Month: June 2017

Sofia Coppola on Moviemaking, and Other Links

Scarlett Johansson and Bill Murray in Sofia Coppola's Lost in Translation (2003)

Dismal weather this morning. Reading the journals of Thomas Merton. Over the last few days I have found a great deal of satisfaction in the following interviews, articles, and reviews:

How Georgia O’Keeffe turned her life into a work of art • Teju Cole explores how we see the world in Blind Spot • Teju Cole: “My camera is like an invisibility cloak. It makes me more free” • “He’s a model of how to have lived as a writer.” — Geoff Dyer on John Berger • Writers’ and artists’ fascination with the ocean • Colm Tóibín on the artist Alberto Giacometti • A Quest to Rename the Williamsburg Bridge for Sonny Rollins • Doctor Anton Chekhov, writer • Is Hulu’s The Handmaid’s Tale an allegory of the Trump era? • The Modernist Gas Stations of Frank Lloyd Wright and Mies van der Rohe • The 25 Greatest Summer Films • Take a look at Ralph Steadman’s distinctive illustrations for George Orwell’s Animal Farm • Kyle Chayka revisits Anselm Kiefer’s Velimir Chlebnikov • “The whole [moviemaking process] starts with daydreaming about something.” — Sofia Coppola • Art Deco around the world: How modern transport and communication brought the aesthetic to a global audience • Kraftwerk: Past masters of the future • Roy Jacobsen‘s Norwegian Island Trilogy • Lauren Elkin on Brian Dillon‘s Essayism • Shannon Burns on the fiction of Clarice Lispector • Beyond Caravaggio: National Galleries Scotland • Andy Warhol‘s inaugural ‘selfie’ expected to fetch £7m at auction • Inside Bob Dylan‘s Historic New Tulsa Archive • Was the Twentieth Century a Mistake? A Conversation with Werner Herzog

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A Tour of David Lynch’s LA Filming Locations, and Other Links

David Lynch at work at his home, the Beverly Johnson House in the Hollywood Hills, CA. Photograph: Patrick Fraser
David Lynch at work at his home, the Beverly Johnson House in the Hollywood Hills, CA. Photograph: Patrick Fraser
David Lynch at work at his home, the Beverly Johnson House in the Hollywood Hills, CA. Photograph: Patrick Fraser

Spent some time yesterday afternoon touring the Universität Basel in Switzerland. Aside from walking the city streets and dipping my feet into the Rhine, I’ve been devoting some time to reading. As I mentioned in previous posts (1, 2), I am enjoying Tolstoy’s Anna Karenina. I am also slipping back into the world Twin Peaks, which has reignited my fascination with all things Lynchian. Here are a few of the articles that have caught my attention over the last day or so:

LA Weekly has posted a fantastic gallery of David Lynch shooting locations, with accompanying stills from Eraserhead, Twin Peaks, Wild at Heart, Lost Highway, Mulholland Drive, and Inland Empire • “[A] heady whiff of Jacques Tati and Buster Keaton” — Tom Huddleston recaps episodes 5-6 of Twin Peaks: The Return • German image-maker Michael Wolf‘s first retrospective exhibition shows urban living at its most extreme • Listen to the history of rock music before and after Radiohead‘s OK Computer • Ali Smith on meeting W.G. Sebald • The pros and cons of the digitized Walt Whitman and his “lost” novels • Miroslaw Balka and Joseph Rykwert discuss how art and architecture shape the politics of memory around conflict • Why American modernism is older than you think

Victor Klemperer on “the printed lie”

Victor Klemperer
Victor Klemperer

“On countless occasions during my spell as an assistant in Naples I heard people say about some newspaper or other: è pagato, it’s paid for, it lies for its client, and then on the following day these very same people who had cried pagato were absolutely convinced by some obviously bogus piece of news in the same paper. Because it was printed in such bold type, and because the other people believed it. […] I also know that a part of every intellectual’s soul belongs to the people, that all my awareness of being lied to, and my critical attentiveness, are of no avail when it comes to it: at some point the printed lie will get the better of me when it attacks from all sides and is queried by fewer and fewer around me and finally by no one at all.”

— Victor Klemperer, The Language of the Third Reich: A Philologist’s Notebook (trans. Martin Brady)