a couple of the things I would’ve missed had I not actually read the printed version of the Sunday Times:
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In her interview at Cannes, a thoroughly justified Manohla Dargis somehow manages to not point out to Jean-Luc Godard that, if it weren’t for America, he’d be busting on Abbas Kiarostami in German right now. [Plus, how do you interpret the karmic justice that, someday Michael Moore will look like Godard looks now?]
A.O. Scott cannily unpacks the audience for Baz Luhrmann’s Moulin Rouge [“But in New York!”] Chanel No. 5 commercial, without pointing out that the allegedly cutting edge Karl Lagerfeld ordered up a remake of a 3-year old movie (which itself was seven years in the making). Methinks those 40 iPods are somehow full of one soundtrack.
Is the “O Holy Night” mp3 discussed in the “Best of the Very Worst” music story really “said to be Adam Sandler” by many? Or just by the people who don’t know the Eric Cartman version?
The artist/filmmaker Alfred Leslie (who inspired Jonas Mekas, who founded Anthology) collaborated on a 14-min. film in 1964 called, The Last Clean Shirt. It was a one-shot of a couple in a car, played three times. Three Leslie friends, O’Hara, Jackson Pollock, and David Smith, all died in car accidents. [Two of them after 1964, btw.]
Choire’s weekly full page [!] is Times Out.
It’s about time someone reviews the Eisner-Ovitz courtroom drama as drama. Bruce Weber wonders if it isn’t Shakespearean.
Pepe Fanjul keeps the family tradition of exploiting sugarfield workers alive, even after fleeing Cuba for Palm Beach. But this story is about tracking down a painting his family was forced to leave behind, which turned up for sale in Switzerland. Making a cameo: Fanjul’s “old friend, Ms. [Katherine] Harris.” Before breaking bread at Casa Fanjul, go watch H-2 Worker.
the making of, by greg allen