avclub-1982161d0fe636d1caabd47a2ac23e12--disqus
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avclub-1982161d0fe636d1caabd47a2ac23e12--disqus

I'm sorry to read, that really sucks.

I'm pretty sure I remember him saying in an interview that his movies did better business in Paris alone than the whole of the US (that was before Midnight in Paris which is probably an exception, hard to know for sure as box-office in France is measured in admissions).
And a new movie by him is always a huge event.

I have a practical question about the marked bills. Once they are spotted, what prevents the Strike Team to spend them at MacDonalds or wherever little by little, I assume there would then be little chances of them being traced back. Is it a risk they are not willing to take or have I overlooked something?

First thing I now think of is that either Shirley was very discreet about her grades, or the showrunners for the fourth season didn't think things through when they made her potential valedictorian. And I find it hard to believe no one would have noticed she would have been worth pairing with.

Happy birthday!

The Wagner curious among you should listen to http://www.bbc.co.uk/radio3 now. They're playing Die Walkure with as good a cast and conductor you could hope for these days.

When I saw the movie (too long ago for me to remember much more than the ending, I just remember not liking it enough to want to watch it again), I assumed it was his way to acknowledge, tongue in cheek, that no matter what he does, we'll (for I am one of them) always praise his new movie to high heavens (and sure

I'm pretty sure I've seen Husband and Wives referred to here or there as one of his best.
You can probably find someone to consider any of his movies apart from Annie Hall and Midnight in Paris underrated.

I am indeed one of 'em dirty job stealers (not in the US), and figured there would be little point in mentioning books pretty much no one else would get to read (now that would have been pretentious).

I'd feel like that too if I was spending my holiday in Wales.

I was going for light-hearted and highlighting that any such question is highly dependent on what one had read.

Didn't we just have a AVQ&A on that exact subject?

I actually used to listen to a lot more recorded music at my previous job (some of the stuff I had ripped is probably still on their FTP server). But some reason, headphones and stuff are verboten here (I'm guessing because it wouldn't look good for the customers who sometimes pay us a visit, it still sucks).

It's mostly a matter of opportunity, I started by listening to recordings, and I still buy far too many (I every now and then consider starting some sort of column in the comments praising the death of the recorded classical music industry and the ensuing bargain box sets, my latest acquisition right now being the

It reminds me I have a book with the Hoffmansthal libretti which I had to buy for an attempted literature course, for once I'll be able to read the actual thing before the show.

90 minutes isn't enough time to finish the super-size sodas and pop corn. And up to 2h20, the cinemas will have the same number of screenings in a day, therefore optimum profitability is achieved with 120-135 minutes movies.

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My insistence on trying as much as possible to catch things live being listening to recordings means that I don't know a lot about Russian operas, even if I know Mussorgsky has done amazing things.

I haven't actually seen many of his other operas (just Salome which works very well as theatre), but most of his orchestral pieces just bore me. He is evidently talented, but I get the impression he's just trying to show off his writing rather than actually achieving something enjoyable or genuinely interesting, and