p:vulture★★   41

How the SNL Portrait Became Its Own Art Form
"In my portfolio, it’s my first image. It’s one of my favorites. I don’t know where I came up with that idea. I thought it would be funny if Andy was an olive in a Martini glass. Thank God our genius costume designer was able to have an olive costume made. We all had a good laugh shooting it. And postproduction was great, too, sliding him in a glass."
a:Devon-Ivie  a:Mary-Ellen-Matthews  p:Vulture★★  d:2019.04.10  w:1000  interview  Saturday-Night-Live  photography  process  from twitter
11 weeks ago by bankbryan
Can Special Effects Be Special Again?
"Franklin and Lambert furthered that process on Damien Chazelle’s Neil Armstrong biopic First Man, which also mostly avoided using green screens. This time, instead of using projectors to throw images on a screen, they built a massive wraparound high-definition LED screen outside of the set, so that performers could act against images that otherwise would have been added months later in post. The intensely beautiful X-15 experimental flight sequence that opens the film was shot this way, and the realism achieved also meant that the camera captured little offhand details that would have taken VFX artists weeks to do with computers. 'Because you had the content on the screen, when you see Ryan [Gosling] bursting through the atmosphere, you can then see the beautiful chromatic shift on the horizon,' recalls Lambert. 'That shot is in camera; Ryan is actually looking at the horizon. It’s reflected in his visor, and *it’s reflected in his eye*. I used to do that work myself. I used to be a compositor. I know how tricky it is to do that in post.'"
a:Bilge-Ebiri  p:Vulture★★  d:2018.12.10  w:3500  film  technology  acting  from instapaper
december 2018 by bankbryan
In Conversation: Penn Jillette
"I will now violate a nondisclosure agreement."
"Only if you want to."
"I know you’ll use it properly and if you don’t, I don’t give a fuck anyway."
a:David-Marchese★  a:Penn-Jillette★  p:Vulture★★  d:2018.08.14  w:6500  interview  politics  gender  Donald-Trump  future  race  alcohol  from twitter
november 2018 by bankbryan
This Is the Best 5,453-Word Interview With Bronson Pinchot About Audiobooks You Will Ever Read
"Some authors will reveal, in as little as a word or two, that their mothers may in fact have disapproved of the book, in which case I’ll be gently puckish and teasing. Any piece of writing is agony to create; dedicating it to someone is a big deal. Why not acknowledge this in the reading of that dedication? L. Frank Baum’s The Wonderful Wizard of Oz is dedicated 'To my good friend and comrade … my wife.' In 1899, this would have been a fairly unusual way to describe one’s wife; in fact, Maude Baum was a very freethinking woman and the daughter of a prominent exponent of women’s rights. To my mind, it has the wonderful spin of 'she’s my equal, folks.' Baum knew that children being read the book might hear it, or glimpse it, or perhaps even just mark the expression on the face of the parent reading it silently. It’s important. It wouldn’t be there if it wasn’t."
a:Jeff-VanderMeer  a:Bronson-Pinchot★★  p:Vulture★★  d:2014.07.22  w:6000  interview  writing  books  reading  acting  process  from twitter
october 2018 by bankbryan
In Conversation: Billy Joel
"It didn’t bother me. I remembered it because it was so over-the-top. Had I been younger and still recording it would have bothered me because it was so wrong. I know good music: You can’t tell me everything I do is bad. But some people just have that reaction to my stuff."
"What is that visceral reaction about?"
"I chalk up a lot of it to my voice — I hear my voice and it annoys me. Or maybe it’s my persona or how I come off on TV or in interviews. I could probably come off obnoxious unless you’re from my neighborhood and know how we talk. But back in the ’70s, critics decided who was going to be in the good group and the bad group and I thought I got a bad shake."
a:David-Marchese★  a:Billy-Joel  p:Vulture★★  d:2018.07  w:7500  interview  music  Donald-Trump  Billy-Joel  from instapaper
october 2018 by bankbryan
Inside the Binge Factory
"'This [idea] that if you have volume, you can’t have quality?' says Holland. 'I think it’s convenient for people who are limited by time slots or budget. If you can have one network that has a dozen shows and they’re good quality, why can’t you have the equivalent of four networks with a dozen shows each? Why can’t you have more than that? We have the ability to support a larger number of artists than most people can.'"
a:Josef-Adalian  p:Vulture★★  d:2018.06  w:9000  Netflix  television  from instapaper
august 2018 by bankbryan
In Conversation: Quincy Jones
"Pople limit themselves musically, man. Do these musicians know tango? Macumba? Yoruba music? Samba? Bossa nova? Salsa? Cha-cha?"
"Maybe not the cha-cha."
"[Marlon] Brando used to go cha-cha dancing with us. He could dance his ass off. He was the most charming motherfucker you ever met. He’d fuck anything. Anything! He’d fuck a mailbox. James Baldwin. Richard Pryor. Marvin Gaye."
a:David-Marchese★  a:Quincy-Jones  p:Vulture★★  d:2018.02.07  w:5000  interview  music  race  sex  from instapaper
march 2018 by bankbryan
Beware the Open-Plan Kitchen
"Today, House Hunters, like all HGTV shows, follows a formula as inflexible as the Latin Mass. You meet the buyers (usually a couple), learn where they live and what their budget is, and watch as they describe marriage-busting differences of opinion in a way that makes them look like they’re choosing what to watch on Netflix. He’s the breadwinner who wants to live close to work; she’s an at-home mom who wants to live in a far-off suburb. She’s a spender; he’s a saver. What they need is a post-nup; what they get is an expensive house an hour from his job, because HGTV women tend to win these quarrels, although he will usually get some concession — a north-facing patio so he won’t sweat like a dog when he’s out grilling; a three-car garage. By the time we bid them farewell, they’re in the great room, sipping white wine from giant, reality-TV wineglasses and purring like kittens."
a:Caitlin-Flanagan  p:Vulture★★  d:2017.09.20  w:5000  television  housing  Great-Recession  from instapaper
december 2017 by bankbryan
The End Is Here
"Richardson tells Lindelof that two of the temped songs will have to go, including the first Otis number. She’ll find replacements, but the good news is they can keep his favorites. 'Thank God,' says Lindelof. He threatened to bankroll the second one himself if he had to. The prospect of losing songs feels jarring even to me, who has zero creative investment. Tempitis is contagious. Watching clever jokes lopped off or gorgeous shots casually discarded or even the showrunner’s pet songs killed—and this on a show lucky enough to make it to three seasons on low ratings—is a painful experience. It’s hard to watch people lose control over their favorite things, to see great ideas die unseen."
a:Boris-Kachka  p:Vulture★★  d:2017.06.04  w:16000  television  process  music  Australia  from twitter
june 2017 by bankbryan
Why Sunday Night’s Episode of The Leftovers Was Inspired by Matt Zoller Seitz
"I had you on the brain, right around the time that we were starting to talk about episode five, which we decided to title, 'It’s a Matt, Matt, Matt, Matt, Matt World' because we wanted it to have that 1960s caper energy. It’s not like I wrote it for you; that’s too weird. There are certain things we’ve done for very specific critics — famously Andy Greenwald, we designed the entire opening of the second season, the cavewoman opening, just to piss him off, and were successful in doing so."
a:Matt-Zoller-Seitz  a:Damon-Lindelof  p:Vulture★★  d:2017.05.14  w:6000  interview  television  death  religion  from instapaper
june 2017 by bankbryan
Future Shock
"Post-Azkaban, Universal was suddenly more willing to play ball. Cuarón met with studio chair Stacey Snider, who, in Cuarón’s recollection, told him, 'I don’t understand this film, I have no idea what you want to do, but go ahead and do it.' It got the green light in 2005, and Cuarón mapped out a plan of aesthetic attack. He recruited his longtime friend and frequent partner Emmanuel 'Chivo' Lubezki to be his cinematographer. Together, they hit on the idea of loading up the background with information — graffiti, placards, newscasts — and thus limiting the kind of expository dialogue that often plagues dystopian stories. Cuarón recalls Lubezki declaring, 'We cannot allow one single frame of this film to go without a comment on the state of things.'"
a:Abraham-Riesman  p:Vulture★★  d:2016.12  w:4500  flim  from twitter
april 2017 by bankbryan
Ava DuVernay on Directing Queen Sugar, Properly Lighting Actors of Color, and Why She Used to Be More Brave
"On Miami Vice there's a legendary anecdote about how Michael Mann issued this edict, 'no earth tones,' for the first few seasons, and I know that other shows have particular rules. Do you have anything?"
"Yeah, yeah, I hate inserts. I hate them."
"Inserts meaning tight close-ups—"
"Of objects and things?"
"Yeah. Like, someone goes to pick up the phone, and I don't need another shot of the hand picking up the phone. Like, I'm good. I saw it in the wide. Yeah, it's a phone."
a:Matt-Zoller-Seitz  a:Ava-DuVernay  p:Vulture★★  d:2016.09.06  w:3000  interview  television  race  film  process  acting  from twitter
december 2016 by bankbryan
You Haven’t Seen Everything John Cho Can Do
"They’ll say, 'We can’t cast an Asian because this other person is Asian,” or “We’ve got another Asian.' The fact that people are very open about it is very surprising to me, because you assume it, based upon the product. It would be weird to be in human resources and say, 'Oh, we can’t hire another Asian in accounting, because there’s a black dude in accounting, so, thank you very much.'"
a:E-Alex-Jung  a:John-Cho  p:Vulture★★  d:2016.07  w:5000  interview  race  gay  acting  film  marijuana  celebrities  Star-Trek  from twitter
december 2016 by bankbryan
RuPaul on His First Emmy Nomination, Donald Trump, and Hillary Clinton
"If you're a politician — not just in Washington but in business and industry, you have to be a politician — there are a lot of things that you have to do that you're not proud of. There are a lot of compromises you have to make because it means that you can get this other thing over here. And if you think that you can go to fucking Washington and be rainbows and butterflies the whole time, you're living in a fucking fantasy world. So now, having said that, think about what a female has to do with that: All of those compromises, all of that shit, double it by ten. And you get to understand who this woman is and how powerful, persuasive, brilliant, and resilient she is. Any female executive, anybody who has been put to the side — women, blacks, gays — for them to succeed in a white-male-dominated culture is an act of brilliance. Of resilience, of grit, of everything you can imagine. So, what do I think of Hillary? I think she's fucking awesome. Is she in bed with Wall Street? Goddammit, I should hope so! You've got to dance with the devil. So which of the horrible people do you want? That's more of the question. Do you want a pompous braggart who doesn't know anything about diplomacy? Or do you want a badass bitch who knows how to get shit done? That's really the question."
a:E-Alex-Jung  a:RuPaul  p:Vulture★★  d:2016.08.12  w:2000  interview  politics  Hillary-Clinton  2016-election  gender  from instapaper
september 2016 by bankbryan
The Business of Too Much TV
"Actors’ agents are leveraging the fierce competition for talent in nonmonetary ways, too. Increasingly, many thespians are defining themselves as 'offer only' players, forcing producers to sign an actor at a given rate without forcing said actor to go through any sort of audition process. Veteran producer Shawn Ryan (Mad Dogs, The Shield), who just landed a new NBC time-traveling drama Timeless, said he was surprised by how many relatively unknown actors were now offer-only. 'I didn't know who these people were,' he says. 'And yet the supply was so low and demand is so high simultaneously that people in the past who weren't able to demand offer-only status are claiming it now.' Some agents refused to even have their clients meet with Ryan unless a deal was on the table, leaving the producer gobsmacked. 'I’d be like, "Who is this person? Is there some huge film franchise that I'm unaware of that they’ve been in?"' he says. 'I’m not saying that it's always unwarranted, and I'm not saying that actors can't choose to be whatever status they want to be. Anyone who doesn't want to have to audition certainly doesn't have to audition. But in the past, if you wanted to work, you either had to be of a certain stature with a certain kind of track record that everybody was aware of in order to be an offer-only player, or you'd have to come in and have a meeting. The agents gauge that the supply-and-demand curve has shifted, and they're reacting accordingly.'"
a:Josef-Adalian  a:Maria-Elena-Fernandez  p:Vulture★★  d:2016.05  w:10500  business  television  Netflix  Amazon  acting  logistics  risk  from instapaper
september 2016 by bankbryan
In Conversation: Louis C.K.
"Hillary is better at this than any of these people. The American government is a very volatile, dangerous mechanism, and Hillary has the most experience with it. It’s like if you were on a plane and you wanted to choose a pilot. You have one person, Hillary, who says, 'Here’s my license. Here’s all the thousands of flights that I’ve flown. Here’s planes I’ve flown in really difficult situations. I’ve had some good flights and some bad flights, but I’ve been flying for a very long time, and I know exactly how this plane works.' Then you’ve got Bernie, who says, 'Everyone should get a ride right to their house with this plane.' 'Well, how are you going to do that?' 'I just think we should. It’s only fair that everyone gets to use the plane equally.' And then Trump says, 'I’m going to fly so well. You’re not going to believe how good I’m going to fly this plane, and by the way, Hillary never flew a plane in her life.' 'She did, and we have pictures.' 'No, she never did it.' It’s insane."
a:David-Marchese★  a:Louis-CK★★  p:Vulture★★  d:2016.06  w:6500  interview  comedy  2016-election  Hillary-Clinton  Donald-Trump  sex  race  social-media  television  Bernie-Sanders  from instapaper
september 2016 by bankbryan
Rent: The Oral History
"Telsey: [Activist-professor] Tom Collins was written as a Bruce Springsteen type, which I’d call a white guy. But after not finding that, someone said, 'What if we start seeing a Marvin Gaye–type Collins?'
Jesse L. Martin (Tom Collins): Bernie called and said, 'There’s a musical being developed by New York Theatre Workshop — you should audition.' He sent me a cassette with Jonathan singing. I don’t mean this as a dis, but he sounded like Kermit the Frog. I was like, 'I don’t know about this.' It wasn’t a great fit for me on paper.
Telsey: Jesse was like, 'I don’t do musicals.' I kept saying, 'This is nontraditional, it’s not about ‘Sing out, Louise!’ '
Martin: I walked in and sang 'Amazing Grace.'
Telsey: They cast him on the spot."
a:Rebecca-Milzoff  p:Vulture★★  d:2016.04  w:6000  oral-history  theater  singing  gay  from twitter
august 2016 by bankbryan
In Conversation: Charlie Kaufman
"You see shit on television or in a movie and you think, *How did that person get a job when they wrote that?* When I was trying to get into the business, I’d see stuff on TV and it was crap, and I was like, *I can write at least this well*. And then you’d hear that, well, these people are really brilliant, and the specs they write are amazing, but once you get into the system, you have to dumb it down. So there must be all these amazing comedy writers out there who are doing things that are not good because that’s what they’re paid to do. And you know what? It’s really not true. There are really good comedy writers out there, but there are a shitload of people who are not, and they also work, and the stuff that you see on TV is a fair reflection of the level of skill out there, and people should know that."
a:Adam-Sternbergh  a:Charlie-Kaufman  p:Vulture★★  d:2015.12  w:5000  interview  film  comedy  television  from twitter
january 2016 by bankbryan
In Conversation: Quentin Tarantino
"Who do you see as your competition right now? Are you competitive with someone like Paul Thomas Anderson?"
"No. It’s a friendly thing. This might come across as egotistical, but I don’t really feel in competition with anybody anymore. I’m in competition with myself. David O. Russell can have the biggest hit of the year, and that doesn’t take anything away from me. I couldn’t have been happier that Rick Linklater was at the Oscars this year. The last time that I felt competitive was when I was doing Kill Bill and my competition was The Matrix Reloaded. That was the sword of Damocles hanging over our heads. I saw Matrix Reloaded at the Chinese Theatre the day it opened, and I walked out of the cinema singing that Jay Z song: 'S-dot-Carter / Y’all must try harder / Competition is nada.' I was like, *Bring it the fuck on*. I was worried about *that*? Ho-ly shit."
a:Lane-Brown  a:Quentin-Tarantino  p:Vulture★★  d:2015.08.23  w:4500  interview  film  race  Barack-Obama  acting  television  writing  from twitter
november 2015 by bankbryan
In Conversation: Chris Rock
"Here’s the thing. When we talk about race relations in America or racial progress, it’s all nonsense. There are no race relations. White people were crazy. Now they’re not as crazy. To say that black people have made progress would be to say they deserve what happened to them before. So, to say Obama is progress is saying that he’s the first black person that is qualified to be president. That’s not black progress. That’s white progress. There’s been black people qualified to be president for hundreds of years. If you saw Tina Turner and Ike having a lovely breakfast over there, would you say their relationship’s improved? Some people would. But a smart person would go, 'Oh, he stopped punching her in the face.' It’s not up to her. Ike and Tina Turner’s relationship has nothing to do with Tina Turner. Nothing. It just doesn’t. The question is, you know, my kids are smart, educated, beautiful, polite children. There have been smart, educated, beautiful, polite black children for hundreds of years. The advantage that my children have is that my children are encountering the nicest white people that America has ever produced. Let’s hope America keeps producing nicer white people."
a:Frank-Rich  a:Chris-Rock★★  p:Vulture★★  d:2014.11.30  w:10000  interview  race  Barack-Obama  comedy  from twitter
february 2015 by bankbryan

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