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Articles by Logan Sparks
Lucky im TV Programm: 22.11.
» Ein Film-Abschied und Kino-Glücksgriff « Beschreibung Lucky ist ein 90-jähriger Eigenbrötler, Atheist und Freigeist. Er lebt in einem verschlafenen Wüstenstädtchen im amerikanischen Nirgendwo und verbringt seine Tage mit bewährten Ritualen - Yoga und Eiskaffee am Morgen, philosophische Gespräche bei Bloody Mary am Abend. Bis er sich nach einem kleinen Unfall seiner Vergänglichkeit bewusst wird. Zeit dem Leben noch einmal auf den Zahn zu fühlen.
The Mythology of Modern Man
The Mythology of Modern Man Experiential seminars on re-discovering lost core male dynamics and ethics. Facilitated by Logan Sparks and Nicolas Lecerf. ‘The first act of violence that patriarchy demands of males is not violence toward women. Instead, patriarchy demands of all males that they engage in acts of psychic self-mutilation, that they kill off the emotional parts of themselves.
Le Mans ’66 (Ford v Ferrari) review: a makeshift motor-men drama that comes alive behind the wheel | Sight & Sound
Little makes American nostalgia sing quite like the Hollywood spectacularisation of competition – industry wars or sporting events, commonly against the Soviets but just as inanely satisfying against any foreign rival.
The making of Being Frank: The Chris Sievey story: “a glorious and ridiculous ride” | Sight & Sound
Web exclusive Steve Sullivan with an oversized Little Frank to promote Being Frank: The Chris Sievey Story (2019) If you saw Lenny Abrahamson’s Frank (2014), starring Michael Fassbender as an eccentric, reclusive singer beneath an outsize papier-maché head with Pacman-shaped eyes, you might imagine you know the story of Frank Sidebottom. Especially since Frank was co-written by Jon Ronson, a one-time member of one of the real Frank’s troupes, the Oh Blimey Big Band. But that was largely fiction.
Burt Reynolds obituary: a blithe legend | Sight & Sound
When he was in his prime, he was past his prime. This was no small part of his charm. Not that Burt Reynolds was by any means an old man when superstardom finally came knocking – he was 36 when Deliverance was released in the summer of 1972, and looked great, flat-bellied and hard-muscled and tanned brown – but almost immediately he found himself playing men with one eye permanently cocked back at better days gone by.
Burt Reynolds obituary: a blithe legend | Sight & Sound
When he was in his prime, he was past his prime. This was no small part of his charm. Not that Burt Reynolds was by any means an old man when superstardom finally came knocking – he was 36 when Deliverance was released in the summer of 1972, and looked great, flat-bellied and hard-muscled and tanned brown – but almost immediately he found himself playing men with one eye permanently cocked back at better days gone by.
Edmonton International Film Festival 2017: The Fest Grind Feels Less Brutal, More Rewarding at This Canadian Hub
Like traveling salesmen of the past, we, the indie moviemakers of the world, travel from town to town repeating our rehearsed sales pitch, dancing our desperate dance. We earnestly pitch the same “My product will amaze you” pitch as in the past. We dance the same “Please like me” despondent shuffle as our forefathers before us, and, like them, we wear a smile to mask an exhaustion no sleep could ever satiate.
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