I don’t have a problem with Lana Del Rey’s scarlet-harlot-starlet get-up. I don't mind a little peril. My hope was that she wore it well.
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Martin Scorsese talks 'Mean Streets,' 'Taxi Driver' and rediscovering that childlike spark with 'Hugo'
SANTA BARBARA - Last night the big tributes wrapped up here at the Santa Barbara fest with the presentation of the American Riviera Award to "Hugo" director Martin Scorsese. Leonard Maltin conducted the on-stage interview, which got started nearly a half hour late and still blew past the usual two-hour time frame as a captivated, capacity audience at the Arlington Theatre never budged and delighted in hearing the director's tales of 50 years at work in the film industry.
Scorsese reflected first on the severity of awards season these days, which he said is "very arduous, in a way. But it's a very high class problem to have." Even the process of opening a film is much different, he noted, thinking back on his work in the early 1970s. "When the film opened, there was really no red carpet unless it was 'Cleopatra' or 'Ben-Hur,'" he said. "We'd go in on a Sunday to see if anyone was in line to see the movie, then we'd go get Chinese food or whatever and that was it."
HBO has renewed "Luck" for a second season, only two days after the series premiere of the horse racing drama, created by David Milch, directed by Michael Mann and starring Dustin Hoffman and Nick Nolte, among others. The new season will be 10 episodes — up 1 from the 9-episode debut season — and will premiere in January 2013.
I have a special place in my heart for Academy members who spill the beans on who they're voting for -- who isn't curious to know what their favorite director or actor's ballot looks like? Every year, there are always a few voters who anonymously share their choices with certain outlets, but since when has anonymity ever suited Madonna? Yep, the auteur, actress and sometime singer is an Academy member, and her Best Picture vote is going to "The Tree of Life" -- a noble choice, though I'm disappointed she's not even trying a write-in for "W.E." Where's her fighting spirit? This proves why we shouldn't be so quick to pass judgement on who is admitted to the Academy: for all we know, the Madonnas and Beyoncés and Brands are voting more adventurously than the establishment. [24 Frames]
Oh, oh my. I knew the second season reunion for "The Real Housewives of Beverly Hills" would be chock full of drama. I mean, this season had the usual infighting, plus two new cast members (though only Brandi shows any sign of lasting into season three -- buh-bye, Dana. Don't forget your $25,000 sunglasses!). Add to that Russell Armstrong's suicide, and the reunion was sure to have some tears, some laughs, and possibly some grumbling, right? Well, that's only the first few minutes. This reunion show so overflows with drama that it's been split into three parts. This is a good thing, as the first part actually made my head hurt. So much strife! So little time!
So, things are getting hot and heavy on "The Bachelor." Or at least they're getting hot, because the girls and Ben are headed for Puerto Rico. It's all very exotic and exciting and this means we'll get lots and lots of shots of lizards and frogs and random natural things, because the producers need to justify the cost of shipping everyone and a camera crew out to Puerto Rico. Look, hibiscus! This isn't like Florida at all! Except it is!
I'm occasionally struck by the word-economizing way some people refer to the Best Costume Design Oscar as, simply, Best Costume: a minor, grammatically sound abbreviation that nonetheless skimps on a rather telling word. Almost any film, from studiously researched period pieces to Target-clothed contemporary works, is costumed -- but not every film is designed, its every shred of fabric selected and shaped to serve interdependent demands of character, atmosphere and directorial sensibility, while affording the designer a visible creative identity too.
Though chameleonic flexibility is prized, indeed required, of those who dress films across any number of genres, periods and guiding aesthetics, cinema's greatest costume designers are those whose artistic signature -- no less than that of a revered fashion designer -- is present in idiosyncratic stylistic details that connect otherwise vastly disparate projects. Eiko Ishioka, the gleefully cracked design genius who passed away last week at the age of 73, was one such artist: whether applied to a lavish Gothic period nightmare or a sleekly futuristic psycho-fantasy, her film costume work is bound by common forms, features and fetishes that build up to their own kind of auteur watermark.
Man, nothing breaks your heart like seeing somebody bury their dead dog.
That's how Feist's "The Bad In Each Other" starts out. Celebrations situations go sour, family relationships are hurt by jealousy, a one-night-stand gets to the sad part: examples of people bringing out "the worst in each other." This high-tension song pairs sweetness with noise, and God love that bari sax because it feels like everything is crumbling by the end.
Quoth Leslie Feist, via her website:
This video captures glimpses of something human, we get a peek inside something real between people - could be loss, longing and love. A lot of things which is about being a human being.... It is told in a way where it opens up more aspects than it concludes. Maybe something we can't grasp, but it points at it or touches it and leaves us with different kinds of emotions. You could think about the video like a song or a poem, and different people will connect to different things- and those connections might be different from time to time when they watch it.
Yup, will repeat this viewing tomorrow when I won't feel so badly for the little girl with the recorder.
And as always, feel free to e-mail us questions for the podcast.
Garbage may have last released an album before the advent of Facebook and Twitter, but the band has certainly caught on to leaking out news about its new set bit by bit by bit via the world wide webs.
Last week came news of the launch of Garbage's own label and a Spring release date. Now, we get the release date and more tour dates.
I am back from California. Dan is back from Sundance. We are both back where we need to be, which is to record a new episode of the Firewall & Iceberg Podcast, in which we belatedly review HBO's "Luck," praise the debut of Comedy Central's "Key & Peele," then spend a whole lot of time saying goodbye to podcast favorite "Chuck" before doing a brief Super Bowl preview in which we failed to come up with a decent podcast bet.