“Paris . . . is a finished city.”
--Alexandre Gady, president of the Société pour la Protection des Paysages et de l’Esthétique de la France. Quoted in Adam Gopnik's excellent report on why Paris can't get rid of the ridiculous "love locks" on the Pont des Arts. By "finished" Gady means central Paris no longer needs, or wants, further development. Ever.
"Escape is not an option."
--Jason Mark on the film Interstellar, which depicts humans escaping from an ecological disaster on earth.
Kate Clark’s Little Girl, which Claudia Rankine used in her book Citizen: An American Lyric, to illustrate the conflict between an African-American woman and her psychiatrist. Read Ratik Asokan's interview with Rankine.
Mad Men’s Matthew Weiner says, “Something happened that nobody can make a movie between $500,000 and $80 million. That can’t be possible.” The mid-budget American film is disappearing, he and others claim. This is not a new trend for certain. It's not clear, though, if the extinction of the mid-budget film is hastening or if this is a continuation of a state of affairs in Hollywood that has existed since the 1970s. There are a number of consequences of the disappearance of the mid-budget film, if that's what's actually happening. Jason Bailey calls attention to the directors who can't get their projects funded. Spike Lee famously has to resort to Kickstarter to finance his latest film. David Lynch hasn't made a film in over a decade. Still, there are directors who regularly make mid-budget films. David Fincher's Gone Girl was made for a comparatively modest (by contemporary Hollywood standards) $61 million.
9 Kisses is delightful. It's like NYT knew that we'd need something to offset the torture report. http://t.co/upeNjm6xtQ— Meredith Hindley (@CapitolClio) December 10, 2014