)
Dave Itzkoff went to interview Bill Murray for the NY Times on the occasion of the release of his new film, Hyde Park on Hudson, in which Murray plays Franklin D. Roosevelt. Itzkoff was expecting just a normal interview but, due to a scheduling problem, ended up accompanying Murray on stage at an evening appearance and continued the interview in front of members of the Screen Actors Guild.
Mr. Murray, having changed his shirt but still in the blue shorts, leaves the hotel and boards a chauffeured S.U.V., where the conversation continues.
Q. It sounds as if you also wanted to convey Roosevelt’s voice as much as his physical presence.
A. We had a discussion about it, and we agreed that you don’t want to do an impression. You want to get it in you, and then you want to play — [The car is suddenly cut off by another vehicle.] That person was insane. [To his driver] Well-avoided, Mustafa. But you can bump her now. She’s got it coming.
From inside the club, Aisner and his friend watched out the front window as Ali screetched up in a red Cadillac convertible, parked in front of a fire hydrant, and jumped over the car door.
For the next 20 minutes, Ali talked boxing, footwork, why he wanted to fight — and launched into an epic, unprompted riff about traveling to Mars and fighting for the intergalactic boxing title. All went smoothly — until Aisner realized he’d forgot to turn on the tape recorder.
“I was mortified,” he says. “I said, ‘Champ, do you think you could do that again?’”
When “Girls” hit this spring, I was shocked by how true the show rang to my life — not my old life as a post-collegiate single girl but my new one, as a married, monogamous, home-owning mother. My generation of moms isn’t getting shocking HPV news (we’re so old we’ve cleared it), or having anal sex with near-strangers, or smoking crack in Bushwick. But we’re masturbating excessively, cheating on good people, doing coke in newly price-inflated townhouses, and sexting compulsively — though rarely with our partners. Our children now school-aged, our marriages entering their second decade, we are avoiding the big questions — Should I quit my job? Have another child? Divorce? — by behaving like a bunch of crazy twentysomething hipsters. Call us the Regressives.
Can I suggest that maybe you’re just hanging out with the wrong group of people? I mean, if everyone around you is throwing back Xanax and raw-dogging it just to FEEL SOMETHING and then having unplanned kids because they’re too stupid to use birth control, is it possible it’s not Park Slope’s fault, and rather, it might be hanging around with really immature people?
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