“In this scene, set at a government dacha, they are joined by their American counterparts at the State Department for a daylong picnic that grows increasingly informal, involving drinks, flirtation, a guitar jam and (spoiler) contact between two spies. At times in my new job, I feel like a spy myself, and one with a shaky cover. I don’t have a good answer for how I got here.”
He was just another coked-up agent (repping the likes of Steven Soderbergh) when he disappeared into Iraq, shooting heaps of footage he would attempt to package into a pro-war documentary. And that was just the beginning.
The Hollywood backroom machinations that got the biopic to movie screens.
Talking to Lee Daniels about Empire, Hollywood, and survival.
“Over the years, it’s been hard to get male movie stars to be in a movie if a woman’s the lead, where a great, great movie star, a woman, will be in a movie where the man’s the lead. So there’s just not parity there, we’re not on equal footing.”
The aftereffects of youthful escapes into movie houses.
He’s got millions of followers on Vine. He’s got sponsors paying him tens of thousands to promote their products. He’s got a vanity license plate that says “AYYYYYYY.” It’s not enough.
On the enduring appeal, both amateur and academic, of man vs. dinosaur.
On Ferguson, Cosby, and what ‘racial progress’ really means.
On a book of photographs shot by Leni Riefenstahl in the 1950s and 1960s depicting an African tribe.