The producer: “There are so many things to balance. Some viewers want to see glamour. You have to pay attention to where there is humor and where there is music. When do we guess that people at home might get up to make popcorn in the kitchen, and what can we have on right after that to bring them back?” – The New York Times
Tag: 02.17.19
The Scandalously Mismanaged Garden Bridge
The Garden Bridge, somewhat, one might say, like Brexit, has so far not appeared (and the bridge, at least, never will). “An itemised bill for its failure has just arrived: £53m in total, of which £2.76m(including VAT) went to the designer Thomas Heatherwick; £12.7m to the engineers Arup; £2.3m to lawyers; and £1.7m went on the salaries of the executives who didn’t in the end execute the project. It cost £1.3m to survey the riverbed and look for unexploded wartime bombs. The project’s adequate but unexceptional website cost £161,000.” – The Guardian (UK)
Want To Read All Of The Oscar-Nominated Screenplays?
“Given the amount of time a modern human being spends watching film and television, a little familiarity with the form doesn’t seem like a bad thing.” So, here are all of the links. – Slate
Bollywood Gets Its First Major LGBTQ Film [VIDEO]
The film, with major Bollywood stars in it, centers on the love story between two women, but they’re under pressure to be in opposite-sex marriages. The film’s director, Shelly Chopra Dhar: “The intent for this film was to reach a wider audience, to have everybody understand that love is love, and does not need to be qualified.” – BBC
Frank Stella Explains His Art Collection, Including Fakes Of His Work
He doesn’t have anything of his own on his living room walls (though he does own, and display, four fakes that were sent to him for authentication). “It’s nice to come home and look at paintings. I don’t have to look at my own paintings. To me, it’s a relief. I like seeing them and not worrying.” – The New York Times
Rethinking The Purpose Of British Arts Institutions
Take a look at Battersea Arts Centre, which “no longer focuses on creating the ‘future of theatre’—a laudable purpose, but not one of much interest to the many who doubt theatre is for them. Instead, it concentrates on inspiring and supporting people to take creative risks to shape their own and their communities’ future, whether those people define themselves as artists or not.” – HowlRound