Seth Rogen and Michelle Williams as a husband and wife whose marriage becomes strained in Take This Waltz, the latest film from Canadian director Sarah Polley.
Credit Magnolia Pictures
Sarah Polley on the set of Take This Waltz. Before turning to writing and directing with 2006's Away from Her, Polley was known as an actress in films such as Go,The Sweet Hereafter and Dawn of the Dead.
Sarah Polley started acting when she was 4, in her native Canada. She earned critical acclaim for her performance as a teenage girl injured in a school bus crash in Atom Egoyan's film The Sweet Hereafter.
Polley made her debut as a director with the subtle and devastating filmAway from Her — a portrait of a marriage later in life, as the wife (Julie Christie) is pulled away by Alzheimer's disease.
Deborah Harkness is not only an enormously successful novelist who writes about trendy things like vampires. She's also a respected historian of science — a professor at the University of Southern California — and a wine expert.
In fact there's a lot of wine appreciation in Harkness' breakthrough novel, A Discovery of Witches. Her academic work involves the study of alchemy — the transformation of matter. She says wine is like alchemy, too.
Novelist Jess Walter's most recent novel is Beautiful Ruins.
At dawn, the sun curls across the lake's placid surface like a twist of lemon on a gin martini. Easing into my kayak on this glacier-cut, 12,000-year-old lake, I feel as I always do on its water: alone in the world.
Herschell Gordon Lewis is cheerfully ambivalent about his place in film history. "What's really puzzling: if you go to a legitimate distributor such as Netflix, Netflix has a number of my movies," says Lewis from his home in Florida. "And again, that's a very sad commentary on what's going on in the world of motion pictures — but I'm not about to object to it."
Among the many things to which we turn our thoughts in summer is road-tripping — particularly apt because Glen Weldon and Stephen Thompson were both traveling this week, bringing Mike Katzif and Barrie Hardymon to the discussion with me and Trey Graham. We had a chat about all manner of road movies, from the classic dust-and-motorcycles type to the kind that might not even appear to be a road movie until you look more closely.
Often I'm asked, "What's the worst movie ever made?" and I say, "I don't know, but my own least favorite is Oliver Stone's Natural Born Killers." The early script by Quentin Tarantino was heavily revised, and the final film became a celebration of serial killers, now existential heroes with absolute freedom. Beyond the bombardment that was Stone's direction, the worldview was abominable.
Robert Longfellow, the auspiciously named playwright at the center of Collaborator, was at one point good enough to be sincerely called "the voice of his generation." What a convenient shortcut for a film about a writer! The moniker says everything — he's basically Arthur Miller, see? — without his needing to say anything. It doesn't matter what the man wrote, only that people thought it was grand.