I spent some time this morning preparing a lecture on William Gibson‘s Burning Chrome, a collection of short stories that ushered in the science-fiction aesthetic we now think of as ‘cyberpunk’. Since Prime Minister May began the process of the UK leaving the European Union, I have reinvested in these sticky postmodern narratives of chance and possibility. I have also been distracting myself with rarely-seen photographs of filmmakers and literary figures. Among today’s treasures was an image of Leo Tolstoy emerging from a lake on his estate, and a candid photograph of Sofia Coppola and Bill Murray on the set of Lost in Translation c. 2003. I read that Patti Smith has purchased the home of French poet Arthur Rimbaud, located in the “sleep French town of Roche”. And, finally, I enjoyed looking over George Monbiot‘s career advice for those seeking to pursue life as a journalist. Among his tips? Live as cheaply as possible: “This is a good discipline for any freelancer, however well you’re doing.”
Roger Ebert was more than just an opposable thumb. His television appearances with Gene Siskel and regular dispatches to the Chicago Sun-Times made him one of the most well-known and beloved movie critics in America. The fourth volume of Great Movies, recently published by Chicago University Press, showcases over sixty of Ebert’s reviews spanning the history of cinema. Together in one place, these brief essays offer fresh insights into established classics, and draw attention to noteworthy outliers that deserve a closer look.
Among other things, the collection includes discussions of The Beatles’ Yellow Submarine (released ‘after the Summer of Love but before Woodstock’), and Hiyao Miyazaki’s Spirited Away (written after Ebert’s third viewing). Also included are reviews of Spike Lee’s 25th Hour, Jim Jarmusch’s Mystery Train, and Spielberg’s deceptively simple science-fiction narrative, A.I.: Artificial Intelligence – a film that Kubrick gave to Spielberg when he felt he could not achieve the special-effects required. (more…)
The Directors Series begins reviewing the work of American filmmaker Sofia Coppola, taking stock of her early acting career and first forays into the world of directing. Cameron Beyl begins by recounting his encounter with Coppola’s first film:
“[T]he first film I ever saw from director Sofia Coppola was 2003’s Lost in Translation. I was captivated by the quiet sensitivity of her characters and the evocative melancholy of the Tokyo setting, and as such, I’ve come to regard her as an accomplished filmmaker with a uniquely sensitive worldview worth expressing.”
You can read more (and watch clips) over at Beyl’s excellent The Directors Series.