“The incentive for publishers and the estates of dead authors is clear: keeping the brand alive expands the number of titles from which revenue can be gained, while fuelling interest in the original works. But what impact do literary franchises have on the industry’s appetite for new talent?”
“Certainly the promise of continual human progress and improvement is alluring. But there is a danger there, too — that in this more perfect future, failure will become obsolete.”
“It’s becoming much more difficult to be a reclusive artist and make a living. The system has become weirdly Darwinian. But you need to look at the larger picture: the record industry did create a safe space for shy artists like PJ Harvey or Cat Power, but artists always had to market themselves.”
“Imagine the Art Gallery of Ontario going 19 years without a single showing of any new Canadian art. It would be hard to think of a rationale for that scenario, although the COC, which receives about $4.5-million annually in public funding, is always quick to say that new work is too expensive and risky for regular consumption. But does that really need to be true, for the biggest opera company in the country?”
Says Steven Seymour of wife and best-selling, award-winning Russian poet Vera Pavlova (whose English is excellent), “The main difference with translating Vera is that my other clients don’t argue with me.”
“In just six years, around 30 homegrown contemporary music festivals have sprung up across India, covering folk to electronica, jazz to indie.”
Comparisons are odorous, as the linguistically challenged Dogberry contends in “Much Ado About Nothing,” but they can also be instructive. These productions are a study in cultural contrasts, shedding light on the difficulty of translating Shakespeare from the page to the stage on either side of the pond but ours especially.
“If a human and a computer both read a single page of comedy, the human would be at an enormous advantage. The computer wouldn’t have a chance. But if we asked both a human and a computer to read 200 million pages, the tables are turned.”
“His job over the years has evolved into that of detective, applying his considerable forensic skills and his vast knowledge of the composer and his times to track down, verify and if possible acquire Beethoven documents and personal effects.”
“The inside story of Paoletti’s career is more remarkable, proving that enduring public architecture at its best depends on a balance of personal strength, technical gumption, steadfast collaboration and a sharp sense of opportunity and tactics.”
In the country where all three Lord of the Rings and all three Hobbits have been (or will soon be) filmed, James Cameron will use Peter Jackson’s workshop, Weta.
“It was Hitchcock, with his penchant for ‘cool blondes, who brought Fontaine to the forefront when he cast her as the second Mrs. de Winter in Rebecca (1940), the director’s American debut. Her performance as the new wife of Laurence Olivier in a household haunted by the death of his first wife earned her an Academy Award nomination.”
“He was a phenomenon and, night to night, moment to moment, you might shift your opinion as he zigzagged in the crosswinds of his own turbulent imagination. He coincided with the method, or realism in acting, but he ignored it.”