You know, I really enjoy cooking. If this whole filmmaking thing doesn’t pan out, maybe I’ll go and become a chef instead. But I rather make a film about cooking someday, oh it’s a must! Maybe my take of an Eat Drink Man Woman.
Beyond~en~Scène
be·yond
first and foremost a filmmaker. often a photographer. usually a writer. always a music enthusiast.
first and foremost a filmmaker. often a photographer. usually a writer. always a music enthusiast.
3| Miles: | I'm so insignificant, I can't even kill myself. |
|---|---|
| Jack: | what the hell is that suppose to mean? |
| Miles: | come on man, you know...Hemingway, Sexton, Plath, Woolf. You can't kill yourself before you've even been published. |
| Jack: | what about that guy who wrote Confederacy of Dunces? He committed suicide before he was published, look how famous he is. |
| Miles: | ...thanks. |
| Jack: | just don't give up, alright? you're gonna make it. |
| Miles: | half of my life is over, and I have nothing to show for it. I'm a thumbprint on the window of a skyscraper. I'm a smudge of excrement on a tissue surging out to sea with a million tons of raw sewage. |
| Jack: | see? right there. what you just said. that's beautiful. a smudge of excrement...surging out to sea! I could never write that. |
| Miles: | neither could I actually. I think it's Bukowski. |
MAYA: Why are you so into Pinot? It’s like a thing with you.
MILES: Haha I don’t know. It’s a hard grape to grow. As you know. It’s thin-skinned, temperamental, ripens early. It’s not a survivor like Cabernet that can grow anywhere and thrive even when neglected. Pinot needs constant care and attention and in fact can only grow in these really specific little tucked-away corners of the world. And only the most patient and nurturing growers can do it really, can tap into Pinot’s most fragile, delicate qualities. Only when someone has taken the time to truly understand its potential can Pinot be coaxed into its fullest expression. And when that happens, its flavors are the most haunting and brilliant and subtle and thrilling and ancient on the planet. And you?
MAYA: I like to think about the life of wine, how it’s a living thing. I like to think about what was going on the year the grapes were growing, how the sun was shining that summer or if it rained… what the weather was like. I think about all those people who tended and picked the grapes, and if it’s an old wine, how many of them must be dead by now. I love how wine continues to evolve, how every time I open a bottle it’s going to taste different than if I had opened it on any other day. Because a bottle of wine is actually alive — it’s constantly evolving and gaining complexity. That is, until it peaks — like your ‘61 — and begins its steady, inevitable decline. And it tastes so fucking good.
Ahhhh What a beautiful moment. And isn’t it so right? Aren’t we just all bottles of wine waiting to be opened by the right hands? Some are cheap to the taste, while others like to think we belong in the special reserves bin. This moment really serenaded me, it made me think about so many different things in life. It made me realise how much I will continue to savour this film for years to come, like today, while having a hangover. And it also made me an Alexander Payne fan, one of the best storytellers in contemporary American cinema.
“KONAAAAAAYUKIIIIIII NEEEEE…”
I can listen to this song forever (or a more realistic but still very extended length of time). It makes me wanna run in the snow, and fall on my face.
Konayuki by Remioromen
maybe the film will edit itself if I just dance…
Slide by Salmonella Dub
cassiopeiachild asked: BEYOND!
Hi Jenny :D
| sophia: | let me show you my idols, you HAVE TO love them |
|---|---|
| me: | ...okay |
| *she plays a Girls' Generation video* | |
| me: | ooooooh I know these girls! |
| sophia: | this one's Tiffany |
| me: | I know. I like her |
| sophia: | this one's...Jessica |
| me: | I said I know them |
| sophia: | this is Taeyeon, SHE'S SOOO PRETTY OMG I LOVE HER, SHE'S MY FAVOURITE! |
| me: | ...what? ...really? she's not that pretty |
| *she shoots me a look of complete shock and disgust* | |
| me: | ......she's a good singer though, the others can't sing. |
| sophia: | WHY YOU'RE SO MEAN???!!! |
| me: | I'm just being honest, she's not that pretty, seriously |
| sophia: | I HATE YOU! |
| me: | ...geeez |
| sophia: | okay, I'll show you a different one |
| *plays a Girls Day video* | |
| me: | omg I hate Girls Day, their songs are so annoying and just plain noisy |
| sophia: | I'M GONNA KILL YOU!!!! |
| *she gave me a bruise* |
the stamp of kool
how do you do it, Chopin? how do you instantly strip away everything around me and put me in such a cold and lonely place, albeit a beautiful one.
compared to others you have only a small body of work and rarely goes beyond the piano itself, but perhaps it is the brevity of your time on earth that makes your work rise above all to really tap into these heartstrings of mine.
Nocturne in C# Minor (No. 20) - Frederic Chopin
CAN’T STOP PLAYING THIS SONG! IT’S SO DAMN CUUUUUTE
it’s like Shy Boy all over again, only sweeter
Starlight Moonlight by Secret
The first time I watched this film was 10 years ago in the cinema, I remember it like it was last week. And I think I’ve seen it once every year since then. It’s beauty and achievement remains timeless. It has some of the best gun fight scenes ever captured on film and one truly original montage amongst many other unforgettable scenes. Unfortunately the film marked the final work of two screen legends - Paul Newman and cinematographer Conrad L. Hall. This opening sequence with Thomas Newman’s amazing score is just cinematic ecstasy.
Road to Perdition (by Sam Mendes, 2002)
Oh the pain it must be to be known to the world forever under another man’s shadow, even worse, unlike being born into it, it was a result of your own choice.
A beautiful elegy to the person that you love and admire the most, so much that you just had to kill them.
Abbas Kiarostami’s new Japanese film - Like Someone in Love (song by the great Ella Fitzgerald)
while watching the Cannes press conference for this film, it made me wonder…how much really translates in film directing when language is such a big barrier?
Kiarostami, the famed Iranian director speaks Persian and little bits of broken English, he needs a translator to understand and answer questions at the conference, the translator speak the answers in French, which is then translated by an offscreen person into English for people like me to hear. While the Japanese actors in the film only seem to speak Japanese, and I’m not sure if anything being spoken by others is even translated for them to hear there, you get the idea.
I guess the actual filming process would be slightly easier because all you need is a Persian-Japanese speaker to be the translator, but directing is based so much around the choice of language (what you choose to say and not say, the words that you use to conjure certain feelings) along with body language and everything else, I wonder how much would be Lost in Translation? (remember the famous scene with the energetic Japanese director giving very long directions to Bill Murray for the Suntory commercial, and all the translator says to him is “with more intensity”? Yeah, exactly.) How do you know the translator is making the right choice of words and reference on your behalf? How do you know the actors are even delivering the lines the way you want them to? I mean, how do you judge someone’s acting (when they’re speaking) when you don’t even understand the language? One thing that pisses me off about Crouching Tiger Hidden Dragon is Michelle Yeoh’s horrible Mandarin deliveries, but that’s something only a Mandarin speaker would know. I wonder if French and German audiences had any picks on the acting in Inglorious Basterds, because I wouldn’t know, and I’m not so sure Tarantino did either. But I love the acting in that film despite the fact that I’d have no clue what they’re saying without the subtitles.
Then do you simply have to learn to let that go and put your trust in others?
I just remembered that people don’t usually speak much in Kiarostami’s films anyway, so maybe it wasn’t such a big problem. Anyway, Kiarostami does Japanese, this is a film I definitely want to see.
