Sofia Coppola’s much-hyped upcoming flick The Bling Ring may be the second all-star-cast-plays-teenage-girls-doing-crimes this summer, but it’s the first based on a true story involving terrible reality show alumnae. And, from the tracklist released this week, it looks like the film will have a pretty excellent soundtrack.

Music supervisor Brian Reitzell has worked with Coppola before on other films with excellent soundtracks, including The Virgin Suicides and the Jesus and Mary Chain-tastic Lost in Translation. Joining Reitzell is David Lopatin, better known as Oneohtrix Point Never, who is in charge of the score. The two come together for the “Bling Ring Suite.” The musical stylings and selections of both will certainly have a chance to shine in The Bling Ring.

And, looking at the tracklist as is, the soundtrack includes some excellent weekend party jams, assuming your party really likes Kanye West and krautrock. Which is an entirely possible and workable combination. So let’s kick this Friday off with some key selections from the Bling Ring soundtrack, shall we? Have a good weekend, everybody!

Sleigh Bells - " Crown On The Ground"

Rick Ross (feat. Lil Wayne] "9 Piece"

Rye Rye (feat. M.I.A.) - "Sunshine"

Azealia Banks (feat. Lazy Jay) - "212"

Oneohtrix Point Never - "Ouroboros"

2 Chainz - "Money Machine"

M.I.A. -"Bad Girls"

Kanye West (feat. Rihanna) – “All of the Lights"

Ester Dean (feat. Chris Brown) - "Drop It Low"

Reema Major - "Gucci Bag"

Can -"Halleluwah"

Kanye West - "Power"

Klaus Schulze -"Freeze"

deadmau5 -"FML"

Brian Reitzell and Daniel Lopatin - "Bling Ring Suite"

Phoenix - "Bankrupt!"

Frank Ocean (feat. Earl Sweatshirt) - "Super Rich Kids"

[via Pitchfork]

The time has come to start picking out summer destinations. By way of methodologies you could do worse than throwing darts at the oyster list from Cull & Pistol, the new sit-down spinoff from The Lobster Place in Chelsea Market. How about Mirichimi Bay, New Brunswick, home of the Beau Soleil oyster? Or Malpeque Bay, Prince Edward Island, known for its cottages, piping plovers, and the crisp finish of Indian Creek bivalves? Maybe you’d prefer the west coast, where the rugged shores of Cortes Island, British Columbia, abet rugged blue shellfish? If all else fails, there’s always Chelsea.

The Market’s din is kept well out of Cull & Pistol. A narrow dining room (near identical to that of neighboring Friedman’s Lunch) fits a long stainless bar topped with craft beer handles from locales as exotic as the oysters (The Bronx Brewing Company excepted). Stained wooden banquettes would seem as welcome in the cabin of an old fishing boat as in downtown Manhattan. Per the New York M.O., seating’s a bit tight. Go easy on the french fries?

Chef Dave Siegal, who helms both sibling seafood spots, has gone decidedly upscale here. Tender cuttlefish sit on a nest of squid ink “fideos negros” noodles (a neighboring diner suggested they looked like twigs; they’re not twigs). The menu is topped by a clambake dinner for two, with a luxurious mix of lobster, clams, mussels, and chorizo in a classic steamer pot. In honor of Seigal’s neighboring flagship, lobster rolls come two ways: hot and buttered, or cold with mayo. Speaking of neighbors, the adjacent L’Arte del Gelato cart makes a special orange Creamsicle for Cull & Pistol. Oh, gelato. Italy would make for a nice trip. Though again, there’s always Chelsea.

[BlackBook New York Guide; Listings for Cull & Pistol, The Lobster Place, Friedman's Lunch, L'Arte del Gelato; More by James Ramsay]

Receiving an invitation to the Levi's showroom in LA, better known as the Haus of Strauss, is like scoring a golden ticket. From the second you step into the legendary denim label's enchanting, devastatingly stylish wonderland, you're immediately hit with a surge of creative energy that's impossible to resist, which is likely why brands can't stop collaborating with them. The latest label to team up is cool-kid UK brand, Liberty of London.

Following will.i.am's eco-conscious range of denim, Levi's worked with Liberty to revive archival denim silhouettes that work well with the exclusive prints designed by their across the pond friends. The result was a 13-piece range of fresh looks comprised of the 501 jean short, the boyfriend skinny jeans, the iconic Trucker jacket, a hot bustier and a set of sweet accessories.

Weddings can be really hard, you guys! They’re hard when you’re the person planning them, but often can be just as trying is merely attending the affair. There’s the out-of-town arrangements, the booking of hotels and flights and rental cars because they decided to get married on a ranch in East Jesus Nowhere, Georgia, the nagging cognitive dissonance that comes with supporting the worst parts of the wedding-industrial complex and, of course, trying to coordinate with a date, if you’ve got that going on.

The team at Gawker found this simple, but kind of trainwreck-amazing Craigslist ad of a twentysomething D.C. man looking for a date to a wedding. Things got bad (we do not speak of her name), so he’s crowd-sourcing a stranger with the help of a simple list and some bad but also amazing Photoshops of him on a horse on a lion. Also, he “doesn’t like murder.” So, you’re okay. The ad reads as follows:

“Due to a last minute cancellation (we do not speak of her name) I'm resorting to the powers of Craigslist to help me find a date for a wedding this weekend in Lexington, VA (i had to google it as well). If you're still reading here are the facts and why you should come:

• you only yolo once
• you get to wear a dress
• open bar & food all night
• you get to pop n lock it w me on the dance floor (see pic 2)
• i can fly (see pic 3)
• I tend to ride a lion on top of horse (see pic 4)

more fun facts about your potential date:

• I have a degree
• I have a job
• I am a clean man
• I have never been arrested
• I don't like murder

Looking for a well-rounded young lady that is educated, can dance, and is at least 21.

if interested you should please provide:

• a selfie
• brief resume
• your favorite color”

He looks like he has some pretty solid dance moves, and there will be an open bar, so it doesn’t sound like the worst option, really. So if you feel like high-tailing it to Lexington, Virginia this weekend, you know who to call. You may even get to ride a lion on a horse.

[via Gawker]

Th Meatpacking's sexy steakhouse STK gets even sexier tomorrow when it opens its single greatest facet: the rooftop.

For its third year in a row, a seat on this rooftop on a balmy, breezy spring night at sunset promises not just watermelon salad, crisp watermelon cucumber cocktails, and a dish of mini lobster rolls, but also a view of the Hudson River, the majesticStandard Hotel, and the cobblestone, stiletto-ridden streets below.

But remember: the rooftop only fits 150 people, so get the first seat at noon – and hold on for dear life.

Get the inside-scoop on STK, & follow Bonnie on Twitter here.

It's hard to imagine--but somehow Philippe Starck still refuses to just leave well enough alone. To be sure, his newest restaurant project (in partnership with Paridis du Fruit founder Claude Louzon), Miss Kō, is plonked along Paris' most haute boulevard, the Avenue George V--yet it appears as if lifted from some surreal X-Box anime game. Or as Monsieur Starck himself describes it, “Miss Kō is a fantasy, an exquisite corpse, where you walk into a faraway court of miracles on a street straight out of Blade Runner, steeped in limitless creative madness." Totally!

Ghostly characters are lit by upside-down-umbrellas and giant teapot lamps, and screens flash with dizzying images. Of course, for those who just want to, you know, eat, this Eurasian stunner dances deftly and playfully between continents. Fabrice Monot's menu embraces French, Japanese, Thai, with no craft this, no artisanal that…almost like Brooklyn never happened! Try the bimbimbap burgers, the bo bun sea tiger, or just order from the super groovy crazy Sushi Rock 'n' Rolls selection, chased with sake or bubbly. And keep one eye out for stray replicants…

[BlackBook Paris Guide; Listing for Miss Ko; More by Ken Scrudato; Follow Ken on Twitter]

"That feeling of home but not home, somewhat but not quite—all that plays a part in what I would hope to be the emotional content of my music," says the strange and wonderful Nico Muhly. "There's always a sense of displacement and longing." Wildly intelligent and feverish in nature, the 31-year-old composer is as prolific as he is talented, with work spanning from contemporary operas and classical chamber pieces to electronic drones and film scores, and just about everything in between.

In honor of the national holiday that isNational Burger Month, I'm devoting Fridays to the world's love for the juicy, dripping beast that isThe Burger. First honored werethe weirdest burgers, then the smallest burgers, and today, I'm honoring NYC's BIGGEST burgers. Oh yes. Size matters. Take a look at these big boys:

Murder by BurgerfromMarble Lane: this bloody, juicy, off-the-menu secret burger inside the Dream Downtown Hotel has 10 layers, of everything fromfried eggs and cheese, to bacon, mushrooms, and onions. The best part: it’s stabbed right in the middle with a steak knife and paraded to your table for all to gawk at. Photo close-up here.

The 1lb Burger fromThe Counter: straight from Santa Monica comes this chain where you make your own burger and can choose the hefty one pounder patty of beef, chicken, turkey, veggie, or bison. From there, you can load it up with any kind of cheese - brie, jalapeño jack – four toppings, like grilled pineapple, spicy pepperoncinis, and fried egg - and a sauce. By the time you're done, this hunk-a-meat weighs more like a pound-and-a-half.

The F&Kn. Burger With Foie Gras from Pounds& Ounces:the foie gras at this Chelsea lounge is optional, but that doesn't stop the 8oz. burger from packing enough layers to have you hibernating through winter. It's topped with pineapple-braised short ribs and fontina cheese, and sauced with onion marmalade and pickled green-tomato chips on a bread roll. Ten extra bucks get you the foie gras, and at that point – oh, why not.

Follow Bonnie on Twitter here.

I first fell in love with Fall on Your Sword when their incredible score for Mike Cahill's Another Earth took that film from a metaphysical and emotional science fiction wonder to indie masterpiece. It's a soundtrack I've listened to an infinite number of times in the last two years, and since, the guys behind FOYS, Will Bates and Phil Mossman, have been in high-demand, lending their brilliant and varied musical talents to Nobody Walks, Lola Versus, 28 Hotel Rooms, etc.

And now, you can listen to piece of the score from We Steal Secrets: The Story Of Wikileaks, which they've scored for director Alex Gibney. The film hits theaters May 24th but you can purchase the soundtrack beginning next Tuesday. So in the meantime, take a listen to "First Release" below.

The melancholic and beguilingwork of William Basinski haunts between the cracks of life and death, existing like ash falling slowly around you. His looped melodies bring you into a trance that's as heartbreaking as it painfully thrilling—and as moments coil and recoil, you feel suspended in time, floating in a world of sound that drowns you in its unique beauty. There's a sense of eternity in his work that makes you feel as though if you only let go just enough, this might last forever.

Stay flawless with this summer's hottest water-resistant products.

Model Sanja Miletic creates the perfect palette as she takes to the water with ease.

SKIN: Keep your flaws hidden with Dermablend Cover Cream, Quick Fix Concealer and Leg and Body Cover.

EYES: Line the entire lash line with Chanels Stylo Yeux Waterproof liner in 70 Black Shimmer. Complete the intensity of the eye by filling in the water line with black as well.

LIPS: Hydrate lips with Clinique Super Balm Lip Treatment.

Products can be purchased at: Chanel Clinique Dermablend

Poolside Beauty

Music: "The Captain" by The Knife

Sparkle

EYES/ CHEEKS: Use Hourglass Superficial Waterproof Bronzer in Mirage on the entire lid, blending the color up into the brow and temples. Use the same product to contour the cheeks. This will give you a beautifully bronzed complexion.

LIPS: Line and fill in the entire lip with Make Up For Ever Aqua Liner in #8C (red). For a more bold and long lasting lip Use Aqua Rouge Waterproof Liquid Lip Color in #8 (red). Complete this look by using Make Up For Ever glitter #7 (red) by patting the glitter into the lip color for a brilliant sheen.

Products can be purchased at: Hourglass Make Up For Ever

Seduce

EYES: Line the entire lash line with Clinique Quickliner For Eyes Intense.

LIPS: Use Obsessive Compulsive Cosmetic Lip Tar in Hoochie- extreme magenta for a bold strong lip.

NAILS: Dior Vernis Nail Laquer in Massai Red

All products can be purchased at: Clinique Obsessive Compulsive Cosmetics Dior

Credits

CREW CREDITS

Photographer Claudio Doenitz

Makeup Walter Obal

I think my friend at the record company sold me a bill of goods. “Jillette can drink me, you, and all the Virginmarys under the table,” he told me. I had my doubts, but was willing to give Jillette Johnson, the fetching young singer-songwriter, a chance. Yet here we are at Rogue & Canon, sampling no fewer than five cocktails, and she’s drinking … responsibly. Drinking like a mature, level-headed individual who makes her career a priority and has to go home later to work on some songs. A few sips of this, a few sips of that, pleasant banter, thoughtful answers, and a generally healthy attitude toward work and life. As Dorothy Parker would say: what the hell?

It would help the story if she fell off her chair, or at least got sozzled enough to dish some dirt on the celebrities she’s worked with, but no such luck. I made up for it, soaking up every drop of my cocktail quintet and even stopping by another bar on the way home for the world’s most ill-advised nightcap. So, which one of us just sold out Rockwood Music Hall and has a stellar debut album, Water in a Whale, coming out on Wind-up Records next month? That would be Jillette. And who woke up the next morning with his shoes still on, feeling like a cat had used his tongue as a litter box? No comment.

Irresponsibly responsible behavior aside, Jillette’s a pleasure to have a drink with, and Rogue & Canonin downtown Manhattan isa fantastic venue to do it. The latest spot from Johnny Swet and Larry Poston of Jimmy at the James, Cole’s Greenwich Village, and the late Hotel Griffou (RIP), it's a casual-cool restaurant and bar with creative takes on comfort food like the Rogue Burger: crispy pork belly, peanut butter, onion marmalade, and aged cheddar. Swet, the visionary behind the cocktail menu, embraces an ethos he calls “accessible mixology.” That means the bar’s all about upscale, innovative drinks that aren’t too precious, with a healthy mix of classics and fresh new ideas. We’ll get to those soon enough.

As for Ms. Johnson, it’s impossible not to be taken by her work ethic. “My philosophy,” she explains, “is to tirelessly work, and forgive myself if I fuck up.” She began playing piano at 6, writing songs at 8, and playing out at 12. Her debut EP, Whiskey & Frosting, came out last year, unleashing a slew of heatseekers like “Pauvre Coeur,” a light yet melancholic ode to ephemeral infatuations with a video that features Jillette looking nice in her underwear.

Water in a Whale comes next, for which she’ll be touring the U.S. with a variety of different acts, including Delta Rae and the Saint Johns. She’ll even perform at Bonnaroo in June, a high-profile enough gig to explain her circumspect approach to a booze-soaked Tuesday night interview. After steadily growing her career for more than a decade, she’s got a lot to lose.

She’s got a lot to drink too, and even though she won’t see the bottom of any of her glasses, she gracious and articulate as she samples each one of Swet’s luscious libations and offers a few words of critique. Let’s get guzzling.

Cocktail #1: Spring Awakening

Tito’s Vodka, Cucumber, Parsley, Lemon, Honey, Seltzer

“This is the kind of thing I could get in serious trouble with. It’s delicious—it feels like I’m eating a salad. It’s something to drink on a Sunday afternoon when you’re hung over. It could be sold at the Olympics as Gatorade.”

Cocktail #2: Bourbon Rose

Bulleit Bourbon, Dry Vermouth, Cassis, Lemon

“Ah, this is my kind of drink. I gravitate to hearty, holiday-ish cocktails. The lemon makes it more of a happy hour drink. It reminds me of being in the East Village right after dinner and right before I get in trouble. The finish is like red wine. Whiskey’s my drink. The reason I got started on whiskey is my dad, who drinks Johnnie Black on the rocks. There’s nothing more gratifying than going home to visit my parents and having a tumbler of Scotch with my dad.”

Cocktail #3: Applejacked

Zubrowka Vodka, Laird’s Applejack, Cranberry, Lime, Agave Nectar

“It’s love at first sip with this one, then over the long term it becomes like an apple Jolly Rancher. There’s so much flavor in it, even in small doses. This would be a good Kentucky Derby drink.”

Cocktail #4: Mint Sazerac

Templeton Rye, Herbsaint, Muddled Mint, Peychaud’s Bitters

“This I love. This is my favorite. It has such a smooth finish. It doesn’t burn. I would order this every time. It’s a real drink.”

Cocktail #5: Boulevardier

Knob Creek Bourbon, Campari, Sweet Vermouth

“I love this one too, but I think I’d only have one of them in a night because it’s bitter. I like the depth of it and the citrus element. This drink is me getting dolled up on a cool night for a hot date. [Jillette says she’s single.] It’s interesting to think about who wins in this drink, the sweet side or the bitter side. My favorites tonight, in order: 1. Mint Sazerac 2. Boulevardier 3. Bourbon Rose 4. Spring Awakening 5. Applejacked. All in all, excellent."

Photo: Rebecca Miller

[For more great spots to drink responsibly, check out the BlackBook New York Guide; Listings for Rogue & Canon, Jimmy, Cole's; Jillette Johnson Official Site; Wind-up Records; More by Victor Ozols; Follow me on Twitter]

So you know about Google Play Music, right? It’s one of those Google things you never use because why would you; music is everywhere and all around you, but also it’s mostly on iTunes and Spotify. That is why Google wanted to add a streaming aspect, and this week unveiled Google Play Music All Access, a $9.99-per-month music subscription service that’s both annoying and unwieldy at the moment.

At least when you open it in a web browser. AsTechCrunchpoints out, a large part of this service is geared toward Android users being able to stream music directly to their mobile devices—so rather than design something that could really take on Spotify (with its “24 million active users and 6 million paying subscribers”), they’ve come up with an application that might help them move a few thousand smartphones. Good job lowering those expectations!

The interface looks nice but quickly bewilders with its proliferation of pop-up windows, extraneous widgets, and the like. And because it’s Google, they creepily already know your credit card information when you try to log in the first time. But what continues to fascinate here is how big tech still lives in complete denial about one fact: for the most internet-savvy customers, all music is now essentially free. Do I really need to pay ten bucks a month so a website can tell my friends I sampled the new Vampire Weekend record? No, I really do not.

Follow Miles on Twitter here.

Tomorrow, as part of their Art Seen series—a unique monthly art-focused program—Brooklyn's wonderful Nitehawk Cinema will be screening Ben Shapiro's stunning documentary Gregory Crewdson: Brief Encounters. It's a film as moving and beautiful as its subject, going behind the scenes to illuminate the work and process of one of the world's most acclaimed and beloved photographers Gregory Crewdson. Shapiro's film manages to capture the essence of melting into one of his photographs—and it's an absolute delight. With the film out on DVD next weekend, Nitehawk will be screening the film along with a Q&A with Shapiro tomorrow morning. So in honor of the DVD's release and the showing, we're giving you another look at our interview with Crewdson and Shapiro conducted back in October that dives right into the world beneath the roses. Enjoy.

Look, I’ll be real:Hannibalisn’t exactly groundbreaking television, let alone art. Half the time I’m not entirely sure what Mads Mikkelsen just said in his chilling Danish accent (which isn’t to say I’m not unnerved all the same). And in some ways, the show is more a mash-up ofDexterandThe X-Filesthan another entry in the Dr. Lecter canon. But it’s one of the better things to laugh at yourself for watching. Plus, The Kids in the Hall’s own Scott Thompson is in it.

There’s the transporting, luminous, almost hallucinatory photography of it, too: the trees are really green, and the blood isreallyred. There’s also the oddity of how much and what disturbing images they’re getting away with on a network drama—nearly enough to slake the gore-thirst of a premium cable devotee, in fact. Funny that you can have an episode like “Coquilles” show bodies with their backs flayed open and the skin flaps positioned as wings but never get away with a character saying “holy shit” when confronted with such a spectacle. America!

You also have to enjoy how the ads that run with a show about a cannibal of sophisticated culinary acumen are aimed at the gourmand—the camera lingers on red wine a lot, a heavy motif, and then you’ve got an ad for red wine. The red wine Hannibal drinks? Sure, why not! Swirl it mysteriously in your glass. Even Mikkelsen, through his bone-dry, slow-burn performance, often looks like he wants to giggle about all this faux-highbrow ultraviolence played out against one long game of cat and mouse. It’s silly, for sure—just silly enough to hang together till the credits. Or till the inevitable cancellation.

Follow Miles on Twitter here.

When two guys from Brooklyn asked themselves what they would do if they won the lottery, their answer catapulted them into opening a sandwich shop that has, within a year, expanded from a nook behind a Crown Heights inn, to its own neon-and-brick den on the Lower East Side. NYC, shake hands with new-kid-on-the-blockBlack Tree, where every single ingredient – from the cheesy, pork-filled sandwiches to the lilac, celery, & mint cocktails - is from Union Square's Greenmarket and farms upstate.

But let's face it: local, seasonal, farm-to-table, blah blah blah is everywhere now in New York, so what makes Black Tree worth packing?"The cost," says co-owner Sandy Hall. "We use all the same fresh ingredients as the most high-end places, but keep it affordable by having just us two work at the shop, and not making the dishes look pretty by just sticking it all on a sandwich."

However, these sandwiches are actually very, very good looking. With mushrooms the size of mini lightbulbs bursting from oozing fried eggs, and brown butter apple sauce, duck, and braised pork belly tucked into ciabatta bread from Carroll Gardens' Caputo's Fine Foods – it's basically eye-candy foreplay for your churning, yearning stomach.

The only thing that isn'tpretty: the mess you make when you eat 'em. They're sloppy, they're sauced, the broccoli rabe and rosemary garlic slip like Slinkies onto the wooden plate. The pork belly melt off the bread like a vanilla sundae. So come here wearing a bib and get ready for the mess brigade to follow.

But is it worth it? Yes. In fact, I walked out of that woody spot with a stain on my t-shirt after downing their creamy bacon-and-bread-pudding (see below), and I'm gonna wear that shirt stain like a badge of honor. Probably wear it to their weekend brunch. Yep, that's what I'll do. VIVA Black Tree.

Get the inside-scoop on Black Tree, & follow Bonnie on Twitter here.

It takes a certain amount of chutzpah to name a song “God Knows” when it’s been done a few times before, including by Bob Dylan (we’ll leave aside the Beach Boys variation). But brand-new Stockholm indie-pop trio Like Swimming earn the grandiose title with a minimum of fuss, crafting something divine on a somewhat smaller scale. Below, get an exclusive first look at the pitch-perfect music video.

Knowing that Like Swimming formed after the dissolution of a band called You Say France & I Whistle, a reference to the legendary Bang demos recorded in one take by a drunk Van Morrison fulfilling a recording contract in 1967, you can guess that they share a playful attitude—at least in the winsome, pretty guitar work, which early latches onto a propulsive syncopation. The lyrics, meanwhile, delivered in tight harmonies that blur the distinction between falsetto and the low alto range, are about as melancholy as lyrics get: god knows about the innermost mechanics of your troubled heart, it turns out.

The stripped-down, black-and-white music video matches close-up emotion with close-ups of its own. Vocalists Ida and Claes sit back to back as if they were two sides to the same coin, connected but unable to face one another. Meanwhile, twee animated storm clouds and dogs and assorted affectionate creatures border the space, strange brief impressions that fade—as all impressions, good and bad, eventually must.

Like Swimming are also scheduled to make their first stateside appearances this fall. Check out more at their official website and Facebook page.

[More by Miles Klee; Follow Miles on Twitter]

David Lowery's lens-flared Texas drawl of a filmAin't Them Bodies Saintssounds as delicious rolling off the tongue as looks unfolding moment by moment in front of your eyes. As one of the most anticipated films to come out of Sundance this year, the slow-burning crime drama has the well-crafted filmmaking, beauty, and intrigue to engage any audience and with its wonderfully-acted performances from Casey Affleck, Rooney Mara, and Ben Foster, this one is sure to set Lowery on a track of his own.

So although the film won't be heading to theaters until late August, those at Cannes will be getting a peak at the feature this week—and now, you can too. Here, we see the opening scene fromAin't Them Bodieswith Mara and Affleck looking beautiful and arguing. It's a great establishing scene that gives weight to the more explosive moments that follow. Enjoy.

One morning, David Lynch awoke to hear his intercom buzzing. A man's voice on the other end spoke, referring to him as "Dave." Lynch answered, "Yeah?" and the man said, "Dick Laurent is dead." Lynch said, "What?" but there was no one at the door. And he'd never heard of a Dick Laurent. He looked out to the large window on the other side of his house by the door, but again, no one there.

DAVID'S IDEA is to do this, like, dystopian vision of L.A. You could do a dystopic vision of New York, but who'd care? New York's been done before."

"If s about deformity. Remember Eraserhead? This guy's going to be the ultimate Penishead."

"I'm sure not going to go see it, I know that."

"This is a movie that explores psychosis subjectively."
"It's some reflection on society as he sees it."
"This is his territory. This is him taking us deeper into a space he's already carved out in previous work-subjectivity and psychosis."
"He's doing a Diane Arbus number on L.A., showing the, like, slimy undersection of a dream city. Chinatown did it, but it did it in a historical way, as a type of noir history. David's film's about madness; it's subjective, not historical." " It , s like, if you're a doctor or a nurse, are you going to go buy tickets to see an operation for fun in your spare time, when you're done working?"
"This film represents schizophrenia performatively, not just representationally. This is done in terms of loosening of identity, ontology, and continuity in time."
"Let me just say I have utmost respect-for David, for the industry, for what David means to this industry. Let me say I'm excited. That I'm thrilled and have the utmost respect."
"It's a specialty film. Like 7he Piano, say. It's not going to open in a thousand theaters."

"Utmost is one word. There is no hyphen in utmost."
"It's about L.A. as hell. This is not unrealistic, if you want my opinion."
"It's a product like any other in a business like any other."
"David is the Id of the Now. If you quote me, say I quipped it. Say ' "David is the Id of the Now," quipped______, who is the film's_____.
David, as an artist, makes his own choices about what he wants. He makes a film when he feels he has something to say. Some are perceived as better
than others. David does not look at this as his area of concern."
"He's a genius; you have to understand that. He's not like you and me."
"The head-changes are being done with makeup and lights. No CGIs." (21 'Computer-generated images,' as in Jumanii).
"Read City of Quartz. That's what this film's about right there in a nutshell."
"Some of them were talking about Hegel, whatever the hell that means."
"Let me just say I hope you're not planning to compromise him or us or the film in any way."

David Lynch's movies are often described as occupying a kind of middle ground between art film and commercial film. But what they really occupy is a whole third kind of territory. Most of Lynch's best films don't really have much of a point, and in lots of ways they seem to resist the film-interpretative process by which movies' (certainly avant-garde movies') central points are understood. This is something the British critic Paul Taylor seems to get at when he says that Lynch's movies are "to be experienced rather than explained." Lynch's movies are indeed susceptible to a variety of sophisticated interpretations, but it would be a serious mistake to conclude from this that his movies point at the too-facile summation that "film interpretation is necessarily multivalent" or something-they're just not that kind of movie. Nor are they seductive, though, at least in the commercial sense of being comfortable or linear or High Concept or "feel-good." You almost never from a Lynch movie get the sense that the point is to "entertain" you, and never that the point is to get you to fork over money to see it. This is one of the unsettling things about a Lynch movie: You don't feel like you're entering into any of the standard unspoken and/or unconscious contracts you normally enter into with other kinds of movies. This is unsettling because in the absence of such an unconscious contract we lose some of the psychic protections we normally (and necessarily) bring to bear on a medium as powerful as film. That is, if we know on some level what a movie wants from us, we can erect certain internal defenses that let us choose how much of ourselves we give away to it. The absence of point or recognizable agenda in Lynch's films, though, strips these subliminal defenses and lets Lynch get inside your head in a way movies normally don't. This is why his best films' effects are often so emotional and nightmarish. (We're defenseless in our dreams too.)

This may in fact be Lynch's true and only agenda-just to get inside your head. He seems to care more about penetrating your head than about what he does once he's in there. Is this good art? It's hard to say. It seems-once again-either ingenuous or psychopathic. It sure is different, anyway.

This is on 8 January in L.A.’s Griffith Park, where some of Lost Highway’s exteriors and driving scenes are being shot. He is standing in the bristly underbrush off the dirt road between the base camp’s trailers and the set, peeing on a stunted pine. Mr. David Lynch, a prodigious coffee drinker, apparently pees hard and often, and neither he nor the production can afford the time it’d take to run down the base camp’s long line of trailers to the trailer where the bathrooms are every time he needs to pee. So my first (and generally representative) sight of Lynch is from the back, and (understandably) from a distance. Lost Highway’s cast and crew pretty much ignore Lynch’s urinating in public, (though I never did see anybody else relieving themselves on the set again, Lynch really was exponentially busier than everybody else.) and they ignore it in a relaxed rather than a tense or uncomfortable way, sort of the way you’d ignore a child’s alfresco peeing.

As all good things must come to their rightful end, tonight marks the very last episode of treasured television series,The Office. After nine wonderful years on the air and many a cast member iteration, the beloved show will now leave us to join the ranks of 30 Rock in NBC afterlife. And although i will miss my Dwight and Pam and Jim and the rest of Dunder Mufflin dearly, after almost a decade strong, there's only so many stories to tell in a Scanton, PA paper company—better to cut things short before our love starts to wane.