Hal

DeRank ™: 9,08

DeAge™ : 8378 days • Here since 6 may 2003

Love Contact

Mos Def & Talib Kweli Mos Def & Talib Kweli Are Black Star

11 feb 05

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beautiful zion, too bad I don't understand a damn thing about this music, damn... I'm waiting for lessons

Bruce Springsteen Live In New York City

11 feb 05

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Well done as always, grass. Speaking of the "fighting robin," I believe it's a metaphor for poetry. Strength, lightness, freedom together. You're incredibly harsh on Springsteen, though :))

Yann Tiersen & Shannon Wright Yann Tiersen & Shannon Wright

11 feb 05

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@ Zk: I'm not sure you'll like this record; maybe when I have a few minutes I'll send some sample tracks; @ cleo: it's far from the Amelie soundtrack, maybe that's the reason I was a bit surprised compared to my listening expectations; @ hum slow? a bit, but there are some moments full of energy... how to say, controlled, anyway a cultural exchange can happen :)

T.Rex Dandy in the Underworld

10 feb 05

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Certo! Inviami pure il testo che vuoi tradurre.

T.Rex Dandy in the Underworld

10 feb 05

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It's been a while since Bolan's name has been noted in my shopping list; I need to start. Welcome, Alix.

Faust Faust

9 feb 05

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beautiful review, a regret not being able to vote for the album

AA.VV. Music from the Motion Picture, Pulp Fiction

9 feb 05

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I might not have understood, but neither did you, it's just that I tried to explain myself. Usually, I always do because I believe misunderstandings often arise from the "sender" of the message (the first axiom of communication). You think differently and believe you are very clear. Are you tired of explaining yourself? I, on the other hand, am tired of your rudeness, which is indeed very clear. Regards.

AA.VV. Music from the Motion Picture, Pulp Fiction

9 feb 05

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Alright, let me review. My initial statement (comment no. 1), from which your controversy follows, was: “music has often preceded film” etc., followed by my request to understand why this should be considered an illogical operation. 1. Often does not mean always (I believe). 2. Whether or not Tarantino has followed this path is not proven (given that there are conflicting statements) unless you are calling me a liar or an idiot who doesn’t understand what he reads; 3. Despite my repeated request, you have yet to explain what could possibly be illogical about this method (this question has its intrinsic validity regardless of Tarantino, I believe). Instead, you thought it wise to talk to me about “mathematical” rules in the construction of a film, something I do not share/understand. 4. I prefer to overlook the rude conclusion of your comment as mentioned above.

AA.VV. Music from the Motion Picture, Pulp Fiction

8 feb 05

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But I think you're forcing a comparison. As I said before, Kill Bill is a collage, or rather I would say a zapping, a mixed bag (a bit watered down and with various smudges) uneven and rich in clumps, with different languages tied together by an evocative logic of the elements used. It's a film of quotes. It’s not a manga, it’s not a martial arts film, it’s not a 70s TV show, it’s not a video game, it’s not an epic film. The movie is a tribute to an imagery, without being any of the elements utilized. A very television-like imagery. It has taken a thousand different pieces, a scrap of a plot, and turned on the blender without putting on the lid (what a crazy metaphor :)). Hero (an amazing film!) is something completely different, it’s an epic film, it’s a legend. The martial arts films it references are equally something else; they have their own context, which is not, except in the form of evocation (not necessarily realistic), what Kill Bill is. Bye.

AA.VV. Music from the Motion Picture, Pulp Fiction

8 feb 05

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In short, benzo, either you get it or you don't. I'll be very direct. The point is this: explain to me what is illogical/absurd about the idea that a song can serve as inspiration for the creation of a story and/or an image. Theo Anghelopoulos wrote the ending of Il passo sospeso after listening to the music of Karaindrou. Tarantino chooses certain songs before writing the story, drawing inspiration and rhythm from them. In other words: where’s the nonsense? I'm referring to your assembly line mentality because you demonstrate an understanding of art as a defined "Process" ("it's an art that requires a lot of discipline and follows very precise, almost mathematical patterns"), with certain premises and consequences. I am not at all convinced that cinema necessarily requires predefined structures, as you claim. To confirm this, just think of Fellini. We’re talking about art, about the meeting of imagination and languages; we’re not talking about Haccp or production processes.