Kenneth Lonergan’s Thwarted Masterpiece – NYT Mag – Beyond the matter of who breached what agreements, though, the question that has loomed over the film is what happened to Lonergan. How did the guy who wrote and directed “You Can Count On Me” — and who, moreover, has been arguably the most important American playwright of the last 20 years — get so lost in the forest of his own film? And if the process was as acrimonious as it is said to have been, what did that do to him, personally and creatively? How does an artist recover from that? Does he recover at all?
Emily Nussbaum found Sorkin’s The Newsroom lacking – The second episode is more obviously stuffed with piety and syrup, although there’s one amusing segment, when McAvoy mocks some right-wing idiots. After that, “The Newsroom” gets so bad so quickly that I found my jaw dropping. The third episode is lousy (and devolves into lectures that are chopped into montages). The fourth episode is the worst. There are six to go.
Brian De Palma talks – BRIAN DE PALMA: Look, the hard thing—I’m sure you’ve experienced this, too—is that once you have a project, you think about how you’re going to photograph the scene until you actually do it. I have always felt that the camera view is just as important as what’s in front of the camera. Consequently, I’m obsessed with how I’m shooting the scene. When you’re making a movie, you think about it all the time—you’re dreaming about it, you wake up with ideas in the middle of the night—until you actually go there and shoot it. You have these ideas that are banging around in your head, but once you objectify them and lock them into a photograph or cinema sequence, then they get away from you. They’re objectified; they no longer haunt you.