Painting by Boris Ivanovich Kopylov.

Good lookin’ to Pacific Street Films and Cinephilia and Beyond for getting this PBS documentary on Martin Scorsese back out there. I remember when it first aired. I videotaped it and watched it over and over. 

Night Visions by Martin Lewis, found at the always-stellar This Isn’t Happiness.

More tomato love.

Be Cool.

[Photo Credit: Bunny Yeager]

Painting by George Billis via This Isn’t Happiness.

Hang the fuck up and call back tomorrow.

It’s getting late…

Painting by Andrew Gifford.

I was in high school in 1986  the year Platoon and Hannah and Her Sisters and Something Wild came out. They made big impressions on me. So did David Lynch’s masterpiece. 

I don’t have anything against Mayonnaise but it never occurred to me to put it on a simple tomato sandwich. But that’s how they roll down South so last weekend I gave it a try after picking up some nice, rip tomatoes from a local farmer’s market. And you know what? Southerners know what they’re doing.

Over at Garden & Gun, Jed Portman explains why Duke’s matters. 

Summer…

Picture by Bags

Painting by Hank Pitcher via This Isn’t Happiness.

To Stay or  To Go. 

Eh, fug it, it’s Friday:

[Photo Credit: Chris Heads]

I found this cool short about Ingmar Bergman over at always entertaining Cinephilia and Beyond.

“Cuno Amiet” by Sitzendes Mädchen (1915)

Nice chat with the Wood Man over at Vanity Fair:

Sam Fragoso: You’re more prolific than most people.

Woody Allen: But prolific is a thing that’s not a big deal. It’s not the quantity of the stuff you do; it’s the quality. A guy like James Joyce will do just a couple of things, but they resonate way beyond anything I’ve ever done or ever could dream of doing.

Would you say your quality, in spots, dipped because of the quantity?

It always [has]. When you start out to make a film, you have very big expectations and sometimes you come close. When I did Match Point, I felt I came very close. But you never get that thing that you want. You always set out to make Citizen Kane or to make The Bicycle Thief and it doesn’t happen. You can’t set out to make something great head-on; you just have to make films and hope you get lucky.

Have you considered scaling back, making a film every few years?

It wouldn’t help. It’s not that I feel, “Oh, if I had more time or more money, I could make this better.” It’s coming to terms with the shortcomings in one’s own gift and one’s own personality.

What are your major shortcomings?

I’m lazy and an imperfectionist. Steven Spielberg and Martin Scorsese will work on the details until midnight and sweat it out, whereas for me, come 6 o’clock, I want to go home, I want to have dinner, I want to watch the ballgame. Filmmaking is not [the] end-all be-all of my existence. Another shortcoming is that I don’t have the intellect or the depth or the natural gift. The greatness is not in me. When you see scenes in [Akira] Kurosawa films … you know he’s a madman on the set. There would be 100 horses and everything had to be perfect. He was crazy. I don’t have any of that.

Painting by Jon Redmond

Interesting…

Groovin’.

[Photo Via: touchn2btouched]