The Internet, or more accurately, the Web 2.0 version of it, has been hailed as the "Great Equalizer," a title that public education once held. On the Internet, voices from all different ethnic, cultural, and economic backgrounds can come together.
If F. Scott Fitzgerald was alive today and writing, his income would be roughly half a million dollars a year. In his prime writing days, Fitzgerald was pulling in well over ten thousand dollars a year on short stories alone.
Making a film is the art of retroactive hypnotism. And there is no greater cinema hypnotist than Paul Thomas Anderson. It's rare to see a movie simultaneously this interesting and this good; this incoherent and this profound; this frustrating and this enjoyable.
There are films that make you want to run to the bookstore or, in reality, Amazon.com. Any Jane Austen or Dickens adaptation. Atonement. Requiem for a Dream perhaps. Then there is Paul Thomas Anderson's adaptation of Thomas Pynchon's Inherent Vice.
Voice casting for audiobooks is particularly tricky with fiction. In addition to the many different characters a reader has to deliver, the most important voice to capture is the writer's literary voice -- assuming there is one.
Even as it creates a fantastical story bringing art into everyday life via a quantum human evolutionary leap, ART GIRLS memorializes the vast raw urban spaces that made Berlin the destination for artists the world over.
FUG YOU reads like a nonfiction outtake from Thomas Pynchon's V. The tales Sanders tells, bizarre but true, are buttressed by illustrations and citations from a mammoth archive he compiled through the years.
Critics are cultural historians of a sort, trying to tie the present to the past. Audiences, however, apparently don't give a rip. Or, at least, the audience that seem to matter most now, people in their 30s or younger.