Hal

Holy patience! Honestly, I feel a bit like telling you to take a hike, since you effectively call me a liar with a tone I don't really appreciate (that "I remind you" ... ugh), but let's move on ... I've heard other statements that do not match what you're saying (maybe Tarantino was joking in your case? quien sabe). Maybe I didn't explain myself well, so let’s try again. In the cited interview, Tarantino wasn't joking. He was explaining that the music preceded the writing of the film, which started from an idea without any structure conceived with Thurman: "Kill Bill." If you find that absurd ... well ... it's absolutely normal for me since I've often seen this system used in theater concerning music, staging, and "screenwriting." Tarantino explained how music entered into the construction of the film in a sense of inspiration for the imagery, preceding it, rather than being just a cog in a production line. Clearly, his was a general discourse, but to clarify, he cited "bang bang" as an example. He decided he would open the film before writing it (according to him, if you don't believe it, take it up with him). It doesn't surprise me at all, given that the director's role also involves composing different languages (gesture, word, image, sound, indeed). Let's say I see it differently than you do. The care for the soundtrack, the choice usually falls to the director, I would say to the good director. So I don't see any illogicality. Whether what Tarantino asserted is true or not, I can't know; I'm not his biographer. Bye.

Ah, I was referring to the case of Kill Bill Benzo, but I don't exclude that it could have happened for this film as well. Anyway, if I find the interview, I'll let you know where I read it. Bye.

He can say it simply because it's true, Benzo, unless Tarantino himself lied since he declared what K reports. I had read it in an interview a while ago as well, maybe I even wrote it in a comment somewhere. In other words, the music often preceded the film in Kill Bill. The choice to open with "bang bang," for example, predates the storyboard according to Tarantino. But still, I don't understand why this should be absurd, illogical, and senseless (using your words). Music can be an inspiring element for cinema. It happened with Angelopoulos and his muse Karaindrou. I think of others too. I see nothing strange about it. Where's the illogicality? Even experimental theater has paths that can start from other languages (image, music, word, gesture). Why must there necessarily be only one logic or an assembly line order in the construction of a complex work of art? Bye.

"- Every now and then I wonder what we are waiting for. Silence - That it is too late, madame." ... I confirm I hate it. Although I must admit that I liked his TV shows. "Love is an Arrow" was a nice original TV program, as well as the Pickwick Circle. I seem to remember a not very flattering definition of Ciccio Ingrassia concerning Tornatore because he had promised him a role in Nuovo Cinema Paradiso and then called Noiret instead...

I hate Baricco, I can tolerate Tornatore, the film was so-so, the soundtrack not bad, the review very nice.

humax, I want to leave you a note about a great album I've been listening to for a couple of days: "Sixteen Horsepower - Folklore" (Glitterhouse 2002).

I ordered it from Delogu, it arrived in a week. Egebamyasi gets it for you quickly. Bye

Considering the beginning of the review, it follows that I must absolutely listen to this...

The "spatial" intro of the album is beautiful, perhaps my favorite in the Portishead discography. A lovely stroll, manumission.

I believe the particular packaging of the CD comes from the fact that it is compatible with SACD systems. So far, I've only listened to the disc a couple of times. It was definitely worth buying, and I agree that it requires attention, as well as on some understandable excesses. Thx for the heads up.