"In order to recover a bit from a recent feeling of exhaustion, I spent a significant amount of this past weekend diligently sitting on my ass, in front of the television. On Saturday night, I popped in my copy of Woody Allen’s 'Manhattan,' which, among other things, is as stunningly designed a movie as I’ve ever seen. This is largely thanks to the work of Gordon Willis, a master cinematographer who, apart from his incredible work on this film, was also responsible for photographing an alarmingly high share of my favorite movies of all time: 'The Godfather,' 'The Godfather Part II,' 'All the President’s Men,' and 'The Parallax View,' among others." [more inside]
In the early eighties, Orson Welles was a fixture at L.A.’s Ma Maison, where Wolfgang Puck was the chef before he moved on to Spago. Nearing 70, and 40-plus years removed from Citizen Kane, which he made when he was just 25, Welles was fat and famously difficult, no longer a viable star but still a sort of Hollywood royalty—a very certain sort. The younger director Henry Jaglom was one of many aspiring auteurs who admired him but possibly the only one who taped their conversations. These took place in 1983 over lunch at the restaurant.
Woody Allen's 2011 movie Midnight in Paris tells the story of a modern-day character repeatedly finding himself in the 1920s, in a kind of temporary time travel. As it turns out, this is a real-life phenomenon known as a time slip. Perhaps the most famous documented case was from 1901, at the Palace of Versailles. [more inside]
Louis C.K. on eating pressure and providing an alternative to The Man - "I ask him to think about what he really needs; when he tells me, I give him a little more. It buys me goodwill with this person; I feel good about what I'm paying them. I like to give people a little more than they want, and I like to ask people for a little less than they're willing to give." [more inside]