Quite enjoyed this little documentary about Paul Liebrandt. His absolutely tireless determination and passion made me perma-smile throughout the whole film. I never tire of watching people that care so deeply about something. And unlike the recent El Bulli doc, this one is full of commentary and personal disclosure.
Read a fun article about when Paul came to cook for Jeffrey Steingarten at his home for 2 weeks here.
Keen to see this! Might go tomorow – message me if you want to join ;-)
*** Update!
I saw it and really enjoyed it.
It's received many bad reviews criticizing it's lack of interviews or voice over, but for me it was a voyeur's delight. It's a style of filmmaking that allows you to simply observe without the lens or bias of an interviewer – you simply spend the entire time listening to the occasional exchanges Ferran Adrià has with his staff and watching them experiment tirelessly – drawing your own conclusions instead of being spoon-fed every insight.
My take-away – the man is very precise and understands that the core of what he is selling is something magical, creative and inspiring – an experience to remember.
"Cave of Forgotten Dreams is the result of Herzog's exclusive access to the recently discovered Chauvet caves in the South of France, and their extraordinary cave paintings, dating back 32,000 years."
The movie was funny yes – but the best part was the character Megan played by Melissa McCarthy. Watch her in some extra outtakes above and enjoy a fresh take on women.
I know more than a few people that would love this as a gift – myself included. Sold out currently – but hopefully they'll be a reprint soon. Here are some detail shots – click to see larger!
Finally watched this classic film over the weekend. Having grown up watching Cybil in Moonlighting, and knowing Jeff most notably as "the Dude", it was charming to see them as their younger selves in what is a sweet coming-of-age, slice-of-life film.
Without a doubt, this one of my all-time favourite documentaries.
Dick Proenneke retired at age 50 in 1967 and decided to build his own cabin on the shore of Twin Lakes in Alaska. The first summer he scouted for the best cabin site, and cut and peeled the logs he would need for his cabin. He returned the next summer to finish the cabin where he lived for over 30 years.
Fun movie - but the best part by far is Val Kilmer's character "Gay Perry". The dialogue between him and Robert Downey Jr's Harry Lockhart is sharp, quick and unexpected. Refreshing to see a gay character not be so predictable and one dimensional.
So as you can likely tell, I'm on a bit of a classics binge of late. After a lifetime of hearing about James Dean's magnetic qualities, I can finally say I see what they meant. He certainly did possess that je ne sais quoi movie star air. The movie itself, Rebel Without A Cause (1955), was a little more somber than I had expected and Wood's character was a bit irksome to say the least, but I enjoyed it.
I finally watched this classic, after years of missing the full meaning of all the pop-culture references, and quite liked it despite the zany ending. In addition to the deft dialogue, the look is so of the period and Anne Bancroft's voice and style were the epitome of chic.
I didn't prior, and still haven't, read a word about this film yet so that my reaction wouldn't be tainted. My verdict? I enjoyed it. I love street art – always have. The film itself though leaves you constantly guessing if the whole thing, the documentary that is, is just one massive put-on. Which part is real and which is a joke at the viewers' expense I suspect will be greatly debated. Have you seen it – what did you think?
Lovely film – absolutely worth seeing. There's a scene in it where Carey Mulligan's character has an exchange with the Dean of her school, played by Emma Thompson, and in that moment, you feel she was robbed of the Oscar. She's one to watch!
Ok, I tried to pick a favourite dress from this year but they all put me to sleep. Even though I have a soft spot for Maggie's Dries dress, it still wasn't quite right. Michelle Williams' 2006 Vera Wang paired with Chopard diamonds is still my all time fav – no one this year even came close.
Just finished an incredibly long week at work - so much so that I actually came home and fell asleep at 4:30pm - very rock star of me. Anyhow, I'm up now and watching D&C which is always like reliving my high school experience on film. Love Parker Posey especially in it. See a where are they now round-up here.
I'll try to tell you what my attitude is to the stage and screen rights of The Catcher in the Rye.
I've sung this tune quite a few times, so if my heart doesn't seem to
be in it, try to be tolerant....Firstly, it is possible that one day
the rights will be sold. Since there's an ever-looming possibility that
I won't die rich, I toy very seriously with the idea of leaving the
unsold rights to my wife and daughter as a kind of insurance policy. It
pleasures me no end, though, I might quickly add, to know that I won't
have to see the results of the transaction. I keep saying this and
nobody seems to agree, but The Catcher in the Rye is a very
novelistic novel. There are readymade "scenes" - only a fool would deny
that - but, for me, the weight of the book is in the narrator's voice,
the non-stop peculiarities of it, his personal, extremely
discriminating attitude to his reader-listener, his asides about
gasoline rainbows in street puddles, his philosophy or way of looking
at cowhide suitcases and empty toothpaste cartons - in a word, his
thoughts. He can't legitimately be separated from his own first-person
technique. True, if the separation is forcibly made, there is
enough material left over for something called an Exciting (or maybe
just Interesting) Evening in the Theater. But I find that idea if not
odious, at least odious enough to keep me from selling the rights.
There are many of his thoughts, of course, that could be labored into
dialogue - or into some sort of stream-of-consciousness loud-speaker
device - but labored is exactly the right word. What he thinks and does
so naturally in his solitude in the novel, on the stage could at best
only be pseudo-simulated, if there is such a word (and I hope not). Not
to mention, God help us all, the immeasurably risky business of using
actors. Have you ever seen a child actress sitting crosslegged on a bed
and looking right? I'm sure not. And Holden Caulfield himself, in my
undoubtedly super-biassed opinion, is essentially unactable. A
Sensitive, Intelligent, Talented Young Actor in a Reversible Coat
wouldn't nearly be enough. It would take someone with X to bring it
off, and no very young man even if he has X quite knows what to do with
it. And, I might add, I don't think any director can tell him.
I'll stop there. I'm afraid I can only tell you, to end with, that I
feel very firm about all this, if you haven't already guessed.
Thank you, though, for your friendly and highly readable letter. My mail from producers has mostly been hell.
At the urging from a friend, I finally watched Big Night over the holidays and loved it. MB rightly pointed out that there were many parallels to our industry. Namely, the tension between maintaining a profitable business, while producing work that consistently meets one's own high standards, while still satisfying the sometimes gauche and pedestrian tastes of clients. The dynamic between the brothers are also hit home with me on a personal level. Even with the best of intentions, business partnerships are so hard.
Tom Ford's directorial debut was stunningly beautiful and heartbreaking – I cried like a blubbering fool throughout the whole damn thing. As would be expected, every detail was considered – there wasn't a frame in the film that didn't have great lighting, composition, pleasing colour palette or elegant set design. Colin Firth's acting was the best I've seen from him yet and the story was universal and truly moving despite the ending, which left me feeling slightly cheated. Not sure if Ford is planning to continue with this particular career path, but if he does, I for one, will be glad! He certainly is a Renaissance man.
The film was exactly was I expected – a fun, Hollywood schlocky romp. What I didn't expect was to be so taken with Mr.Downey. At 44, the man with a troubled past, still has some serious sex appeal. Meow. Jude, on the other hand, did not even register.
The September Issue was a fun way to spend an hour plus, but ultimately I was underwhelmed. It simply didn't give a huge amount of insight into Anna Wintour, or the enormous amount of work behind putting a magazine to press. After the umpteenth shot of Grace Cottington looking forlorn, staring off in to the distance, or marching up and down a hallway lined with clothing racks, I started to feel that the documentary's director missed an opportunity to make a real statement about the industry at large. Instead, the result was something that never moved beyond a portrait of how Grace works so hard and Anna just ruthlessly edits her work down.
There's obviously so much more to the equation and the film just barely scratches the surface, never showing the thinking behind what inspires the various editorials or how changes in the economy or societal values influence how cultures dress themselves. As someone who has art directed and produced many fashion shoots, I can attest to the amount of thought, inspiration and crazy logistical details that go in to each and every photograph in a story, and sadly so little of that behind-the-scenes magic was really touched upon.
As for Wintour, who is widely regarded as the most important and powerful person in the entire fashion industry, she surprised me by failing to give any real insight into why fashion is important to her or valuable to life in general. Her main point in the film was that many people feel intimidated by fashion because they don't feel like part of the cool group. Be that as it may, was that really the key idea I was meant to leave with? Surely we already know that Vogue doesn't exist simply to exclude people? I mean, come on, give us something to chew on Anna! You've had a whole career of defending your vocation to your disapproving family, society, and the fickle media. Surely you have something to say about how we live in the most accessible time in history, where anyone can look great at any budget and how good design has never been more democratized and available. Or what about how fashion is about beauty, individuality and the creative process, and is as noble an art form as any – inspired by so many factors that reflect what's happening in culture and our collective value system? You could have gone on to talk about how it's about personal expression and pleasure, tribalism, belonging and can bring as much happiness to our lives as any other interest.
I know I'm getting a little heavy here but it's a subject close to my heart that I have obviously had to defend many times in my career. People that judge a love of fashion as being merely frivolous and snobby really miss the point. They deny themselves the power of using clothing as a communication medium and most importantly, as means of creative expression and pleasure. I'm disappointed that the queen bee of fashion didn't use this rare look into her world as an opportunity to say something more profound. But who knows, maybe there isn't a deeper layer for her or perhaps the elusive media persona she has cultivated over the years has rendered her mum.
I must have been asleep when they announced this, I had no idea Julia Roberts was cast to play Elizabth Gilbert. Not that I should be surprised by the choice, Julia didn't exactly look anything like Erin Brockovich either! Above are some stills from Julia shooting on location now.