“We did a lot of work to try to help Marty do what he does best, which is to tell a very human story,
to get to the dark side of the human condition
but also understand the complexities.”
“All these rich showrunners have riled up the base, led us into battle and put the fate of working middle-class writers, which this is all supposed to be about, on the line. I just hope to God they have a plan now that it’s real.”
In 1968, entertainer and activist Harry Belafonte hosts “The Tonight Show”
for a week alongside guests Aretha Franklin and Dr. Martin Luther King Jr.
Here are the ten most nerve-wracking, stomach-churningly
stressful pieces of cinema ever made.
Most true-story films are functional to a fault.
These ones break the mold.
Our culture of on-demand binge-watching conditions us to race past the credits, taking for granted the collective creative efforts behind the movies and TV shows we so voraciously consume. Many streamers shrink credits, making them illegible on our screens; some even allow us to skip them entirely. Post-credits sequences, meanwhile a mainstay of franchise fare like the Marvel films have trained audiences to regard credits as mere backdrops for the latest Easter egg or teaser. We forget that countless individuals, each a storyteller in their own right, make our viewing possible. The distinction between art and “content” is lost.
George A. Romero’s Night of the Living Dead universe is expanding with a new audio series.
The classic horror franchise is getting a scripted podcast series, The Dead,
that will tell new stories and expand characters from the universe.
Hirsch’s unexpectedly intense performance in “The Fabelmans” — the latest in a
decades-long career spanning stage, screen and a 1972 commercial for JCPenney polyester slacks
— would seem to be a testament to his endurance in a singularly fickle industry.
Martin Scorcese says Ray’s Apu trilogy was “one of the greatest bodies of work in the history of cinema.” Taxi Driver bears a strong resemblance to Ray’s Abhijan. It was Scorcese who supposedly pushed for Ray’s Academy Award, and over the years, attempted to restore many of Ray’s films.
Composer Angelo Badalamenti looks back on how he wrote
Laura Palmer’s Theme for David Lynch’s Twin Peaks.