jeżeli twoje dziecko najbardziej na świecie kocha filmy, a ty najbardziej na świecie kochasz swoje dziecko, to kup mu spekulacje o kinie, pozakulisowy apendyks:

The von Sternbergian exception of my peers was Sofia Coppola’s Marie Antoinette, maybe the most bravura costume-designed film since her father’s Dracula (by no less then Milena Canonero, who’s practically an auteur herself). But since the subtextual implications of the story underneath the historical record spoke so personally to the princess director, it had the effect of both modernizing the emotions, illustrating an inner truth, and revealing every other attempt at capturing the French Revolution on screen as either a history lesson or wax museum tableaux (Anthony Mann’s film noir-ish Reign of Terror aside). Now this truth may or may not have been Antoinette’s (who cares?). Like a Norman Mailer novelistic examination of a historical figure, be it Jesus Christ, Gary Gilmore, or Marilyn Monroe, what’s important isn’t the subject, it’s the author.