Episode #526

Big, Bigger, Biggest

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Saturday, June 26, 2004

Kurt Andersen and his guest, the actor and film director Liev Schreiber, discuss scaling art up or down — from the huge to the tiny. The grandson of innovative designers Charles and Ray Eames tell us about their movie Powers of Ten — it zooms from the skin on a man’s hand to the ends of the universe, pulling back ten times as far every ten seconds. The California artist Karen Carson gives us the straight dope on why painters love making giant work. And the songwriter called Stew, at work in the studio, thinks that “small is always what gets the attention."


Liev Schreiber

Special Guest: Liev Schreiber

Liev Schreiber is one of the most acclaimed young actors today. His portrayals of Hamlet and Iago on stage thrilled critics, and he’s appeared in films from indie (The Daytrippers, Big Night) to blockbuster (The Sum of All Fears, Kate and Leopold, and the Scream trilogy). He stars in Jonathan ...


Powers of Ten

A 1977 short film called Powers of Ten by the great designers Charles and Ray Eames is a unique demonstration of that principle of scale. The Eames are best known for a famous mid-century modern chair, and had a rule to always look at something from ...


Does Size Matter?

At some point in the middle of the last century, almost all the important painters were working big. Canvasses grew too big for even some of the rich patrons’ walls. Matt Holzman of KCRW tried to find out why, and how, modern painters went monumental.



Songs don’t take up any physical space, but musicians and their producers have to make a lot of choices about scale, like the number of instruments used and even the size of the studio. Los Angeles-based musician Mark Stewart records under the name Stew. He writes elegant pop ...



The New York Times Magazine reported last year that 40 million Americans had visited at least a dating site in a single month. And with 40 million people competing for dates, somebody’s going to want an edge. Enter screenwriter Evan Katz. He turned his talent for writing plausible, lovable fictional ...


Commentary: The Dumb and the Bland

We wait all year for the delicious bounty of summer produce, but as Studio 360’s Kurt Andersen noticed, this summer’s crop of television shows is dry and withered — as TV has been for a while. 


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