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That pain, the way my aspirations were dashed, that’s going to find its way in there. So I’m not doing a James L. Brooks—I loved how personal Spanglish was, but I thought that where Sofia Coppola got praised for being personal, he got criticized for being personal in the exact same aching way. But that doesn’t interest me, at least not now, to do my little story about my little situation. The more I hide it, the more revealing I can be.
Quentin Tarantino: The Inglourious Basterds Interview - Page 1 - News - New York - Village Voice - Tarantino, about how he works within genre to express himself more earnestly than he could by working outside of it. Solid interview.
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I asked Kaminsky if it were possible for him to talk about how he hears his own poems and others’. In his head? His answer could have been given only by a real poet: “Not in the head so much as in the shoulders, legs, hands, chest, brows, ears, hair. You know. Exactly the same way you feel when you read poems that make you go nuts.

San Diego Reader | Tie This Guy Up, Make Sure He Stays at SDSU - Thomas Lux, under whose wing I am privileged to have studied, interviews Ilya Kaminsky, a poet from Odessa. My girlfriend recently had the pleasure of attending Kaminsky’s class at the Palm Beach Poetry Festival, and like Lux, she raved about him.

I love his answer to how poetry affects the reader.

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In the realm of industrial design, Dieter Rams is Yoda.
THE Q&A: DIETER RAMS, INDUSTRIAL DESIGNER | More Intelligent Life - This interview with Dieter Rams deserves a link for two reasons. One, it’s Dieter Rams. And two, that quote is the first sentence of the article.

A sometimes-enlightening discussion of Kubrick’s A Clockwork Orange. The film historian is an average scholarly bore at best, and the production values of this program leave something to be desired, but McDowell and Burgess are great. (via Google Video)

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A 75-minute interview with Stanley Kubrick from 1966. Candid and insightful look at how he got started in photography and filmmaking.

grain edit · Simon Page interview - To round out the posts for today, something simple: this lovely poster, and many others, from Simon Page, in an interview with the lovely folks of grain edit. The guy studied applied mathematics in school and only got into graphic design about a year ago while he was working on corporate presentations. An inspiring story.

grain edit · Simon Page interview - To round out the posts for today, something simple: this lovely poster, and many others, from Simon Page, in an interview with the lovely folks of grain edit. The guy studied applied mathematics in school and only got into graphic design about a year ago while he was working on corporate presentations. An inspiring story.

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I wouldn’t emphasize the mental illness so strongly. Sure, in My Son, My Son there is an element of mental illness, but there is also something else, something other, something inexplicably scary about the story. If it’s all explained by mental illness I wouldn’t care very much for a story like that. I met the real man who committed the murder, who will spend 8 1/2 years in a maximum-security mental institution for the criminally insane. I met him and he was really…you could tell he was not right in his head. There were things like he wanted to be crucified on national television live, and he was upset that it wouldn’t happen. There was real madness there, and I don’t harp on it. I do not want to play with it too strongly, then all explanations come down to “it was insanity, period,” which is not the case.
A Documentary is Just a Feature Film In Disguise: An Interview with Werner Herzog : This is quintessential Herzog. He went and met the madman that was the central character in his film. You’ve got to respect a man that so frequently deals with insanity. Of course, he would characterize it more as “ecstasy,” but the line between insanity and ecstasy is so fine as to be indiscernible.
Subtraction.com: Personal References : Khoi Vinh interviews Armin Vit about his new book, “Graphic Design, Referenced,” which looks fantastic. My favorite bit of the interview is actually less about the book and more about the problem of authority: Had this been a Web site, I am certain we would have not made the same effort as we did with a printed book that bears our names on the cover. There is something much more official and authoritative (emphasis mine) in a book that a publisher put in thousands of dollars to produce, market and distribute than in a Web site that, even if took the same amount of dollars (it wouldn’t), would be too “flimsy.” When everything you see is on a screen, nothing is believable. What is digital can lie easier than anything ever before. There are tremendous social, moral, ethical, and philosophical implications.

Subtraction.com: Personal References : Khoi Vinh interviews Armin Vit about his new book, “Graphic Design, Referenced,” which looks fantastic.

My favorite bit of the interview is actually less about the book and more about the problem of authority:

Had this been a Web site, I am certain we would have not made the same effort as we did with a printed book that bears our names on the cover. There is something much more official and authoritative (emphasis mine) in a book that a publisher put in thousands of dollars to produce, market and distribute than in a Web site that, even if took the same amount of dollars (it wouldn’t), would be too “flimsy.”

When everything you see is on a screen, nothing is believable. What is digital can lie easier than anything ever before. There are tremendous social, moral, ethical, and philosophical implications.

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It was a time when I was trying to find my place within the business. I was figuring out who I was and where that person intersected with the world of commerce. It was like I was sitting there with a ventriloquist’s dummy on my knee. And the dummy is made out of wood. And after a while you start to hate each other.

Tom Waits gives the devil his due | Film | The Guardian : This is one of the best and funniest articles I’ve read in a while (thanks to the author’s faithfulness to Waits’, uh, “way”). Who else but Tom Waits could say, “I always liked the idea that America is a big facade. We are all insects crawling across on the shiny hood of a Cadillac. We’re all looking at the wrapping. But we won’t tear the wrapping to see what lies beneath.” !

Long story short, Tom Waits is playing the devil in Terry Gilliam’s new film, The Imaginarium Of Doctor Parnassus, a role Gilliam said he was born to play. I can’t imagine a better fit for him either.

(My compliments to The Criterion Collection’s Current for this gem)

Apple - Games - Articles - BioShock

This would be exciting if BioShock weren’t two years old and the sequel coming out in a few months. But, take it for what it is: BioShock was groundbreaking, and that it still deserves analysis is a testament to its place among the greats. One especially good quote in there from Ken Levine, “BioShock’s lead designer and head writer”:

“When they had silent films, they had these very artificial elements of title cards. You’d have storytelling in a world that’s very organic and then here’s this title card that tells you what’s going on. It’s clearly not part of the action, it’s on top of it. Cut scenes are our title cards.”

Jarmusch at ATP - From the Current

Criterion conducted an impromptu audience Q&A with Jim Jarmusch after the screening of his 1989 film, Mystery Train at the All Tomorrow’s Parties music festival in upstate New York. The result is parts informative, inspiring, and funny. Jarmusch is just a cool dude.