Khrzhanovsky came up with the idea of the Institute not long after preproduction on Dau began in 2006. He wanted a space where he could elicit the needed emotions from his cast in controlled conditions, twenty-four hours a day. The set would be a panopticon. Microphones would hide in lighting fixtures (as they would in many a lamp in Stalin's USSR), allowing Khrzhanovsky to shoot with multiple film cameras from practically anywhere — through windows, skylights, and two-way mirrors. The Institute's ostensible goal was to re-create '50s and '60s Moscow, home to Dau's subject, Lev Landau. A Nobel Prize–winning physicist, Landau significantly advanced quantum mechanics with his theories of diamagnetism, superfluidity, and superconductivity. He also tapped epic amounts of ass.
Arts & Culture
Friday, October 28
GQ Nov 2011
Inside the five-year (so far) production of the Ilya Khrzhanovsky film Dau:
Thursday, October 27
New York Nov 1996
Thomas Pynchon walks down a New York City street in the middle of the morning. He has a light gait. He floats along. He looks canny and whimsical, like he'd be fun to talk to; but, of course, he's not talking. It's a drizzling day, and the writer doesn't have an umbrella. He's carrying his own shopping bag, a canvas tote like one of those giveaways from public radio. He makes a quick stop in a health-food store, buys some health foods. He leaves the store, but just outside, as if something had just occurred to him, he turns around slowly and walks to the window. Then, he peers in, frankly observing the person who may be observing him. It's raining harder now. He hurries home. For the past half-dozen years, Thomas Pynchon, the most famous literary recluse of our time, has been living openly in a city of 8 million people and going unnoticed, like the rest of us.
Village Voice Oct 2011
Pete Dexter, profiled.
"I'm sick and tired of the story," says Dexter, though he knows it is a signature moment of his trajectory from newsman to writing some of the most original and important novels in American literature, including the National Book Award–winning Paris Trout (1988), a riveting tale of an unrepentant racist who brutally murders a 14-year-old black girl in a small Georgia town in the late 1940s. Settling deep into a dark-green leather chair near a patio window that offers a commanding view of ferries chugging across the cold blue waters, Dexter begins: "It was not a good column. I was trying to write something I didn't feel." Dexter is referring to the column that almost got him killed.
Wednesday, October 26
Tuesday, October 25
Wired Oct 2011
An orgy of free song-sharing seems to be exactly the kind of thing that the horrified labels would quickly clamp down on. But they appear to be starting to accept that their fortunes rest with the geeks. Or at least they’re trying to talk a good game. “I’m not part of the past—I’m part of the future,” says Lucian Grainge, chair and CEO of the world’s biggest label, Universal Music Group. “There’s a new philosophy, a new way of thinking.”
Monday, October 24
My mother was called to school frequently because I was yelling out things in class, quips in class, and because I would hand in compositions that they thought were in poor taste, or too sexual. Many, many times she was called to school.
LA Weekly Jan 2006
How Timothy Patrick Barrus, a white writer of gay erotica, reinvented himself a (wildly successful) Native American memoirist.
Saturday, October 22
Outside Sep 2010
You know this one: German guy heads into tribal jungle deep upriver, sends the company crazy reports full of radical ideas—and then goes totally rogue. Only this time it's not ivory he's after. It's a secret lost for centuries: the finest cacao on earth.
Haaretz Oct 2011
An interview with the author.
"We live in a frightened time and people self-censor all the time and are afraid of going into some subjects because they are worried about violent reactions. That is one of the great damaging aspects of what has happened in the last 20 years. Someone asked me if I was afraid to write my memoirs. I told him: 'We have to stop drawing up accounts of fear! We live in a society in which people are allowed to tell their story, and that is what I do.' I am a writer. I write books."