When comedian Mike Birbiglia opened his one-man show Sleepwalk With Me in 2008 at the Bleecker Street Theatre in New York, he didn't anticipate that it would become material for a popular piece on This American Life and a New York Times best-seller. He especially didn't think it would turn into a feature film.
Birbigilia had never made a film before. And he was initially hesitant to make one about his dangerous sleepwalking condition, because he wanted to distance himself from the topic he had been immersed in for more than four years.
Victor LaValle's latest novel is called The Devil in Silver.
"I have seen the future of horror ... and it is named Clive Barker."
It was the mid '80s. I was in my local comic book store. I remember seeing those words on the paperback cover of a book. The image of a cheap, rubber-looking mask with its mouth hanging open and its eyes empty was on the front. A purple light glowed behind the mask. It wasn't frightening. The cover looked crappy. And the name, Clive Barker, meant nothing to me. I might've passed it by if not for the name under the blurb: Stephen King.
When people talk about Tony Scott's movies, the same words often come up: stylish, exuberant and kinetic. Three years ago, in a video interview with The Guardian, Scott explained why watching his movies could sometimes be exhausting.
"I have this natural energy that I want to inject into what I do," he said. "The worlds that I touch, I sort of embrace those worlds, and I always look for that energetic side of the worlds that I'm touching."
It's been a few decades, and many published books, but Robert Crais can tell you exactly when mystery writing first caught his attention: He was a bright 15-year-old living in Baton Rouge, La., when he read Raymond Chandler's The Little Sister, which depicted the shady side of sunny Los Angeles through the eyes of private investigator Philip Marlowe.
Since then, Crais has found huge success with his own crime novels, also set in LA. The city is the perfect canvas for a modern mystery, and Crais' eyes still grow wide when he talks about what Chandler painted on it.
It's one of the ultimate images of summer: a woman in a short, pink slip sits on a bed, her knees pulled up to her chest, gazing out a window. Her hair is tucked back into a bun. Her bare arms rest lightly on her bare legs.
Edward Hopper painted her in 1952 for a work called Morning Sun. The picture has been widely reproduced for decades. But on a recent visit to its home at the Columbus Museum of Art in Columbus, Ohio, it was nowhere to be found.