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The Kit by The Calepino Panoplie

Here at Grow Sunday our decreasing use of pencil and paper in normal, everyday situations has been coupled with our increasing appreciation for great looking stationary. This collection by French brand Calepino is one of the best we've seen in a while.

"The perfect package for those wanting all Calepino products, or for the ideal gift. It is made up of all you may need in the case of a shortage, a natural disaster or the rationing of paper."  You can pick up your set from their website.

Adidas and Consortium’s Pure White Winter


 

Yet again consortium have made a visit to your local Adidas store an absolute necessity this NYE. The stunning brilliance of their latest drop has caused more than a stir below the belt line here at Grow Sunday.

The 5 pack set contains nubucks, pigskin suedes and untouched leathers with big laces and fat stitching in white/off white finishes, with the Arthur (Ashe), ZX500, Decade High, Shell-Top Mid & BC all represented, get a pair at a time or the whole set, but get them as soon after the clock strikes 12 on NYE as these kicks will be turning pumpkin pretty damn quickly. See you in the Q at Size? and then straight after at Boots to get some new tooth brushes…

Stop press…. Pre-order from the 26th at our favourite online sneaker store www.crookedtongues.com

Franck Ribery x Nike Sportswear Destroyer Jacket

Collaboration between Beastin, Franck Ribery and Nike to create this edition of Nike's famous Destroyer jacket.

25 years ago Mike Tyson became a champion

25 years ago today Mike "Iron Mike" Tyson because one of the youngest ever heavyweight champions of the world. He beat Berbick easy, in an extremely one-sided fight with a 2nd round knock out. Tyson's career reached it's absolute peak with an unforgettable performance in The Hangover. (not really!) Here are his lifetime fighting stats: 50 wIns (44 by KO), 6 losses and no draws.

Charlie Todd: The shared experience of absurdity

Piano Staircase by The Fun Theory

Interview with Errol Morris (Director of Tabloid)

If you haven't already heard (and you really should have by now), director Errol Morris' new film Tabloid has just opened at cinemas across the UK. His last documentary The Thin Blue Line got a death-row prisoner acquitted, and the one before that got an Oscar. So he's kind of a big deal. Unfortunately, he's also quite prone to being sued and that's what's happening now – Joyce McKinney, star of Tabloid, has just filed a lawsuit claiming misrepresentation. Despite this, Morris was upbeat, friendly and surprisingly candid, as Sally Griffith (@sallygriffith) found when she went along for Grow Sunday to a special screening and Q&A. Here it is:

[Morris explains to the audience that the star of the documentary, Joyce McKinney, has just filed a lawsuit against him]

When the film first came out, I thought she was supportive in going on interviews with you and things like that?

That’s not quite right.

What’s the truth?

I didn’t go to that many film festivals with Tabloid although it was shown around the United States, and Joyce would appear at these things. Seattle San Francisco, Los Angeles, Chicago, New York, quite a number of different places. And she would show up at screenings. And on three separate occasions I actually did a Q&A with her in front of the audience, so we actually appeared together in connection with the movie. I came in just near the end of this particular screening, and I listened to Peter Tory (Daily Express reporter at the time) saying that Joyce had said she would sue anybody who connected her with the sex in chains story. Um, so there you go!

Is it true that she kidnapped a three-legged horse?

You know I don’t want to contribute further to any of this. There’s material that was not put in this film – because there just seemed to be enough in it already. To me films are like sausage casings – it’s just so much meat you can cram into it, before it bursts. So this is not the complete unexpurgated, unabridged version of Joyce McKinney’s life. If anything if there was more material it would displease her even further. I tried to create a sympathetic and loving portrait of her. And I believe I have been successful. That would be my argument. Joyce looks great in the movie. She is a powerful and convincing presence.

Do you actually believe what she says?

Some of the things that she says I believe, some I don’t. Somebody asked me about the problem of dealing with unreliable narrators, and I pointed out that we’re all unreliable narrators. Each and every one of us, perhaps some more so than others, Joyce has her own version of reality, clearly.  I mean this is, properly speaking, a love story. And Joyce sees herself as a romantic heroine. Is she one? I don’t know, you be the judge.

What was about this story – big themes wise –that you’re so interested in? Because clearly it’s more than just the quirky story on the surface.

I’ve heard people say about this movie that it’s slight. And that puzzles me. It lacks the gravitas of Robert S McNamara talking about the possibility of a nuclear apocalypse or the seriousness of the Abu Grahab and the photographs that came out of that prison, and the subject of my last two films before Tabloid. But I don’t look at this as a slight story at all. I look at it as an incredibly complex story. Forgive me, the story of a doomed love affair; these stories have been with us for as long as people have been recording stories. There’s nothing new about it at all, although it takes a different form in this movie. I make movies on a hunch, and then I get trapped in them. You start something, then you shoot material, you try to make it work, you shoot more material, and somehow you have to dig your way out. I like this story because I read an AP Wire service piece that appeared off the The Globe, I come from Cambridge, Massachusetts, I get the New York Times and The Boston Globe every morning. And there was a wire service story about a woman who had cloned her pit bull, Booger –it didn’t mention the abduction of the three-legged horse. (Must have been a slow abduction!) And the 30 plus year old sex in chains story, which was at the bottom of this wire service story. And yes I was intrigued. The combination of dog-cloning and sex in chains, the very question that Joyce asks at the end of the movie. The connection between the dog cloning and a 32 or more now year-old sex in chains story? I’d say it’s about not giving up, despite evidence that suggests you probably should. Clearly there is a connection, that’s what’s interesting to me about the story, and the connection is a mysterious one. Joyce is mysterious. It’s interesting to me you can make an entire movie about someone, and literally spend I don’t know how many hours, I don’t know, weeks months with someone in an editing room putting this material together, and come away even more puzzled about them than when you started. That’s true in this case. And to me the most the most puzzling aspect of it is that clip, the book ends, at the very beginning and the end of the movie, this comes from a film made by a Utah filmmaker Trent Harris who started a film with Joyce in 1980, never finished it. There she is reading from her unfinished autobiography, the story of a love affair, a doomed love affair, a woman who pines away alone. And there’s this realisation, she’s predicting her own future, she’s predicting the next 30 years of her life. Which is so very strange. It’s a crazy kind of self-fulfilling prophecy. And it makes me wonder, do we all script our lives and then re-enact them? We create this scenario of who we are and what we’re doing and just play it out. That seems to be what has happened in this story. Quite extraordinary.

How close did you get to including Kirk in the film?

Someone asked me how hard I tried. I certainly didn’t try as hard as Joyce tried. No toy gun, no smith and western handcuffs, no chloroform. We sent a series of letters to his address in Utah, and he never responded. This was also true of the elder in the Mormon Church who ran the mission just outside of London where Kirk was a missionary when this all went down. It’s an incomplete story. And as such it becomes a story about people struggling with the story. The story about a story. The story about a competing narrative. Which I find also very, very interesting.

How long do you prepare them for before you interview your subjects? And how long did they take?

These interviews were done in three days, there are six of them. Six people, half a day each. Four interviews over one weekend then I edited for two, three months or so.

I try really hard never to talk to people in advance of interviewing them. I don’t meet them, I don’t talk to them. They come in to the studio and I put them on camera. There are a number of reasons, principle among them: Say we’re talking, you tell me a story, I think the story is absolutely fabulous, what am I to do? Ask you to repeat the story to me again on film? It’s never as good. It’s never as good for a whole number of reasons. 1, you’ve already told it to me, you know you’ve told it to me, there’s not that excitement of telling me a story. And I’m not excited about hearing the story so we’re going through the motions of hearing a story, telling a story, rather than that excitement of genuine information being received and told, given and received.

There’s something very strange about interviews for me. I think I was pretty good at this before. But I don’t know what it is that I do. I just go and do it. I try to listen, which is another important thing. I try not to talk too much. Long before I became filmmaker I was interviewing mass-murderers in Northern California and then in Wisconsin. I was obsessed with mass-murderers. I would talk to the murderers, I would talk to their families. And, I started playing this very odd game where I would walk into a room, I had a tape recorder I put the cassette tape recorder on the table, it wouldn’t even be running, I wouldn’t turn it on, I’d bring it in with it on in view of everybody, and then we would begin the interview, and the game was, the cassettes were two hours long, an hour a side, could I interview where you would never hear my voice? The person would keep talking and you would never hear my voice on the tape. And I eventually kind of got good at that. I don’t know what actually goes into it. I mean, it’s crazy, but I believe it’s the begging in of my whole style of putting interviews together and eventually movies. The shut-up-and-listen school.

Joyce didn’t want me to interview either her mother or her father and I didn’t. This question has come up recently a whole number of times. I ask myself, do I have a really good reason or not having interviewed them or tried to interview them. On the one hand this is a portrait of Joyce, but on another hand it’s her portrait of herself, as she wanted to present herself. The one thing that I find puzzling is: if she says she has been misrepresented. The principle spokesperson for Joyce in Tabloid, is Joyce. If she’s been misrepresented, it’s primarily by herself. It’s a story about self-presentation as much as anything, a story about people struggling for narrative. I mean it’s amazing that the tabloid papers were competing top tell two different stories. That’s crazy. Joyce’s virgin, Joyce’s whore. Where strictly speaking neither are true. Joyce trying to define herself as a romantic heroine in this doomed quest to win back Kirk. All these people trapped in island universes of their own devising, that’s at the heart of the story. Yes I could have made a movie of Freudian analysis of Joyce and how she became Joyce, but that wasn’t the real core of the story. For me it was something different altogether. I may have been remiss, but that’s the way it goes.

Tabloid is out now across the UK

Lacost L!ve collaboration with Cool Cats

Lacost have produced an unusually large collaboration collection with Cool Cats. From sweats and t-shirts to bags. Cool enough for cats! (sorry, couldn't help myself)

Mastermind JAPAN x PORTER – 2011 Fall/Winter Bag Collection

Mastermind JAPAN and Porter have come together to design a collection of pretty cool travel bags. (Just in time for Christmas) Bags are exclusively available here.

Joe Frazier 1944 – 2011

The LomoKino by Lomography

Finally a cheap way to film in 35mm and get that authentic retro look and feel to your film work! Lomography are selling the LomoKino for £65 from their online store. Lomography really are banking on this camera being a big hit, they've even produced a nice little microsite for you to get all the info you could possibly need before decided whether or not to buy one. You will end up buying one.

A Day With Zombie Boy, by Inked Magazine

Vintage Skull by Ali Gulec

Available from Society 6.

Apple’s iPod turns 10 years old

We could write a paragraph or two about how this iPod really took digital music to a new level, but we'd rather sit back for 10 minutes and listen to Steve Jobs instead. Check out the video below of the man himself introducing the iPod to the world.

House Industries for Herman Miller

The Asia-Pacific branch of Herman Miller has been working on an interesting new project. They recently got together with typographers House Industries on a small collaborative collection of tables. Scroll down for a few more shots.


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