{"id":111555,"date":"2017-06-06T09:59:52","date_gmt":"2017-06-06T13:59:52","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=111555"},"modified":"2017-06-06T11:15:31","modified_gmt":"2017-06-06T15:15:31","slug":"how-to-commune-with-a-filmmaker-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/","title":{"rendered":"How to Commune with a Filmmaker, and Other News"},"content":{"rendered":"<div id=\"attachment_111556\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/pupkin.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-111556\" class=\"wp-image-111556\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/pupkin.jpg\" width=\"1000\" height=\"659\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/pupkin.jpg 1600w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/pupkin-300x198.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/pupkin-768x506.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/pupkin-1024x675.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-111556\" class=\"wp-caption-text\">Jerry Lewis and Robert De Niro in Martin Scorsese\u2019s <i>The King of Comedy<\/i>, 1983.<\/p><\/div>\n<p>&nbsp;<\/p>\n<ul>\n<li>Let\u2019s get this straight: many books\u00a0are good. Movies? Also good. Is the best movie inherently less valuable than the best book, just because it\u2019s a motion picture forcing its images down your gullet? No. Film has been around for a century now, but its loftiest critics still sometimes regard it as literature\u2019s kid brother: a nascent medium\u00a0doing its best to shrug off the demotic appeal that marked it as, you know,\u00a0<em>dumb<\/em>.\u00a0Martin Scorsese thought that Adam Mars-Jones\u2019s review of his new film,\u00a0<em>Silence<\/em>, made a few undue assumptions about the nature of movies compared to literature\u2014the hoarier and oftentimes\u00a0more boring art form, and thus the more important one. So Scorsese has mounted a defense of filmmaking: \u201c<a href=\"http:\/\/www.the-tls.co.uk\/articles\/public\/film-making-martin-scorsese\/\" target=\"_blank\">I\u2019ve grown used to seeing the cinema dismissed as an art form for a whole range of reasons<\/a>: it\u2019s tainted by commercial considerations; it can\u2019t possibly be an art because there are too many people involved in its creation; it\u2019s inferior to other art forms because it \u2018leaves nothing to the imagination\u2019 and simply casts a temporary spell over the viewer (the same is never said of theatre or dance or opera, each of which require the viewer to experience the work within a given span of time). Oddly enough, I\u2019ve found myself in many situations where these beliefs are taken for granted, and where it\u2019s assumed that even I, in my heart of hearts, must agree \u2026 The greatest filmmakers, like the greatest novelists and poets, are trying to create a sense of communion with the viewer. They\u2019re not trying to seduce them or overtake them, but, I think, to engage with them on as intimate a level as possible. The viewer also \u2018collaborates\u2019 with the filmmaker, or the painter.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Anthony Burgess once tried to write a book of slang\u2014he proceeded alphabetically and only through the letter\u00a0<em>c\u00a0<\/em>before he decided it was a waste of time. Now, Dalya Alberge reports, his abortive efforts have been discovered: \u201c<a href=\"https:\/\/www.theguardian.com\/books\/2017\/jun\/03\/anthony-burgesss-lost-slang-dictionary-discovered\" target=\"_blank\">Entries include <em>abdabs<\/em> (\u2018fit of nerves, attack of delirium tremens, or other uncontrollable emotional crisis\u2019) and <em>abortion<\/em> (\u2018anything ugly, ill-shapen, or generally detestable\u2019)<\/a> \u2026 The [Burgess] Foundation is working with the slang lexicographer Jonathon Green, who said even in its limited state, Burgess\u2019s dictionary is \u2018fascinating both for his many fans and for specialist lexicographers \u2026 Slang is a very slippery customer \u2026 I get the feeling that Burgess thought it was much easier than it actually is \u2026 Smart as he was, with an understanding of linguistics and language, I don\u2019t think he could have allowed himself to do a second-rate [dictionary]. If he didn\u2019t stop everything else, that\u2019s what he would have turned out with \u2026 Terms like <em>writer\u2019s block<\/em> are not slang. Proper names like the Beatles are not slang. Meanwhile, one cannot, as in <em>arse<\/em>, begin a definition with the statement <em>I need not define<\/em>. Nor throw in personal assessments (\u201cArse is a noble word; ass is a vulgarism\u201d).\u2019\u2009\u201d<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>Have you been spending too much time admiring Greek vases and not enough time laughing at the jokes on them? The answer, Daniel Larkin says, is yes\u2014these vases are full of gags: \u201c<a href=\"https:\/\/hyperallergic.com\/382118\/laughing-at-the-jokes-on-ancient-greek-vases\/\" target=\"_blank\">Many of the scenes depicted functioned like <em>Saturday Night Live<\/em>\u00a0skits, offering comic relief to onlookers as they indulged<\/a>. For example, Zeus &#8230; lusts after Ganymede\u00a0&#8230;\u00a0in one object on view. It\u2019s not just funny because it\u2019s gay,\u00a0it\u2019s funny because it\u2019s Zeus.\u00a0Imagine if the leader of the\u00a0gods was a sex addict and, like Bill Clinton, he always got away with it. How reassuring Zeus must have been to carousing men in symposia scheming to get away with cheating, too. But there is also a formal, visual joke at play on the Ganymede vase itself. Zeus is on one side, not pictured, while Ganymede is on the other &#8230; Zeus, like so many of us, wants what he doesn\u2019t have, or, in his exceptional case, what he doesn\u2019t have\u00a0<em>yet<\/em>. He\u2019s Zeus and he gets whatever he wants, eventually.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Hamilton Nolan has seen the future, and it\u2019s Vegas. He slipped into the Bellagio, where the <small>SALT<\/small> (\u201cSkybridge Alternatives\u201d) Conference was in full swing: a welter of privileged hedge-fund managers hobnobbing and playing the part of global elitists to the hilt: \u201c<a href=\"http:\/\/theconcourse.deadspin.com\/hell-is-empty-and-all-the-hedge-fund-managers-are-at-th-1795429824\" target=\"_blank\">If you have ever wondered whether there really is a cabal of elites plotting in private to rule the world, wonder no more<\/a>. Here they are \u2026 The price of investment glory is grinding boredom. \u2018Closed end funds &#8230; leverage &#8230; dividend yields &#8230; ETFs &#8230; cap ex &#8230; M&amp;A deals &#8230; beta &#8230; tranches &#8230; residential mortgage credit &#8230; legacy markets &#8230; embedded options &#8230; defensive in the CLO space &#8230; compensated for risk &#8230; cohorts of capital &#8230; capital &#8230; capital &#8230;. CAPITAL.\u2019 These phrases echoed everywhere, from the stage to the vast meeting room where younger hedge-fund worker ants were assigned to sit at coffee tables and pitch their ideas to potential investors, like an awful version of speed dating in which the only thing you could discuss is \u2018structured credit.\u2019 All of the younger men looked like Jared Kushner, and all the younger women looked like how Ivanka Trump might look if she had to work fourteen-hour days. Their lives stretched out in front of them, down the Bellagio\u2019s gaudy, carpeted halls.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Robert Storr on the palimpsest of literature beneath Raymond Pettibon\u2019s art: \u201c<a href=\"http:\/\/www.nybooks.com\/daily\/2017\/06\/02\/raymond-pettibons-world\/\" target=\"_blank\">The literary Rosetta Stone of Pettibon\u2019s groundbreaking works is the sheaves of mimeographed citations used by his father, who taught in community colleges and courses sponsored by the U.S. Armed Forces<\/a>. Pettibon combined these fragments of the Great Books with excerpts from pulp fiction such that the texts of his works echo with the optimistic cadences of Walt Whitman, the exaltation of Herman Melville, and the brooding mysteries of Edgar Allan Poe, juxtaposed with the tawdriness of Harold Robbins, Jacqueline Susann, and Mickey Spillane. Pettibon\u2019s perfect impersonations of these and other writers make for a signal demonstration of postmodern collaging of the classics, while his emphasis on the Bible also points to the fact that the empowered, self-conscious reader\u2014whom he frequently addresses directly\u2014keeps the interpretation of those classics wide open.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>In today\u2019s roundup: Martin Scorsese defends filmmaking as high art.<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2512],"tags":[9253,2286,13963,29069,29071,11571,5468,14286,81,11128,29072,3072,29070,8922],"class_list":["post-111555","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-adam-mars-jones","tag-anthony-burgess","tag-filmmaking","tag-greek-vases","tag-hedge-funds","tag-jokes","tag-las-vegas","tag-martin-scorsese","tag-movies","tag-raymond-pettibon","tag-salt-conference","tag-slang","tag-the-bellagio","tag-wealth"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Scorsese: Filmmakers Want \u201cA Sense of Communion\u201d with Viewers<\/title>\n<meta name=\"description\" content=\"In today\u2019s arts and culture news: Martin Scorsese defends filmmaking as high art; we learn to appreciate the jokes on Greek vases; and more.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How to Commune with a Filmmaker, and Other News by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"June 6, 2017 \u2013 In today\u2019s roundup: Martin Scorsese defends filmmaking as high art.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2017-06-06T13:59:52+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2017-06-06T15:15:31+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/pupkin.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1600\" \/>\n\t<meta property=\"og:image:height\" content=\"1055\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Dan Piepenbring\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Dan Piepenbring\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/\"},\"author\":{\"name\":\"Dan Piepenbring\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8\"},\"headline\":\"How to Commune with a Filmmaker, and Other News\",\"datePublished\":\"2017-06-06T13:59:52+00:00\",\"dateModified\":\"2017-06-06T15:15:31+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/\"},\"wordCount\":1064,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/pupkin.jpg\",\"keywords\":[\"Adam Mars-Jones\",\"Anthony Burgess\",\"filmmaking\",\"Greek vases\",\"hedge funds\",\"jokes\",\"Las Vegas\",\"Martin Scorsese\",\"movies\",\"Raymond Pettibon\",\"SALT Conference\",\"slang\",\"the Bellagio\",\"wealth\"],\"articleSection\":[\"On the Shelf\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/\",\"name\":\"Scorsese: Filmmakers Want \u201cA Sense of Communion\u201d with Viewers\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/pupkin.jpg\",\"datePublished\":\"2017-06-06T13:59:52+00:00\",\"dateModified\":\"2017-06-06T15:15:31+00:00\",\"description\":\"In today\u2019s arts and culture news: Martin Scorsese defends filmmaking as high art; we learn to appreciate the jokes on Greek vases; and more.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/pupkin.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/pupkin.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"How to Commune with a Filmmaker, and Other News\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"name\":\"The Paris Review\",\"description\":\"The best prose, interviews, poetry, and art. Since 1953.\",\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\",\"name\":\"The Paris Review\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"width\":696,\"height\":696,\"caption\":\"The Paris Review\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/parisreview\/\",\"https:\/\/x.com\/parisreview\",\"https:\/\/www.instagram.com\/parisreview\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8\",\"name\":\"Dan Piepenbring\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/6fde7ced443ba5b52db3b06239dca8a2eaeff111fccecd7bf483663c99d2762b?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/6fde7ced443ba5b52db3b06239dca8a2eaeff111fccecd7bf483663c99d2762b?s=96&d=mm&r=g\",\"caption\":\"Dan Piepenbring\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/dpiepenbring\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Scorsese: Filmmakers Want \u201cA Sense of Communion\u201d with Viewers","description":"In today\u2019s arts and culture news: Martin Scorsese defends filmmaking as high art; we learn to appreciate the jokes on Greek vases; and more.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/","og_locale":"en_US","og_type":"article","og_title":"How to Commune with a Filmmaker, and Other News by Dan Piepenbring","og_description":"June 6, 2017 \u2013 In today\u2019s roundup: Martin Scorsese defends filmmaking as high art.","og_url":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2017-06-06T13:59:52+00:00","article_modified_time":"2017-06-06T15:15:31+00:00","og_image":[{"width":1600,"height":1055,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/pupkin.jpg","type":"image\/jpeg"}],"author":"Dan Piepenbring","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"Dan Piepenbring","Est. reading time":"5 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/"},"author":{"name":"Dan Piepenbring","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8"},"headline":"How to Commune with a Filmmaker, and Other News","datePublished":"2017-06-06T13:59:52+00:00","dateModified":"2017-06-06T15:15:31+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/"},"wordCount":1064,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/pupkin.jpg","keywords":["Adam Mars-Jones","Anthony Burgess","filmmaking","Greek vases","hedge funds","jokes","Las Vegas","Martin Scorsese","movies","Raymond Pettibon","SALT Conference","slang","the Bellagio","wealth"],"articleSection":["On the Shelf"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/","url":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/","name":"Scorsese: Filmmakers Want \u201cA Sense of Communion\u201d with Viewers","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/pupkin.jpg","datePublished":"2017-06-06T13:59:52+00:00","dateModified":"2017-06-06T15:15:31+00:00","description":"In today\u2019s arts and culture news: Martin Scorsese defends filmmaking as high art; we learn to appreciate the jokes on Greek vases; and more.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/pupkin.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/pupkin.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/06\/how-to-commune-with-a-filmmaker-and-other-news\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"How to Commune with a Filmmaker, and Other News"}]},{"@type":"WebSite","@id":"https:\/\/www.theparisreview.org\/blog\/#website","url":"https:\/\/www.theparisreview.org\/blog\/","name":"The Paris Review","description":"The best prose, interviews, poetry, and art. Since 1953.","publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.theparisreview.org\/blog\/#organization","name":"The Paris Review","url":"https:\/\/www.theparisreview.org\/blog\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","width":696,"height":696,"caption":"The Paris Review"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/parisreview\/","https:\/\/x.com\/parisreview","https:\/\/www.instagram.com\/parisreview"]},{"@type":"Person","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8","name":"Dan Piepenbring","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/6fde7ced443ba5b52db3b06239dca8a2eaeff111fccecd7bf483663c99d2762b?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/6fde7ced443ba5b52db3b06239dca8a2eaeff111fccecd7bf483663c99d2762b?s=96&d=mm&r=g","caption":"Dan Piepenbring"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/dpiepenbring\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/111555","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/users\/38"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=111555"}],"version-history":[{"count":8,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/111555\/revisions"}],"predecessor-version":[{"id":111564,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/111555\/revisions\/111564"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=111555"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=111555"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=111555"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}