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Tilda Swinton And Chuck Close Talk Art

Tilda Swinton And Chuck Close Talk Art

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A 7,500-Word Conversation Between Cartoonist-Screenwriter Daniel Clowes And Ray Pride On How Cities Inform His Work, And The ’90s Chicago Comics Scene

 A 7,500-Word Conversation Between Illustrator-Cartoonist-Screenwriter Daniel Clowes And Ray Pride On How Cities Inform His Work, And The ’90s Chicago Comics Scene

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The Movie That Manoel De Oliveira Made In 1982 To Be A “Posthumous” Film Debuts In Portugal May 4-5

The Movie That Manoel De Oliveira Made In 1982 To Be A “Posthumous” Film Debuts In Portugal May 4-5 português

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“Too Much Johnson, Never Enough Welles”: Cinematographer John Bailey Goes Deep On Orson Welles’ Earliest Films

“Too Much Johnson, Never Enough Welles”: Cinematographer John Bailey Goes Deep On Orson Welles’ Earliest Films

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Michael Markham On The Significance Of Philip Glass

Michael Markham On The Significance Of Philip Glass

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Filmmaker Tom Taplin, 61, Was Making Doc At Mt. Everest Base Camp

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PBS And Its NYC Channel Will Keep “POV” And “Independent Lens” Docs In Primetime As Well As Increase Marketing

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Richard Jameson Remembers Richard Corliss, His Predecessor Editor At Film Comment

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Krishnan Guru-Murthy Writes That Stars Like Robert Downey Jr. And Newsreaders Like Himself Maybe Shouldn’t Talk

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What Ennio Morricone Has Learned

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Oh, And Peter Bradshaw Has A New Theory About “Rosebud”

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Michael Phillips On Adam Sandler’s “Cold, Mean-Spirited Smugness Reeking Of Unexamined White-Male Privilege”

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On The Stylish Set Of Guy Ritchie’s The Man From U.N.C.L.E.

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Al Pacino Looks Back, Cheerily

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TIFF Releases Its Canadian Top 10 Poll Results, With An Introductory Essay By Steve Gravestock

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Clouds of Sils Maria, Olivier Assayas

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Dior and I, Frédéric Tcheng

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Ex Machina, Domhnall Gleeson

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Alex of Venice, Don Johnson, Chris Messina

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“Brian De Palma never smiles. But he is a great director: very good at choosing stories, he pays a lot of attention to the screenplay and he’s very accurate.”
What Ennio Morricone Has Learned

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“As a celebrity/star I am not an individual—I am a spectacular representation of a living human being, the opposite of an individual. The enemy of the individual, in myself as well as in others. The celebrity/star is the object of identification, with the shallow seeming life that has to compensate for the fragmented productive specializations which are actually lived. The requirements to being a star/celebrity are namely, you must become an enslaved body. Just flesh—a commodity, and renounce all autonomous qualities in order to identify with the general law of obedience to the course of things. The star is a byproduct of the machine age, a relic of modernist ideals. It’s outmoded.”
~ Shia LaBeouf

“I have been to the other side of the mountain. I gotta say, it’s been dark. It’s been weird. It’s been horrible. About a month and a half ago, I said goodbye to my kids, and I’ve been living in Burbank next to the studio. I feel every day like, I didn’t do enough, I didn’t do enough, I didn’t do enough. I wasn’t ready. Here’s failure. Here’s failure. Here’s compromise. Here’s compromise. I’m now coming out the other side, realizing that once again, for all its many varied and soon to be heralded flaws, it’s my movie. It’s the movie I set out to make. And I have the honor of saying, it’s fucking bonkers. So there’s that.”
~ Joss Whedon On Making Avengers: Age Of Ultron

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