nyt interview

Phillipa Soo Doesn’t Leave It All Onstage (NYT Magazine):

Not two years ago, you made your Broadway debut in “Hamilton” and received a Tony nomination for playing Eliza, the wife of Lin-Manuel Miranda’s title character. Now you’re starring in a Broadway musical adaptation of “Amélie.” You graduated from Juilliard in 2012 — what does all of this feel like? 

There’s the cool factor, right? You see your face on a sign or your name on something, like: “Ahh! Here I am!” And then there’s a huge responsibility and the scary part of it, which is like, “Now what happens?” And then you realize, “Oh, yeah, this is my job.”


I’m sure you had many more illustrious visitors during your run in “Hamilton.” 

When the Obamas came, that was pretty special. When we visited the White House, I got to watch Chris Jackson sing “One Last Time” right in front of the portrait of George Washington, while Barack and Michelle Obama are sitting right there.

The final scene in “Hamilton,” where Eliza reconciles with her dead husband’s legacy, is pretty emotionally overwhelming. Did you need to rush back to your dressing room and decompress in silence? 

Some days. Doing a show eight times a week is kind of like doing yoga or tai chi. A vinyasa is the same every single time you do it, but depending on how you’re feeling, it tells you a lot about what’s happening in your life. So, there were days where I’d come offstage and be like, “Let’s go out and drink.” But you learn little tricks here and there. Some nights I’d say to myself, “I don’t know if I can watch my son die.” But you learn that you don’t have to go there every night; the writing does that.

You reunited with your “Hamilton” co-stars Renée Elise Goldsberry and Jasmine Cephas Jones to sing “America the Beautiful” at the Super Bowl. Was it a different experience to perform for tens of millions of people? 

I’m looking out and going, “That’s a lot of people.” But I didn’t really get nervous. Once we got up there, we couldn’t actually hear anything. All we could hear was our own voices. And I was like: “O.K., well, hopefully it sounds good. Am I even performing? Can you guys hear me?” […]

read the rest of the interview (including the list of Pippa’s top five female singer-songwriters)

The Brotherhood Without Banjos will be reunited next season! There’s Iain Glen, Jorah Mormont, on guitar. Rory McCann on harmonica and rhythm guitar. Paul Kaye, Thoros of Myr, on guitar. Me on ukulele and guitar. Kit Harington on rattle eggs. You know those eggs you can shake? He was on those. And Joe Dempsie, Gendry, on percussion. A pretty good band. We started doing it right at the beginning of the season, and it was just a brilliant way to relieve the constant exhaustion and cold. We could just go in and keep warm in our little hut. It was a real kind of camaraderie. I recorded about three tunes that we did, and they were pretty good!

I naturally prefer the form of the book. We’ve loved it for centuries, and no wonder: Look at it; its always-opening-to-something, its two wings, its two sides making one form, its act of opening us as we open it — you can’t “open” a screen like you can literally open a book. And a book always holds the reminder of the organic world, the trees that went to make it — and the word “spine” was originally used for the spine of the book because of the spine of the creatures whose skins were once used to bind books, the place where the skin folded over the creature’s own spine. That’s how close to the process of life, death, time, growth and oxygen the form of the book is.

Ali Smith, in an interview with The New York Times

Diane Nguyen was born in Boston. There she attended Boston University and majored in Literature and Equine Studies. In preparation for this book, Diane spent three years conducting research and interviews to bring to light the saga of Secretariat. Previous works include The Rise and Fall of Strongheart and the New York Times bestseller, Tracing Zippo Pine Bar.  

Diane currently lives in Los Angeles with a dog. 

Reviews below by The New Yorkie Times, USA Toady, and Newsbeak.

Gabourey Sidibe: By the Book

Which writers — novelists, playwrights, critics, journalists, poets — working today do you admire most?

Lin-Manuel Miranda is a gift to the earth. We don’t deserve him. He is Shakespeare in the flesh. A true Renaissance man. I love musical theater. I always have. I love songs from “West Side Story,” “The Sound of Music” and “Into the Woods.” But I’m black. I’m from Brooklyn and Harlem and from a really far-away land that the average musical doesn’t reach. Growing up, I was made fun of and considered weird for the kind of music I was interested in. The only acceptable music choices were hip-hop and R&B, and while I loved and still love that music, there was room in my heart for Sondheim classics as well. Through “Hamilton,” Miranda has bridged the gap among all of my musical loves by painting a beautiful and heartfelt story while using the music that helped to raise me. The music I hear in my head when I think about my childhood and my family. He also taught me about American history in a way that excited me and made me feel proud to be an American — even though I know that as an African-American, at that point in history my ancestors were being forced to work in the fields here, stolen from their homes in Africa, and being abused and treated like animals in both places. “Hamilton” feels like a stolen history, gifted back to people of color as a way to have us all be able to enjoy and take pride in what this country was built to be. We are young, scrappy and hungry, and it’s best to not throw away our shots.


anonymous asked:

Are Cyrus and Jonah the new Sterek (queer-bait) or are they the new Jonnor?

It’s not queer baiting because we know there is a boy questioning his sexuality from the NYT interview.  So the creators intend to have at least one of them be gay or bi.  Cyrus has had a very obvious crush on Jonah from the first scene they shared together.  And in the season 1 finale there is a deliberate scene where Cyrus looks back that is meant to confirm that Cyrus really does like Jonah as more than friends.  Cyrus hasn’t said “I’m gay” or “I like Jonah” out loud yet but that is expected to happen in the beginning of season 2.  

However, it’s also not “the new Jonnor” just yet.  While we all know how Cyrus feels about Jonah we don’t know as much about Jonah’s feelings.  Jonah was dating Amber until they broke up in the finale and he was set up as Andi’s love interest from the beginning of the show. That makes it much more likely that Jonah does end up with Andi because she’s the main focus of the show and Cyrus would then either be single or would find another boy to be interested in. All that being said Cyrus and Jonah have spent more time together and have a deeper connection than Andi and Jonah do.  There are hints that Jonah may like Cyrus as well but they are much more subtle.  Jyrus has the potential to be another groundbreaking relationship but we just don’t know if they’ll get together yet like Jonnor did.

Trump heavily suggested that people pay $12 a year for health insurance in his latest NYT interview, and I don’t think he understands even the basics of how healthcare works

dubiousruffian  asked:

ICAM re: your thoughts on the Aidan NYT interview. It must be so frustrating to him to have read the books, understood his character completely, played Petyr with many subtle layers, only to have D&D dumb it down in these last few seasons. I think he's backtracking a bit in these interviews based on the crappy direction of the show. If you watch seasons 1-4, you can't tell me they weren't going for a bit of a romantic angle with PxS.

Yeah, guy’s studied the books even tho it wasn’t a requirement (now I know why), discussed the character w/ GRRM, and tried to sneak as much of it into the show as possible only to be saddled w/ this flat af final arc…  typical example of “when you downgrade the antagonist, you automatically downgrade the ‘hero’ and cheapen the entire story”. 🙃

His take on LF and PXS reflects the initial “book input”, imo, and I agree w/ you completely: now this clashes w/ the ham-fisted in-your-face fan service plot, so I suppose he can’t really go around talking about a complexity that’s suddenly MIA. Even when it was there, he often drew strange looks for talking about it bc most ppl have perfect tunnel vision when it comes to LF.

All the delicious layered grayness is getting scrapped bc it wouldn’t allow for the anticlimactic, nonsensical demise they are lazily setting him up for. In older interviews he resisted the “basic villain” label, too, but now he’s like “whatever”. I feel the same way most of the time even tho I genuinely enjoy parts of the fanservicing.

It’s frustrating w/ LF but strangely enough - for me - it takes nothing away from the overall enjoyment of the character & ‘ship. Maybe bc it’s just so badly done and so obviously forced that it’s also easier to pretend it never happened? idk

also does anyone else just get a teeny tiny bit concerned about Christian Borle from time to time? like is he sleeping a healthy amount? nourished enough? is he able to vent and have an outlet for his emotions? like I understand he is a Fully Grown Adult and all but ever since that NYT interview came out I’ve been lowkey worried about him and how playing such a daunting role is taking a toll on him. and although call “artistic prose” what you will, I rly wish James Lapine would let him have a goddamn cry at the end of Act 1. not only would it add a lot to the scene but the man needs it. Let’s be real. Protect him at all costs.


So you’ve found an issue you care about and researched it so much that even Hermione would be impressed. Now, how can you get others to care as much as you do and start building your activism team?

In today’s SPARK episode (link), Jackson Bird interviews NYT bestselling author and social media maven @maureenjohnsonbooks about her online philosophy and shares insights to help you educate, learn, and inspire change through social media. 

Your challenge? Get some friends together, pick an issue you care about, and draft some posts to let the world know about it! Discuss differing viewpoints on the issue, and take these differences into account when considering how an audience might react to your posts. 

What It’s Really Like to Work in Hollywood*
(*If you’re not a straight white man.)

The statistics are unequivocal: Women and minorities are vastly underrepresented in front of and behind the camera. Here, 27 industry players reveal the stories behind the numbers — their personal experiences of not feeling seen, heard or accepted, and how they pushed forward. In Hollywood, exclusion goes far beyond #OscarsSoWhite. (Interviews have been edited and condensed.)

Ari Millen didn’t seem the least bit scary in a recent phone call from Toronto, where Lily, his daughter with his fiancée, the actress Kassandra Santos, squalled in the background just 32 hours after her birth. “It’s absolutely the greatest thing that has ever happened,” he gushed. “Right now we’re just enjoying holding her in our arms, staring at her in wonder and fighting over whose turn it is to hold her next.” – Ari Millen for the New York Times


Cate Blanchett on the cover of T MAGAZINE (Women’s Fall Fashion Issue 2015). 

Blanchett has admired Haynes since they first worked together on “I’m Not There.” She compares him to Klausner, a character in the Roald Dahl story “The Sound Machine,” who can hear the clouds moving in the sky and the grass screaming under the blades of a lawnmower. “Todd is a good person, and a wild person, and a responsible person,” she said. “You could probably tell him anything.”



After all, Mr. Pynchon’s novels have a reputation for difficulty, but they are jam-packed with lowbrow references and gags, dirty jokes, goofy song lyrics, shameless puns, ludicrous anagrams and absurd acronyms. Mr. Anderson said he tried to cram as many jokes onto the screen as Mr. Pynchon squeezed onto the page.

“I thought,” Mr. Anderson explained, “What’s something I’ve seen that can get close to that amount of great visual information and all these things going on in the frame?”

“ ‘Police Squad!’ and ‘Top Secret!’ are what I clued into,” he said, referring to collaborations by the slapstick maestros David and Jerry Zucker. “We tried hard to imitate or rip off the Zucker brothers’ style of gags so the film can feel like the book feels: just packed with stuff. And fun.”

Mostly, Mr. Anderson relied heavily on his actors’ comedy chops. Mr. Brolin noted that they initially considered simplifying the colorful Los Angeles police detective Bigfoot. “On most movies, you play with different levels and there’s a foundation and a ceiling,” he said. “Here, there was no ceiling. It was no holds barred. Paul would say: We want to go Tom and Jerry on all this.”

NYT interview with Patrick Stickles
  • New York Times: Did you specifically make this record for people suffering from manic depression?
  • Patrick Stickles: Mostly just for one person that does.
  • New York Times: Yourself?
  • Patrick Stickles: That's right. In my more self-aggrandizing moments, I fantasize that this could elucidate some secret truth hidden in the subconscious of some young person that's as troubled as I was five or six or three years ago, two years ago, last year, this month. Art has shown us time and time again that none of us are truly alone in our earthly experiences. We all feel alienated and freakish and grotesque.