A Tina Fey vai desenvolver duas séries: uma que girará à volta de um local de trabalho (workplace comedy) para 2014-2015; outra sobre uma universidade só-para-mulheres que começa a abrir as portas aos primeiros estudantes masculinos.
Também está a fazer um musical sobre o Mean Girls, vai aparecer no filme Muppets Most Wanted (2014), mas também vai produzir uma série escrita pela realizadora do Pitch Perfect (Um Ritmo Perfeito, em português).
#busybusybusy
Algo curioso aconteceu. Foi colocado um post, no blogue da Garance Doré, intitulado “The Show Must Go On” sobre uma entrevista dada à Elle UK sobre o estado dos fotógrafos/bloggers de estilo-de-rua que emergiram nos últimos anos, como a própria Garance e o namorado Scott Schuman do The Sartorialist. Mas apesar de se manter o seu registo no Feedly e de existir um retweet (de um tweet inicial da G., como ela carinhosamente se apelida) de uma das jornalistas da Elle UK (que os entrevistou), o post-propriamente-dito desapareceu do blogue e o link devolve-nos uma página do arquivo (imagino que existam razões perfeitamente lógicas e boas para isto).
“@garancedore: Ok yeah, this one’s about me, and Scott @Sartorialist, and street style… @ELLEUK / http://t.co/yq33Cc7Guz” thank u Garance!
— Rebecca Lowthorpe (@Rebecca_ELLE) August 13, 2013
Contudo, na internet nunca nada morre realmente, portanto aqui ficam algumas das citações mais interessantes desse artigo-fantasma:
Schuman and Doré started out for all the right reasons – fame and gifts were the furthest things from their minds. But today, many bloggers are driven by the promise of a free bag and the grey area between gift and bribe is growing. That’s not to say that the blogging dream team are ignorant to the fine line they walk between art and commerce. ‘I never chased advertising,’ says Doré, at pains to protect her creative freedom. ‘To be happy, I have to have a blog where I can talk about what I want and never be forced.’ Meanwhile, Schuman stresses his blog is ‘clean’. ‘Brands want to be associated with us, but for me and for Garance, the content of our blogs is totally off limits.’ While he takes advertising from the likes of American Apparel, he claims he wouldn’t engineer a shot of a subject wearing the brand’s clothes.
I started feeling a long time ago that the shows are over-covered,’ Doré muses. ‘You see too much. Everything is over-exposed. It’s like turning the TV on and seeing the same thing on every channel. I can even feel with my blog that readers are losing interest in fashion week. Talking about it as a big adventure is over now. There’s no mystery, But it’s still an interesting thing to observe and actually very freeing. I’m always questioning what my point of view should be.’ Doré is now making films, working with brands and writing more on her blog to express her point of view.
Brands want to be a part of it and the editors look more elaborate than any magazine editorial. When it becomes like that, maybe it’s time to turn your camera away and shoot something else.’
Pure and simple, it’s their passion for what they do that drives them, and what will surely sustain them. So what is the future of Street Style? ‘People who work in fashion always see the trends before they arrive and think they’re over when they’re actually becoming mainstream. Maybe this is just the start,’ says Doré, reminding us that outside the fashion bubble, Street Style has really only just begun. ‘The thing that’s going to happen is Festival de Cannes. There’ll be barriers to keep the photographers back and branding boards. It’s already on the way. And people turn the camera on themselves now. They don’t even need us to talk about them.’
How LOST And THE X-FILES Are Exactly Like All My Failed Relationships (Badass Digest)
O Devin Faraci é um crítico de cinema inventivo e divertido. Como o título indica, as séries são metáforas para relações românticas e para as maneiras como começam, evoluem e eventualmente acabam. E mesmo que as séries usadas como exemplo não sejam o vosso género, o texto não perde por isso. Interessa mais a experiência do envolvimento que se desenvolve — quer com uma série, quer com uma pessoa. —Ana
Elysium is just a bigger, broader, dumber District 9 (The Dissolve)
District 9 > Elysium. Quando vi o District 9 senti-me realmente surpreendida: contexto político interessante, filme de ficção científica engenhoso devido ao pouco dinheiro disponível, ter o golpe de génio de usar o dispositivo documental/jornalístico, e, sobretudo, anti-herói complexo de quem aprendemos a gostar que nos liga profundamente ao filme. Elysium sofre por não ter metade da criatividade e do coração. Parece visualmente estéril e a ligação que o espectador deve ter com a personagem principal parece forçada. A Jodie Foster parece uma sombra da actriz que já foi (que sotaque mal desenvolvido é aquele?), o Matt Damon deixa de ter subtilizas humanas para ser apenas flashbacks e força bruta. As poucas coisas boas são os actores sul-africanos, em especial, Sharlto Copley (Wikus, no District 9), o brasileiro Wagner Moura (Tropa de Elite) e o mexicano Diego Luna (Y Tu Mamá También). —Ana
The Strange Ascent of ‘Strained Pulp’ (The New York Times Magazine)
A.O. Scott, Adam Sternbergh e Stephanie Zacharek falam do conceito de “strained pulp” [pulp é normalmente usado em inglês para designar algo popular ou sensational, de uma forma barata ou de má qualidade; "pulp fiction" designa um tipo de literatura "barata" porque era impressa em papel de má qualidade]. Neste artigo, strained pulp é a tentativa de elevar a um nível de sofisticação prazeres mal considerados. A.O Scott tinha ligado este fenómeno a filmes como Haywire, Drive e The American. —Ana
An Interview with Edith Zimmerman (The Toast)
A quantidade de factos relativos à Edith Zimmerman que eu conheço é um pouco creepy. Mas o que vos interessa saber é que tinha um blogue engraçado, com histórias absurdas e hilariantes; namorou com uma das pessoas mais engraçadas da internet e foi a fundadora e editora de um dos meus sites favoritos, o The Hairpin. No mês passado, soube que o tinha deixado e fiquei triste. Mas, ao que parece e descobri nesta entrevista, tem um livro a sair – via Kindle – com ensaios escolhidos a dedo por ela. —Maria
The Tragedy of the Sunset Photo (Slate)
O Instagram é indicativo de muita coisa e uma delas é que o sol se põe todos os dias, no mundo inteiro. Eu também sou culpada: uns quantos na praia, outros em Manhattan, Barcelona e, no mínimo, dez pela janela aqui de casa. O “drama” não é de agora: Pintores e fotógrafos “à séria” tentam captá-lo na sua essência e, muitas vezes, falham. Porquê? E porque é que continuamos a tentar? —Maria
Meet The Dread Pirate Roberts, The Man Behind Booming Black Market Drug Website Silk Road (Forbes)
A dark web é uma coisa que existe, mesmo que nos passe completamente ao lado. Por lá se fazem coisas boas e más, sempre fora do alcance de reguladores externos (a lei, os governos, a polícia), já que o anonimato é total. E é lá que se encontra o maior e mais sofisticado e mercado negro do mundo virtual, o Silk Road, gerido por “Dread Pirate Roberts”, onde se compram e vendem drogas, armas e todo o tipo de artigos ilícitos. Vale a pena a leitura desta entrevista suada – a primeira que deu- ,mesmo que não façam ideia do que é o Tor (um browser, já agora) ou bitcoins. —Maria
Disclaimer: Começo por dizer que homens musculados não são a minha cena. A definição de uns abdominais ou a largura de braços nunca foi um elemento da minha checklist de atracção (never say never?) e o passado-de-wrestler do The Rock passa-me completamente ao lado. O Dwayne Johnson é a minha excepção-à-regra no que toca a músculos e veria qualquer filme que o tivesse no elenco, mesmo que depois acabe por não gostar do filme. Como no caso do Pain and Gain. Não vejam este filme, é um pesadelo, da pior forma possível.
Mas eu compreendo se não perceberem o meu fascínio pelo Dwayne Johnson e estou aqui para vos dar algumas razões para mudarem de ideias.
Razão #1 Dwayne é o melhor nome
Adoro que o nome deste badass seja Dwayne. 
Razão #2 O sorriso
Ele tem O sorriso. O million dollar smile. Os dentes. As covinhas na bochecha. As ruginhas nos olhos.
Razão #3 Ele é “viagra para franchises”
O The Rock (embora ele já não goste que o tratem assim) tem sido utilizado, ao longo dos anos, como aquele-botão-de-nitrogénio-que-torna-o-teu-carro-mais-rápido, se pensarmos numa franchise como um carro. Ele deu novo sopro de vida às franchises d’A Múmia (teve o seu próprio filme — O Rei Escorpião — derivado desse material), ao Journey 2: The Mysterious Island, G.I. Joe: Retaliation, e Fast 5 e Fast & Furious 6. Num artigo do Huffpo, o realizador Jon M. Chu diz que lhe chamam “franchise Viagra”. No mesmo artigo, de forma hilariante, Johnson descreve outras franchises que podia ajudar, como Star Wars. Podia ser o Boba Fett. Mas não se podia esconder “a magia”, diz ele, falando sobre a sua cara.
Razão #4 Sentido de humor
Quando começou a sua carreira no cinema, o Dwayne Johnson entrou num filme (fraco) chamado Be Cool (John Travolta, Uma Thurman) em que fazia de aspirante-a-actor gay, conhecido pela capacidade de elevar uma sobrancelha (™ do The Rock) evidenciando que está mais do que à vontade para brincar consigo e com a sua imagem (o cabelo dele nesse filme é impagável). E isso é sexy. Também dá entrevistas giras ao Kimmel.
Razão #5 One-liners
Para o Dwayne Johnson, as boas notícias são como sobremesas e as más como vegetais. E o que prefere ele primeiro?
Razão #6 O Tarantino menciona-o no Death Proof
Ok, talvez seja uma referência semi-irónica, mas o The Rock é mencionado duas vezes e isso não pode ser por acaso.
Razão #7 Ele sua como um ser humano
O Dwayne (sinto que já posso usar só o primeiro nome) passa o filme Fast 5 inteiro a suar. Desta maneira, ele dá-nos a entender que podes ser o maior badass da história mas que, mesmo assim, também é humano e frágil. Quando se sentirem envergonhados com manchas de suor, lembrem-se dele.
Razão #8 “Dear Dwayne Johnson (You Made Me Love You)”
No blog The Vulgar Cinema, a Sara Freeman colocou um post em que fala do seu fraquinho pelo The Rock, elaborando as razões — com as quais concordo — pelas quais ele (lhe) é tão especial. Atribui-lhe uma qualidade (não só perfeição física) de um tipo que, crescendo pobre, trabalhou e tomou as rédeas da sua vida, criando oportunidades para si próprio. Aquiesce que esta qualidade é partilhada por outros actores, pelo que nos remete para um cameo no filme You Again que encapsula aquilo que é, verdadeiramente, o sua carisma pessoal:
“He’s not a wise guy. He’s not a man who is macho for macho’s sake despite his overpowering physicality. He’s not one of the Expendables. Johnson is, in his heart, a sweet pea who genuinely loves life and the people around him. He wants to save people and be a shoulder for them to cry on. He takes his career seriously and has clearly made an active effort to improve his acting abilities and movie roles since his debut in The Mummy Returns twelve years ago, but that doesn’t mean he’s not willing to poke fun at what should rightfully be his persona at every possible turn.”
Razão #9 Ele luta com o Vin Diesel e não perde
E como o Vin Diesel diria, este encontro não é menos que um momento importante na história do Cinema-com-cê-grande (segundo ouvi aqui).
Razão #10 A introdução à personagem Luke Hobbs no Fast 5
O Luke Hobbs é introduzido já em movimento: ele está a sair de um avião, a dar ordens para a esquerda e para a direita, a oferecer-nos exposição narrativa, sempre on edge (O Justin Lin conta que ele é sempre uma presença intensa, na vida real), e sempre a dar-nos as melhores frases. Ele só pára para dizer coisas importantes:
Razão#11 É possível que ele um dia se torne POTUS
Quando o Bin Laden foi morto, o Dwayne “The Rock” Johnson colocou no twitter a seguinte frase:
Just got word that will shock the world – Land of the free…home of the brave DAMN PROUD TO BE AN AMERICAN!
— Dwayne Johnson (@TheRock) May 2, 2011
Ora, isto claramente indica que ele tem amigos em “high places and low places”. E embora ele considere que a melhor maneira de ter impacto no mundo, neste momento, seja no entertainment biz, o dia chegará em que ele terá impacto no mundo através do seu envolvimento político: “The great news is that I am American, therefore I can become president”. Se este dia chegar, pedirei dupla-nacionalidade (Joaquim de Almeida-style) para poder votar nele.
Razão #12 Imaginem isto:
Ana Cabral MartinsI <3 kiko
A Kiko Mizuhara foi fotografada pelo YoungJun Koo do I’MKOO. Passaram-me duas coisas pela cabeça quando vi estas fotografias. 1) Tenho de cortar o cabelo assim (novamente). 2) Quem é esta rapariga linda? Dizer coisas como “I’m totally obsessed with…” é um maneirismo muito americano; se disser “estou totalmente obcecada com…” tem uma conotação muito menos casual e muito mais… psiquiátrica. Mas digamos que fiquei vidrada nesta rapariga e no seu ar ao mesmo tempo amoroso e maroto.
Descobri que “Kiko Mizuhara” é o “stage name” da Audrie Kiko Daniel, uma modelo/cantora/atriz coreano-americana, nascida em Dallas, Texas, mas que cresceu no Japão. Presença habitual em revistas asiáticas: Nylon Korea+Japan, Vogue Japan (+Vogue Girl Japan), Elle Japan, Numéro Tokyo, e muitas outras. O seu primeiro papel, no cinema, foi a adaptação do livro de Haruki Murakami Norwegian Wood, em 2010 (entretanto, entrou noutros: Helter Skelter, I’m Flash! e Platinum Data). Em 2011, é convidada pelo todo-poderoso Karl Lagerfeld para dois dias em Paris para o show de alta costura desse Outono/Inverno. Ainda nesse ano, dá uma entrevista fofinha à AnOther onde fala do Norwegian Wood e do seu amor por todo o tipo de coisas kawaii.
Fun facts:
Se mesmo assim ainda não estão tão arrebatados quanto eu, tentem resistir a estas imagens. I Kiko.
    
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Actually, Delevingne modeled for the first time when she was 10, in a story shot by Bruce Weber for Italian Vogue. She was “discovered” by Sarah Doukas, the owner of a London modeling agency whose daughter went to school with Delevingne and her sisters, Chloe and Poppy. The Delevingne girls are British aristocracy: Their mother, Pandora, was an It girl in the ’80s before she married Charles Delevingne, whose grandfather was a viscount. Pandora, who until recently was the head of personal shopping at Selfridges and counts the Duchess of York among her closest friends, once had a nasty heroin addiction. (It has been rumored that Poppy was named for the drug.) Pandora was in and out of rehab for much of the girls’ childhoods.
...
That anecdote is classic Delevingne—talent plus grand ambition plus an ease and familiarity with the wide world. Whether it’s due to her posh background or her innate confidence—or both—Delevingne has a keen sense of her own potential. She has trademarked her name and has created social media accounts for Cara’s Eyebrows, Cara’s Thigh Gap, and Cara’s Bog Eye, which are, in that order, odes to her striking caterpillarlike eyebrows, the space under her crotch between the top of her thighs, and the funny faces she makes. She is also on Instagram constantly, where she has more than 2 million followers. Many of her posts are playfully provocative: Cara in a midriff-baring sweater, being licked on her stomach by SpongeBob SquarePants; Cara about to kiss her “wifey,” Rita Ora; Cara posing, like a rapper, with fans she calls her Delevingners. There are also shots of her blowing smoke rings backstage at a fashion show and partying with other models. Her bad-girl selfies have fueled gossip that Delevingne is taking after Moss in darker, more troubling ways. At the Cannes Film Festival in May, she was reportedly so drunk at a party on a boat that the hostess, afraid Delevingne wouldn’t make it back to her hotel, had her stay aboard for the night.
NEW: Maggie & Sluts (Sluggie)
"The country is divided into people who like sex and people who are utterly creeped out by it. I'm one of the sex people." —Maggie Jordan
I can't even begin to imagine how much Alison Pill's nude Twitpic scandal turned Aaron Sorkin's world upside down, especially in the wake of Olivia Munn's similar scenario earlier that year. Here were two women he'd deemed competent enough to play educated, nonsexual professional women, letting their hormones get the best of them and making dumb tech mistakes IRL.
As summer winds down and school supplies start to line store shelves that once held water guns, it's only natural to start looking toward fall. Autumn contains football, prestige films, and this year it's also the season of huge pop albums. While big pop stars might traditionally lean toward summer hits, there's nothing like a good fall-into-winter jam. Katy Perry, Lady Gaga, and Miley Cyrus all have albums due out in the same quarter. Perry's Prism is set to debut in October and Lady Gaga's ARTPOP in November.
Two writers who rarely agree wind up in surprising accord about the negligible pleasures and immense frustrations of the latest from District 9 writer-director Neill Blomkamp.
Neil Blomkamp’s District 9 follow-up won the weekend with an estimated $30.4 million.
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Hej! Nu är jag hemma från Way Out Bäst igen och känner mig minst sagt lite mörbultad. Men bara på de bästa av sätten förstås! Här kommer mina outfits de tre dagarna festivalen var igång, och kanske även en studie i hur man kan använda samma kjol tre dagar i sträck.
Torsdag. Det regnade. Bu. Jag hade regnjacka från Petit Bateau, kjol och magtröja och strumpor från AA och kängor från Dr Martens.
Fredag var desto soligare!
Jeansjacka från AA, samma kjol som gårdagens och samma kängor.
På lördagen var det ju min födelsedag!
Då hade jag rutig magtröja från Asos, likadan kjol fast svart och buffalos.
Bästa festivalen hur som helst, längtar redan till nästa år.
Translation: I got home from the music festival Way Out West last night. It was SO amazing. Lots of pictures coming up but here are the outfits I wore through out the festival.
Follow What’s Alive: An Interview With Greta Gerwig (Rookie)
É possível que tenha dado um gritinho quando vi isto. Tavi Gevinson (Style Rookie, Rookie) e Greta Gerwig (Greenberg, No Strings Attached, Frances Ha), duas das pessoas que quero ser quando for grande, juntam-se para uma entrevista incrível. Se isto não é a melhor notícia de semana, não sei o que será. — Ana
Dear Diary, #1. (Twenties — Collective)
A Jessica Schiffer já escreveu para o Into the Gloss (onde a vi pela primeira vez), para a Man Repeller e para a Harper’s Bazaar. Fiquei absolutamente fã e sempre que vejo algo novo no blog dela não tenho dúvidas de que vou gostar. Leiam tudo o que puderem e peçam mais. — Ana
I.am.(not?).Beyoncé (Man Repeller)
A Leandra Medine é uma blogger que fala sobretudo de moda mas também de outras coisas. É tão divertida que é desarmante, sabe construir frases de uma maneira tão bem orquestrada que parece que brotam sem esforço e faz ligações e comparações genuinamente surpreendentes. Já mencionei que é hilariante? Até as poses que faz o são. Este post, em especial, é sobre o concerto da Beyoncé a que assistiu e vale a pena ler (senão não estaria aqui?). A Leandra é a amiga que eu gostava de ter, mas sobretudo a escritora que eu gostava de ser. — Ana
From One Second To The Next (kottke.org)
Este é um documentário poderoso de Werner Herzog (35 min) sobre os perigos de enviar sms e checkar emails enquanto conduzimos. Todos o fazemos. Aquele pôr-do-sol visto da A2 estava mesmo a pedir uma foto para o Instagram, não era? E o outro email ao qual tínhamos de responder naquele exacto momento? Era uma recta, estava tudo sob controlo. Multitasking? Está bem.
Vejam isto e parem, por favor. — Maria
Question Time: What Makes a Girl Write a Slutty Slogan on Her Body? (The Inertia)
Há pouco mais de uma semana, no campeonato Vans US Open of Surfing, o casal de fotógrafos Ed e Deanna Templeton captaram (e partilharam no Instagram) imagens de miúdas adolescentes a divertirem-se por lá que geraram polémica. O motivo? As coisas sexualmente explícitas, obscenas e um pouco degradantes que escreveram a marcador nos seus próprios corpos (“free blow jobs,’ ‘stick it here’ e ‘rape me,’ são alguns exemplos). Uma cena que bem podia ser a que abre o Spring Breakers de Harmony Korine. A questão é: porquê!!? — Maria
Science Is Not Your Enemy: An impassioned plea to neglected novelists, embattled professors, and tenure-less historians. (New Republic)
O psicólogo Steven Pinker discute (e discorda d’) o confronto entre a ciência e as humanidades. Terá mesmo de ser assim? — Maria
Pedaço de filme cerebral e moody. O filme de Sofia Coppola poderia ser a terceira parte de um tríptico cinematográfico americano: The Great Gatsby (vacuidade do excesso), Spring Breakers (o sonho americano destorcido ou o lado negro da cultura pop), The Bling Ring (cultura popular distorcida pelo culto do excesso e das celebridades e o seu efeito nos adolescentes utilizadores de redes sociais).
Se o Spring Breakers, de Harmony Korine, é puro “ride or die”, o The Bling Ring é um murro no estômago. Se o The Great Gatsby é puro espectáculo-espectacular, o The Bling Ring é todo cérebro e ambientes. O filme não julga os miúdos, mas não é menos duro por isso e as sensações, ao sair do cinema depois de ver este filme, não são de euforia. Senti um desconforto total, e à minha volta a palavras de ordem foram “não odiei, mas…”. Esse “mas” tão pernicioso. Se esperam que o filme seja uma festa extravagante de roupa, jóias e carros, vão ficar um pouco decepcionados. Apesar de Coppola ser bastante cândida quando diz que quis mostrar o que atraía estes miúdos, todo o “glitz and glamour”, as cenas nas casas das celebridades são iluminadas de uma maneira muito pouco efervescente. Pelo contrário, são sítios dim-lit que gritam: “vocês não deviam estar aqui e sabem-no”. O início — e porque é ao som da “Crown On the Ground” e seria impossível não haver o mínimo de entusiasmo ao ouvir essa música — sentimos a excitação deles como nossa. E isso é sobretudo conseguido pelo facto dos planos da sequência de abertura serem somente das coisas— malas, jóias, roupa — quase descontextualizadas da situação. Mas esta sequência encarrega-se igualmente de nos apresentar os adolescentes protagonistas através dos perfis de Facebook (pormenor giro do layout corresponder à à altura da história, 2008 a 2009).
Tanto a fotografia como a música continuam a ser pontos fortes nos exercícios de Sofia Coppola. As músicas são escolhidas com uma expertise incrível. A banda sonora tem momentos certeiros: a diversão cega e teenager do “Crown On the Ground” dos Sleigh Bells (a Sofia Coppola escreveu a sequência de abertura para esta música); a audácia e confrontacionalidade da Azealia Banks na sua 212; a exactidão do “Bad Girls” (“live fast, die young, bad girls do it well” poderia ter sido o lema da Rachel Lee/Rebecca Ahn, interpretada pela Katie Chang); a qualidade da look-at-me da “Power”, do Kanye West, e como aqueles miúdos se devem ter sentidos a gastar o dinheiro em noitadas no Les Deux (onde iam as estrelas do reality show The Hills; e, finalmente, o Frank Ocean e a sua “Rich Kids”, meio explicação, meio abanar de cabeça (“parents ain’t around enough”, “joy rides”, “nothing but loose ends”, “nothing but fake friends”).
A fotografia do Harris Savides (que fez filmes com Gus van Sant, David Fincher, Noah Baumbach) tem o tom perfeito. O director de fotografia já tinha feito o Somewhere e voltou a trabalhar com Coppola neste filmes — embora não tenha terminado devido a sua doença (e consequente morte) e foi substituído por Christopher Blauvelt, que já tinha trabalhado noutros filmes com Savides. O director de fotografia ajudou a encontrar o mood visual do filme (que Blauvelt conseguiu emular na perfeição), convencendo a realizadora a filmar em digital (conferindo uma crispiness ao filme que funciona muito bem). A sequência do roubo da casa-coberta-de-vidros à distância é muito falado e é mesmo incrível: do outro lado da rua, com um zoom lento. É o plano que mais assombra porque capta tão bem a ideia de invasão que a dupla Rebecca/Marc levam tão pouco a sério. Já não estamos a ver a excitação do início ou as coisas que estão a levar, é pura invasão do espaço privado de um outro ser humano. Savides consegue muito bem mostrar através da fotografia o ponto de vista do filme: distante e não-julgador em relação às suas personagens principais. Há, aliás, vários momentos de uma beleza pura (quase dolorosa, em certos aspectos, quando se pensa nas circunstâncias). Quando Marc e Rebecca guiam pela cidade ao som da “All of the Lights” (Kanye West) e sentimos a realidade daquela amizade; a cena insana em que estão todos na discoteca a tirar sucessivamente #selfies dois-a-dois; dois momentos em câmera lenta que involvem a personagem da Katie Chang, uma no auge da enfatuação que Marc sentia por ela (“I loved her…almost like a sister”), em todo o seu esplendor bem vestido e über cool, e outra enquanto põe perfume e se olha ao espelho com um ar hipnótico e hipnotizado; as sequências-em-câmera-lenta-que-têm-uma-qualidade-próxima-do-sonho das noitadas a dançar e beber; os três miúdos na praia antes das más decisões; a maneira quase doce como o Israel Broussard (o Marc) é filmado que faz transparecer ainda mais a doçura inerente ao actor e que nos leva a querer dar-lhe um abraço.
Se as personagens narcisistas de Sofia Coppola conseguem ultrapassar eventualmente a bolha em que vivem e se confrontam com a sua relação e o seu lugar no mundo, estas personagens não mudam, não têm um arco, não deixam nunca de ser aquilo que são: não são endeusadas, não são demasiado cómicas, são maliciosas e matreiras até ao fim. Houve muito burburinho (merecido) à volta da Emma Watson e da sua deliciosa transformação em Valley Girl, mas fui também (e sobretudo) arrebatada pela Katie Chang, toda ela capricho, beleza e presença. Percebe-se por que quereria o Marc agradar-lhe.
Momentos hilariantes:
O departamento de caracterização vestir a dupla Sam/Nicki de uma maneira bastante trashy, ao mesmo tempo que andam a roubar roupas bonitas.
Tudo o que envolva a vida familiar da Nicki;
A Chloe, especialmente a cantar Rock Ross;
As almofadas da Paris Hilton;
A Rebecca a tentar trazer o cão da Paris Hilton: “but he likes me”;
O Gavin Rossdale;
Haver um momento em que dizem “Gabby” (nome verdadeiro da irmã da Nicki-real) em vez de “Emily”.
Este link existir: www.nickimooreforever.com.
After that night, I started carrying a pencil with me wherever I went. It became a habit of mine never to leave the house without making sure I had a pencil in my pocket. It’s not that I had any particular plans for that pencil, but I didn’t want to be unprepared. I had been caught empty-handed once, and wasn’t about to let it happen again.
If nothing else, the years have taught me this: if there’s a pencil in your pocket, there’s a good chance that one day you’ll feel tempted to start using it.
The Naked Truth: Two Takes on the Power of Nudity (Vogue)
A Karley Sciortino (Slutever) defende “Baring it All — What’s the big deal”, porque devemos aceitar curvas e pêlos como algo natural e bonito. A Elaine Sciolino (The New York Times) defende a necessidade de “Keep it Covered — Why Naked isn’t Always Sexy”, porque a sedução é um jogo de esconde-e-mostra. — Ana
Uh, Honey, That’s Not Your Line (The New York Times)
O Matteson Perry escreve como conheceu uma Manic Pixie Dream Girl na vida real, namorou com ela e percebeu que a Manic Pixie Dream Girl não existe porque nunca terão a profundidade de um ser humano (ou de um personagem bem escrita). Existem só pessoas que têm relações difíceis e depois acabam. “Which happens. It’s really uncinematic, but it happens”. — Ana
Weekend Life….Villa Extramuros, Alentejo, Portugal (Vanessa Jackman, blog)
A Vanessa Jackman tem o costume mais de tirar fotografias a gente bem vestida (como a Emily e a Hanneli) pelo mundo (e fashion weeks) fora. Desta vez, passou algum tempo na Villa Extramuros, em Arraiolos, e em Lisboa e vale a pena ver as fotografias e o que ela diz do tempo que cá passou. É sempre bonito quando pessoas se apaixonam por Portugal. — Ana
How a Convicted Murderer Prepares for a Job Interview (Longreads Official Blog)
O blogue do Longreads é o melhor de sempre e dá-nos aqui um capítulo inteiro do livro Among Murderers: Life After Prison, de Sabine Heinlein, sobre o regresso à vida daqueles que a passaram presos. Maravilhosamente bem escrito, este capítulo centra-se à volta da preparação para uma entrevista de emprego de um homicida condenado. É um testemunho honesto e, por vezes, heartbreaking. — Maria
Fran Lebowitz, A Humorist at Work (The Paris Review)
Fran Lebowitz começou a escrever porque, até aos 5 anos, pensava que os livros eram escritos por Deus, “I thought a book was a manifestation of nature, like a tree” . Depois, a mãe explicou-lhe de onde vinham. E ela pensou, se é um humano que faz isso, então quero ser eu essa pessoa. Esta entrevista é incrível, mas também só podia. —Maria
Jean-Paul Sartre Making Omelettes, Fun for the Whole Family (Critical Theory)
Um artigo que cita uma publicação das dicas culinárias de Jean-Paul Sartre, com foco na omelete. Abre o apetite! “ I keep creating omelets one after another, like soldiers marching into the sea, but each one seems empty, hollow, like stone. I want to create an omelet that expresses the meaninglessness of existence, and instead they taste like cheese.” — Francisca
An Exhibition Looks at Art that Has Been Physically Attacked (Hyperallergic)
Como conservadora, e tendo em conta que a minha vida é evitar que as obras de arte sejam danificadas, interesso-me muitíssimo pelo historial do vandalismo (às vezes do próprio criador) na arte. Esta exposição na Tate Britain faz um apanhado de obras que sofreram ataques deste tipo. Enquanto não abre (só em Outubro), espreitamos por aqui. — Francisca
Holy smoke! Take the Catholic church gay art tour (The Guardian)
À propos da notícia desta semana em que o Papa Francisco refere não julgar os homossexuais (primeiro passo para o que já devia ter acontecido há muito), o The Guardian faz uma gay art tour pelo património da Igreja Católica. Normalmente não gosto deste tipo de artigos que podem roçar o sectarismo, mas este passa porque se destina a uma instituição que discrimina a homossexualidade e pelas evidentes obras primas que vale sempre a pena recordar. — Francisca
Oh boy. Well, here we are. Just to put things into perspective, when we launched Videogum on April 8th, 2008, George W. Bush was still President of the United States. Remember that guy? Fuck that guy! Back then, and I know this is hard to believe, but Zach Galifianakis wasn’t a movie star yet and Lena Dunham hadn’t even been born. Obviously, a lot can happen in five and a half years. Heck, a lot can happen in five and a half minutes, am I right 1980 US Olympic Hockey Team?! The world is changed, I feel it in the water, etc. And during this entire time, from that first day until right here right now, Videogum has been my whole life. I cannot tell you how many conversations I’ve been in where I told someone what I did and they’re response was, “Oh, you are Videogum,” but it’s a lot of times. It has been my job, sure, but it has been something much more than a job, too. The very idea of saying “goodbye” to what is essentially a horcrux barely makes sense. And yet, I must try. Everyone who likes to cite that Yoda quote about how “there is only do or do not, there is no try,” is full of shit and needs to take a serious look in the mirror. For one thing, there absolutely is try. The world was built on trying. And much more importantly, you are a full grown adult basing your life philosophy on a swamp goblin puppet from 1977?! There is only give me a break.
So, let me try.
First, I need to say some thank yous:
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If we were to give you a bit of advice on self-confidence, it would be: try being a pushover, a big one. No, not professionally, not personally, but you know, with your hair. A nonchalantly tossed over mane sends a message that says my life is too fun and I’m too busy to part my hair, and you know what? I don’t give a f*ck. Think about every rebel-without-a cause hero(ine) since… Rebel Without A Cause—from Molly Ringwald to Kristen Stewart, James Dean to Leonardo DiCaprio to River Pheonix (were eyes invented for that hair?)—what’s the cool-kid “it” factor they all have in common? Here’s a hunch: an uncalculated ‘do.
It’s not just in movies, even Anna Wintour understands the power of the swoosh, bestowing it to the head of Isreali bombshell Michaela Bercu for her infamous first cover for Vogue. We’d venture to say that after Cindy Crawford’s mole (and, okay, maybe legs) those side-swept, voluminous tresses are what keep editors and photographers calling. And do we even need to bring up that first Daria for Céline ad, otherwise known as the wave heard round the world? This style shows the movement of your hand through your hair, which is always sexy, and, in the way that Sally Singer feels about Debby Harry’s red lip, looks like “you liked who you were in the first place, you were just doing something because it’s fun.”
As for a perfecting technique, there's really nothing to it. Run your fingers through your hair and throw it to the side. It works on hair that's clean or dirty, straight or curly, with or without product. Our theory is the bigger the better and go deep (in your “part”) or go home—like the Nike swoosh: Just Do It.
Photos of Emily Weiss by Patric Shaw for Lucky Magazine. [1] Emily is wearing a Reed Krakoff tote, Tibi sweatshirt, Reed Krakoff skirt, Cop Rock sunglasses, and assorted rings from Campbell Collections. [2] Emily is wearing a 3.1 Phillip Lim bag and Cynthia Rowley shirt.
Vacation, all you ever wanted. You’ve booked your ticket, you’ve gotten your PTO approved, and NOTHING WILL STOP YOU NOW, except for maybe the TSA when they realize that your entire bathroom and vanity made its way into your carry-on. It is so hard to follow the rules—is a nail file still considered a weapon?—but what are you supposed to do, risk ruining your clothes by stuffing that precariously-topped bottle of Alterna 10 shampoo in your luggage (...not to mention the famine of beauty you'll find yourself in if the whole thing goes MIA at baggage claim)? Certainly not. So, while we wait for 3FLOZ to install kiosks of pre-packaged travel-sized must-haves at airports across the country (JFK’s should drop this month!), we’ve put together our own fool-proof travel kit. Note: it's as friendly for airport security as it is for your weekender bag.
FACE
Taking a cue from Julia Restoin Roitfeld’s “mommy glow,” we’ve stocked up on Mustela Facial Cleansing Cloths. They’re made for “delicate” baby skin, and their pre-moisturized quality makes them perfect for an in-flight pick-me-up—and they don't cut into your liquids quota. Remove/perfect your makeup with a mini Bioderma Créaline, because we would never leave home without it (you can even use it as face wash). And moisturize like a supermodel with Embryolisse Lait-Crème Concentré (we sighed a collective “aww” when we saw this adorable mini tube). Your eyes will stay hydrated with the inclusion of La Prairie’s Crème Caviar Luxe. Yes, we’re allowing an indulgence here, and one that relegates itself to carry-on-only territory, but you’ll hold onto this one loooong after your trip. And if there’s anywhere we’re going to splurge, it’s eyes (aka the windows to your soul). Lucky for you, pretty much every eye cream is packaged in a travel-friendly portion, so bring along whichever one you swear by. And finally, don’t forget your sunscreen! Here, we’re going to kill two birds with one bottle (weighing in at a mere 1.7 fl oz, to boot): SkinCeuticals Physical Fusion SPF 50 Sunscreen. This ultra-thin, water-resistant, paraben-free UV defense has a "universal tint" and leaves a matte finish. The result is a tone-evening veil not unlike Giorgio Armani Maestro Foundation—plus extra room in your makeup bag.
BODY
Take a moment for deodorant and avoid an olfactory offense (or perceived offense, as the case may be) from the physical exertion of running to your gate with Vichy 24H Deodorant. The tiny, baby-powder-fresh under-arm armor is super sensitive, aluminum-free, and fast-drying. Fend off any number of communicable diseases on your travels (for the full run through, watch Contagion) with Kiehl’s “First Class” Purifying Hand Treatment. This double-duty serum’s blend of lavender and rosemary is like Airborne for your hands, and it employs cactus flower to lock in moisture. When you do make it to a shower, Dr. Bronner’s Pure-Castille Peppermint Soap is an organic non-drying body wash with a minty kick that'll jolt you out of jet lag. For...err… hairy situations, Bliss’ ‘Fuzz’ Off will save you from any unwanted attention. Yes, it’s meant for your face, but you could employ it between bikini waxes, if necessary. And last, but certainly not least, we always stock up on Kiehl’s Crème de Corps. Garance Doré described it best when she said: “It just leaves a glow on your skin and it stays.”
MOUTH
Yes, oral hygiene gets its own category here. Don't worry about it, just listen: Crest Pro-Health Toothpaste will keep the cavities and stains at bay, while Aesop’s Mouthwash will, as we've said before, provide a polite TKO to bad breath. We’re allowing a little extra room in our dopp kits for VioLight’s Travel Toothbrush and Sanitizer. Why? Six minutes in this UV-light case is all it takes to kill 99% of germs living on your toothbrush, eliminating both the moldy-travel-toothbrush holder conundrum and the need to leave your toothbrush on any questionable hotel-bathroom surfaces. So Fresh, So Clean.
HAIR
Traveling is no excuse to let your mane loose its oomph. Oribe’s Bon Voyage package has a little something for every occasion—color, shine, moisturizing masks, the works—all while economizing space. So important. Between washes, do like Arizona Muse and dry-shampoo with Klorane, or take advantage of second- and third-day texture with Bumble and bumble Surf Spray (another ITG Hall of Fame-er). Aerin’s ivory and gold Travel Brush will add a bit of lived-in style to your hotel/yurt vanity. Estée would certainly approve.
Finally, remember that you’re on vacation, and take a little “you” time. H. Gillerman Organic Travel Remedy's lemon-scented essential oils soothe achey, cramp-y, airplane muscles with just a roll on the neck or a capful in the tub before, during, and after your trip. Ahhhhhh.
*[Ed. note: the TSA allows a total of 32 oz (1 quart) of liquid per person in a carry-on bag. This dopp kit rings in at 25.63 oz, including creams.]
[1] Lisa Marie Fernandez's dopp kit photographed by Emily Weiss, [2-6] Photos by Elizabeth Brockway.
This past weekend saw the release of writer/director Maggie Carey's first movie, The To Do List. Set in 1993, the film stars Aubrey Plaza, who's been collaborating with Carey since her web video days, as an overachieving high school grad who goes on a quest to become more sexually experienced before college. The To Do List features a stellar supporting cast that includes Alia Shawkat, Christopher Mintz-Plasse, Andy Samberg, Donald Glover, Adam Pally, and Maggie Carey's husband Bill Hader. I recently had the chance to talk to Carey about The To Do List, how she got the movie made by pretending it was happening even though it wasn't at first, and why the original title (The Hand Job) was scrapped.
How autobiographical is the movie?
It's pure fiction, but that point of view of Brandy Klark is something that I know very well, being that I graduated high school in 1993 in Boise, Idaho. I just used that point of view that I had as a teenage girl. A very type-A [girl] who was probably in every AP class possible, and I played a ton of sports. I feel like I was very accomplished but still totally boy crazy and also not getting anywhere with the boys. So, I took that point of view and then applied it to the story.
When did you first start writing the script?
I guess it was about three years ago? Yeah, I think the whole thing took about, from when I wrote it to when it was finally finished, three years and change.
How did the story change from how you originally pictured it? Is what's on screen similar to what you first envisioned as the story or did a lot of elements change?
It's pretty similar. There were some more experiences with different guys that I took out and there were some more B stories that eventually got whittled out, but it is pretty close. Overall, with the whole process and it being my first film and being an indie, I felt pretty lucky that the script I wrote pretty much is the script that's on screen. That part was kind of cool.
Yeah, that's pretty rare that it didn't get tampered with or changed by a studio.
Well, I think when you do something for such a low budget, they forget about you. [Laughs] I think that's why most people end up doing indies anyway.
Did you always have Aubrey Plaza in mind for the lead role?
I did. I know Aubrey from Upright Citizens Brigade Theatre – UCB Theatre – in New York. She and I were in class together, and I cast her. I did a web series called The Jeannie Tate Show about a soccer mom who does a talk show while driving around in her mini-van, and Aubrey played the angsty, kind of emo step-daughter. So I knew Aubrey from that, and when I was writing, I always had her in mind and it worked out schedule-wise and stuff. It also worked out that when she read the script, she liked it. [Laughs] That helped.
It also worked out that she was at a point in her career where she could star in a movie.
Sure. When we were getting financing three and a half years ago, Parks [and Recreation] was in its first or second season, so yeah.
What was the financing process like?
Well, I wrote the script as a spec. It went to all the studios and they passed. But Jennifer Todd, who ended up being my producer, read it and really liked it and thought a good strategy would be to attach the cast and then we'd go out and get financing. While she and I were doing that, the script was on [the popular screenplay ranking survey] The Black List. That was definitely one of those things that gave the script momentum.
At the same time, the Austin Film Festival – they're primarily a screenwriting festival – was doing a panel about The Black List, so they invited me to do a staged reading of the script at the festival. Aubrey came and Bill Hader came, and we cast it with local actors. So, we did this staged reading in front of three-hundred people, and it was received really well. The crowd was awesome and a bunch of people blogged about it, and I love saying "blogged" because I feel like it was the fall before Twitter. I think Twitter really came about at South by Southwest in the spring, so it was like before Twitter. It just feels so old-fashioned to say that people blogged about it. Anyways, that was really helpful and gave us a ton of momentum so then I could go to – we went to actors that we were friends with and fans of their work and also I could show them this positive press that we'd gotten from that staged reading. I think that absolutely helped.
And then, from there, I just pretended – I just played make-believe that the movie was getting made that summer. I went to LA twice and did table reads with the cast, and the cast would entertain my fantasy. They would rehearse with me, as well, even though we didn't have a start date or financing. While I was looking for financing, I was meeting with different DPs and editors and costume designers. Those were fun conversations because they'd always be like, "What's your budget?" and I would say, "Low" because I knew that would be the right answer. Then, they'd want to know how many shoot dates, and I would always say, "Not very many." And both of those answers were correct.
I knew we had to shoot the next summer because almost all of the cast was on TV shows, so we really needed to do it on the summer hiatus so it was a bit of a ticking clock. When we finally got financing, it happened very quickly. My other producer, Brian Robbins, had just made a deal with CBS Films to do some low budget comedies. He made that deal with [studio exec] Wolfgang Hammer, then 12 hours later got my script. And then, 12 hours later, we were financed and immediately went into pre-production. That part, once it finally happened, it happened quick.
Was it a challenge directing the story as a period movie instead of doing it in modern times?
No because I didn't really even realize I was writing a period movie. [Laughs] I didn't feel like the '90s were period, honestly, until we started working with the production designer and the costume designer. Once I met with my line producer, she kept telling me that you can't get a Ford Festiva with automatic seatbelts anymore. We actually had to go down to Long Beach and buy that from someone off of Craigslist. Anyways, that was when it kind of dawned on me that it was the '90s. No, it wasn't hard. It was super fun, and I probably bugged people because I was always walking around set with my high school yearbook. If someone questioned something, I would be like, "No, look at my yearbook! It has to be this way!" Especially the hairstyles.
You have a lot of younger actors in the movie. Did any of them not understand the '90s references?
For the most part, they were totally game. But it was fun – we had the premiere in LA last week, and my high school girlfriends came. Aubrey sat right behind them, and they laughed at like every little subtlety. Afterwards, Aubrey was like, "Okay, now I get why you kept that. Now I get why it was in the script." It was absolutely to make my friends laugh, which I think is kind of the only thing. You can't please everyone. That was the whole reason I made the movie, so that my friends could see it and laugh and enjoy it.
Did you do a lot of research into '90s slang? How'd you go about getting the dialogue to sound that way?
No, I had my diary from the '90s, so I definitely looked at that. I remembered, obviously, a lot of it. Also, back in the olden days of the '90s, we used to write notes during class, which is where you took a pen and wrote on paper and folded it up and passed it to somebody. My friends and I, we saved so many of those. I don't know why. It was a thing where you would keep all your notes in a big, giant shopping bag, so I had tons of those too. Also, just mixtapes and things like that that we had made that had little notes that you would read. A lot of those things came back pretty organically and ended up in the script.
Do you enjoy go through that stuff? I find it's sometimes frustrating to see what I was like as a teenager.
I love it! I didn't find it frustrating. I liked how as a teenage girl, I was really confident. I was really right about stuff I knew nothing about, and I love that I had strong opinions, and I think that's great about teenagers now. I think they should have strong opinions, and you should be confident. I think, sometimes as you get older, you shy away from that. I actually wish I had a little more of that.
I guess I'm just different. I was confident and wrong about everything.
[Laughs] Well no, in my mind, I was right. I'm not saying I was right about everything; however, we did predict – my friends and I volunteered on the Clinton/Gore campaign. I couldn't vote but a lot of my friends could vote in that. It was a big deal in our high school, we would spraypaint the rocks when you were a senior. These just giant boulders we had in front of our school. That might just be because Boise is kind of boring, but that was like a big deal. So my friends and I, when it was our turn to spraypaint 'em, we wrote, "Hillary '96" or something like that. We were legitimate, and I still am very earnestly a Hillary Clinton fan, but that was kind of funny that we spraypainted that back then not knowing that one day she would run for president, which is pretty awesome.
The movie was originally called The Hand Job. How'd the decision to change the title come about?
Well, when we started location scouting at schools, I quickly realized we couldn't use that title. Also, you were going to have signs for crew parking that said like, "The Hand Job – Crew Parking." I think they probably would have gotten some stragglers who thought something else was going on than what was really getting made … I don't know if a lot of movie theaters would have let us use the title. Once we changed it, I was fine with it because I think the hand job is a very important scene. It's kind of a turning point in the movie, so I think it works as a title, but I also think The To Do List fits too.
Were there teen movies or shows that you sought to emulate the style of when making this?
Not really the style. What we wanted to do with the style was just kind of natural and organic. I think the title sequence is pretty important in establishing the tone and the style of the movie because all those props are practical. There's no visual effects there. We made everything. There's even little bumps and stuff in the camera moves. If anything, that sort of set the look and tone of the movie, but there's definitely movies that I'm a fan of. John Hughes movies were huge when I was growing up. Pretty in Pink, Sixteen Candles, Breakfast Club. John Hughes as a filmmaker and the way he can have really big comedic moments but he's also really grounded with his characters, I really like that. And then, I love the genre. I love Dazed and Confused, Fast Times at Ridgemont High, American Graffiti. I also really love American Pie and There's Something About Mary. It's not directly derivative of any of those, but I'm absolutely a fan of those movies.
Have you started writing your next movie or your next project yet?
Yeah. Yeah, I have another script that I wrote that I'm excited to get set up and direct it.
Can you talk about what that is or do you want to just keep it quiet for now?
I'll keep it quiet for now.
What are some of the biggest things you learned directing and scripting your first movie?
I feel lucky that I had this great ensemble cast and I had a lot of actors who came from the UCB improv comedy background and then I had other cast who came from theater or just different types of background, so I thought that was really cool to be able to work with different personalities. I think I really learned as a director [that] it's not you job to change any of that; it's your job to adapt to that. I have a real respect for actors. I think I had that going in, but I think they have a really, really tough job. I think they have the hardest job on set. By far, they have the hardest job on set.
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