That cannot have been been easy, but she seemed totally unflustered.
“You talk about the energy of New York City — India makes New York City look like nap time.”
That’s from an in-depth New York Times story this week on what the late-night icon has been up to since retirement (beyond growing an impressive beard).
Letterman apparently traveled here to world’s second-most-populous country to film a TV series on global warming called “Years of Living Dangerously.” He continued:
“The first day was very depressing. You smell what you think might be furniture burning, and it never leaves.”
“And then,” he added, “one day it would be exhilarating. What never seemed to waver was their optimism. The fact that there’s 1.2 billion people is, to them, an asset, where we would think, oh my God, what are we going to do?”
Here’s more info on the series. The show airs on National Geographic Channel later this month.
This snippet in Richard Brody’s recent New Yorker piece on the best movies of 2015 struck me:
The cinema’s self-conscious modernity arose when its makers put a virtual mirror into its lenses and revealed the filmmaking process in the films themselves. They reflected the world around the movie within the movie, the director on the screen. But television has outrun the cinema here, too, by replacing the mirror with an echo chamber; by means of social media, television has gone beyond reflexivity to become participatory. It has become its own story. “Transparent” isn’t about an elderly father who comes out as a transgender woman; it’s about the making of a show on that subject. “Mad Men” is about the making of a show about advertising people in the nineteen-sixties. Unlike movies, where reflexivity is a matter of aesthetics, TV has made it a matter of ethics, politics, and sociology.
Food for thought.
According to a recent flash-forward episode “Grey’s Anatomy,” that is.