“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?”
“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?”
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.
“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.”