If there was a recipe for the best-selling writer Rick Riordan, it would go something like this — start with a love of storytelling, fold in more than a decade of teaching middle school English, combine that with two sons of his own who don't quite share their dad's love of literature, and marinate all of that with a deep passion for mythology.
Riordan has sold tens of millions of kids' books. He hit pay dirt with the Percy Jackson series — it's about an everyday kid who has superhero powers because he's the secret son of Poseidon, the Greek god of the sea.
In some ways, the film Not Fade Away is an extension of the friendship between the film's writer and director, David Chase, and its executive producer and musical supervisor, Steven Van Zandt.
Chase, the creator of The Sopranos, first encountered Van Zandt on TV, when Van Zandt introduced the Rascals to the Rock 'n' Roll Hall of Fame. Chase soon cast Van Zandt as Silvio Dante on The Sopranos, and the two became close, bonding in particular over their love of pop music from the 1960s.
Originally published on Wed December 19, 2012 10:56 am
Mean girls and their ingenious female creators top my mysteries and thrillers list this year. Maybe it takes the special discernment of a female writer (who's presumably suffered through the "Queen Bee and Wannabee" cliques of middle school) to really capture the cruel mental machinations that can hide behind a pair of shining eyes and a lip-glossed smile.
Adam Mansbach is the author of the forthcoming novel Rage is Back.
Stealing my 9-year-old nephew's copy of The Pushcart War by Jean Merrill was the best thing I did last summer. I was his age the first time I read it, and twice his age the last time I went back to it. I'm twice that old again now, but as soon as I dove into this intimate, majestic tale of war writ small — of a battle between the pushcart peddlers and the truckers of New York City — I realized how timeless, and how deeply a part of me, the story was.
They used to call it the "vanity press," and the phrase itself spoke volumes. Self-published authors were considered not good enough to get a real publishing contract. They had to pay to see their book in print. But with the advent of e-books, self-publishing has exploded, and a handful of writers have had huge best-sellers.
Kathryn Bigelow became the first woman to take home the Oscar for best director for her film The Hurt Locker in 2010. Mark Boal walked away with a statue for writing the film, and the duo shared the honor of taking home the award for best picture later that evening.
Originally published on Wed December 19, 2012 11:39 am
My family's holiday traditions are simple but consistent: Wake up Christmas morning, drink lots of coffee, eat a good breakfast, and wish each other happy happy. If the weather is nice, we postpone the present opening and pile into the car to head directly to the beach for a walk — a sunny December day along the Northern California coast is something to celebrate. Later, we cook a delicious dinner and sit around the table with a fire glowing in the fireplace nearby.
CIA operative Joseph Bradley (Kyle Chandler) discusses a sensitive operation with Dan (Jason Clarke).
Credit Jonathan Olley / Sony Pictures
Stationed at a covert base overseas, Maya (Jessica Chastain) is a member of the elite team of spies and military operatives (Christopher Stanley, left, and Alex Corbet Burcher, right) who devote themselves to finding Osama bin Laden.
With the screen pitch-black at the start of Zero Dark Thirty, we hear the confusion and alarm of Sept. 11, 2001: News reports that a plane has hit the World Trade Center, then the voices of a 911 operator reassuring a frightened trade center worker that she'll be OK, though she won't.
When the screen finally brightens, it's for a grim "black site" interrogation half a world away — a nephew of Osama bin Laden (Reda Kateb) strung up from the ceiling, bruised and bloodied, finally cut down only so that he can be waterboarded and stuffed into a tiny crate.
Originally published on Wed December 19, 2012 11:22 am
We know from the outset that there's a death coming in Michael Haneke's Amour, a magisterial study of mortality that carried off the Palme d'Or at this year's Cannes Film Festival — and currently tops best-picture lists all over the world. But when we first meet Anne (Emmanuelle Riva) and Georges (Jean-Louis Trintignant), retired Paris music teachers in their 80s, they're in the pink and enjoying a piano recital given by one of Anne's former pupils.