Emmys: Jerry Seinfeld on Why He May Never Go Back to TV (Q&A) – The Hollywood Reporter

I made Comedians in Cars out of that show [The Marriage Ref]. If you look at it, you’ll see what I was going for on that show. I think it’s interesting to hear people talk about something that’s powerful and interesting to them out of the box. But I couldn’t make it happen. One of the big things I realized was that the audience is stopping these people from talking. The other thing I realized is that I was much more interested in comedians than I was in a lot of other people whom I thought I was interested in. So, in some ways, I took that pot, smashed it on the ground, took four or five pieces and re-glued them into another thing.

Emmys: Jerry Seinfeld on Why He May Never Go Back to TV (Q&A) – The Hollywood Reporter

An Impossible Number of Books: Matthew L. Jockers’s “Macroanalysis” –

An Impossible Number of Books: Matthew L. Jockers’s “Macroanalysis” –

Tarantino and Spielberg: Two Visions of America – Bright Lights Film Journal

Tarantino and Spielberg: Two Visions of America – Bright Lights Film Journal

The Act of Killing

The Act of Killing. It follows a few semi-retired Indonesian gangsters/mass-murderers as they make an increasingly bizarre movie about their youth. Probably the most intense documentary I’ve seen. And not at all because it’s graphic (It’s not – the most wrenching scene for me, spoiler, was when you see these guys go on a neighborhood shakedown for cash. It is completely heartbreaking.). It’s just morally rich and a really interesting text, excuse the academic-ese. All about storytelling, memory, forgetting; the influence of movies; youth vs. age. Totally worth it.

The Strange Ascent of ‘Strained Pulp’ – NYTimes.com

There was a time when just about anything — dumb commercial entertainment, ugly clothes, the weird dishes your grandmother used to serve — could be appreciated and appropriated in quotation marks. Strained pulp is not quite that — its celebration of the formerly marginal and disreputable is serious and sincere. The condescension is not overt but is latent in the desire to correct and improve the recipes retrieved from the past, to finish vernacular artifacts with a highbrow glaze. We’re going to make ’em — movies, cocktails, regional dishes, zombie novels, garage-rock anthems — just the way they used to, but a little bit better. This strikes me as a form of snobbery. But then again, maybe I’m the snob.

The Strange Ascent of ‘Strained Pulp’ – NYTimes.com