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“A Community Grows in Texas: The 2014 ATX Television Festival” ‐ Libby Hill at RogerEbert.com focuses in on a successful young fest celebrating the small screen.
“Oscar to Suicide in One Year: Tracing the Searching For Sugar Man Director’s Tragic Final Days” ‐ Scott Johnson at THR travels to Sweden to speak with Malik Bendjelloul’s friends to better understand an Oscar-winning perfectionist and the early death of a promising young storyteller.
“When reporters asked Johar whether success had contributed to his brother’s demise, Johar replied, “He was a very straightforward person when it came to success,” he said. “Admirably earthy and relaxed. Unimaginably relaxed about [his] successes, I cannot see any such links.” But while Bendjelloul might have put on a good face, the toll of success might have been greater than even he had realized. “To achieve such widespread and unparalleled acclaim and then to have to ask yourself, ‘Now what?’ “ says Rockwell.
“In that world of Hollywood and New York, you really have to keep producing. You can’t just have a work of art. It’s always, ‘What’s next?’ And the pressure, coupled with the onslaught and impact of fame, can be quite challenging terrain to navigate.” In hindsight, several of his friends wondered whether achieving such massive success at such a young age might have placed Bendjelloul in an uncomfortable quandary. “After a huge success, maybe the best way is to produce something small,” says Klintberg. “Instead of aiming even bigger, he could have come and worked for me and made small things instead of aiming to make a bigger film.”’
“The 1940s are over, and Tarantino’s still playing with blocks” ‐ David Bordwell writes a beautiful exploration of chapter-based construction ‐ perhaps the only essay in history to mention both Pulp Fiction and Meet Me In St. Louis.
Related Topics: Quentin Tarantino