Grazie a Basquiat, Bruegel il Vecchio, Repin, Bosch, Caravaggio, Annella di Massimo, de Chirico, Capa, anonimo viennese, Ivanauskas, Millais, Munch1, Courbet, Munch2, Picasso, Munch3, Nolde, Munch4, Lowry, Munch5, Munch6 e Legros per le immagini, e grazie anche alla Banda Jonica per la Marcia Funebre di sottofondo.
You're a real blue flame special, aren't you, son? Young, dumb and full of come, I know. What I don't know is how you got assigned here. Guess we must just have ourselves an asshole shortage, huh?
Director - Tony Scott, Cinematography - Dan Mindel
"Well, if they're big and you're small, then you're mobile and they're slow. You're hidden and they're exposed. You only fight battles you know you can win. That's the way the Vietcong did it. You capture their weapons and you use them against them the next time."
Le Gros-Horloge, a beautiful Renaissance (14th century) clock in Rouen, France. It spans over the appropriately named Rue du Gros Horloge, a road which (along with the whole city) feels like you walked into a time machine. This build was a collab with my friend Kaheliz, but I doubt she has Tumblr.
We are returning to the work of Jennifer Jason Leigh this week, and Jourdain Searles is joining us once again with an underrated and underseen gem. Mrs. Parker and the Vicious Circle takes on the life of indelible writer Dorothy Parker, capturing her days with the insular Algonquin Circle and her later dissolution with the group, all with Jennifer Jason Leigh as the noted wit. Launched at Cannes, the film was celebrated for her performance even with a limited audience, including Golden Globe and Independent Spirit nominations for Best Actress. But even in a famously uncompetitive Best Actress lineup, Leigh was left out.
This episode, we talk about Leigh's several close calls for a nomination in the 1990s and our feelings about the nomination that she eventually received for The Hateful Eight. We also talk about Pulp Fiction's domination on the independent film scene, the Cannes Film Festival, and the influence of producer Robert Altman.
Topics also include writer/director Alan Rudolph's filmography, the film's massive (and nepotism baby-inflected) ensemble, and the person-not-company Condé Nast.