Harper’s Bazaar published an interview with Takashi Murakami yesterday, one that involves some backstory into his new monster movie Jellyfish Eyes. The interview is fine, kind of short to be honest, but what’s really remarkable is the photo shoot that accompanies the story.
Entitled Murakami’s Monster Magic, the photos were shot by Jason Schmidt and feature model Angela Lindvall as well as Murakami’s cast of movie monsters. The series is pretty fantastic and surreal, a beautiful woman walking around with these bizarre creatures in a variety of random Los Angeles locations – wandering through In-N-Out, lounging at the pool at The Standard Hollywood, or walking through Beverly Hills.
The photos also remind me of Charlie White’s old photo series Understanding Joshua which did a nice job of mixing surreal monsters with idyllic, Hollywood-esque situations. If you’re into these photos you absolutely need to click that link.
Last week saw the release of this interview with Jonathan Ive and Craig Federighi over on Businessweek, giving some insight into two of the main men behind Apple. The piece is basically a design/tech love fest, and there are definitely a few gems in there that really make the whole piece. Here’s one of my favorites.
Somehow, because our products are used by more than one person, you don’t accept “OK, there is this polar opinion and this opinion,” because basically then what can happen—and I have seen this in other places—what can happen is that energy then is spent in the debate, rather than the belief that, you know what? We have an ambition that is real because we believe there is a solution. There is an idea that actually transcends that debate.
I was reading this interview with Clive Thompson in the NY Times last night and he’s got a new book out called “Smarter Than You Think: How Technology is Changing Our Minds for the Better.” The book touches upon the idea that technology isn’t making you dumb, it’s actually supplementing the way our brains already work.
You talk a lot about memory in your book. Are we augmenting our memories with computers, or are we replacing them?
I would say we are augmenting them. When I started the book I was genuinely worried that I was losing my memory to Google, but the more I studied the way that everyday memory works, the more I realized how much we already rely on other outside sources — books, Post-it notes, etc. — but also other people to remember things. We are social thinkers, and we are also social rememberers, we use our co-workers, our partners and our friends to help us retrieve the details about things that they they are better at remembering than we are. And they’ve used us in the same way. Memory has always been social. Now we’re using search engines and computers to augment our memories, too.
The interview was good enough to get me to purchase the book, really looking forward to reading this. And how great is that cover? Simple but effective.
The term Independent Publisher is barely vast enough to cover the amount of work and different thinking caps you need to put on to be one. In the day of the ‘Print is dead’ generation publishers are increasingly taking more and more control of their end product ensuring that it’s not just a magazine you’re picking up but rather an experience and escape from the real world – not to mention the digital world. No other publication embodies this more than the perfectly put together children’s magazine Anorak.
Since it’s inaugural issue in 2006 it has been able to capture the hearts of children before they are consumed by technology and set free the square eyes of adults after they’ve lost their sense of childish abandon. It’s a magazine that’s had incredible success and after 29 issues (and not to mention numerous other projects) it’s still going strong. I spoke to Founder and Editor Cathy Olmedillas about her start with Anorak Magazine ahead of the release of their BIG BOOK OF ANORAK, an annual 224 page compendium of stories, activities and educational pieces that ran in the early (and now sold out) editions of Anorak.
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The first time I came across Erik Olson’s work was when my sister showed me an image she had found online, it had no credit and wasn’t linked to the original painter. I put on my detective hat and set about tracking it down, doing a reverse image search that lead me to Canadian Painter Erik Olson. It’s something about the way his subjects are suspended within these bold backgrounds and the frenzied and warped feature, as if they’ve been framed in some sort of swirl and blur movement, that struck me and when the time came to put together a list of creatives I wanted to talk to; he was high up on my list.
I was also fascinated by his first solo show that was held in an abandoned gas station, I love this kind of ingenuity and it is this attitude that, it seems, has got the ball rolling for him and has seen him exhibited across Canada, America and even a spot in the UK.
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I can’t remember how I first met Designer and Art Director Sue Murphy but it was some time ago; and every now and then I check back on her work to see what she’s up to and find her in a different country. Born in Ireland she’s since racked up a fair share of air miles studying in Savannah, working in Amsterdam and of right this moment working as an Art Director for Ogilvy and Mather in New York. To begin this series of Creative Interviews I thought who better to begin with than the freckly, funny and flighty Sue.
She was also kind enough to takes some snaps of the office in New York and comment on them. I always love seeing these sorts of places, I can’t quite explain why but I find it interesting to see the environment that great work is created in.
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There’s a great interview with Woody Allen by Cal Sussman over on Esquire, where he shares some of the things he’s learned in his long and fruitful career. Lots of pearls of wisdom in it, but the quote below was my personal favorite.
My mother taught me a value — rigid discipline. My father didn’t earn enough, and my mother took care of the money and the family, and she had no time for lightness. She always saw the glass a third full. She taught me to work and not to waste time.
Photo by Mark Mann
Recently, actor Daniel Craig interviewed Radiohead/Atoms For Peace frontman Thom Yorke for Interview Magazine. It’s honestly them shooting the shit for about 5 pages but I liked hearing Yorke speak about Radiohead’s use of computers in their music making over the years. Kind of a love-hate-love experience. There are also some great photos by Craig McDean which accompany the article.
CRAIG: How did you get interested in the whole aspect of things? Were you into computers as a kid?
YORKE: Well, I came to the electronic stuff late because our band really was in the wave of rejecting a lot of it. When we were starting in ’91, ’92, there were some interesting things happening in Britain with electronic music—Warp Records was putting out some crazy shit. But a lot of the exciting things that were happening at the time were guitar music, and as band, that’s where we went. So we came back to the computer stuff later on. There was this interesting thing when we started out as a band where you had to go to a studio, so you were presented with a producer and an audience on the other side of the glass, and they called you and said, “Can you do that bit again? Can you try a different guitar?” And I always found that a bit weird because I felt that I should be with those people, in their room, doing that bit.
CRAIG: Not that you were trying to control the situation at all …
YORKE: No. It was just like, “Who the hell are you?” [both laugh] And then computers got to a point where you could just record directly into them. So when that happened, funny enough, I thought, Right, I’m going to learn how to do this because then I can understand that part. And luckily, we were working with our friend Nigel [Godrich], with whom we still work, and he was really into the idea that the areas were blurred. You know, as musicians we’re quite technical as well—especially Jonny and Colin [Greenwood]. I think Jonny actually learned how to program in C language along with my brother when he was, like, 12. I remember walking from my brother’s room in the morning and he was reading a book on how to program machine code. It was insane. That’s the kind of school we went to. I remember that the kids in school were freaking out when they could make the computer print the word “pee” or something.
See the rest of Craig McDean’s photos under the jump.
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