A writer and director for theatre and film, David Hare has twice been Oscar nominated for his adapted screenplays of The Hours and The Reader. He is an avid reader of Philip French's film criticism.
No film writer has ever enjoyed the influence of Pauline Kael at the New Yorker, and yet after a lifetime spent advancing the pleasures of fun over the pleasures of art, she famously repented. "When we championed trash culture, we had no idea it would become the only culture."
Coming so soon after the death of Roger Ebert, the retirement of Philip French inevitably feels like a changing of the guard. For years, the British Film Institute has been struggling to make sense of the fact that the historic cinema repertory, the kind of cinema that was available at the Academy in Oxford Street or at splendid pioneering film societies all over the country in the 1950s and 1960s,...
No film writer has ever enjoyed the influence of Pauline Kael at the New Yorker, and yet after a lifetime spent advancing the pleasures of fun over the pleasures of art, she famously repented. "When we championed trash culture, we had no idea it would become the only culture."
Coming so soon after the death of Roger Ebert, the retirement of Philip French inevitably feels like a changing of the guard. For years, the British Film Institute has been struggling to make sense of the fact that the historic cinema repertory, the kind of cinema that was available at the Academy in Oxford Street or at splendid pioneering film societies all over the country in the 1950s and 1960s,...
- 8/24/2013
- by David Hare
- The Guardian - Film News
Yoshihiko Ueda Max Gordon
No trim. No unnecessary details. No architectural frills. That’s the job of the art hanging on the walls.
As the guiding principals of British-born Max Gordon, a contemporary architect who designed the first Saatchi Gallery and constructed apartments for Richard Serra and Elizabeth Murray, he adhered to a notion of simplicity.
With an unrelenting focus on functionality Gordon established his own practice, Max Gordon Associates, in 1981 after being a partner at several architectural firms doing professional work.
No trim. No unnecessary details. No architectural frills. That’s the job of the art hanging on the walls.
As the guiding principals of British-born Max Gordon, a contemporary architect who designed the first Saatchi Gallery and constructed apartments for Richard Serra and Elizabeth Murray, he adhered to a notion of simplicity.
With an unrelenting focus on functionality Gordon established his own practice, Max Gordon Associates, in 1981 after being a partner at several architectural firms doing professional work.
- 5/2/2011
- by Alexandra Cheney
- Speakeasy/Wall Street Journal
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