---the raid on Zuccotti Park
---Homer Simpson votes
---"at the Venice Film Festival press conference, [Paul Thomas] Anderson described a work process (not "processing") that resembles Malick's: he wasn't sure what he had, or what the movie was about, when he got into the editing room, but wound up stripping away almost everything that didn't have to do with the relationship between Freddie and Dodd" --Jim Emerson
---Brian De Palma discusses his filmmaking career
---Facebook's bid to become the world's homepage
---"They were cheap tricks, but good tricks,” says Buck Henry, who, with Mel Brooks and the TV producer Daniel Melnick, was inspired in ’65 to create the sitcom spoof Get Smart in homage. “It wasn’t Brueghel,” Henry says of the early Bond films, “but it was like the stuff that Lichtenstein and those other guys were doing—great Pop art carried into another medium.”
---"If they get a break, they deserve it. If you get a break, it's a handout and an entitlement."
---Some Like It Hot in color
---"People can sense the truth. Truth has an ontological superiority over lies."
---trailers for Liz & Dick, Vamps, Tower Block, Syrup, Promised Land, and Gambit
---"Holidays in the Sun"
---a Charlie Chaplin filmography
deconstructing cinema: scene by scene
---making Drugstore Cowboy
---"He made it for $7,000 and hoped to sell it to the Spanish-language video market for $15,000. It didn't matter if nobody saw it, what mattered was getting the money to make Part 2. Then he'd repeat the process and finish the Mariachi Trilogy. `Those three films,' he says now, `were going to be my film school, because the only way you learn to make movies is to make movies.'
But his plan failed because El Mariachi was too good."
---Three Reasons: The Game
---"There are two kinds of people in this world"
---"One of Frank Capra’s first talkies, the otherwise lifeless Ladies of Leisure, made a star of the young Barbara Stanwyck. She plays a working-class girl who sits, and eventually falls, for a rich young artist. In one scene just before the two discover they’re in love, the flinty model fails to gaze at the ceiling and embody “hope” to the painter’s satisfaction. “Look through the ceiling,” he says, “Visualize! Sky, space, the universe, stardust, anything! There is no ceiling, don’t you see?” And with a dubious upward glance Stanwyck snaps back, “Horsefeathers, it’s a ceiling. You could ask anybody!”
It’s not hard to see why Pauline Kael loved Stanwyck in general and this performance in particular, calling her “an amazing vernacular actress,” a phrase that might just as aptly describe Kael’s style on the page. She was drawn to comedy because it always finds shortcuts to the awful truth. Most heroines of the screwball Thirties radiate a brashness and candor that can seem a blueprint for Kael’s critical persona, and here especially Stanwyck’s portrayal of a feisty woman trusting the evidence of her own senses—against a man spouting art-school clichés—almost foretells Kael’s career. “We generally become interested in movies because we enjoy them,” she wrote in her brilliant 1969 essay “Trash, Art, and the Movies,” “and what we enjoy them for has little to do with what we think of as art.” --Jana Prikryl
---the end titles of 21 Jump Street