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kottke.org posts about interviews

Mosaic, Steven Soderbergh’s app/HBO TV series thingie

posted by Jason Kottke   Nov 10, 2017

Steven Soderbergh’s latest project, Mosaic, takes two forms. The first is a free iOS app that contains an interactive miniseries with over seven hours of footage that you can move through in the style of Choose Your Own Adventure, with “DVD extras” built right into the story. Mosaic will also air in a more conventional linear form on HBO in January. Both versions star Sharon Stone, Beau Bridges, and Garrett Hedlund. Wired has the story of how Mosaic came to be.

Where they ended up was a smartphone-enabled story, developed and released by Silver’s company PodOp, that lets viewers decide which way they want to be told Mosaic’s tale of a children’s book author, played by Sharon Stone, who turns up dead in the idyllic ski haven of Park City, Utah. After watching each segment — some only a few minutes, some as long as a standard television episode — viewers are given options for whose point of view they want to follow and where they want to go next. Those who want to be completest and watch both options before moving on can do so, those who want to race to find out whodunit can do that too. Because each node, filmed by Soderbergh himself, feels like a TV show, launching Mosaic can be akin to sneaking a quick show on Netflix while commuting to work or waiting on a friend; but because it’s long story that’s easily flipped through, it can also enjoyed like the pulpy crime novel on your nightstand, something you chip away at a little bit at a time before bed. It’s concept isn’t wholly original — Soderbergh himself notes that “branching narrative has been around a long time” (the most obvious analogue is a Choose Your Own Adventure book, but Soderbergh cringes at that analogy) — but that it finds a way to appeal to both fans of interactive storytelling, and people who just want to watch some decent TV.

Matt Zoller Seitz also interviewed Soderbergh about the app/show for Vulture. It’s a really good interview (not surprising with Seitz at the helm); they inevitably got into the question of Hollywood and abuse of power:

MZS: Do you believe that in order to make memorable art, you have to be disturbed in some way?
SS: Not at all.

MZS: That’s what’s often raised as a defense of Roman Polanski, Mel Gibson, and others.
SS: No, I don’t believe that at all. It takes a lot of energy to be an asshole. The people I admire most just aren’t interested in things that take away from their ability to make stuff. The people I really respect, and that I’ve met who fit this definition, have a sense of grace about them, because they know that there is no evolving and there is no wisdom without humility.

You can’t get better if you behave in a way that shuts people off. You can’t! You don’t have all the ideas necessary to solve something. You don’t! I’m sure if you spoke to Harvey in his heyday and said to him what I just said to you, he would believe that he accomplished all that he had because of the way he behaved.

MZS: Meaning, like a bully.
SS: Yes, and I would argue instead, “You’re 50 percent of what you could have been, because of the way you behave.” Ultimately, there is a large group of people who are talented, who you want to be in business with, but who won’t be in business with you. I don’t know how you view that as being your best self, or the best version of your business, but I’m really curious to see going forward what changes.

Dinner with Don Rickles

posted by Jason Kottke   Sep 25, 2017

Comedian Don Rickles died earlier this year. For his last project, he sat down to dine with more than a dozen comedians, actors, and directors, who interviewed the comedy legend in a series of videos for AARP. Don’s dining companions include Marisa Tomei, Sarah Silverman, Zach Galifianakis, and Martin Scorsese. I’ve embedded two of the videos: Vince Vaughn and Snoop Dogg. In the Snoop video, Rickles and Snoop compare notes on freestyling and they show a 1978 clip of Rickles roasting Orson Welles:

Orson Welles…30 years ago you were handsome and now we’re going to put “Goodyear” on your face and fly you over the beach for a half hour.

I was laughing just as hard as Welles was in the clip.

Knausgaard’s four-book series on the seasons

posted by Jason Kottke   Aug 23, 2017

Karl Ove Knausgaard is writing a series of four books, one for each one of the seasons. The first one, Autumn, just came out yesterday.

Autumn begins with a letter Karl Ove Knausgaard writes to his unborn daughter, showing her what to expect of the world. He writes one short piece per day, describing the material and natural world with the precision and mesmerising intensity that have become his trademark. He describes with acute sensitivity daily life with his wife and children in rural Sweden, drawing upon memories of his own childhood to give an inimitably tender perspective on the precious and unique bond between parent and child. The sun, wasps, jellyfish, eyes, lice—the stuff of everyday life is the fodder for his art. Nothing is too small or too vast to escape his attention. This beautifully illustrated book is a personal encyclopaedia on everything from chewing gum to the stars. Through close observation of the objects and phenomena around him, Knausgaard shows us how vast, unknowable and wondrous the world is.

Ah, so that’s what the chewing gum thing was about. The NY Times review is positive overall with a few caveats. The Times also did a By the Book with Knausgaard in which he shares “books I want to read, books I have to read and books I believe I need to read […] we are talking about id, ego and superego books”. Among his book picks are Pond by Claire-Louise Bennett and The Brain: The Story of You by David Eagleman. There is also this:

I hardly ever laugh.

LOL Knausgaard.

What is it like to be white?

posted by Jason Kottke   Jul 25, 2017

Here’s Fran Lebowitz talking about race in the US in a 1997 Vanity Fair interview:

The way to approach it, I think, is not to ask, “What would it be like to be black?” but to seriously consider what it is like to be white. That’s something white people almost never think about. And what it is like to be white is not to say, “We have to level the playing field,” but to acknowledge that not only do white people own the playing field but they have so designated this plot of land as a playing field to begin with. White people are the playing field. The advantage of being white is so extreme, so overwhelming, so immense, that to use the word “advantage” at all is misleading since it implies a kind of parity that simply does not exist.

It is now common — and I use the word “common” in its every sense — to see interviews with up-and-coming young movie stars whose parents or even grandparents were themselves movie stars. And when the interviewer asks, “Did you find it an advantage to be the child of a major motion-picture star?” the answer is invariably “Well, it gets you in the door, but after that you’ve got to perform, you’re on your own.” This is ludicrous. Getting in the door is pretty much the entire game, especially in movie acting, which is, after all, hardly a profession notable for its rigor. That’s how advantageous it is to be white. It’s as though all white people were the children of movie stars. Everyone gets in the door and then all you have to do is perform at this relatively minimal level.

Additionally, children of movie stars, like white people, have at — or actually in — their fingertips an advantage that is genetic. Because they are literally the progeny of movie stars they look specifically like the movie stars who have preceded them, their parents; they don’t have to convince us that they can be movie stars. We take them instantly at face value. Full face value. They look like their parents, whom we already know to be movie stars. White people look like their parents, whom we already know to be in charge. This is what white people look like — other white people. The owners. The people in charge. That’s the advantage of being white. And that’s the game. So by the time the white person sees the black person standing next to him at what he thinks is the starting line, the black person should be exhausted from his long and arduous trek to the beginning.

(via @amirtalai)

Who is the last Jedi? What is the phantom menace?

posted by Jason Kottke   May 31, 2017

Vanity Fair’s David Kamp recently tried to get Kathleen Kennedy and Rian Johnson to tell him the meaning behind The Last Jedi, the title of the upcoming Star Wars movie. LOL. Hopeless move, right? Why would he even ask such a question? Oh, because George Lucas told him who the The Phantom Menace referred to before that movie came out.

Vanity Fair: So, do we know what the words The Last Jedi allude to?

Kathleen Kennedy: Why in the world do you think I would tell you that?

VF: I’ll tell you why. Back in 1998, I interviewed George Lucas for V.F. ahead of The Phantom Menace, and I asked, “Who or what is the phantom menace?” And he nonchalantly said, “Oh, it’s Darth Sidious.”

KK: Did he really?

VF: Just like that.

KK: I’m not going to do that.

VF: So, does the word “Jedi” work in the singular or the plural?

KK: That’s actually what’s interesting about the title, and very intentionally ambiguous.

VF: As you’re being right now.

KK: Yes.

Here’s the relevant passage from a piece written by Kamp and published in 1999:

Given that The Phantom Menace is a Vader- and Emperor-free movie, the role of evil string-puller falls to someone we’ve never heard of. “The phantom menace is a character named Darth Sidious,” Lucas says, “who is the last of the Sith” (“An ancient people… conquered by powerful dark-side Jedi magic”-page 268, Star Wars Encyclopedia, by Stephen J. Sansweet). Actually, Lucas goes on to explain, the “menace” honorific should be broadened to include Sidious’s apprentice, Darth Maul, a terrifyingly fierce-looking character played by the martial-arts expert Ray Park. Maul gets to fight a lightsaber battle with Obi-Wan, but Sidious remains a shadowy figure. “Nobody knows Darth Sidious exists,” says Lucas. “Well, he’s seen to the audience, but not to the players.”

Lucas appears to be firmly in the spoilers are fine camp.

Fran Lebowitz on books and reading

posted by Jason Kottke   Mar 23, 2017

The New York Times Book Review recently interviewed Fran Lebowitz for their By the Book series. She mentions Memoirs of Hadrian as the last great book she read and doesn’t like literary dinner parties.

Q: You’re organizing a literary dinner party. Which three writers, dead or alive, do you invite?

a: None. I would never do it. My idea of a great literary dinner party is Fran, eating alone, reading a book. That’s my idea of a literary dinner party. When I eat alone, I spend a lot of time, before I sit down to my meager meal, choosing what to read. And I’m a lot better choosing a book than preparing a meal. And I never eat anything without reading. Ever. If I’m eating an apple, I have to get a book.

Her answer to the very last question made me laugh out loud. Buuuuuuurn.

Arrival: future communication, past perspective

posted by Jason Kottke   Feb 15, 2017

In his newest video, Evan Puschak talks about Arrival, calling it “a response to bad movies”. Arrival was perhaps my favorite film of 2016, and I agree with him about how well-made this film is. There’s a top-to-bottom attention to craft on display, from how it looks to how it was cast (Amy Adams was the absolute perfect choice for the lead) to the integration of the theme with story to how expertly it was adapted from Ted Chiang’s Story of Your Life. The whole thing’s tight as a drum. If you happened to miss it, don’t watch this video (it gives the whole thing away) and go watch it instead…it’s available to rent/buy on Amazon.

Looking back through the archives, I’m realizing I never did a post about Arrival even though I collected some links about it. So, linkdump time!

Wired wrote about how the movie’s alien alphabet was developed.

Stephen Wolfram wrote about his involvement with the science of the film — his son Christopher wrote Mathematica code for some of the on-screen visuals. 1

Science vs Cinema explored how well the movie represented actual science:

Screenwriter Eric Heisserer wrote about how he adapted Chiang’s short story for the screen.

Jordan Brower wrote a perceptive review/analysis that includes links to several other resources about the film.

Update: The director of photography for Arrival was Bradford Young, who shot Selma and is currently working on the Han Solo movie for Disney. Young did an interview with No Film School just before Arrival came out.

I’m from the South, so quilts are a big part of telling our story. Quilting is ancient, but in the South it’s a very particular translation of idea, time, and space. In my own practice as an image maker, I slowly began to be less concerned with precision and more concerned with feeling.

Quiltmakers are rigorous, but they’re a mixed media format. I think filmmaking should be a mixed media format. I’m just really honoring what quiltmakers do, which is tell a story by using varying texture within a specific framework to communicate an idea. For me, with digital technology, lenses do that the best. The chips don’t do it now-digital film stock is basically all captured the same, but the lenses are how you give the image its textural quality.

(thx, raafi)

Update: James Gleick, author of Time Travel, wrote about Arrival and Story of Your Life for The New York Review of Books.

What if the future is as real as the past? Physicists have been suggesting as much since Einstein. It’s all just the space-time continuum. “So in the future, the sister of the past,” thinks young Stephen Dedalus in Ulysses, “I may see myself as I sit here now but by reflection from that which then I shall be.” Twisty! What if you received knowledge of your own tragic future-as a gift, or perhaps a curse? What if your all-too-vivid sensation of free will is merely an illusion? These are the roads down which Chiang’s story leads us. When I first read it, I meant to discuss it in the book I was writing about time travel, but I could never manage that. It’s not a time-travel story in any literal sense. It’s a remarkable work of imagination, original and cerebral, and, I would have thought, unfilmable. I was wrong.

(via @fquist)

  1. Christopher was 15 or 16 when he worked on the film. His LinkedIn profile states that he’s been a programmer for Wolfram (the company) since he was 13 and that in addition to his work on Arrival, he “implemented the primary cryptography functions in Mathematica”.

Beyonce interviews Solange

posted by Jason Kottke   Jan 10, 2017

Solange Wedding

Beyoncé Knowles recently interviewed her sister Solange Knowles for Interview magazine.

And, as far back as I can remember, our mother always taught us to be in control of our voice and our bodies and our work, and she showed us that through her example. If she conjured up an idea, there was not one element of that idea that she was not going to have her hand in. She was not going to hand that over to someone. And I think it’s been an interesting thing to navigate, especially watching you do the same in all aspects of your work: Society labels that a control freak, an obsessive woman, or someone who has an inability to trust her team or to empower other people to do the work, which is completely untrue. There’s no way to succeed without having a team and all of the moving parts that help bring it into life. But I do have — and I’m unafraid to say it — a very distinctive, clear vision of how I want to present myself and my body and my voice and my perspective. And who better to really tell that story than yourself?

This exchange just made me laugh out loud:

BEYONCÉ: Well, it brought tears to my eyes to hear both of our parents speak openly about some of their experiences. And what made you choose Master P to speak on the album?

SOLANGE: Well, I find a lot of similarities in Master P and our dad.

BEYONCÉ: Me, too. [laughs]

I loved the simple mic drop bio for Beyoncé at the bottom:

BEYONCÉ IS A 20-TIME GRAMMY AWARD-WINNING RECORDING ARTIST. HER SIXTH STUDIO ALBUM AND COMPANION FILM, LEMONADE, WAS RELEASED LAST YEAR.

And Beyoncé is right about Solange’s wedding photo (above), it is indeed “the dopest wedding photo of all time”. (via @caseyjohnston)

“Pablo Escobar’s son is a good architect now”

posted by Jason Kottke   Jan 10, 2017

Sebastian Marroquin

Sebastian Marroquin is an architect who also happens to be the son of Colombian drug lord Pablo Escobar. Matt Shaw of The Architect’s Newspaper recently interviewed Marroquin, and it’s interesting throughout, more so than I expected.

For the first house that I built in Colombia, I didn’t even know who the client was. It was a mystery. There was a request, and they sent me the photographs, the plans, the coordinates, and everything that I needed to design the house. I never went to the place where the house is built. I don’t even know where it exists. When it was complete, they called me and I found out that the owner was one of the guys who, in 1988, put 700 kilos of dynamite in my house. It was a miracle that we survived because I was with my mom and my little sister there. It was the first car bomb in Colombia’s history. So I built the house for the guy who ruined mine.

It was a way for them to ask for forgiveness and in a way to understand us. They knew who I was from the beginning. It was weird and it was a clear opportunity and it was clear that a lot of things have changed in Colombia and that is a great example of how things have really changed now. People want to make peace.

Marroquin struggles with his father’s legacy and its effect on his career but also took obvious inspiration from Escobar’s own interest in architecture.

I believe that in a way my father was also an architect, he was very clever. He was just an architect for his own convenience. There was a Sunday my father took me to airplane fields and in the middle of the jungle, we were standing on the airfield and he asked me, “where is the airfield?” I couldn’t see it, and he said, “You are standing in it.” I couldn’t see it because I was looking at a house in the middle of the runway and there was no way the plane could land because it would crash against the house. He took a walkie-talkie and told one of his friends to move the house. It was on wheels. When the airplanes from the DEA (US Drug Enforcement Agency) were searching with satellites looking for hideouts, they couldn’t find anything because there was a house in the middle of what was a possible airfield. The planes can use it — just move the house.

That’s why he was a great architect because when you visited the house, it worked. It had the bathrooms, the shower, everything. If the police went to the house, it would function perfectly. I believe that a lot of things from architecture I learned from my father and especially places to hide. He used architecture to hide.

(via @DesignObserver)

Wes Anderson is doing another animated movie

posted by Jason Kottke   Oct 28, 2016

In an interview with Alexander Olch, founder of the cool new Metrograph theater in NYC, Wes Anderson just casually reveals that he’s doing another stop-motion animated movie that’s currently in production.

I’ve got an animated movie I’m doing that’s happening across the room from me right now. So I can see a long list of e-mails from people on the set whom I now need to address.

We know from about a year ago that dogs are involved, as are Bryan Cranston, Bob Balaban, Edward Norton, and Jeff Goldblum. Looking forward to this one…Fantastic Mr. Fox is Anderson’s most underrated film.

P.S. In the same interview, Anderson and Olch briefly discuss Powers of Ten. :)

Donald Trump is modeling his life after Charles Foster Kane

posted by Jason Kottke   Oct 26, 2016

Last year, back when he was only one of more than a dozen GOP candidates, I discovered Citizen Kane was one of Donald Trump’s favorite movies via a video filmed by Errol Morris.

Trump acquits himself pretty well on Kane and its lessons — although I would not characterize Kane’s fall as “modest” — and his commentary about the film is probably the first actually interesting thing I have ever heard him say. But I watched all the way to the end and he shoots himself in the foot in the most Trumpian & misogynistic way — it’s actually perfect.

Spurred by a recent re-watch of Citizen Kane, Anthony Audi digs deeper into Trump’s misunderstanding of the film and finds that the course of Trump’s life has followed that of Charles Foster Kane.

He understands instinctively that by controlling the press, he can shape opinions on a mass scale — bending the truth as he sees fit. Over time, and through his marketing savvy, he develops a powerful media empire. Because that’s not enough, he then turns his sights to politics, running for New York governor as a stepping-stone to the White House. At campaign rallies, Kane gleefully brags about his poll numbers, and vows to lock up his opponent Jim Gettys, whom he condemns as an establishment tool. “Here’s one promise I’ll make,” he finally thunders. “My first official act as governor of the state will be to appoint a special district attorney to arrange for the indictment, prosecution, and conviction of “Boss” Jim W. Gettys!”

Kane never gets to fulfill that pledge. Instead, he loses the election-his campaign derailed by a last minute sex scandal. His editors know what to do, and the following day their headlines scream: “FRAUD AT POLLS!”

The piece is entitled Donald Trump Modeled His Life on Cinematic Loser Charles Foster Kane. Consciously or not, Trump does seem to be following Kane’s playbook here, right down to the fascism.

Specifically, Citizen Kane was a vision of what fascism might resemble in America. Both men knew better than to expect Hitler or Mussolini on our shores. They knew that our demagogue would be glossier, more entertaining-more American; and the man they conjured, inspired by real-life plutocrats like William Randolph Hearst, happened to look an awful lot like Donald Trump.

Read the whole thing…this is right up there with the best explainers of why Trump is the way he is. And part 2 is coming soon, an interview with Morris about Trump’s love of Kane.

Update: Audi’s interview with Morris was posted a couple of weeks before the election. Morris says Trump suffers from Irony Deficit Disorder.

Somehow he identifies clearly with Kane. Kane is Trump. And it’s not the kind of identification that I would make if I were Trump. Of course that issue — if I were Trump, what would I do, what would I think, what would I say? — it’s one of those counterfactuals I’m probably not equipped to address. But, if I were Donald Trump, I would not want to emphasize that connection with Kane. You know, a megalomaniac in love with power and crushing everything in his path. The inability to have friends, the inability to find love. The moral that Trump takes from Kane — I mean, it’s one of the great lines that I recorded. I ask, “Do you have any advice for Charles Foster Kane, sir?” You know, let’s get down to the psychiatric intervention. How can we help this poor man? He’s obviously troubled. How can we help him? Donald, help me out here!

And Donald says, “My advice to Charles Foster Kane is find another woman!” And you know, I thought, is that really the message that Welles was trying to convey? That Kane had made poor sexual choices, poor marriage choices?

Philip Glass: own your work and get paid for it

posted by Jason Kottke   Oct 05, 2016

Philip Glass Whitney

From a new Kickstarter publication called The Creative Independent, Philip Glass was interviewed about the importance of artists owning their work and getting paid for it.

My personal position was that I had wonderful parents. Really wonderful people. But my mother was a school teacher. My father had a small record shop in Baltimore. They had no money to support my career. I began working early. You’re too young to know this, but when you get your first Social Security check, you get a list of every place you’ve worked since you began working. It’s fantastic! I discovered that I was working from the time I was 15 and putting money into the Social Security system from that age onward. I thought it was much later. No, I was actually paying money that early.

The point is that I spent most of my life supporting myself. And I own the music. I never gave it away. I am the publisher of everything I’ve written except for a handful of film scores that the big studios paid. I said, “Yeah, you can own it. You can have it, but you have to pay for it.” They did pay for it. They were not gifts.

A lot in this interview resonates, including this:

It’s never been easy for painters, or writers, or poets to make a living. One of the reasons is that we, I mean a big “We,” deny them an income for their work. As a society we do. Yet, these are the same people who supposedly we can’t live without. It’s curious, isn’t it?

And this bit about making work vs performing (italics mine):

What happens, is that the artists are in a position where they can no longer live on their work. They have to worry about that. They need to become performers. That’s another kind of work we do. I go out and play music. The big boom in performances is partly because of streaming, isn’t it? We know, for example, that there are big rock and roll bands that will give their records away free. You just have to buy the ticket to the concert. The cost of the record is rather small compared to the price of the ticket. It’s shifted around a little bit; they’re still paying, but they’re paying at the box office rather than at the record store. The money still will find its way.

Then you have to be the kind of person who goes out and plays, and some people don’t.

I’ve been thinking a lot about the economics of writing online. Making a comfortable living only by writing is tough and very few independents are able to do it. More successful are those who are able to get away from writing online by speaking at conferences, writing books, starting podcasts, selling merchandise,1 post sponsored tweets and Instagram photos, building apps, consulting for big companies, etc. This stuff is the equivalent of the band that tours, sells merch, composes music for TV commercials, etc. But as Glass said, what about those who just want to write? (And I count myself among that number.) How can we support those people? Anyway, more on this very soon (I hope).

Photo is of a Chuck Close painting of Philip Glass taken by me at The Whitney.

  1. Just this morning, a friend texted me a photo of The Pioneer Woman’s line of products on the shelf at Walmart.

Barack Obama’s exit interview

posted by Jason Kottke   Sep 22, 2016

Doris Kearns Goodwin worked in the White House for LBJ and has written extensively about US Presidents: Team of Rivals (Lincoln), The Bully Pulpit (Teddy Roosevent & Taft), and No Ordinary Time (FDR & Eleanor Roosevelt). For the November issue of Vanity Fair, she visited with Barack Obama in the White House to reflect on his progress and legacy as he approaches the end of his two terms in office. The resulting conversation is excellent.

Early in my presidency, I went to Cairo to make a speech to the Muslim world. And in the afternoon, after the speech, we took helicopters out to the pyramids. And they had emptied the pyramids for us, and we could just wander around for a couple hours [at] the pyramids and the Sphinx. And the pyramids are one of those things that live up to the hype. They’re elemental in ways that are hard to describe. And you’re going to these tombs and looking at the hieroglyphics and imagining the civilization that built these iconic images.

And I still remember it — because I hadn’t been president that long at that point — thinking to myself, There were a lot of people during the period when these pyramids were built who thought they were really important. And there was the equivalent of cable news and television and newspapers and Twitter and people anguishing over their relative popularity or position at any given time. And now it’s all just covered in dust and sand. And all that people know [today] are the pyramids.

Sometimes I carry with me that perspective, which tells me that my particular worries on any given day — how I’m doing in the polls or what somebody is saying about me … for good or for ill — isn’t particularly relevant. What is relevant is: What am I building that lasts?

I particularly enjoyed the part early on about ambition, adversity, and empathy. Oh, this short anecdote from Goodwin about LBJ is great:

L.B.J. had his amphibious car when he was president. He tricked me and took me in his car one day, and the Secret Service collaborated with him. L.B.J., behind the wheel, warned me, “Be careful, we’re going toward a lake. The brakes aren’t working.” Well, we go into the lake: the car became a boat. Then he got so mad at me because I didn’t get scared. I’d figured, He’s not going to die. And he said, “Don’t you Harvard people have enough sense to be scared?”

Has anyone in one of these interviews really pressed Obama on his drone policy? I think it’s the one big stain on his record and would love to hear his personal defense of it in length.

An interview with Amazon’s first employee

posted by Jason Kottke   Sep 08, 2016

Shel Kaphan was the first person Jeff Bezos hired to work on Amazon. In an interview with Craig Cannon, he talked about how he met Bezos, the early days of the site, and how he feels about the experience now.

At the time I thought, “Okay, I’m going to be building this website to run a bookstore and I haven’t done that before but it doesn’t sound so hard. When I’m done with that I’m not sure what I’ll do.” At that point there was no idea of doing anything but a bookstore. I thought maybe I would be able to go back to Santa Cruz and monitor it from there. I was pretty wrong about how the business would develop and how ambitious Jeff was. I didn’t know him at the time. We had just met.

I had forgotten that Amazon’s IPO happened less than two years after the site went live…can’t imagine something like that happening today.

Floor maps of iconic NYC fast food joints

posted by Jason Kottke   Aug 25, 2016

When he was asked to design a new outpost of iconic NYC hot dog joint Papaya King in the East Village, Andrew Bernheimer went around to several other establishments in the city built to serve food quickly — Chipotle, Russ & Daughters, Katz’s, Shake Shack, Gray’s Papaya — and looked at their floor plans and flow of customers through their spaces. Mark Lamster talked to Bernheimer about the survey.

Grays Papaya Floor

Katz Floor

ML: I think at fast food joints we’re conscious that we’re in a very controlled environment, but perhaps don’t realize (because we are in a rush), just how manipulative that space can be. How did you see this playing out in the places you looked at?

AB: It ranged. Artisanal places (like Russ & Daughters) don’t feel manipulative in an insidious way at all (other than showing off some great food and triggering all sorts of synaptic response), while others do (Five Guys and their peanuts, a pretty nasty and obvious trigger to go order soda or spend money on WATER). We didn’t just look at fast food joints, but also icons of New York (R&D, Katz’s) that do try to serve people quickly but I don’t think qualify as “fast food joints.” In these cases the manipulation is either entirely subliminal and beyond recognition, or it has been rendered unnecessary because a place has become iconic, the domain of the “regular.”

Speaking as a customer, places like Katz’s and Russ & Daughters always felt like a total mess to me. Katz’s in particular is the worst: the whole thing with the tickets, paying on the way out, the complete lack of a single line, separate ordering locations for different types of food, etc.

That Gray’s Papaya that used to be on the corner of 8th St and 6th Ave, however, was fantastic. It had the huge benefit of being situated on the corner, but when you walked in, there was the food being cooked right in front of you. It was obvious where the line was and what direction it was moving. And after getting your food, you could exit immediately out the “back” door or circle back against the line to find a counter spot to quickly eat your meal.

Werner Herzog is saying things about the world

posted by Jason Kottke   Aug 04, 2016

Lo and Behold, a documentary about technology and the internet directed by Werner Herzog is coming out soon and so Herzog is doing some interviews and such about the film and dozens of other topics. With Paul Holdengraber, Herzog talks about North Korea and volcanoes:

The North Koreans apparently had seen quite a few of my films. I established a trust with them. It’s very strange because you’re accompanied by people who would look after what you were doing, who would politely tell you you cannot film this, or cannot film that, and at one point I filmed something which I was not allowed to do, so I wanted to have it edited or deleted. But since they are filming in 4K or 5K or so, very complicated data management, we were unable to delete it, and they wanted to take the entire memory hard drive. And I said, “But it contains two days worth of shooting, that would be terrible.” So I said, “You know what, I can guarantee to you that I’m not going to use this material.” And they said, “Guarantee, what do you mean by that?” I said, “Just look me in the eye, what I offer is my honor, my face, and my handshake.” And they said “ok” and they trusted me. And of course I’m not going to use this moment of filming that I was not supposed to film.

Herzog talked about Pokemon Go and film school with Emily Yoshida:

Q: You might be able to catch some. It’s all completely virtual. It’s very simple, but it’s also an overlay of physically based information that now exists on top of the real world.

A: When two persons in search of a pokemon clash at the corner of Sunset and San Vicente is there violence? Is there murder?

Q: They do fight, virtually.

A: Physically, do they fight?

Q: No-

A: Do they bite each other’s hands? Do they punch each other?

Jason Tanz spoke with Herzog for his profile on the director and his new film:

Herzog grins as he takes a seat in a conference room at UCLA, which has been set up for an event later this evening. His eyes droop, but his skin is remarkably smooth, like the surface of a slightly underinflated balloon. And then there’s that voice-silky, portentous-you can imagine it coming out of a GPS system giving driving directions to Valhalla. “I like to look back at the evolution of modern human beings,” he says of his interest in the Internet. “Using fire or electricity was an enormous step for civilization, and this is one of those. And I think the poet must not avert his eyes.”

What is interesting about Lo and Behold is that it’s technically branded content. No, really:

It’s a bonafide film that premiered at Sundance in January and has been generating lots of buzz heading toward its wider release. It also happens to be one giant ad, half in disguise, for POD New York client Netscout. The whole thing started out as an agency idea to produce short videos about the internet as part of a online Netscout campaign. But after they roped in Herzog, the vision for the project soon changed-for the better.

“I come from a digital background, and I’ve talked about the internet for my entire career. My first job was as the internet guy at DDB in Brazil,” Pereira said. “When we hired Werner to do content about the internet, I felt like, OK, I know it’s going to be awesome, but I’m pretty sure I know what I’m going to see. But actually, it’s mind-blowing. We gave him the beginning of the idea and told him, ‘This is where it starts.’ He took it from there and owned it. It’s a mind-blowing documentary.”

I saw the film last week,1 and from what I remember, there’s nothing about Netscout in the film. They financed the film but according to Tanz, Herzog had final cut:

Herzog retained final cut while granting McNiel veto power, a privilege McNiel used only once, to excise some of the more horrifying troll comments, a decision Herzog now says he agrees with.

See also 24 pieces of life advice from Werner Herzog.

  1. It was interesting in spots, but I felt like splitting the narrative into 10 parts was not the right way to go. I would guess, however, the less you know about the technical aspects of technology, the more interesting Lo and Behold will be to you.

Interview with Susan Kare

posted by Jason Kottke   Jul 29, 2016

Alex Ronan interviewed legendary designer Susan Kare for Lenny. Cross-stitch prepared her for designing pixel icons and fonts for the Mac:

Also, I did have limited experience designing for grids from working on craft projects such as tiled ashtrays and cross-stitch embroidery kits.

Police racism: a tale of two justice systems

posted by Jason Kottke   Jul 08, 2016

In 1974, Studs Terkel published a book called Working: People Talk About What They Do All Day and How They Feel About What They Do. One of the people he talked to for the book was Chicago police officer Renault Robinson. Robinson is African American and offered up his views to Terkel on how blacks are policed differently…here are the relevant bits of the interview. On traffic stops:

“About sixty percent of police-citizen conflict starts in a traffic situation. It’s easier to stop a person on the pretext of a traffic violation than to stop him on the street. It’s a lot easier to say, “Your tail light’s out.” “Your plate is dented.” “You didn’t make that turn right.” You can then search his automobile, hoping you can find some contraband or a weapon. If he becomes irritated, with very little pushing on your part, you can make an arrest for disorderly conduct. These are all statistics which help your records.

Certain units in the task force have developed a science around stopping your automobile. These men know it’s impossible to drive three blocks without committing a traffic violation. We’ve got so many rules on the books. These police officers use these things to get points and also hustle for money. The traffic law is a fat book. He knows if you don’t have two lights on your license plate, that’s a violation. If you have a crack in your windshield, that’s a violation. If your muffler’s dragging, that’s a violation. He knows all these little things….

So if they stop the average black driver, in their mind the likelihood of finding five or six violations out of a hundred cars is highly possible…. After you’ve stopped a thousand, you’ve got 950 people who are very pissed off, 950 who might have been just average citizens, not doing anything wrong - teachers, doctors, lawyers, working people. The police don’t care. Black folks don’t have a voice to complain. Consequently, they continue to be victims of shadowy, improper, overburdened police service. Traffic is the big entree.”

And on the type of young white male that the job was attracting at the time:

A large amount of young white officers are gung ho. It’s an opportunity to make a lot of arrests, make money, and do a lot of other things. In their opinion, black people are all criminals, no morals, dirty and nasty. So the black people don’t cooperate with the police and they have good cause not to. On the other hand, they’re begging for more police service. They’re over-patrolled and under-protected.

The young white guys turn out to be actually worse than their predecessors. They’re more vicious. The average young white policeman comes from a working-class family, sometimes with less than a high-school education. He comes with built-in prejudices. The average young white cop is in bad shape. I think he can be saved if a change came from the top. If it could be for just eight hours a day. They may still hate niggers when they got off duty. They may still belong to the John Birch Society or the Ku Klux Klan. So what? They could be forced to perform better during the eight hours of work.”

Reading about this stuff, I keep going back to the 9 principles of policing drawn up by London’s Metropolitan Police in the 1820s in which the power of the police comes from the people, force is to be used minimally, and the efficacy of policing is judged on the absence of crime, not on the number of arrests or people sent to jail.

Redditt Hudson served as a police officer in St. Louis during the 1990s. He shared his perspective on race and policing with Vox last year: I’m a black ex-cop, and this is the real truth about race and policing.

It is not only white officers who abuse their authority. The effect of institutional racism is such that no matter what color the officer abusing the citizen is, in the vast majority of those cases of abuse that citizen will be black or brown. That is what is allowed.

And no matter what an officer has done to a black person, that officer can always cover himself in the running narrative of heroism, risk, and sacrifice that is available to a uniformed police officer by virtue of simply reporting for duty.

(via @tonyszhou)

“Robert Moses Is A Racist Whatever”

posted by Jason Kottke   Feb 18, 2016

Christopher Robbins recently interviewed Robert Caro (author of The Power Broker, perhaps the best book ever written about New York) for Gothamist. The interview is interesting throughout. (I lightly edited the excerpts for clarity.)

Caro: If you’re publishing on the Internet, do you call them readers or viewers?

Robbins: Either, I think.

Caro: How do you know they’re reading it?

Robbins: There’s something called Chartbeat — it shows you how many people are reading a specific article in any given moment, and how long they spend on that article. That’s called “engagement time.” We have a giant flatscreen on the wall that displays it, a lot of publications do.

Caro: What you just said is the worst thing I ever heard. [Laughs]

That exchange makes a nice companion to Snapchat like the teens.

Caro: Moses came along with his incredible vision, and vision not in a good sense. It’s like how he built the bridges too low.

I remember his aide, Sid Shapiro, who I spent a lot of time getting to talk to me, he finally talked to me. And he had this quote that I’ve never forgotten. He said Moses didn’t want poor people, particularly poor people of color, to use Jones Beach, so they had legislation passed forbidding the use of buses on parkways.

Then he had this quote, and I can still hear him saying it to me. “Legislation can always be changed. It’s very hard to tear down a bridge once it’s up.” So he built 180 or 170 bridges too low for buses.

We used Jones Beach a lot, because I used to work the night shift for the first couple of years, so I’d sleep til 12 and then we’d go down and spend a lot of afternoons at the beach. It never occurred to me that there weren’t any black people at the beach.

So Ina and I went to the main parking lot, that huge 10,000-car lot. We stood there with steno pads, and we had three columns: Whites, Blacks, Others. And I still remember that first column — there were a few Others, and almost no Blacks. The Whites would be go on to the next page. I said, God, this is what Robert Moses did. This is how you can shape a metropolis for generations.

That’s something to remember the next time someone tries to rehabilitate Moses’ legacy. Not to mention this excerpt from The Power Broker:

Robert Moses had always displayed a genius for adorning his creations with little details that made them fit in with their setting, that made the people who used them feel at home in them. There was a little detail on the playhouse-comfort station in the Harlem section of Riverside Park that is found nowhere else in the park. The wrought-iron trellises of the park’s other playhouses and comfort stations are decorated with designs like curling waves.

The wrought-iron trellises of the Harlem playhouse-comfort station are decorated with monkeys.

And now I am filled with regret at never having read The Power Broker. I started it a couple times, but could never find the time to follow through. I wish it was available on the Kindle…a 1300-page paperback is not exactly handy to carry about and read. The unabridged audiobook is 66 hours long…and $72.

What Errol Morris thinks about Making a Murderer

posted by Jason Kottke   Jan 27, 2016

Oh, this interview with Errol Morris where he talks about Making a Murderer is so so spot on.

To me, it’s a very powerful story, ultimately, not about whether these guys are guilty or innocent — but it’s a very powerful story about a miscarriage of justice.

Yes! If you came out of watching all ten episodes convinced one way or the other whether Avery was innocent, I humbly suggest that you missed the point. And further that you can’t actually know…it’s a TV show! The tip of the iceberg.

Another thing that I was struck by watching Making a Murderer was the feeling of the inexorable grinding of a machine that is producing, potentially, error.

This was my favorite aspect of the show. A lot of people complained about them showing huge chunks of Avery’s and Dassey’s trials, saying that it was too boring, but that’s the whole thing! The crushing boredom of the justice system just grinds those two men and their whole families into the result that the state wanted all along. It was fascinating and horrifying to watch, like a traffic accident in super slow motion.

If you’re asking me, would I sign a petition stating that I believe that Steven Avery is innocent? Well, I don’t know. I really don’t know from watching Making a Murderer, but there’s one thing I do know from watching Making a Murderer — that neither Brendan Dassey nor Steven Avery received a fair trial, and that that trial should be overturned.

My thoughts exactly. If I had to guess, Dassey is entirely innocent and Avery is maybe guilty, but neither of them should have been convicted on the evidence presented or the procedure followed.

Anyway, read the whole thing…his stories about making The Thin Blue Line are great. And he’s making a six-episode true crime show for Netflix? YES!

Noel Gallagher gives no fucks

posted by Jason Kottke   Nov 13, 2015

This long interview with former Oasis songwriter Noel Gallagher is a goldmine of rock star swagger, a master class in not giving a shit, and the dictionary definition of unfiltered. I mean:

Am I aware of a hierarchy? I’m aware that Radiohead have never had a fucking bad review. I reckon if Thom Yorke fucking shit into a light bulb and started blowing it like an empty beer bottle it’d probably get 9 out of 10 in fucking Mojo. I’m aware of that.

I used to put us at number seven. It went The Beatles, the Stones, the Sex Pistols, The Who, The Kinks… who came in at six? I don’t know. We were at seven. The Smiths were in there, The Specials. Where would I put us now? I guess I’d probably put us in the top 10. We weren’t as great as the greats but we were the best of the rest. We did more than The Stone Roses could fucking even fathom. We’re better than The Verve: couldn’t fucking keep it together for more than six months at a time. If all the greats are in the top four, we’re in the bottom of the top four, we’re kind of constantly fighting for fifth, just missing out. Just missing out on the top four, I’d say.

He just has opinions on everything and everyone and says them on the record:

I fucking hate whingeing rock stars. And I hate pop stars who are just… neh. Just nothing, you know? “Oh, yeah, my last selfie got 47-thousand-million likes on Instagram.” Yeah, why don’t you go fuck off and get a drug habit, you penis?

This one just made me laugh:

My fragrance? Oh it’s coming, it’s coming. Toe-Rag it’s going to be called. And the bottle’s going to be a massive toe.

Ahhhhhhh, I can’t stop quoting:

I guaran-fucking-tee you this: The Stone Roses never mentioned “career” in any band meetings. Ever. Or Primal Scream, or The Verve. Oasis certainly never mentioned it. I bet it’s mentioned a lot by managers and agents now: “Don’t do that, it’s bad for your career.” “What? Fuck off!” Like when we went to the Brits and we’d won all those awards and we didn’t play. The head of the Brits said, “This’ll ruin your career.” Fucking, wow. I say to the guy, “Do you know how high I am? You know who’s going to ruin my career? Me, not you. Bell-end. More Champagne. Fuck off.”

Ok, that’s enough. Just go read the thing.

What it’s like to be face blind

posted by Jason Kottke   Jul 13, 2015

Prosopagnosia is a disorder where you’re unable to recognize faces. Neurologist Oliver Sacks and artist Chuck Close are both face-blind. This is a really interesting interview with a woman who suffers from prosopagnosia so completely that she cannot recognize her own daughter or even herself (sometimes).

The researchers concluded that I’m profoundly face-blind. One thing I find very difficult to get across is that it’s not as if I can’t recognize anybody at all — it’s that it can take me up to five minutes before I can figure out who they are. I have to wait for the signs. The other thing I have discovered is that there is a specific expression people have when they see somebody they know.

I call it the “I know you face” — it’s sort of a surprised micro expression. I’m convinced that it’s completely involuntary. It looks a little like surprise. The eyebrows go up, and usually the mouth opens like they’re about to say something. When I see it, I say hello, and then when I start interacting with them, I’ll remember who they are. That’s just one of a whole set of observational skills I’ve developed. Another is when I’m meeting somebody in public, I’ll arrive early so they’ll approach me.

I’m always looking for visual hooks. My daughter has a particular thing she does with her mouth. If there’s several people who could be her, I look for the mouth thing. If she’s nervous, or she’s irritated, one side of her mouth goes up. She’s done it since she was a baby. She doesn’t like having her photograph taken, so when I look at a group photo, I look for the kid with the smirk and I know it’s my daughter.

But her face-blindness is sometimes an advantage:

I’m also a very good listener because the tone of voice and body language are what I always pay attention to. I’m good at calming people down, because I can tell when they’re starting to freak out.

And she’s also less quick to notice things like race or gender:

When I worked at a homeless shelter, I was often praised for the way I interacted with my African-American clients. I couldn’t figure out what I was doing differently from the other white workers, but I was allowed into their circle and they bonded with me. When we lived in Louisiana, I was always being asked by African-American women if my husband was black.

When I was tested at Dartmouth, I scored low on unconscious racism. Apparently babies show a preference for their own race at about nine months because that’s when they start being able to recognize faces. My head doesn’t do this.

(via mr)

Letterman prepares to sign off

posted by Jason Kottke   Apr 29, 2015

Letterman's cups

I was never a particular fan of David Letterman’s show1 but always have appreciated what he did and how he did it. Dave Itzkoff of the NY Times did an interview with Letterman about his impending retirement.

It seems like there’s an increasing emphasis, at least with your network competitors, to create comedy bits that will go viral on the Internet. Did you make a conscious choice to stay out of that arms race?

No, it just came and went without me. It sneaked up on me and went right by. People on the staff said, “You know what would be great is if you would join Twitter.” And I recognized the value of it. It’s just, I didn’t know what to say. You go back to your parents’ house, and they still have the rotary phone. It’s a little like that.

The photo slide show accompanying the piece is worth a look as well, particularly the photo of the stack of paper coffee cups in Letterman’s dressing room (one cup for each show, they cover half his mirror) and the final one of Letterman bounding out onto stage. I hope that when I’m 68, I’m still charging ahead like Dave.

  1. To be honest, I’ve never been a particular fan of any late night television, save for SNL in the late 80s and early 90s. I watched the last few years of Johnny Carson on The Tonight Show and then the first couple years of Leno, mostly because that’s what my parents watched. Letterman I caught every once in awhile after Carson and rarely after his move to CBS. I’ve only seen Conan’s show a handful of times…same with The Daily Show and Colbert. Have never watched a single episode of Fallon or Kimmel or Conan’s new show. Oh, I’ve seen clips on the web and such, but never whole shows.

    My late night TV as a kid was Doctor Who and British comedies — Are You Being Served?, ‘Allo ‘Allo, Fawlty Towers, Good Neighbors, Keeping Up Appearances, The Fall And Rise Of Reginald Perrin, etc. — on the local PBS station. That and Nintendo.

Simple rules for healthy eating

posted by Jason Kottke   Apr 20, 2015

From pediatrics professor Aaron Carroll, a list of guidelines for sensible & healthy eating.

1. Get as much of your nutrition as possible from a variety of completely unprocessed foods. These include fruits and vegetables. But they also include meat, fish, poultry and eggs that haven’t been processed. In other words, try to buy food that hasn’t been cooked, prepared or altered in any way. Brown rice over white rice. Whole grains over refined grains. You’re far better off eating two apples than drinking the same 27 grams of sugar in an eight-ounce glass of apple juice.

What’s more interesting than the guidelines is the admission up front that they’re not supported by rigorous science…and neither is nutrition in general. In the absence of science, “everything in moderation” seems to be the recommended course. (via @jimray)

Update: Julia Belluz recently interviewed Surgeon General1 Vivek Murthy for Vox and within, Murthy shares his four basic rules for health:

One is to eat healthy. I tend to avoid salt, added sugar, and processed foods whenever possible, and try to eat fresh fruits and vegetables as part of all my meals whenever possible.

Second is to stay physically active. That means not just going to gym but incorporating activity into whatever I do, whether that’s taking the stairs or converting sitting meetings to walking meetings whenever possible.

Third is making sure I’m focusing on my emotional and mental well-being. For me, an important part of that is the meditation practice that I do every morning. It’s a chance for me to center myself, a chance for me to remember who I want to be every day.

The fourth thing is I remind myself to stay away from toxic substances like tobacco and drugs.

  1. What an odd antiquated governmental post, Surgeon General of the United States. The US government needs a robust advocate for the health of its citizens, but maybe not a 3-star admiral in the uniformed services you refer to as a surgeon? And while we’re on the topic, sort of, why not a Filmmaker Laureate, Musician Laureate, YouTube Star Laureate, TV Showrunner Laureate, iOS App Programmer Laureate, and Blogger Laureate in addition to Poet Laureate?

Fashion advice from Fran Lebowitz

posted by Jason Kottke   Mar 25, 2015

I loved every opinionated moment of this interview with Fran Lebowitz about fashion. Where do I even start? Some choice bits:

Yoga pants are ruining women.

Shirts don’t go bad, they’re not peaches.

I feel very strongly that almost the entire city has copied my glasses.

Dry…clean. These words don’t go together. Wet clean — that is how you clean. I can’t even imagine the things they do at the drycleaner. I don’t want to know.

I have to say that one of the biggest changes in my lifetime, is the phenomenon of men wearing shorts. Men never wore shorts when I was young. There are few things I would rather see less, to tell you the truth. I’d just as soon see someone coming toward me with a hand grenade. This is one of the worst changes, by far. It’s disgusting. To have to sit next to grown men on the subway in the summer, and they’re wearing shorts? It’s repulsive. They look ridiculous, like children, and I can’t take them seriously.

Now people need special costumes to ride bicycles. I mean, a helmet, what, are you an astronaut??

Of course, more people should wear overcoats than those damned down jackets. Please. Are you skiing, or are you walking across the street? If you’re not an arctic explorer, dress like a human being.

I, myself, am deeply superficial.

Feeling good about an outfit is the point at which that outfit finally becomes good.

So good.

Errol Morris interviewed

posted by Jason Kottke   Mar 03, 2015

As part of Errol Morris Week on Grantland1, Alex Pappademas did a great interview with Morris about his work. Morris has interviewed serial killers, Holocaust deniers, rapists, and the architect of the Vietnam War but said that the person that most challenged his capacity for empathy was Donald Rumsfeld.

He’s confident right now! He doesn’t have to wait 100 or 500 years. He doesn’t care. I really care whether I’m right or wrong. I really do care. And probably for lots of reasons. I don’t want to be seen as a dumbass, I don’t want to be seen as someone who believes in something that’s absolutely false, untrue, something that can’t be substantiated, checked. I believe that there’s some deep virtue in pursuing truth. Maybe it’s the highest virtue. I believe that. Whether you can attain it or not, you can pursue it. It can be a goal. It can be a destination. I don’t believe that’s Donald Rumsfeld’s goal. I believe that Robert S. McNamara really wanted to understand what he had done and why he had done it. You know, we remain a mystery to ourselves, among the many, many, many other mysteries there are. And McNamara’s struggle with his own past — I was deeply moved by it. I think he’s a war criminal, I think he sees himself as a war criminal, but I like him.

Update: Another recent interview, by Brin-Jonathan Butler, is being offered as a 99¢ Kindle Single.

  1. Yeah cool guys, but it’s always Errol Morris Week here at kottke.org.

“Did I marry a pathological liar?”

posted by Jason Kottke   Feb 17, 2015

In his new book, Love and Lies: An Essay on Truthfulness, Deceit, and the Growth and Care of Erotic Love, Clancy Martin argues that loving someone requires lying to them. His third wife, Amie Barrodale, recently interviewed Martin about his assertions.

Amie: What if this woman who cheated finds herself fantasizing about it a lot. She’s never contacted the guy, and she never will, but she thinks about him every time she sleeps with her husband.

Clancy: Wow, good one. For the record, you’re my wife, and if this happens, please lie to me about it.

Amie: Wait, that’s a good answer. Why?

Clancy: Because I don’t think I could handle the truth, but I want us to stay married. So I’m asking you to be the strong one, since it’s your deal, your mental affair. If you feel like it’s starting to threaten the relationship — if the only way for us to continue to be happily married is for you to get the truth out — well, then I’d ask you to find a gentle, caring way to do it. Don’t just say: “I can’t stop thinking about this guy I slept with, he was fantastic and had a huge —”

Amie: How come you didn’t go into detail about our marriage, or your previous two marriages, in the book?

Clancy: Two reasons: respect for you and my two previous wives, and respect for my daughters. And also, I guess, fear that you guys would all love me less if I were too bluntly honest. But truthfully there are some things I would love to say, but can’t, because I know they would really hurt people I love.

(via the morning news)

Interview with Wes Anderson’s cinematographer

posted by Jason Kottke   Jan 09, 2015

Robert Yeoman has been the cinematographer for all of Wes Anderson’s movies, save for the stop-motion The Fantastic Mr. Fox. Kyle Buchanan at Vulture talked to Yeoman about how he shot nine iconic scenes from Anderson’s films. Of the one-take shot near the end of The Royal Tenenbaums:

We had to triple up on scenes from The Royal Tenenbaums just so we could include this subtly marvelous shot from the finale of the film, where the camera drifts from character to character in the aftermath of an accident. “There were a lot of moving parts, and it was very difficult - Wes was determined to get it in one take and didn’t want to make a cut, so we did, I think, about 20 takes of it,” says Yeoman, who mounted a crane arm to a dolly for fluid movement. “The tough part is that it ends with a very emotional moment between Gene Hackman and Ben Stiller, and this scene was so difficult technically - things didn’t always happen when we wanted them to happen, and we’d have to cut - that it’s a testament to Gene and Ben that they were able to hang in there and really deliver on take 20.” What was going wrong before then? “I don’t want to name names, but there was one actor about two thirds of the way through it who kept blowing his lines, and we’d have to start over again,” says Yeoman. “That was a little frustrating, especially because Gene and Ben were waiting there, getting themselves to a certain place emotionally. I felt bad for them, but that’s just part of making films.”

(thx, greg)

Woz the designer

posted by Jason Kottke   Dec 05, 2014

Totally sweet and charming video of Apple co-founder Steve Wozniak talking about the early days at the company while setting up and using an old Apple II.

Of Apple’s two founding Steves, Wozniak was the technologist and Jobs was the one with the artistic & design sense, right? But it’s obvious from watching this video that Woz cared deeply about design and was a designer of the highest order. Those early Apple circuit boards are a thing of beauty, which is echoed in the precision and compactness with which Apple currently designs iPhone and Mac hardware. They each have their own unique way of expressing it, but Woz and Jony Ive speak in a similarly hallowed way about how their products are built.

Update: Wozniak still has improving the Apple II on his mind. From earlier this year:

I awoke one night in Quito, Ecuador, this year and came up with a way to save a chip or two from the Apple II, and a trivial way to have the 2 grays of the Apple II be different (light gray and dark gray) but it’s 38 years too late. It did give me a good smile, since I know how hard it is to improve on that design.

(via @samryan)

Update: From Founders at Work, an interview with Woz that goes a bit deeper into the genesis of the Apple I and the early days at Apple.

By the time I was done, the design of the Nova was half as many chips as all of the other minicomputers from Varian, Digital Equipment Corp., Hewlett-Packard, all of the minicomputers of the time (I was designing them all). And I saw that Nova was half as many chips and just as good a computer. What was different? The architecture was really an architecture that just fit right to the very fewest chips.

My whole life was basically trying to optimize things. You don’t just save parts, but every time you save parts you save on complexity and reliability, the amount of time it takes to understand something. And how good you can build it without errors and bugs and flaws.

Interview with Chris Rock

posted by Jason Kottke   Dec 01, 2014

This Frank Rich interview with Chris Rock is fantastic, full of keen comedic, political, and sociological insights from Rock.

Q: What do you think of how he’s done? Here we are in the last two years of his presidency, and there’s a sense among his supporters of disappointment, that he’s disengaged.

A: I’m trying to figure out the right analogy. Everybody wanted Michael Jordan, right? We got Shaq. That’s not a disappointment. You know what I mean? We got Charles Barkley. It’s still a Hall of Fame career. The president should be graded on jobs and peace, and the other stuff is debatable. Do more people have jobs, and is there more peace? I guess there’s a little more peace. Not as much peace as we’d like, but I mean, that’s kind of the gig. I don’t recall anybody leaving on an up. It’s just that kind of job. I mean, the liberals that are against him feel let down because he’s not Bush. And the thing about George Bush is that the kid revolutionized the presidency. How? He was the first president who only served the people who voted for him. He literally operated like a cable network. You know what I mean?

Q: He pandered to his target audience.

A: He’s the first cable-television president, and the thing liberals don’t like about Obama is that he’s a network guy. He’s kind of Les Moonves. He’s trying to get everybody. And I think he’s figured out, and maybe a little late, that there’s some people he’s never going to get.

And this:

Q: What would you do in Ferguson that a standard reporter wouldn’t?

A: I’d do a special on race, but I’d have no black people.

Q: Well, that would be much more revealing.

A: Yes, that would be an event. Here’s the thing. When we talk about race relations in America or racial progress, it’s all nonsense. There are no race relations. White people were crazy. Now they’re not as crazy. To say that black people have made progress would be to say they deserve what happened to them before.

Q: Right. It’s ridiculous.

A: So, to say Obama is progress is saying that he’s the first black person that is qualified to be president. That’s not black progress. That’s white progress. There’s been black people qualified to be president for hundreds of years. If you saw Tina Turner and Ike having a lovely breakfast over there, would you say their relationship’s improved? Some people would. But a smart person would go, “Oh, he stopped punching her in the face.” It’s not up to her. Ike and Tina Turner’s relationship has nothing to do with Tina Turner. Nothing. It just doesn’t. The question is, you know, my kids are smart, educated, beautiful, polite children. There have been smart, educated, beautiful, polite black children for hundreds of years. The advantage that my children have is that my children are encountering the nicest white people that America has ever produced. Let’s hope America keeps producing nicer white people.

Q: It’s about white people adjusting to a new reality?

A: Owning their actions. Not even their actions. The actions of your dad. Yeah, it’s unfair that you can get judged by something you didn’t do, but it’s also unfair that you can inherit money that you didn’t work for.