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bronze_ribbonsClearing away some of the clutter on the couch...
From the New Yorker: A Winnie-the-Pooh cocktail. My initial gut reaction was that this cannot possibly lead to anything good, but a second read suggests that it sounds like a tastier variety of cough syrup. Hmm...
On the radio today, I heard a recipe for pero frizzante, which sounded both intriguing and not too fussy. I may have to try making it in March or April (when I will have a kitchen again, renovation gods permitting).
From today's New York Times Magazine, a profile of Philip Seymour Hoffman with lots of snippets I want to remember, including:
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From the New Yorker: A Winnie-the-Pooh cocktail. My initial gut reaction was that this cannot possibly lead to anything good, but a second read suggests that it sounds like a tastier variety of cough syrup. Hmm...
On the radio today, I heard a recipe for pero frizzante, which sounded both intriguing and not too fussy. I may have to try making it in March or April (when I will have a kitchen again, renovation gods permitting).
From today's New York Times Magazine, a profile of Philip Seymour Hoffman with lots of snippets I want to remember, including:
"In my mid-20s, an actor told me, 'Acting ain't no puzzle,' " Hoffman said, after returning to his seat. "I thought: 'Ain't no puzzle?!?' You must be bad!" He laughed. "You must be really bad, because it is a puzzle. Creating anything is hard. It's a cliché thing to say, but every time you start a job, you just don't know anything. I mean, I can break something down, but ultimately I don't know anything when I start work on a new movie. You start stabbing out, and you make a mistake, and it's not right, and then you try again and again. The key is you have to commit. And that's hard because you have to find what it is you are committing to."
[Meryl Streep:] "Philip is not particularly any one way, which means he can be anybody at all. One of the most important keys to acting is curiosity. I am curious to the point of being nosy, and I think Philip is the same. What that means is you want to devour lives. You're eager to put on their shoes and wear their clothes and have them become a part of you. All people contain mystery, and when you act, you want to plumb that mystery until everything is known to you."
"SOMETIMES WHEN I SEE a great movie or a great play I think, Being human means you're really alone," Hoffman told me on another cold winter night. ..."So many things I'm interested in come down to the subject of regret," he continued as he ate his spaghetti. "That's Capote alone on the plane at the end of 'Capote,' the priest and the nun in "Doubt" who make judgments they may wish they hadn't and Clint Eastwood tonight. I try to live my life in such a way that I don't have profound regrets. That's probably why I work so much. I don't want to feel I missed something important."
[Hoffman:] "I don't know Clint Eastwood, but what's amazing is that you have the sense that he's doing exactly what he wants to be doing. He's so committed. In this film, he keeps the action going, and the people don't ever behave against their true nature. That's what I look for in my work: when a writer can deftly describe the human experience in a way that you didn't think could even be put into words. That doesn't happen often, but it gives me something to play inside. Too much of the time our culture fears subtlety. They really want to make sure you get it. And when subtlety is lost, I get upset."
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