Word: doll
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...heat up for long, and in the mid-'60s the foreign-language film wave started to ebb. In 1966, Haliday and Harvey gave up control of Janus, with Haliday going to Europe to concentrate on his acting career. (IMDb notes that two of the films he appeared in, Devil Doll and The Projected Man, were cheesy enough to be riffed on Mystery Science Theater 3000.) The company was taken over by Saul Turrell and William Becker, who steered Janus into its non-theatrical middle age, and whose sons Jonathan Turrell and Peter Becker run Criterion today. They eventually did fine...
...right—not just tirelessly sexy, but tired of being sexy. And for good reason—their image is so perfectly contrived for the moment that it must be exhausting to keep up. Everything about them just begs for awkward worship from awkward fans. Doll-faced half-Japanese poster-girl singer? Check, and she goes by the name of “Lovefoxxx.” Debut on indie-darling label Sub Pop? Claro que sim. Lyrics with tongue-in-cheek references to Paris Hilton and Death from Above? Obvi. Friends with Diplo, the Svengali behind M.I.A.? That...
Rozier: We were on a five-hour hike up to the camp on a conservation expedition, and during our break the little girl in the picture came over and offered us her teddy bear. She walked back over with her doll later so I grabbed my camera and took a picture. She was so cute...
...been a pretty vocal critic. The ball is terrible. It's something we'll just have to get used to. Playing with the new ball is like going to a gentlemen's club, seeing an exotic dancer and then going home and playing with a plastic blow-up doll. It's bad. A lot of these people are trying to make decisions for the NBA. It's just getting too corporate. There are too many rules that don't really make sense--for example, about our shorts being too long. You go to a Foot Locker--that's what...
...Born in 1961, Gurr learned his craft at Melbourne Theatre Company from Ray Lawler, creator of Australia's most celebrated drama, Summer of the Seventeenth Doll. For those familiar with Gurr's plays-from the aids-era's DesireLines through to Crazy Brave, Sex Diary of an Infidel, Jerusalem and his recent Something to Declare, about refugees-his memoir is an opportunity to understand how those plays came about. His creative ideal: Never invent, only reveal. He brings a reader close enough to taste the rumble between what he describes as "the unconscious impulse and the internal editor." "Whenever...