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Toți suntem puțin autiști

Cam asta e senzația după ce te uiți la Temple Grandin, povestea reală a unei tipe autiste. Un film care te intoarce pe dos și-ți dă delete la toate gândurile pripite despre unii oameni. Un film care-ți arată câtă frumusețe se poate ascunde într-un om ciudățel, dacă sapi un pic după ea. Weird is beautiful. Merită fiecare minut de vizionare.

claire danes

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Space is a lonely town: interviu cu regizorul nostru preferat

Dupa o pauza de meditatie prelungita, revenim in forta pe micile ecrane de calculator. Si nu oricum, ci cu un material care astepta sa fie degustat cu pofta. De voi cei pentru care American Astronaut este un film-cult si nu cineva care se plimba pe luna prin 69.

Mai jos un fragment cu regizorul American Astronaut, Cory McAbee, un tip care face un act creativ din orice se apuca sa faca, fie ca e muzica, filme sau pazit baruri, dupa cum veti vedea in continuare. Interviul integral poate fi citit in numarul urmator de Oogli, suplimentul cultural de fiecare luna al Igloo. Enjoy:)

Incepem cum se cuvine cu trailerul filmului:

1. Where do you get your ideas for the movies? Which are your sources of inspiration? For American Astronaut for example, the plot is so unusual that I’m quite curious how did that come up as a story.

I wrote THE AMERICAN ASTRONAUT after three years of living without a home. During those three years I worked part time filling in as a substitute doorman in bars and nightclubs and living out of my friends’ garages. That film was inspired by the people in my life and my own circumstances at that time.
STINGRAY SAM was written at the end of the Bush administration. The US government had done so many horrible things to the world, the environment, and destroyed America’s economy and reputation. I felt it was important to make a film that would embrace and celebrate America’s culture while criticizing it. I created a science fiction landscape based on the modern US landscape, including privatized prison systems, creating poverty by outsourcing labor, jeopardizing natural resources, abuse of pharmaceuticals…etc. I worked them into a story that incorporated well-loved American-grown genres such as musicals, westerns, singing cowboys, sci-fi serials and cute little girls with classic American melodrama problems. The intention was to make a modern film that everyone could enjoy, and I hope they do. I made it in serialized segments to make it compatible with every way that people watch films today.


2. Does the movie have a certain message or is it pure fiction and thus an artistic form of entertainment?

I don’t claim to have the righteous end-all point of view, so I steer clear of creating propaganda. If I try to push a point that I feel passionate about, the writing usually falls flat. Maybe it’s because I get excited over partial information. My beliefs are written into my stories, but the thing that tends to inspire people of different mindsets is the spirit behind the productions themselves.


3. Since is an unconventional mix between western and one of a kind SF. Probably this is the reason why the way you depicted the outer space was totally different from what I’ve seen in other movies. How did you come up with the unusual way the outer space looks like?

THE AMERICAN ASTRONAUT was styled after my family and how they lived. It looks like my father and my grandfather. My dad was a cowboy auto mechanic and my grandfather lived in the desert and fixed anything that came his way. I was close to both of them. I’m still close to my father.
I was fortunate to be working with our production designer, Geoff Tuttle, on some personal projects when the funds were secured. He had never done film work before, but I knew he would understand the look I was going for. He lives out in the desert now making sculptures.


4. Tell me three movies one should definitely not miss.

1. The Wizard of OZ (1939)
2. “The Ghost and Mrs. Muir” (1947) with Gene Tierney & Rex Harrison.
3. Spirited Away (2001) Hayao Miyazaki

5. What would you do if you stopped making movies? And what means compromise when it comes to a movie?

I love making movies. I’m always working on a story in my head, but I don’t get to make films very often. I spend a lot of time distributing my films, writing, drawing, recording music and being a father. As far as a compromise, it would depend on what your intentions are. We all come to it for different reasons. Some people want to be rich and famous. I think that’s a sickness.

6. What’s your next project about?

WEREWOLF HUNTERS OF THE MIDWEST is about an old man who hunts werewolves in a world where no one believes in monsters.


7. Each cinematography age has its own traits. Where do you think the cinema is heading now, in terms of purpose and characteristics?

People will have to consider how their films will look on small screens, like iPhones.

8. And last but not least, what did you wanted to become when you were little?:)

When I was 8 and 11 years old my teachers told me that I was going to be a philosopher. I didn’t know what that meant. Someone told me that it was someone who thought about things. I pictured a man in a suit sitting alone in an office. That made no sense. I just wanted to make the other kids laugh and get through the day without being picked on. I was small for my age.

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KITE TV: Tideland

Linia fina dintre a fi normal & happy si total fucked up tine de a discerne sau nu intre bine si rau.

Tideland, 2005, Terry Gilliam.


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More: cand soundtrackul bate fimul


Mi s-a intamplat de cateva ori sa descopar un soundtrack mult inaintea filmului pentru care a fost facut. Si tot ascultandu-l, incep sa-mi imaginez despre ce e filmul. In cazul “More’, filmul din ’69 al lui Barbet Schroeder a carui coloana sonora e semnata Pink floyd, delay-ul intre prima oara cand am ascultat albumul (caseta adica:) si vazutul filmului e de ani buni. Daca treci prin tot albumul, starea cu care ai sanse mari sa ramai e ca dupa ce vezi Tonite lets all make love in London, despre Londra anilor psihedelici. Cam la asta ma asteptam si de la More-filmul. O succesiune de stari, sunete, culori violente si dansuri intortocheate, fara un fir epic prea bine definit. Un film de atmosfera.

De fapt, e varianta mai veche a campaniei anti-droguri pe care o vedem prin oras, aia cu marul injectat si line-ul cu iz apocaliptic ‘drogurile strica tot’. Un neamt inocent ajunge la Paris, se indragosteste de o americanca ale carei vicii erau deprimarea si (implicit) heroina, au parte de o perioada fericita intr-o casuta pe niste stanci, langa o apa, insa povestea merge mai departe, si ‘more’ droguri il fac pe el sa isi incheie prematur socotelile pe acest pamant (ea evident scapa). Un fel de ‘iata ce se intampla daca nu esti cuminte, primesti overdose in loc de happy ending’. Moralizator in mod explicit, simplu, si o poveste de minima rezistenta in locul atmosferei promise de ascultarea pe repeat a albumului.

Dar presupun ca asta ar fi riscul oricarui film cu soundtrack de Pink Floyd. Sa faca filmul sa para degeaba.

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Shutter Island, or shut down computer


Am vazut si eu intr-un final Shutter Island. Unii ziceau ca e foarte tare, altii ca e oribil, evident cand un film polarizeaza asa iti cam vine sa faci efortul de a pierde/castiga 2 ore sa il vezi. In cazul de fata, pierderea nu a fost asa mare, punand in contextul de sambata seara, racita bocna si condamnata la stat in casa. Sigur, puteam sa citesc sau sa vad un film bun, dar deja asta e alta poveste.

Dupa ce vezi filmul (ca sa nu zic din primele 10 minute de vizionare), te intrebi ‘de ce’? De ce Scorsese s-a mobilizat sa faca filmul asta. Adica, recunoastere are, financiar nu sta rau, are deja varsta la care (mai bine) ar putea sa se ocupe de gradinarit (daca devine greu cu filmele).

Pe scurt, o investigatie asupra disparitiei unei paciente intr-o inchisoare de detinuti cu boli psihice (condusa de Leonardo Di Caprio in rolul ‘serifului’) si care incepe interesant, devine o meta-drama, prin faptul ca ‘seriful’ pare bantuit in acelasi timp de 3 probleme existentiale: o nevasta omorata cara tot apare prin vise, plimbarile lui nu tocmai pasnice prin lagerele naziste si nevoia lui de a demonstra ca inchisoarea respectiva de fapt e un cover pentru a face experimente pe oameni, desigur treaba gandita la nivel inalt guvernamental.Si la final tot scenariul ne demonstreaza (cumva, fara a mai avea un sens) ca e o linie foarte fina intre realitate si perceptie, si ca identitatea ta (in cazul lui, de om al legii) poate fi rapid schimbata 180 de grade in criminal periculos. Sau invers.

E cumva stilul lui Scorsese sa imbine mai multe planuri pana cand nu mai stii exact la ce te uiti. Insa in cazul de fata, e ca si cum ar fi avut in cap trei idei de scenarii complet diferite (drama personala aka ‘nu e bine sa-ti omori nevasta oricat de psihopata ar fi’, drama macro ‘nazisti versus evrei’ si drama justitiaro-conspirativa ‘guvernul face lucruri rele cu mintile oamenilor’), dar avea buget de un singur film. Asa ca a iesit un 3 in 1, care e de fapt 1 film in 3 scenarii.

Si da, e greu sa gasesti un mix bun.

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When Lynch met Lucas

Foarte cool. Animatie facuta pe baza inregistrarii audio in care Lynch povesteste intalnirea cu George Lucas, si despre reactia lui la oferta de a regiza Return of the Jedi. O animatie la fel de savuroasa ca si povestea. Interesant ar fi de facut sequel-ul cu varianta lui Lucas 🙂


When Lynch Met Lucas from Sascha Ciezata on Vimeo.

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E greu sa gasesti un mix bun

Da uite ca celor de la Something Awful le-a iesit, la cateva din mixurile de titluri de filme. Enjoy.



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Blogul Republik devine theKITE

Ne citeati pana mai ieri pe blogul Republik. Azi ne-am mutat la casa mai mare: Un loc unde sa incapa toate ideile, proiectele si taraseniile de soi din domeniile creative. Si alte minunatisme de zi cu zi care ne fura ochii si ne fac sa scriem despre. Bine v-am gasit:)


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