Thompson on Hollywood

- David Cronenberg talks about his inspiration for A Dangerous Method and his upcoming Cosmopolis (in post-production) and potential future projects with ThePlaylist. He admits that he has always wanted to make a film about the birth of psychoanalysis, but didn't see a way in until Christopher Hampton's play:

"Suddenly there is a structure. And this was my first introduction to Sabina and she is part of what I call an ‘intellectual menage a trois,’ and that structure was terrific—the span of it, the relationship between Freud and Jung that went over six or seven years.”

Sabina (the character played by Keira Knightley), was "what really drew me to the story," he says, because she "brings to the relationship between Freud and Jung, provides a fascinating entry into the common and conflicting mindsets between the two great psychoanalysts." Here's more.

- Anna Kendrick is featured in Interview Magazine, recalling her experience shooting 50/50 with Joseph Gordon-Levitt. "This was ultimately kind of an actor's wet dream, because I just sat indoors, in the daytime, with another actor and talked about feelings. Which is like, the perfect setting: to not be worrying about some insane special effect or some camera move." She adds that Gordon-Levitt "really challenged me," and would often talk back, making her feel chastised, "intentionally or not—but in the most fantastic way, because that's meant to be our relationship." Being challenged made her job easier. Here's more.

Thompson on Hollywood

- Woody Allen's Film Comment interview is full of--what else?--Woody Allen Life Philosophy. He also hails Owen Wilson's performance in Midnight in Paris (he rewrote the script for him)--"I mean, I never had to give him any direction, he knew just what to do, and he played it exactly the way I wanted it."

The film's theme is:

"a recurring, nagging feeling of mine that the reality we’re all trapped in is, in actual fact, if you dissect it, like a nightmare. I’m always looking for ways to escape that reality. One escapes it by going to the movies. One escapes it by becoming involved in the trivial nonsense of 'Are the Yankees going to win?' or 'Are the Mets going to win?' When in fact it means nothing. But life means nothing either. It means as much as the ballgame. So you’re constantly looking for ways to escape from reality. And one of the fallacies that comes up all the time is the Golden Age fallacy, that you’d have been happier at a different time. Just as people think, 'If I moved to Paris I’d be happier' or 'If I moved to London…' Then they do, and they’re not. Even though these places are great, they’re not happier, because it isn’t the geography that’s eating them up, it’s the existential reality of how grim a predicament we’re in. So, I’ve played around with that before, the notion of wanting to get out of the real world, get out of time. Here, Owen does get a chance to go back, and it’s fine. But he realizes as he looks around that those people want to go back too, and that it doesn’t matter where you go, that life is unsatisfying whether you lived in the renaissance or la belle époque or now or 100 years from now. It’s an unsatisfying situation."

Here's more.