Latest Tweets:

*1

6/10/13-6/16/13, ranked/blurbed

*1

05/27/13 - 06/09/13, ranked/blurbed

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05/20/13-05/26/13, ranked

*4

"We don’t really even know what laughter is or how it happens or why it happens. There’s a lot we know about how there’s more laughter around other people than there is when people are alone, so that says, ‘Okay, it’s a communication.’ It’s a way to express shared outrage or shared sensibility or shared observation, so it’s undeniable that if you’re making a comedy, you want to get a laugh. That means you care about your audience. There’s all these tricks you do as a creative person to kind of get yourself into a place where you do care and then when you don’t care, where you use the anxiety to motivate you. And then you try to dial back on the anxiety by saying, ‘Oh, the hell with it. I’m going to do what I think is funny.’ The answer is somewhere in there. I definitely care about this audience and doing this for the audience, among other reasons of course, but the genesis of it was, ‘Let me give the audience something that they didn’t expect and is longer and more substantial than maybe the movie they wanted.’"

Arrested Development creator Mitch Hurwitz on navigating expectations and why it’s essential to care about the audience’s reception on some level. From The AV Club.

Please God let these episodes be good.

theonion:

10 Things You HAVE To Know Before ‘Arrested Development’ Returns: Full Slideshow

*1

05/06/13-05/19/13, ranked

mizoguchi:

Sátántangó (Béla Tarr - 1994)

(via digressionism)

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04/29/13-05/05/13, ranked

*51
longreads:

“The State of the Cinema.” Steven Soderbergh, Film Comment.

Soderbergh, as always, is the rightest motherfucker in the room.

longreads:

“The State of the Cinema.” Steven Soderbergh, Film Comment.

Soderbergh, as always, is the rightest motherfucker in the room.

*8

04/22/13-04/28/13, captioned/ranked 

*18
*3

04/15/13-04/21/13, ranked best (top) to worst (bottom)/blurbed by request

*6

04/08/13-04/14/13

4/1/13-4/7/13

Behind The Candelabra - Soderbergh’s (allegedly) final film