Providing sufficient biographical background for a documentary’s talking-heads is one way to challenge their talk by contextualizing the talker.
It’s Called an Opera for a Reason
Why do actors refuse to channel into their performances the spectacular preposterousness of the preponderant, preposterous spectacle surrounding them in Hollywood blockbusters?
Checks & Balances
The talking heads documentaries (overly) rely on are not only an artistic problem; they also pose an intellectual hole, because they provide — UNCHECKED — the educational legitimacy upon which the entire enterprise often resides.
‘Walking on Water’
Walking on Water is like a documentary mashup of Christopher Guest meets The Mad Ones, a portrait of an artist-at-work that doubles as a comedy of both manners and errors, pertaining to how the artistic sausage gets communally, hysterically, ridiculously, absurdly, profoundly, dysfunctionally, maddeningly, impossibly, inconceivably, and humanely (or not) made (or not).
A Parasitic Parable
‘Tis the (Oscars) season: time to revisit some of the year’s best pictures.
‘Knives and Skin’
Knives and Skin showcases why horror’s a go-to genre for micro-budgets.
‘American Dharma’
Errol Morris’ American Dharma joins the ranks of the countless profiles regarding Steve Bannon unleashed upon the world since he exploited Trump right into the White House.
Betrayal Betrayed (for a moment)
We interrupt this Betrayal broadcast for a digression on plays related to the polemical dramas we discussed Monday.
Betrayed Wives
I’ve been thinking a lot about the difference between a playwright’s voice and a play’s voice.
‘Once Upon a Time … in Hollywood’
A clip-showish article for a clip-showish movie:
Write All Nite 