Zitat des Tages von Steve Erickson:
'The Company You Keep' is about outgrowing not just the delusions that accompany youth but the harsh certainties driving our lives and then trapping them before the years outpace the velocity of our dreams.
In journalism, as in politics, other people's lives are a currency to be bartered on behalf of notoriety and influence.
Even if you haven't seen 'The Seventh Seal,' you've seen it. The influence is so vast and insidious, every image of a black-robed, white-faced Death is a rip or parody of 'The Seventh Seal.'
I'm not sure there's a difference between books that affected the way I see the world and books that influenced me as a writer.
A street is a story in asphalt - so it's a paradox that the streets are the one place where the movies play fast and loose with continuity, something to which L.A. streets lend themselves as naturally as does the city's psyche.
In a way, all Scandinavian movies are descendants of the original Scandinavian Christian-metaphor movie, Danish director Carl Dreyer's 1928 'The Passion of Joan of Arc,' one of the seven or eight best films ever made and impossible to watch more than once.
Americans should be ashamed of how aflutter they get about Downton Abbey - it's unpatriotic. I seem to remember we fought a revolution so as not to put up with this nonsense, where notions of station are so unforgiving that upper and lower echelons are practically different species.
Struggling to end the war and to eliminate slavery once and for all by way of the 13th Amendment, with the amendment's prospective passage undermining the effort to make peace with the Confederacy and vice versa, Lincoln embodied the Great Man theory that leftists disdain.
That godfather of the modern action blockbuster, 'The Godfather,' is entirely character driven, propelled by the transformation of a crime lord's youngest son, who breaks bad when he evolves from white-sheep war hero to blood-soaked inheritor of his father's empire.
Nothing manifests more persuasively the American contradiction than that the author of the Declaration of Independence, a slave owner, wrote an antislavery clause into the document - as if to compel himself to be better than he was - which then had to be edited out so the Southern states, including Thomas Jefferson's own, would sign it.
Notwithstanding the likes of 'All the President's Men' in the 1970s or HBO's recent 'The Newsroom,' film and TV have always loved to hate the press.
All of Wes Anderson's films are confections, memoirs created in cinematic snow globes, with the subtext that memory is the most extraordinary confection of all.
Written by Pulitzer Prize-winning playwright Donald Margulies and directed by Sundance nominee James Ponsoldt, 'The End of the Tour' is a terrific film, among the year's best with its two-man tarantella of wall-to-wall talk - and I watched it through my fingers as though it were Mad Max.
In 1957's 'There's No You,' Sinatra is suspended at the intersection of a loss he can't face and a memory he can't relinquish.
As a genre, the noir of post-World War II was based on characters who were weak or repellent, bound to let down us and themselves.
For thousands of years, we've insisted that art can make us better people. Unless a brief can be fashioned that, by its very nature, art appeals only to the best in people and never the darkness, which defies both logic and intuition, then we have to acknowledge that art can make some of us worse.
Julianne Moore and Michael Keaton began in 1980s soap operas and 1970s sitcoms, respectively, such ancient history by show business standards that you need carbon dating to measure their careers.
Part of the process of reading is constantly hitting the pause button, and now and then the rewind button, to ponder a word that's been chosen by the author as exquisitely as the filmmaker chooses an image or a sound editor chooses a sonic clue - the tolling of a bell in the distance to evoke memory, for instance.
If Marxist theory dictates that the personal is always political, the rebuttal of both 'The Americans' and 'House of Cards' is that the political is always personal: the sum total of our collective needs and desires, vows and betrayals.
'Homeland' is necessarily open-ended since the idea behind television is to spend as much time as possible resolving as little as possible, with a story's usual need for resolution replaced by an unrelenting urgency that always defers answers and constantly postpones closure.
When television captured the popular imagination of the 1950s, a rash of movies satirized Hollywood while also mythologizing it.
The '80s convergence of comics' new adult sensibility with the movies' advancing technology was bound to catch the attention of even slow-on-the-uptake Hollywood, and this particularly was true when 'Watchmen' and 'The Dark Knight Returns' became phenomena.
Italian writer-director Paolo Sorrentino makes zombie movies, which probably comes as a surprise to him. At the center of his best and most recent pictures are the walking dead, characters in a race with themselves across mortality's finish line, their spirits arriving before the rest of them.
I own one movie by fellow Swede Ingmar Bergman, because I have to. You can't be a movie critic with a collection of six or seven hundred DVDs that includes everything from 'Tokyo Story' to 'Poison Ivy: The New Seduction' and not have a Bergman movie.
Redford always has been a cool presence both before and behind the camera. His best movie as a filmmaker, 1994's 'Quiz Show,' exhibits a classicism verging on self-repression, and the social indignation in many of his films engages more than moves you.
Every thought and word that a novelist thinks or writes is part of that castle constructed from sands on the beach of Me, including the turret or rampart or moat he may have thought or written on behalf of someone or something else.
Two subsequent incidents of import established CNN: the explosion of the space shuttle Challenger in 1986, which CNN was the only network to cover as it happened, and the 1991 Gulf War, which CNN chronicled round the clock from a proximity as irresistible as it was alarming, bomb blasts and gunfire lighting up TV screens from coast to coast.
I've decided 'Breaking Bad' may be one of the best TV shows ever, but I had to watch every last episode of the first four seasons to come to that conclusion.
The first books I remember having an impact on me when I was a kid were L. Frank Baum's 'Oz' books, which were much stranger than the movie: at once rather whimsical and really dark.
Born in the silent era, with the first ceremony hosted by Douglas Fairbanks at the Roosevelt Hotel, the Oscars are a tradition in a business that doesn't have much of it, and the biggest spectacle in a business that's often nothing but.
I don't know how many modern families watch 'Modern Family,' but then one of the points of 'Modern Family' is that it's hard to tell what a modern family is anymore, let alone what it does.
If 'Fargo' is about anything, it's American madness.
The notion of artistic responsibility begs questions with no satisfactory conclusions, the most inevitable and ineffectual being that we should just keep thinking and talking about it, given that the alternative - a governmental body monitoring the movies we make and see - is unacceptable.
Inevitably, considerations of God in what otherwise intend to be mass entertainments come down to the same thing they come down to in any context, which is a consideration of humanity.
There's no rule that we have to like the characters movies are about.
Inside every TV star is a movie star screaming to get out, and Donna Frenzel, with whom I'm guessing you're not instantly familiar, made George Clooney a movie star once and for all in the first ten minutes of his fifth feature, 1998's 'Out of Sight.'