BEE recorded at the Melbourne Writers Festival as promised, like months ago. An incredibly funny guy. Please excuse the rather drunken and unprofessional laughing going on – clearly I’m not an expert. And a little drunk. Ok, you happy? I said it.
An awesome interview with Bill Murray by Dan Fierman, writing for GQ. I’m not too sure what else he’s done, but googling him indicates that this interview must be one of his career highlights. And it should be, its a coup just to get the guy. But he’s also done his research, which makes the interview just flow.
This is a quote Steve Steinberg uses from William Burroughs to explain the future of AI. This is a a brilliant and well reasoned argument about the direction of near-time AI in the context of autonomous intelliegence in vehicles, to accident insurance and search engine strategies.
I enjoiyed the insurance and car stuff more than I did the search engine axis divergence. But all interesting.
“To prove [Risk compensation] even exists, one particularly inspired British researcher had volunteers ride bicycles on a closed course, with half the people wearing helmets and proper attire, and the other half clad in their underwear. Graduate students positioned on the sidelines graded the volunteers performance and tallied any unsafe maneuvers. The results showed that the unclothed group practiced much safer driving habits, thereby supporting risk compensation theory – and Britain’s reputation for eccentricity”
Cormac clearly doesnt give too many interviews and you can see why by his thorough forthrightness (is that even a word?). It’s one of those interviews that remind you just how shallow so many before it are.
The whole interview kinda weirded me out a little, I have to say. You coudnt say the interviewer didnt get into his subject. But I still had the feeling at the end that he revealed too much. That if it were me, I almost sure I would wake from some mother of all hang overs and think, Jesus did I really tell him all that?
This is him, open, revealing; brazen almost. The way he concedes that so much of the dialogue in On The Road is word for word conversations he’s had with his 8 year old boy, I just found a bit a creepy.
“John draws all the time, but I have to say he’s not very good, and I was very good. I was a child artist. A wunderkind. I did all kinds of stuff. Big showy paintings of animals. I haven’t done it in years. All that stuff vanished. I never followed it up.”
What else could you want from an interview but an insight into a character that makes you reasess everything you always thought about them. After this I couldnt help but think of The Road in a new light. As his own death looms (he’s 76) he’s thinking about the legacy he passes on to his child. But for him the context of his own demise is translated in the book to the death of everyone else. That his child will be left in a empty wilderness without him.
But hell maybe its all the questions. John Jurgensen, the interviwer covers everything from God to love to morality, family and death. A few of the biggies in there.
“I’m not interested in writing short stories. Anything that doesn’t take years of your life and drive you to suicide hardly seems worth doing.”
I’ve been a fan of Galerie Stratique ever since I came across them on some Boards of Canada forum or something. I’de downloaded a few songs and listened to them for ages until I realized how much I liked them and thought it was probably best if I bought them.
So I go onto Discogs.com and buy all three albums from one of their dealers. So the seller and I have a few emails back and forth and he’s a really nice guy and he asks me where I came across them and I tell him, mentioning that I felt giulty about illegally downloading the few tracks and he says ‘here’s a man with a conscience!’ Now because they’re coming from Alaska it takes forever and I’m chasing him up, saying, hey have you sent them or what?
I finally get them and I check out the back cover of Horizzons and check the name of the guy behind the music and it’s him! The same guy.
Saw a doco on Jack Karouac the other day on Foxitel’s Studio channel. What a strange man, so many conflicting attitudes to freedom and religion. I loved the part where reads from On the Road behind the piano and I’ve included it here. It starts 2.08 in.
Withnail and I director Bruse Robinson is selling his 1962 Aston Martin (which apparantly appeared briefly in the movie) for 250,000 to 300,000.
Any fans out there looking for a bit of memorabillia?
Apparantly, “all the things I used to love about driving are all illegal nowadays. It’s a fucking nightmare really,” he complained.
From another article by Richard Fleury:
“This ambition was fired by the man whose name Robinson took for his most famous creation. An alcoholic upper-class scoundrel, Johnny Withnall (Robinson added the ‘I’) was a friend of Robinson’s father. Obliterated on booze, he took the young Bruce out for a spin in his Aston, stopping occasionally to fling open his door and spew. Bruce was thrilled.
“I must have been eight or 10,’ he recalls. ‘I can’t remember if it was a DB4 or a DB2 but he used to drive in state of complete Messerschmitt pilot danger. Completely pissed. And I really fancied all of that when I was a kid.”
So what’s he been up to? Well apparantly looking adapting Hunter S Thompson’s Rum Diary for za big screen. Again sourced from Richards article:
“I don’t think anybody can drink like that and stay alive,’ he says. ‘I met him in the Chateau Marmont, that big hotel on Sunset (Boulevard) and he had 200 Dunhills, an industrial coke grinder you could mince trees with, huge pile of coke, huge bag of grass, two bottles of Chivas, and he was presiding over that with a towel over his head, sitting at the table. And in an hour and a half of being there, ostensibly to talk to him, I didn’t say a word to him. Not a single word. He was just so blown. When he went to the bathroom inside his suite it was like a pinball, bouncing off the walls. Christ, that’s a sad sight.”