Monday Morning, 13 August 2018


Filmmaker-writer Steven Lippman passes suddenly; Renata Adler's 1980 "Perils of Pauline" That Began a Feud; John Powers' oratory from Jonathan Gold's Service; Visiting The Last Blockbuster, in Bend, Oregon; American Cinematographer Looks At Maltese Falcon—in 1941; "Why most actors (myself included) are insane!" by Betty Gilpin;  Natasha Braier On Cinematography From The Female Perspective; Alison Willmore On The "Weird Power of Movies That Take Place Entirely On A Computer Screen"; Oleg Sentsov Twitter Tick-Tock; Why Led Zeppelin‬⁩ Let Jean-Marc Vallée use their Music in "Sharp Objects" and more.
I've known Steven Lippman since college. His video work with artists like David Bowie, Laurie Anderson, Carly Simon, Bette Midler and Rosanne Cash is superb. He had worked to make a fiction feature film based on Judy Garland's 1961 Carnegie Hall show. The lookbook was... cool. Much like his restrained, refined visual style. 

Steven's remembrance of collaborating with Bowie: "Doors Opening: Making 'Reality' with David Bowie."

Video: "She Persisted": Women including Rosanne Cash, Carly Simon and Bridget Everett read Coretta Scott King's letter on Jeff Sessions in solidarity with Elizabeth Warren. link

Nick Dawson at Talkhouse encouraged him to write essays about movies he loved, especially from the 1970s, including Miloŝ Forman’s Taking Off link and Irvin Kershner’s Loving and Up the Sandbox. link

 And Lippman's beloved Next Stop, Greenwich Village. link "As a South Florida ’70s teenager with creative ambition, I was always drawn to films about leaving. Not in the sense of refuge from war or bad marriages or abusive households, but of moving on: the rite of passage illustrated on screen in brushstrokes of possibilities. As early as I could remember, I plotted my escape, seeking out clues from the outside world and scanning for identification in the films I was seeing weekly. In my formative pre-teen and teenage years, I could relate on a precociously deep level to films as disparate as George Lucas’ American Graffiti and Michelangelo Antonioni’s The Passenger, because they were about characters on the precipice of change, of losing themselves to the future."

 "You Should Come": John Powers On Jonathan Gold LARB

 French President Macron Discussed Jailed Ukrainian Director Oleg Sentsov With Russia's  Putin On Friday Reuters

 How "Sharp Objects’"Landed Led Zeppelin to Soundtrack the HBO Series Variety

 The Feud Begins: "The Perils of Pauline," August 14, 1980 Renata Adler

 Mitch Albom Visits The Last Blockbuster Store, In Bend, Oregon Detroit Free Press

 "The note of realism dominates": American Cinematographer, 1941, Talks Up The Maltese Falcon

 "Ezra Pound wrote the world’s single greatest poem, but is it wrong to love a fascist?" Ash Sarkar at the Guardian

 "I wrote about why most actors (myself included) are insane!" Betty Gilpin

 "Don't let all the doors to creativity and monster soup close because you're so worried about being judged." Betty Gilpin Talks to Sam Jones About Being An Actor podcast

 Cinematographer Natasha Braier On Her work and the Feminine Counterpart to the Male Perspective American Cinematographer

 “Errol Morris is not sympathetic at all,” said Thom Powers. “He’s a more confrontational with Bannon that you are used to seeing with him; typically his style is to sit back and let his subjects talk. In this film he is not using the Interrotron; he’s sitting across the table with Bannon, engaging in a fascinating dialogue." Anne Thompson
"We Live Half Our Lives Online — So Why Don't More Movies Show It?" Allison Willmore On Searching And The "Screenlife" Movies BuzzFeed

Ronnie Taylor, Oscar-winning Cinematographer of Gandhi Was 93 The Reporter

 "The notion that our work will live on digitally seems dodgy at best. Sites go down, or are bought, or are redesigned. Archives are nuked with the touch of a button because nobody can monetize them. Recently, a couple of writer friends and I realized that years and years of our online work quite simply does not exist anymore." "Meet Me at the Fair: In Praise of Film Books" Bilge Ebiri


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