One thing the video implies but doesn’t state is that with the increasing number of edits in contemporary film—even dialogue scenes—having this flat lighting must be more efficient cause otherwise there’d be a million different lighting setups to do.

Part of the plot of H.G. Wells’s novel Tono-Bungay is about this.

Out 1? Or a bunch of other Rivette’s: Va Savoir, Paris Belongs to Us, Gang of Four, l’Amour Fou, Love on the Ground. Out 1 my favorite though.

I’ve always told this one with a leprechaun.

The one in the Short North I go to they check receipts too, and appear to do it for everyone. But I wonder why they only check receipts at those two Krogers and no others? Hmm, who can tell?

“New York I fled.” Yoda-ass writing.

After my students appropriately relentlessly trashed it, I said here’s the kicker—he’s now chief film critic at Variety!

Just yesterday taught his review of Clueless as an example of what not to do: just gross, icky, completely wrong-headed.

He’s just careless, as an umpire.

Re-writing the end of “Bartleby the Scrivener”:

“And see, it is not so sad a place as one might think. Look, there is the sky, and here is the grass.”
“I know where I am. The Bernard Kerik complex,” he replied, but would say nothing more, and so I left him.

More of a context issue than age, but Virginia Woolf and Alfred Hitchcock likely went to the same film screenings at the London Film Society.

Then grind it into powder and dump it in the sea, like what was done with Spandau Prison!

I love this film so much, and the “Life is like a fountain” joke is incredible.