AEA | SAG-AFTRA
New York
Joined May 2008
- Tweets11.4K
- Following5.8K
- Followers1.3K
- Likes40.6K
Theodore Bouloukos retweeted
The newly minted Nobel Prize winner Anne Carson shared a book recommendation and some timeless writing advice at the 2024 National Book Awards.
Theodore Bouloukos retweeted
Just in!
New Nobel Prize laureate in literature Anne Carson stands surprised in her kitchen in Reykjavík, Iceland. Stay tuned for our exclusive interview with her coming soon.
Join us in congratulating our 2026 literature laureate - send your greetings in the comments.
Theodore Bouloukos retweeted
A couple of revealing memories of @TCM’s friend, my friend, Eva Marie Saint, who was the best. Kind, emotionally available, very funny, and a little wicked.
Theodore Bouloukos retweeted
Calling all NYC artists — painters, filmmakers, poets, musicians and more! Did you know our city provides grants to support your work every year?
And this year, for the first time in nearly two decades, we're DOUBLING the amount — from $5,000 to up to $10,000 per artist!
Deadlines are approaching fast so don't wait. Go to nyc.gov/artistgrants to apply today!
Theodore Bouloukos retweeted
John Cassavetes explaining how he arranged money for his independent projects.
Theodore Bouloukos retweeted
In 1977 ALEC GUINNESS told Michael Parkinson a story about a chance meeting with JAMES DEAN in Hollywood, and having been shown Dean’s new car how he shared with the young actor a premonition that if Dean drove it something awful would happen.
Theodore Bouloukos retweeted
"You get at most one cliché per book."
Jonathan Franzen doesn't finish most books people send him. He reads until the second cliché, then stops.
"People send me a galley of a book that's coming out. I read along until I get to the second cliché, and I say, thank you."
"They tell me this is not an attentive writer. Aren't you aware that that's a cliché? Didn't it occur to you to stop and take 20 minutes to find a better phrasing than that?"
"You can also have borrowed feelings, borrowed ideas, borrowed situations. Sentiment can be clichéd, or unearned."
Theodore Bouloukos retweeted
I published my first newsletter in about nine months:
We no longer live in a world where the appreciation for fine art is a sinister tool of class distinction, and we need to stop treating Bourdieu's Distinction like it outlines iron laws of humanity
culture.ghost.io/good-taste-…
Theodore Bouloukos retweeted
Bob Mackie was one of those people who knew how to make you feel like glittering magic, all you had to do was slip into one of his creations.
While the entertainment industry needed smoke and mirrors, all Bob needed was a few yards of sheer fabric, a needle and thread … and beads, lots and lots of beads!
When you wore one of Bob’s creations, you felt like a million dollars.
Bob’s imagination, designs and creations will continue in legend. Bob, your genius will continue to sparkle like the millions of beads you meticulously placed on those of us fortunate enough to have known you.
I still have my gowns and treasure them as much as the day I first put them on. Rest well Bob! -Barbara Eden
Theodore Bouloukos retweeted
ICYMI: this old head is honored to be among this year's 25 New Faces of Film in @FilmmakerMag !
A thousand thank-yous to @44getting and @celizotte for pole-vaulting me into the pantheon and David Cardoza + Dan Welch of Cashiers du Cinema or capturing my likeness!
Theodore Bouloukos retweeted
Orson Welles talking about the larger acceptance of experimental cinema during an interview in 1962:
"Oh it's wonderful, and it's very hopeful. I mean there are all sorts of difficult subjects being made into mainstream pictures nowadays and they are doing well. People are going to see them. HIROSHIMA MON AMOUR and LAST YEAR AT MARIENBAD. I mean, I don't like them, but I'm so glad that they were made. It doesn't matter that I don't like them. Resnais would probably hate THE TRIAL, but what matters is that a difficult and on the face of it, an experimental, film got made, and is being shown and is competing commercially! In other words what is dying is the purely commercial film, at least that is the great hope!"
Theodore Bouloukos retweeted
My parents raised me on soy milk in the 70s. They thought it was super healthy. I think that’s why I look like a Mexican woman. Not that there’s anything wrong with that. I make it work.
Theodore Bouloukos retweeted
The great Michael Elias on writing with—and dating—the great Eve Babitz...
airmail.news/issues/2026-9-5…
Theodore Bouloukos retweeted
Forget Aster and the Safdies. There is no more original filmmaker working in the US today than Jon Bois.
airmail.news/issues/2026-9-5…
@A24, @JOSH_BENNY, @jon_bois,
Theodore Bouloukos retweeted
Paul Schrader gets choked up during the 4-minute standing ovation following the world premiere his film ‘The Basics of Philosophy’ at the Venice Film Festival. The drama stars Jack Huston, Sofia Boutella, Bill Pullman, Dana Delany, Daniel Zovatto and others.
Theodore Bouloukos retweeted
To most of the world, of course, Gloria Steinem is a defining public face of feminism, but we at ‘New York’ Magazine also think of her as one of our own. Starting in our very first issue, she became a contributing editor and columnist, steadily covering city and national politics from a generally leftist perspective. She wrote about Bella Abzug and John Lindsay, about Teddy Kennedy and Ralph Nader, about Vietnam and abortion rights. You can, reading her columns, almost chart her gradual progression from columnist to activist. In the fall of 1971, she left us to co-found ‘Ms.’, which launched with a 32-page insert in the center of ‘New York’s year-end double issue.
Today, we’re republishing 15 of her old stories from our archives, most of them resurfaced for the first time. Some are revelatory; others are just interesting snapshots of their time, including a wild look at “new love styles” that we ran for Valentine’s Day 1970. Revisit them here: nymag.visitlink.me/yoV0df
Theodore Bouloukos retweeted
PAUL SCHRADER shares his thoughts on the Paramount Warner Bros merger:
“Well, the studio system is sort of dead… but for me it’s kind of like that scene in 'The End Of Oak Street' when Ewan McGregor’s character comes across two dinosaurs fucking and he wants his wife to take a picture of him in front of them… That’s sort of how I feel about Paramount and Warner Brothers…”
See more from our conversation here: deadline.com/2026/09/paul-sc…
