Extra bits and links
Legendary quote from Australian producer Justin Macdonnell:
Who has not been told that they need to get more people with ‘business skills’ on their board, more people with financial, legal, marketing prowess to guide and restrain the wilful artist – as though it were the arts that regularly had the corporate crashes, bankruptcies and shady dealings?
No further comment required.
[via a comment at Theatreview by Zia Lopez]For many reasons (mostly to do with my love of cover versions) I find this artwork by Evan Shaner to be immensely pleasurable:
Jemaine Clement rhapsodizes about his Masterton childhood in the pages of Maxim:
“My family were working-class,” he says. “My mom worked in a cheese factory, my dad worked in a slaughterhouse, my grandma worked in a clothes factory, and my granddad worked in a biscuit factory. So we always had biscuits and cheese and underpants.”
The greatness of “Contempt” is that Mr. Godard is not, finally, nostalgic for the Homeric harmony Lang speaks of. He knows that ship has sailed. In this picture everything, ancient or modern, “real” or “unreal,” has its own stunned dignity, and the movie wants us to see it all as beautiful — as its people, tragically, cannot. Even early ’60s furniture.
Contempt, of course, gave this blog it’s name.
Satirist George Saunders speaking at the Brooklyn Academy of Music back in January:
He aims to “take his reader by the shirt and fling him; you send him 15 feet and you’re done. And I don’t think it’s in your power to control what he’s feeling as he’s flying through the air.”
I first heard of George Saunders when he was interviewed by Jesse Thorn at The Sound of Young America. I am now on a mission to find and read as much as I can.
[via Gothamist]A comment from a Guardian over-by-over reader on Steve Harmison’s surprisingly candid interview with Nasser Hussain during the First Test:
“Is Harmison going to try his nuts off and hold his hands up at the same time?” asks Alfred Moore. “Because I can’t see that ending well.”
