Ken Baumann—
Anybody who’s remotely interested in the art of/work of writing should pick up the current issue of The Paris Review and flip to Dennis Cooper’s interview. It is pure inspiration.
Enter The Void: OUT TOMORROW
In theaters tomorrow and On Demand on the 29th. Don’t miss this film. Some more whet:
–Steve Erickson interviews Noé: “I saw “Lady in the Lake” on mushrooms and became fascinated with the idea of depicting a character‘s perspective while he’s on hallucinogenic drugs. I also read about astral projection, and the afterlife. I don’t believe in it, but as a collective dream, like flying saucers, I wanted to depict it properly.” and “I want to make a movie that will be very sentimental and sexual. I have a long treatment now. It’s a love story. I want to film sex as I’ve experienced it, which I haven’t seen accurately represented in erotic or pornographic films.”
I was the one who was called to make it: an interview with Luca Dipierro
Luca makes films, makes paintings, makes stories. He recently moved from New York to North Carolina, where he has become a visual artist full time. We talk about this recent decision, the relationship of art & commerce, art as work, and what is beautiful/not pure.
KB: So, what I’m immediately curious about is your thought process before you moved to North Carolina and decided to make art your primary business. Was there a definite moment in which you decided this?
Uncategorized / 24 Comments
May 26th, 2010 / 9:00 am
May 26th, 2010 / 9:00 am
10 Part David Foster Wallace Interview 2003
[Parts 2-10 available from the end of part 1. Thanks Gene Kwak]
INTERVIEW WITH MICHAEL HANEKE
apparently not a Haneke self-portrait
So I interviewed Michael Haneke about his new film The White Ribbon, which just opened in the United States and won the Palme D’Or at Cannes last May. You know Haneke, I think: Cache, Funny Games, The Piano Teacher, Code: Unknown, Benny’s Video… yes, you know Michael Haneke. Perhaps you even agree with me that he’s one of the world’s greatest living directors.
jolly!
We did the interview in a hotel in midtown Manhattan. He was slender and well-dressed with a beard the color of Malamute fur. As others have observed, he’s disarmingly pleasant in person—even jolly. If he weren’t so thin, he could be Santa Claus.
Even if you’re prepared for it, it’s remarkable to note first-hand how the cruelty, despair, humiliation and horror of his films have no counterpart in his demeanor. Actually, more than anything, he seems professorial.
Our Q & A is below. I’ve condensed some of my questions and remarks to streamline/clarify, and so you don’t have to read as much from me, but I’ve preserved just about every word Haneke said, intelligibility of the tape allowing. His English is fairly good, but unless otherwise noted, he’s speaking through a translator.
*************
Nick Antosca: Are you afraid to die?
Interview with John Dermot Woods
I’m pretty sure John Dermot Woods hasn’t killed any presidents, but he still opts to use his assassin name on the cover of his book, The Complete Collection of People, Places & Things (BlazeVOX 2009).
That’s a title worth remembering, but I don’t blame anyone who can’t do it. I always call it The Complete List of Stuff, even though John’s title is better. I like how he places no limit on what is included. Apparently, it is the complete collection of everything and everyone, everywhere, ever. READ MORE >
Happy Sunday
Uncategorized / 10 Comments
November 15th, 2009 / 9:52 pm
November 15th, 2009 / 9:52 pm
The Appalling Volume of Artifacts
WSJ: Does this issue of length apply to books, too? Is a 1,000-page book somehow too much?
CM: For modern readers, yeah. People apparently only read mystery stories of any length. With mysteries, the longer the better and people will read any damn thing. But the indulgent, 800-page books that were written a hundred years ago are just not going to be written anymore and people need to get used to that. If you think you’re going to write something like “The Brothers Karamazov” or “Moby-Dick,” go ahead. Nobody will read it. I don’t care how good it is, or how smart the readers are. Their intentions, their brains are different.