- A follow up to yesterday’s Film Misery link on the new Sight & Sound list of greatest films, The Telegraph today:
“This week I finished making a radio documentary about the 50-year reign of Welles’s masterpiece – and heard how it might all soon be over, thanks to a change in constituency boundaries. The last time the survey was conducted, 145 mainly anglophone critics were polled. This time an 1,800-strong body of writers, curators and directors have been asked, a group representing the film cultures of most countries in the world. An electorate as broad as that might not feel the critical anxiety of influence that has kept Kane on its pedestal. Tellingly, the longlist, at 2,000 titles, is already much longer than its predecessors.”
I thought it was absolutely awesome to hear that two of Michael Haneke’s films were close to making the list: Cache and The White Ribbon. I have not seen Cache, but have wanted to for some time. It’s hard to find, and I don’t much enjoy watching movies on my computer screen. If you’ve never seen any of his movies, Haneke makes some truly disturbing images and themes come to life. Not that he does horror (Cache is the closest thing to horror; or maybe Funny Games in that it goes out of its way to essentially torture the audience), he just knows how to pick out the little details. The terrible, terrible little details. The guy is a true artist.
- Akai posted this on their Facebook today with the caption, “Save this. Trust us. You’re going to need it someday.”:
I know they’re probably starting to get outdated — especially the 2000XL series — but I’ve gotten a ton of mileage out of my Akai MPC thus far. And I’ve only had it for a couple years. It’s a great piece of hardware. I’ve got the blue one they released around 2001, I think:
According to one of our sources, “the word ‘contempt’ was bandied about by Apple’s lawyer.” So Quinn’s personal frustration may be at least somewhat understandable.
It seems like the main thrust of the declaration is that everything from the release was “previously in the public record.” He explains that everything was “specifically addressed in open court with the media in attendance.”
Quinn also directly addressed accusations that Samsung’s legal team was trying to intentionally mislead jurors. He made the (fairly obvious, in my humble opinion) observation that jurors had already been instructed not to read any form of media relating to the case.