This critical study includes both extensive original interviews between film scholar Mario Falsetto and the indie filmmaker as well as discussions of his entire body of work.
Gus Van Sant goes from auteur to author in an brilliant, inventive, and endlessly entertaining first novel that reads like a Warholian mix of Kurt Vonnegut and Tom Robbins. In the town of Sasquatch, Oregon, Spunky Davis, middle-aged maker of infomercials, is trying to find his next assignment, finish the screenplay that he hopes will bring him Hollywood glory, and deal with the death of his friend and favorite infomercial presenter, teen idol Felix Arroyo. Enter two young aspiring filmmakers, Jack and Matt, whom Spunky finds strangely familiar--especially as Jack bears an uncanny resemblance to the late Felix. But Jack and Matt are not what they appear to be; they are messengers from a dimension beyond time known as Pink, and they invite Spunky to join them on their voyage of transcendence and recovery. Using a delirious array of voices signified by different typefaces, a flip cartoon that animates the novel's action, footnotes and line drawings, Gus Van Sant turns the novel into an explosively visual experience, a captivating combination of texture and text. As original and involving as any of Van Sant's films, Pink is both a hip, comic deconstruction of our image-obsessed culture and a genuinely tender story on the classic themes of love, time, and loss.
Gus Van Sant goes from auteur to author in an brilliant, inventive, and endlessly entertaining first novel that reads like a Warholian mix of Kurt Vonnegut and Tom Robbins. In the town of Sasquatch, Oregon, Spunky Davis, middle-aged maker of infomercials, is trying to find his next assignment, finish the screenplay that he hopes will bring him Hollywood glory, and deal with the death of his friend and favorite infomercial presenter, teen idol Felix Arroyo. Enter two young aspiring filmmakers, Jack and Matt, whom Spunky finds strangely familiar--especially as Jack bears an uncanny resemblance to the late Felix. But Jack and Matt are not what they appear to be; they are messengers from a dimension beyond time known as Pink, and they invite Spunky to join them on their voyage of transcendence and recovery. Using a delirious array of voices signified by different typefaces, a flip cartoon that animates the novel's action, footnotes and line drawings, Gus Van Sant turns the novel into an explosively visual experience, a captivating combination of texture and text. As original and involving as any of Van Sant's films, Pink is both a hip, comic deconstruction of our image-obsessed culture and a genuinely tender story on the classic themes of love, time, and loss.
The definitive and dramatic story of the Alex Rodriguez and Biogenesis scandal, written by the reporters who broke and covered the story. “Blood Sport is riveting...a tragicomedy filled with characters straight out of a Carl Hiaasen novel.”—The Washington Post The effects of the Biogenesis case—the biggest drug scandal in the history of American sports—are still being felt today. Fifteen Major League Baseball players were suspended, including Yankees superstar Alex Rodriguez. Ten men were indicted in federal court. And a new MLB commissioner was elected based on his role leading the response to the case. Now, Tim Elfrink—who broke that first story in the Miami New Times—joins forces with Pulitzer Prize finalist investigative reporter Gus Garcia-Roberts to tell the shocking full story behind the headlines. Blood Sport blows the lid off the most expensive scandal in the history of the game, and now includes an epilogue revealing the stunning aftermath of the scandal and its effects for years to come.
Described by Stuart Hall as "one of the most riveting and important films produced by a black writer in recent years," "My Beautiful Laundrette" was a significant production for its director Stephen Frears and its writer Hanif Kureshi. Christine Geraghty considers it a crossover film: between television and cinema, realism and fantasy, and as an independent film targeting a popular audience. She deftly shows how it has remained an important and timely film in the 1990s and early 2000s, and her exploration of the film itself is an original and entertaining achievement.
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