The Links We Share

Manuel Muñoz one of my favorite writers on his "sometime love" for director Hal Ashby
Vanity Fair on the Scientology auditions to be Tom Cruise's girl. He's been on 7 of their covers. Won't this spoil their chances at an 8th?
NFB Sarah Polley on her next film Stories We Tell 
Pajiba on "The Death of the Movie Theater" a super depressing but otherwise enjoyable read. It's really too bad the nation's theater owners don't get how they've let us all down.

 

I Need My Fix Alexander Skarsgard for GQ 
Guardian Shia Labeouf's antics keeps people talking
Hollywood Elsewhere Will Terrence Malick's To The Wonder inspire twitter brawls?
New York Times RIP. the legendary lyricist and Oscar winner Hal David ("Raindrops Keep Falling On My Head") dies at 91.
i09 first image of Lee Pace (yay) in The Hobbit as Legolas' father. My what good genes those elf boys have. (See also: Orlando Bloom 2001-2003) 
Gothamist reports on Leonardo DiCaprio filming with strippers for The Wolf of Wall Street. Is it just me or do you never think of Leonardo as a sex scene kind of star?

Awards Daily Oscar Watch 2013? Matthew McConaughey goes full on Bale as an AIDS victim for The Dallas Buyers Club. He's lost 30 lbs.
CHUD Guy Pearce is having a good year. But is his role in Iron Man 3 only cameo stuff? And even if he says so can you believe him? Remember that Cotillard continually lied about her role in TDKR to the press. You do what you gotta do to stop spoilers.
Gawker Nicolas Cage finally settled his overdue bill with a local video rental store; King of Comedy and A Star is Born cost him! (Even more shocking than the news that he rents from a DVD store is his good taste in movies! Too bad it doesn't show in his own filmography.) 

Finally, this video from Flavorwire is inspired by Lawless and a must for Costume Design devotees. Presenting: the coolest looking characters from Prohibition Era set movies.

I want a pin strip suit and a fetching hat, don't you?

Manuel Muñoz on Psycho, Nashville, and Movies as Inspiration

Interview
The Film Experience doesn't often push books upon you, but it's time for an exception. Manuel Muñoz's debut novel "What You See in the Dark" hits bookstores, virtual and otherwise, this week. While it is a work of fiction, it borrows from reality for its backdrop. The pre-production and eventual release of Alfred Hitchcock's immortal Psycho (1960) figure into the narrative in crucial and evocative ways and both The Actress and The Director in question are characters.

Consider this amazing "double feature"

Full Disclosure (as I always believe in such things): I met Manuel Muñoz at a poetry event about four years  ago and he introduced himself as a reader of The Film Experience. Though predisposed to rooting for him as a result (I'm only human!) we hadn't really kept in good touch. In the intervening years, I bought a copy of his second short story collection. Two months ago his first novel arrived in galley form and I ate it right up.  I think it's quite an amazing read.

Nathaniel: Before your beautiful novel, which we'll get to in a moment, you had two short story collections published. The first piece of yours I ever read was "Skyshot" which had an amazing Robert Altman thread. That really won me over. How did that story come about and has the cinema always inspired you creatively as a writer?

Manuel Muñoz: I was lucky enough to see Nashville on the big screen at the Brattle in Cambridge when I was in college. I was stunned by it, and it remains my favorite film (with The Piano a close second.) Altman's command of multiple character arcs enthralled me--it was the closest I'd seen a film parallel the possibilities of words on the page. He could shift magnificently and I loved that he could suggest interiority with camera movement: I was stunned when I realized the camera had crept up on Lily Tomlin as she listened to "I'm Easy." (He did the same to Ronee when she sings "Dues.")

At the time, I was coming to terms with identity and subject matter, so it confused me to be so attracted to a film like Nashville, which is far outside my experience.

Manuel Muñoz by © Stuart Bernstein

But I eventually thought of how often we use films to narrate our own lives. I've never sat at the back of a bar while in love with a performer on stage, but I've worn that look that Lily has on her face. Know what I mean?

Nathaniel: I think so.  But to the point on identity. I've always believed that specificity -- be it in sharply drawn characterizations or carefully observed milieus -- has a way of inverting itself so it's suddenly universal. I see that in your writing too as you're often dealing with the Chicano experience, which I have little connection to and yet it's totally alive for me.

I'm guessing this has a lot to do with an assured storytelling voice, one that's relaxed about the audience feeling whatever it is they're going to feel without forcing it upon them.

Read the full interview for more on Great Actressing, casting dreams, Psycho and unlikely inspirations.

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