#Paule nemes

[yieldingtides]

CaL in Flow

A month has passed since I committed to “stay in the flow” of my process and I’m thriving! I’m nearly done writing Coals and Lilacs first arc (got two to three chapters to go). There’s so much I want to talk about the CaL cast, but for now, let's focus on this sad fisher lad first.

Robert is the first character I ever made, somewhat coinciding with Paule’s creation. He was created out of a means to be somewhat of an edgy teen despite not being outwardly edgy myself in the late 2000’s. You know the tropes: black clothes, fallen angel wings, “nothing personal kid” vibes, and whatnot. Shadow the Hedgehog (at least with his SA2 incarnation) was the main influence on his characterization. It’s like silent punk energy, even with the outlandish looks I had with him back then or what I thought was cool at the time. He still intends to do good, but if he must, he would also consider methods that would do the least amount of harm to the people he cares for.

RPs back in the late 2000s - early 2010s were ground zero for the two of them, as I navigated in those spaces to flesh out their character backgrounds. Most of my time spent role-playing is just seeing how far I can understand these two till I feel comfortable writing a narrative. Robert was doing a lot of fantastical sci-fi-related work. Sometimes murdering outright (within reason woops) till I dialed back to make him more of a weird everyday man.

His name too changed. Before Robert, he was called Rekana. It’s an edgy interpretation of “Recant” or denying an opinion or belief. I still think this holds true to his character. I threw this guy into situations he didn’t ask for just to see how he’d respond, mostly in denial. I think the only thing that stayed the same was his overall hairstyle, his fishing hobby, and his personality. Incarnation after incarnation, that’s been consistent with him for years.

Often I recalled a dream I had years ago where I was pinned against the wall by Robert, shaking and screaming why I wrote his narrative as it was. Thinking of ways to make him suffer more (as you do with your characters) and demanded a reason. I straight up told him “It’s for the narrative” till my life snapped in half. Well, he snapped my neck and I immediately woke up, vowing I would never manifest my characters in existence. That’s the nice thing about fiction, I suppose. It’s also why I grew to like Aurelius from Dislyte so much, to my surprise at least. Similar character vibes and such. I tend to find weird hunches like that.

Onto Paule. Her role changed a lot. I also used her in old RP spaces till I took the time to flesh out her goals. Thought it would be fun for her to be a magical girl in 2009, till I scrapped the concept (it reminded me of Madoka vibes before Madoka existed), and an author insert similar to Rohan in Araki’s work. She’s probably the closest I had to my younger self, or reflection of. I wanted her to be cringe, engrossed with her hobbies but still outwardly kind by a fault.

If I had the energy to change her now, she would be more like Cara or Dao Hoa. They’re flawed as hell, but I’m not suggesting Paule is less so (she has her little dark secrets too lol). I would rather make new characters that fit more of that energy than readjust her personality for such trends.

I can’t say much about her current characterization since CaL is in progress, but at this point, she always nurture flowers and plants than I can be in person. I don’t have a green thumb, and it’s a struggle for me to care for plants, but at least through her, she lives that part of myself. Maybe that’s a hope for future me to try out.

Anyway, Coals and Lilacs is always the project I hold close to me…it’s the first major narrative story I’ve written, and now it’s going somewhere. May it grow strong and proud.

[petnews2day]

At $4,200, Is This 2006 Jaguar X-Type Wagon The Cat’s Pajamas?

New Post has been published on https://petn.ws/Jl76F

At $4,200, Is This 2006 Jaguar X-Type Wagon The Cat’s Pajamas?

The seller of today’s Nice Price or No Dice Jag attributes its high mileage to a prior owner who used it for trips between San Diego and Boise, Idaho. That means it’s a suitable cruiser, but will its price let it cruise to a win? 2024 Mustang Dark Horse On Track And The Road | […]

See full article at https://petn.ws/Jl76F #CatsNews #CD132, #CD132Platform, #CompactExecutiveCars, #Convertibles, #Coupes, #FordMondeo, #FordMustang, #JaguarCars, #JaguarI, #JaguarXType, #Jalopnik, #MarioAndretti, #PaulNeme, #SportsSedans, #StationWagons, #Valvoline, #XType

[tilbageidanmark]

MOVIES I WATCHED THIS WEEK #202:

HUNGARIAN CINEMA X 5:

🍿 ON BODY AND SOUL, my first film by Hungarian Ildikó Enyedi, was nominated for an Oscar in 2017. A very different and extremely romantic story of an unlikely couple. The man is an introverted treasurer in a slaughterhouse, crippled with withered arm. [So many Eastern European films take place in slaughter-houses!] The young woman is a new employee who is being ostracized because of her autistic behavior. There's not much in common between them, but they connect after finding out that every night they share the same dream, being a pair of deer in in a snowy forest. It's completely magical. 8/10. [*Female Director*]

[I didn't realize that the woman character was modeled tangentially after a real person, Temple Gardine, who's an inventor, academic and a proponent for the neurodiversity movement. Somebody on r/GuessTheMovie recognized it just from the cut of her yellow shirt!]

🍿 As I'm gearing the fortitude to watch his difficult Opus Magnum, I took in (Twice!) my first film by László Nemes, WITH A LITTLE PATIENCE (2007). It's a companion piece to his 'Son of Saul'. Told in a single 10 minutes shot, choreographed, intense, wordless and meandering. A young woman works in a dark office, and it's not clear what kind of office it is, until the very end. You can only hear unsettling ambiance and whispers, thuds and typewriters in the background: Your imagination can fear the worst.

It's strange that Nemes got into a public dispute with Jonathan Glazer last year, because of the latter's critique of the Palestinian genocide: This short is a condensed version of 'The Zone of Interest'. 10/10 - a must-see quiet masterpiece.

🍿 "My dinner with Zoltán". THE FIFTH SEAL (1976) is considered as one of the greatest Hungarian films, and is my second masterpiece by director Zoltán Fábri (After 'The Boys of Paul Street'). It's a dark and philosophical morality play exploring ethics, martyrdom and the moral choices one must make in life.

In the last year of the Second World War, four friends, a watchmaker, a carpenter, a book salesman and a bar owner, drink and smoke in a dingy tavern [Oh, how this place must stink!], and are having intense discussions all night. One of them posts a dilemma for the others: Would it be better to live as a slave and endure severe abuse but have a clear conscience - or to live as an abusive tyrant and have no conscience at all? They argue and struggle all night with their answers. But the next evening, the Hungarian gestapo barges in, and they really must face that question again, this time as if their life depends on it. Because it does. (Poster Above).

All that and Hieronymus Bosch's 'Garden of Earthly Delights' metaphors too. 9/10.

🍿 On the other hand, I didn't get the point of Zoltán Fábri's absurd comedy THE TOTH FAMILY (1969). A military "Major" who's Cuckoo for Cocoa Puffs lunatic, arrives at a small idyllic Austro-Hungarian village. Suffering from PSTD and in need of recuperation, he's supposed to stay there for two weeks. But then he discovers therapy by folding thousands of goddamn cardboard boxes (?) thus driving everybody around him mad. 3/10.

🍿Also, PROLOGUE (2004), my first by Béla Tarr, as I prepare to dive into His world. I picked the shortest one he made, a single 5-minute dolly shot simply of people standing in line (for food). Poverty / misery. I should also watch the “Visions of Europe” anthology, which this is part of.

🍿  

I haven't seen 'Inherent Vice' yet, but of all the other Paul Thomas Anderson's movies, my top rankings goes:

1. For the hungry boy.

2. Phantom Thread.

3. The master.

4. There will be blood.

and because of the first clip, I had to see PHANTOM THREAD again. It's a timeless masterpiece. The Jonny Greenwood ethereal score and the meticulous script, as well as Vicky Krieps graceful beauty are unmatched. Three personalities fight nearly to the death for love and control in a dance of power imbalance. A demanding and exacting "couturier", the waitress whose radiance he can't resist, and his fastidious, devoted sister. And poisonous mushrooms to boot. Re-watch ♻️. A perfect 10/10.

Extras: JUNUN is a musical documentary from 2015. PTA joined Jonny Greenwood (and his collaborator, Israeli poet Shye Ben Tzur) to an ancient castle in the blue city of Jodhpur, where they jammed and recorded some Hindustani inspired album.

Also: HAIM / VALENTINE (2017) was another, forgettable studio recording he did. The Haim sisters singing 3 songs, during the 'Licorice Pizza' shoot.

🍿  

MASAKI KOBAYASHI X 2:

🍿 After 'Harakiri', and before sitting down to watch his acclaimed 9-hour-long 'The human condition', I savored SAMURAI REBELLION (1967), a near-perfect Jidaigeki tragedy. Heroic Toshiro Mifune, introduced as a 'henpecked husband' re-discovers his true Samurai spirit, when his daughter-in-law is being kidnapped by his superior. Classically-austere, sparse and meditative like a Zen garden. The story about defying injustice and finding domestic love is graceful and gripping from the first to last frame. 💯 score on Rotten Tomatoes. 9/10.

🍿 YOUTH OF THE SON (1952) was Kobayashi's first film, a simple and lighthearted family comedy-drama, unlike his serious, later works. An open-minded writer-father and his loving wife watch over their two teenage boys as the younger discovers girls, and the older one gets in a bit of trouble with the police. With frequent Ozu cast members Chishū Ryū and Kuniko Miyake.

🍿  

THE NIGHT IT RAINED is a strangely-controversial 1967 Iranian documentary. A story was published in the papers about an heroic 12 year old boy from some rural village who supposedly saved a train from derailing after noticing that the bridge it approaches had been washed off in the rain. The film crew interviewed everybody involved in the story in order to discover the exact truth of the event. But like Rashomon, after hearing the conflicting versions of the story, the actual 'truth' remains ambiguous.

🍿

A PURE FORMALITY (1994), my 4th film by Giuseppe ("Cinema Paradiso") Tornatore. It's an old-fashioned two-hander cat-and-mouse mystery, whereby Gérard Depardieu is a recluse writer possibly-accused of murder by nameless police inspector Roman Polanski. But it's also a theatrical allegory that feels made-up, artificial and unreal. For example, the story which takes place all in one night uses the wettest scenario imaginable, a neglected police station that is extremely leaky and flooded during a relentless rain storm. And the symbolism of the shocking revelation at the end is a head-scratcher of the 'was it all a dream?' or 'Was he dead all along?' kind. Too intellectually-obtuse for me. Ennio Morricone did the score. 3/10.

🍿

HIGH SIERRA X 2:

🍿 "Hey! Sit down, have a cigarette...."

HIGH SIERRA (1941) was Humphrey Bogart's breakthrough film and at the same time, the one that helped his drinking buddy John Huston to transition from script-writing to directing. My third Ida Lupino vehicle. Bogie is a notorious career criminal who falls for two different women and then falls from the top of the mountain to his death. He also drives a goofy 1937 2-seater Plymouth De Luxe, and plays with (his own real-life) dog. No redemption for him.

🍿 I DIED A THOUSAND TIMES (1955) is a faithful, scene by scene CinemaScope remake of 'High Sierra'. Jack Palance and short haired bad-girl Shelley Winters bring their adopted dog to the hotel safe robbery. Instead of Willie Best who played the stereotypical "simple-minded" black bit in the original, here they used "Chico", a Mexican-American actor. Racial progress, I guess?... Also with Lee Marvin, and a split-second cameo of 19-year-old Dennis Hopper.

🍿

QUEEN ROCK MONTREAL is a concert film, recorded 24 and 25 November, 1981. A re-mastered Ultra-HD new copy looks great. But I was never into Queen, so this wasn't exactly for me.

🍿

DAVID ATTENBOROUGH X 3:

🍿 I was recommended to see Attenborough's latest 3-part nature series SECRET WORLD OF SOUND. Extraordinary footage in the famous BBC style, with amazing close ups, microscopic details, cutting edge audio, it gets into snake's brains, lion's mouths, bee's eyes and birds assholes.

🍿 DAVID ATTENBOROUGH MEETS PRESIDENT OBAMA. In 2015, he sat for an interview about the Natural World with Obama at The White House, but instead Obama interviewed him!

[In hindsight, what a disappointment did the Obama legacy turned out to be! How the transformative spark full of hope, fizzled into middle of the road Neo-liberal cosmetics, with zero achievements that will out-last Trump. What a pity!] [*Female Director*]

🍿 It's only a clip from one of his nature shows, but my interest came from the story of the CHRISTMAS ISLAND RED CRAB MIGRATION, where 120 million crabs gather to spawn.

🍿

The Danish KNIGHT OF FORTUNE was nominated for an Oscar this year. A grieving, old widower cannot bring himself to open the casket of his dead wife and view her corpse. it's typically Danish, slow, unexpectedly morbid and uplifting at the same time. 8/10.

🍿

A BUNCH OF SHORTS:

🍿 FOOD (1992) is Jan Švankmajer's final short film (So far; He's still alive, and could surprise us all!). It's his most accessible, my favorite, and one of the most disgusting things I've ever seen. Think Czech cuisine from the 30's or 50's, jellied, congealed and unidentified dishes, with their slurping, guttural sounds, stick it in a surreal meat grinder, cover it with murky sauces and dirty condiments, and you're halfway there. Best film of the week - 10/10 on Yelp.

🍿 THE LUNCH DATE (1989) a masterful little story that won the Oscar, the Short Film Palme d'Or and was later selected for the 'National Film Registry'. An elderly woman misses her train at 'Grand Central Terminal' so she goes to the diner and orders a salad. But when she comes to her table, after fetching a fork from the counter, she finds a black man sitting and eating the salad! 8/10.

🍿 TEDDY GRAY'S SWEET FACTORY, an absolutely delightful 2011 story from documentarian Martin Parr. It tells of a small family-owned confectionery factory near Birmingham, England, which still produces old-fashioned, hand-made sweets. A must see! 8/10.

🍿 SLATE (1976), another of Krzysztof Kieślowski's shorts. A quick behind-the-scenes montage from when they were using the clapboard shooting the movie 'The Scar'.

🍿 TOMATOS ANOTHER DAY (1934) was a weird avant-garde short with unique dadaist aesthetics. Absurdly-stilted and artificially-played satire of a love triangle, it's like a 100 year old minimalist Lynch'ian joke.

🍿 A GUN IN HIS HAND, an early Joseph Losey 'Copaganda' film (1945), part of MGM 'Crime does not pay' series. A top graduate of the police academy 'Breaks bad', and uses his technical knowledge to do crimes. M'eh.

🍿 LES MAINS NÉGATIVES (1978), my second by Marguerite Duras. A moving car drives through the dark streets of Paris before day break, while her repetitive voice asks to be remembered. Like 'Hiroshima Mon Amour', it's a poetic stream of consciousness about cave paintings memories and unrequited love. I lived there around that time, and one of the walking shadows she filmed, unnoticed and forgotten, may have been me. [*Female Director*]

🍿 CANTOS DE TRABALHO (1955). Ethnographic work. Five Brazilian work songs depicting manual laborers. Not too interesting.

🍿 "They say you die twice. One time when you stop breathing, and the second time a bit later on, when somebody says your name for the last time..."

B MOVIE (2009) my second documentary about street artist Bansky (And itself an extra from 'Exit through the gift shop'). Subversive, anti-corporate anarchist rebel, (with a sense of humor which shocks, mocks and rocks), still anonymous.

🍿 PORKY PIG'S FEAT (1943, colorized) is Frank Tashlin's highest rated film on Letterboxd. Porky Pig and Daffy Duck's try to escape the Broken Arms Hotel manager without paying their bill.

🍿 AN OSTRICH TOLD ME THE WORLD IS FAKE AND I THINK I BELIEVE IT (2021), a strange, post-modernist Australian stop motion animation about a telemarketer who fails at selling toasters, and instead meets a mysterious ostrich. 3/10.

🍿"Wedding is like a fortress. Those who are in want out, and those who are out want in..."

GEFILTE FISH (2008). Before her wedding, a young Israeli woman must kill a live carp and prepare the traditional jellied fish dish, as per her family customs. Okay... [*Female Director*]

🍿

THROW-BACK TO THE ADORA ART PROJECT:  

Freddy Mercury Adora.

Bansky Adora.

🍿

(ALL MY FILM REVIEWS - HERE).

[carmenspino]

I spent most of September 2023 in residence at NeMe Arts Centre in Limassol alongside curator Régine Debatty. The residency was part of Sea Blindness, an exhibition about the Mediterranean Sea we ran between September and October.

Sea Blindness is a term/expression that has been used by many creatives and researchers throughout time to depict our inability to identify and understand certain issues related to our seas and oceans, such as environmental protection, migration flows or global logistics and its impact on coastal ecosystems.

The exhibition situated the Mediterranean Sea at the heart of artistic, scientific and critical discussions. It aimed to shed light on the infrastructures, phenomena and relationships unfolding in and around the Mediterranean, revealing on the one hand, the complex mechanisms of humans and material flows passing through the basin, and on the other hand, the importance of sea protection for the future of food security, and the resilience of marine and terrestrial ecosystems.

Some of the projects presented at the exhibition have been conceived as an act of resistance and change, others to raise awareness about a specific issue, or to examine the current idea of progress and the way our systems are constructed and operate.  

The artists, speakers, and filmmakers participating in Sea Blindness included: Futurefarmers with Ignacio Chapela & Alfonso Borrogán, Border Forensics & Giovanna Reder, Hypercomf, Moritz Frischkorn, César Escudero Andaluz, Heba Y Amin, Ingo Niermann & Eduardo Navarro, Ruba Salameh, Jafra Abu Zoulouf, Dr. Manfred A. Lange, Denis Delestrac, Ana Serna & Paula Iglesias and Corina Schwingruber Ilić.

Programme

Sep 19 2023, 19:30: Documentary Screening: FREIGHTENED The Real Price of Shipping. At the Department of Fine Arts, Cyprus University of Technology, 12 Achiepiskopou Kyprianou, 3036 Limassol

Sep 22 2023, 19:30: Exhibition opening at the NeMe Arts Centre, Corner of Ellados and Enoseos streets, 3041 Limassol, Cyprus

Sep 23 2023, 18:30: Seminar at the NeMe Arts Centre

Sep 24 2023, 11:00: Curators in Conversation at the NeMe Arts Centre

Sep 27 2023, 18:30-20:30: Screenings of All Inclusive and They’re Just Fish, followed by a discussion with Jafra Abu Zoulouf. At the NeMe Arts Centre

Sep 30 2023, 11:00: Guided tour of the exhibition by curators Régine Debatty and Carmen Salas. Organised by Polina Dobrogaeva (Artnow). At the NeMe Arts Centre

Oct 20, 2023, 18:00-22:00: Launch of We are all going to make it, an EMAP produced artwork by Paul O’ Neil, funded by Creative Europe. At the NeMe Arts Centre.

[thepaisley]

IPC - WeThe15 from Sam Pilling on Vimeo.

A film to launch the #WeThe15 movement – spearheaded by the International Paralympic Committee and International Disability Alliance.⁣⁣

-- 2022 AICP AWARDS - WINNER (Cause) CANNES LIONS - SILVER / Casting (film craft) D&AD AWARDS - Wood Pencil / Casting BRITISH ARROWS - SILVER / casting BRITISH ARROWS - SILVER / Entertainment & Sports Promotions BRITISH ARROWS - BRONZE / Innovation & Immersive Experiences CDA AWARDS - WINNER / Commercial CREATIVE CIRCLE AWARDS - SILVER / Editing SPORTS EMMY - nomination

-- 2021 SHOTS - SILVER / charity CAMPAIGN - #11 / Top 15 Film Ads of the Year 1.4 AWARDS - SILVER (FLYING HIGH) / commercial - planet positive ⁣⁣ The movement, #WeThe15, takes its name from the 15% of the global population who have a disability: the world’s largest marginalised group. With the goal of putting the rights of the 15% at the heart of the global inclusivity agenda. ⁣⁣ ⁣⁣ The Tokyo 2020 Paralympics start today! Our film launches the #wethe15 movement and will be shown as part of the opening ceremony to a global audience of over 250 million people. Made in partnership with Adam & Eve DDB, the International Paralympic Committee and the International Disability Alliance, we hope this film helps to shift the narrative around people with disabilities - away from one in which they are either stereotyped as objects of pity, or put on a pedestal �

Huge thank you to all the Cast & crew across the world who gave up their precious time to help bring this film to life ��

STARRING: Kirin Saeed, Crystal Marshall, Wayne Huggit, Brinston Tchana, Martha Ciana, Chris Coxon, Cindy-Jane Armbruster, Asa Bebbington, Asif Ali, Rajesh Kalhan, Jacob Chambers, Yusef, Bethany Asher, Ekow Otoo, Jessica Margraff, Frank & Cindy Williams, Mukandi Mashamba, Camphill Football Team, Evans Maripa, Nathan Hanekom, Rory Avenstrup, Monica e Lino, Max Ulivieri, Loredana Grandi, Lorenzo Casarini, Carlos Neme

THANKS TO: C-Talent and Dan Edge, Bev and Gatehouse, Pulse Italia and Giorgio Testi, Jenni Haberstock, Ryan Booth, Dav & Hillary, Bird and Indochina Productions

CREW: Agency: Adam & Eve Agency producers: Hannah / Rebecca /Jack CCO: Rik Brim Creative Director: Laura Rogers Creatives: Gen & Selma Production: Pulse Films MD: James Sorton & Davud Karbassioun Executive Producer: Lucy Kelly Producer: Dave French PM: Kishan Patel PA: Ellie Sanders Wright PA: Honey Cairns DP: Alex Barber & Chloë Thomson Focus: Merrit Gold Production Designer: Beck Rainford Set Assistant: Grace Bailey Props: Lloyd Vincent Grip: Johnny Donne Gaffer: Paul Molloy Stylist: Hannah Hopkins Stylist Assistant: Adam Martin H&MU: Gaby Winwood H&MU Assistant: Georgia Ryan 1st A.D: James Sharpe Playback: Alan Muszynski Sound: Stephen Hodge Boom Op: Esther Aside-Ofei Casting: Anna Stark CAPE TOWN Gatehouse Commercials EP: Beverley Wynne Producer: Karin Tanchel PM: Daniel Stoffberg 1st AD: Jaco Nel DP: Shaun Harley Lee Focus: Khalid Manuel Art: Willow Howell Make-Up Stylist: Annette Keet Sound: Henau Marais Location Manager: Bhut Gladstone MILAN Pulse Italia Executive Producer: Giorgio Testi Producer: Giulia Negretto Director: Tobia Passigato DP: Diego Indraccolo BANGKOK Indochina Productions EP: Nicholas Simón Producer: Atrachariya Pinitsanpirom (Bird) DP: Nicolas Axelrod Art Director: Salem Kardeeroj 1st A.D: Napon Limsomwong (Kwan) Casting Director: Sarawanee Yodnoon BOGOTA DP: Mauricio Vidal Editors: Ellie Johnson, Liam Bachler & Elyse Raphael at Tenthree Colour: Simon Bourne at Framestore Colour Producer: Chris Anthony VFX: Untold Studios Track: The Mohawks - The Champ (1968) Sync and Music Composition: Luis Almau at Soundtree Music Sound Design: Sam Ashwell & Mark Hellaby at 750mph Film Stock: Kodak Scans: Cinelab London Print: Dejonghe

[metalindex-hu]

Winger – Desmond Childdal dolgoztak együtt

Winger – Desmond Childdal dolgoztak együtt - https://hardrock.hu/winger-desmond-childdal-dolgoztak-egyutt/ -

Az amerikai hard rock banda, a Winger hetedik nagylemezéhez ért, melynek nemes egyszerűséggel a ‘Seven’ címet adták. (Úgy látszik ez most trend, az Extreme is ‘Six’ néven hozza ki hatodik lemezét.) Ennek első kislemezdala a Proud Desperado, melyet a slágergyáros Desmond Childdal közösen írtak.

A Frontiers Musicnál jelenik meg nyár elején a Winger hetedik albuma, a ‘Seven’. „Nagyon örültem, hogy felkértek az új Winger CD dizájnjának megtervezésére. Azzal kezdtem, hogy simán csak befejeztem az eredeti logó modernizálását, és a végére a borító a Winger több korszakát is magába foglalta. Nézd csak meg alaposan a hátteret! A ‘Karma’ albumról levettem a logót, és úgy alakítottam át a grafikát, mintha szénből vagy fekete kőből faragták volna ki. Azt hiszem, ez egységesítette igazán az egészet. Ugyanolyan izgatottan várom az új albumot, a ‘Seven’-t, mint ti, lehetőségem volt meghallgatni hármat a dalok közül, és imádom!” – osztotta meg Christopher Carroll fotós-grafikus az új lemez borítóját a hó elején.

John Roth gitáros pedig egy interjúban arról beszélt, hogy „Kip [Winger] és Reb [Beach] a zenekar fő dalszerzői, ők alkotják a magot. De ezen az albumon egy dalt közösen írtam Kippel. A Wingernél általában a zenei ötlettel kezdődik minden. Sokan a dalszövegekből és dallamokból indulva írják meg a nótát, nálam is egy dallam vagy egy szöveg a magja vagy kiindulópontja. De a Winger esetében ez egy riff, egy zenei ötlet. Emlékszem, amikor először komponáltam együtt Kippel a ‘Better Days Coming’ néhány dalát, nem demóztuk fel azokat. Ahogy írtuk, azonnal fel is vettük az aktuális számokat. Én csak néztem rá, hogy »honnan tudod, hogy itt akarsz még egy ütemet«, erre ő: »én csak… hallom, hogy hova akarok eljutni a szöveggel«. Tehát minden a zenével kezdődik a Wingernél, de miközben íródnak a dalok és születnek a riffek, a dallamok már Kip fejében vannak.”

Az elsőként bemutatott Proud Desperadót azonban Kip Winger és Reb Beach Desmond Childdal közösen írta. A slágergyáros olyan rockbandák dalainak megírásában segédkezett, mint a Bon Jovi (You Give Love A Bad Name, Livin’ On A Prayer, Born To Be My Baby), Aerosmith (Dude [Looks Like A Lady], Crazy), KISS (I Was Made For Loving You, Hide Your Heart), Alice Cooper (Poison, House Of Fire), Ratt (Lovin’ You’s A Dirty Job), FM (Bad Luck, Burning My Heart Down), sőt még Steve Vaijal is írt közös dalt (In My Dreams With You). A csapat felállása annyiban változott a legutóbbi album óta, hogy visszatért az eredeti billentyűs-ritmusgitáros, Paul Taylor, így ha kell, élőben akár három gitárral is nyomhatják a dalokat.

A ‘Seven’ dallistája:

01. Proud Desperado 02. Heaven’s Falling 03. Tears Of Blood 04. Resurrect Me 05. Voodoo Fire 06. Broken Glass 07. It’s Okay 08. Stick The Knife In And Twist 09. One Light To Burn 10. Do Or Die 11. Time Bomb 12. It All Comes Back Around

[vazelinacocomix]

Mixing Romanian artist and artifacts with dialogue, for a piece about the dreary current cultural funding dilemmas >>> https://www.scena9.ro/article/benzi-desenate-fonduri-cultur%C4%83 <<<

[lottereinigerforever]

Venezia 2018...

... and the winner is ?

[matekonkol]

A kedvenc filmjeim a 2010-es évekből:

1. Xavier Dolan: Laurence Anyways (2012) 2. Noah Baumbach: Frances Ha (2012) 3. Hajdu Szabolcs: Bibliothéque Pascal (2010) 4. Spike Jonze: Her (2013) 5. Paweł Pawlikowski: Cold War (2018) 6. Tarr Béla: A torinói ló (2011) 7. Nemes László: Saul fia (2015) 8. Paul Thomas Anderson: Inherent Vice (2013) 9. Todd Haynes: Carol (2015) 10. Sean Baker: Florida Project (2017)

Azt hiszem, ez egy elég cinephile lista lett. Erős volt a mezőny, és nagyon jó filmek maradtak le a top10-ből is. Innen is látszik, hogy szeretem a) a magyar filmeket, b) az lgbt-filmeket, c) a romantikus drámákat. 

[01sentencereviews]

2018

24 frames (abbas kiarostami)

first reformed (paul schrader)

shoplifters (hirokazu kore-eda)

if beale street could talk (barry jenkins)

annihilation (alex garland)

beychella 2018 (beyoncé)

an elephant sitting still (hu bo)

minding the gap (bing liu)

high life (claire denis)

sharp objects (jean-marc vallée)

shirkers (sandi tan)

ready player one (steven spielberg)

madeline’s madeline (josephine decker)

happy as lazzaro (alice rohrwacher)

the other side of the wind (orson welles)

hale county this morning, this evening (ramell ross)

vox lux (brady corbet)

support the girls (andrew bujalski)

black mother (khalik allah)

blue (apichatpong weerasethakul)

suspiria (luca guadagnino)

the misandrists (bruce labruce)

the house that jack built (lars von trier)

widows (steve mcqueen)

first man (damien chazelle)

(+ several more):

1985 (yen tan)

“all gold canyon,” the ballad of buster scruggs (joel + ethan coen)

aquaman (james wan)

asako I & II (ryūsuke hamaguchi)

ash is purest white (jia zhangke)

assassination nation (sam levinson)

a.w. a portrait of apichatpong weerasethakul (connor jessup) / aware, anywhere (benoît bourreau)

burning (lee chang-dong)

cam (daniel goldhaber)

chameleon (anna pollack)

devilman crybaby (masaaki yuasa) / “devilman crybaby: sympathy for the devil” (secret otaku)

the favourite (yorgos lanthimos)

the first purge (gerard mcmurray)

the haunting of hill house (mike flanagan)

hereditary (ari aster)

homecoming (sam esmail)

i am not a witch (rungano nyoni)

i’m not her(e): iMnOTHERe (carman spoto)

the image book (jean-luc godard) / westerly wind (“jean-luc godard”) / “LE LIVRE D IMAGE - cannes 2018 - press conference - ev”

leave no trace (debra granik)

non-fiction (olivier assayas)

the rider (chloé zhao)

self-criticism of a bourgeois dog (julian radlmaier)

skate kitchen (crystal moselle)

a star is born (bradley cooper)

the strangers: prey at night (johannes roberts)

the tale (jennifer fox)

under the silver lake (david robert mitchell)

unfriended: dark web (stephen susco)

unsane (steven soderbergh)

we the animals (jeremiah zagar)

you were never really here (lynne ramsay)

[ what i missed: cold war (paweł pawlikowski) | did you wonder who fired the gun? (travis wilkerson) | the grand bizarre (jodie mack) | milla (valerie massadian) | the mule (clint eastwood) | my first film (zia anger) | the old man & the gun (david lowery) | personal problems (bill gunn) | shakedown (leilah weinraub) | sollers point (matthew porterfield) | sorry angel (christophe honoré) | sunset (lászló nemes) | western (valeska grisebach) | your face (tsai ming-liang) ]

[yieldingtides]

I’m at a good spot to say that I’m content where Robert’s story is going along. I’ve been working off and on Coals and Lilacs for nearly a decade (oh god) but I’m hitting a stride in my writing where I’m like “yes, let’s have this going on with this kid and with the people in town too”.

It’s still early in the development process (I got seven chapters drafted out of the thirty something chapters I planned for). I’ll be planning a website to host the story, along providing some illustration stuff to highlight what’s going on with this sad fisher lad. I might cross post it on tapas but that’s more of an afterthought lol.

For those who don’t know or didn’t follow this blog back around 2014-2018ish, Coals and Lilacs is a story about Robert Smith entering in Bearhort, a town smacked in the middle of the American Rocky Mountains. The story explores his complacent normalcy to the abnormal circumstances that lead him to live in the town, and his friendship with Paule Nemes and other characters he gets to meet in a format I’m still kinda figuring out lol. I written like two or three chapters of CaL, published as a webcomic, but I scrapped them since the original intention of having it as a written novel format appeal to the story more than anything. And honestly, if I stuck with it as a written story, I might had CaL completed faster. But after 200 or 300 pages of drafts, rework, and refining character motivations, I’m happy where its current literation lies.

I still think about the first comic pages of CaL as it sets the mood immediately with the story, but I think something like an encroaching darkness settled in my mind a lot more once I let it sit for a bit while working on OIYD! at the time. I keep saying I intend a happy ending but will do my best to get it out there sooner lol.

[retro-leigh]

Part Two

If you understand this, please be my friend.

[artofcinema]

all movies watched in APRIL 2019

bold: rewatch

A Star is Born (1937, William A. Wellman) Apostle (2018, Gareth Evans) Ash Is Purest White (2018, Jia Zhangke) Assassination Nation (2018, Sam Levinson) Beautiful Boy (2010, Shawn Ku) Berberian Sound Studio (2012, Peter Strickland) Butter on the Latch (2013, Josephine Decker) Charade (1963, Stanley Donen) Conspirators of Pleasure (1996, Jan Švankmajer) Darkness, Light, Darkness (1989, Jan Švankmajer) (Short) Death Takes a Holiday (1934, Mitchell Leisen) Dimensions of Dialogue (1983, Jan Švankmajer) (Short) Drift (2017, Helena Wittmann) Food (1993, Jan Švankmajer) (Short) Free Fire (2016, Ben Wheatley) Frost/Nixon (2008, Ron Howard) Gap-Toothed Women (1987, Les Blank) Grey Gardens (1975, Ellen Hovde, Muffie Meyer, Albert Maysles & David Maysles) High Life (2018, Claire Denis) If…. (1968, Lindsay Anderson) In the Realm of the Senses (1976, Nagisa Ōshima) Ingrid Goest West (2017, Matt Spicer) Jabberwocky (1971, Jan Švankmajer) (Short) Knife in the Water (1962, Roman Polanski) Le grand bassin (2006, Fabianny Deschamps) (Short) Long Day’s Journey Into Night (2018, Bi Gan) Lucifer Rising (1972, Kenneth Anger) (Short) Monty Python and the Holy Grail (1975, Terry Jones & Terry Gilliam) Passengers (2016, Morten Tyldum) Picnic with Weissmann (1968, Jan Švankmajer) (Short) Punch and Judy (1966, Jan Švankmajer) (Short) She-Man: A Story of Fixation (1967, Bob Clark) Showgirls (1995, Paul Verhoeven) Split (2016, M. Night Shyamalan) Starship Troopers (1997, Paul Verhoeven) Sunrise (1927, F. W. Murnau) Sunset (2018, Laszlo Nemes) The Beach Bum (2019, Harmony Korine) The Case of the Bloody Iris (1972, Guiliano Carnimeo & Michele Massimo Tarantini) The Death of Stalin (2017, Armando Iannucci) The Happytime Murders (2018, Brian Henson) The Naked Kiss (1964, Samuel Fuller) The Other Side of the Wind (2018, Orson Welles) The Place Beyond the Pines (2012, Derek Cianfrance) The Young Girls of Rochefort (1967, Jacques Demy) The Seventh Victim (1943, Mark Robson) The So-Called Caryatids (1984, Agnès Varda) (Short) The Strange Color of Your Body’s Tears (2013, Hélène Cattet & Bruno Forzani) The Trial (1962, Orson Welles) Thou Wast Mild and Lovely (2014, Josephine Decker) Wilde (1997, Brian Gilbert)

[bearsionated]

"The living proof that you can break his body but you can never break Mega Man, he'll always put helping others first"

Prints at OSO Support my art at Patreon

If you were one of my patrons you’d already seen this two weeks ago and you’d have received two High-Res print files too!

On my patron-only feed you’ll also see previews and works in progress for new characters and ideas, right now we’re having an EXTRA time with Bayonetta :3

Special thanks to all my supporting patrons <3

Juan Rodriguez Porta Jawuan Michlein, Morgan J McChurch, Jared Cannon, dfox789, Jacob Priest, Ian, Jesus Nieves, John Welch, Thomas Taylor, ArcticGorilla47, Christian Walters, Nathan Murrray, Zeilreigan, Sameer, Adrian Cordero, Sandchan Casali, Daniel Prives, Twist Firebeard, Dany Guy, Scott Smith-Reyes, Cody Rishell, Tomas Neme, Glen McGookin, Bronco, Anthony Smith, Jock Harley, Arrington Morris, Zach Forman, Brendon Bearman, Adam Wyeth Strickland, GHip, and Ash Dare. Tom Floer, Kalb Indigo, B, Robert Long, Connor, Angus Mackenzie Alexander II, Joe C, Brian Burr, Michael Bambury, Melvin Matthews Jr., Jerome Stueart, Saruteku, Bob O'Brien, Philip Steyn, Scott Miller, Jeremy, Kenneth Gantt, dannipanni, Mike Hassler, Walker Linen Jr, Neku13, Tetra Markus, Kurt, Fredi Garcia, Andrew Rossow, Paul Bloomer, Jaygasm, Keith DK and Mikha Bruin. Brendan Jones, RhinoLexx Razo, Patrick Janachovsky, Adam Fairris, Nick Attwater, Kit, Chris Flamvell, Phoenix Kane, Ryan Surbey, Arrin Gerald, Alfonso Rivera Jr., Isuma, Kybal_Lutra, Zollith, Brett Rivera, KinkyBoys Podcast, Michael Layne, Christopher Krakora, Alex, Luke Wilczak, Jesus Lopez, Andrew Monaghan, Chris Ramsey, KAG, Jerron Hess and TheKiss.

[thepaisley]

IPC - WeThe15 from Sam Pilling on Vimeo.

A film to launch the #WeThe15 movement – spearheaded by the International Paralympic Committee and International Disability Alliance.⁣⁣

-- 2022 AICP AWARDS - WINNER (Cause) CANNES LIONS - SILVER / Casting (film craft) D&AD AWARDS - Wood Pencil / Casting BRITISH ARROWS - SILVER / casting BRITISH ARROWS - SILVER / Entertainment & Sports Promotions BRITISH ARROWS - BRONZE / Innovation & Immersive Experiences CDA AWARDS - WINNER / Commercial CREATIVE CIRCLE AWARDS - SILVER / Editing SPORTS EMMY - nomination

-- 2021 SHOTS - SILVER / charity CAMPAIGN - #11 / Top 15 Film Ads of the Year 1.4 AWARDS - SILVER (FLYING HIGH) / commercial - planet positive ⁣⁣ The movement, #WeThe15, takes its name from the 15% of the global population who have a disability: the world’s largest marginalised group. With the goal of putting the rights of the 15% at the heart of the global inclusivity agenda. ⁣⁣ ⁣⁣ The Tokyo 2020 Paralympics start today! Our film launches the #wethe15 movement and will be shown as part of the opening ceremony to a global audience of over 250 million people. Made in partnership with Adam & Eve DDB, the International Paralympic Committee and the International Disability Alliance, we hope this film helps to shift the narrative around people with disabilities - away from one in which they are either stereotyped as objects of pity, or put on a pedestal �

Huge thank you to all the Cast & crew across the world who gave up their precious time to help bring this film to life ��

STARRING: Kirin Saeed, Crystal Marshall, Wayne Huggit, Brinston Tchana, Martha Ciana, Chris Coxon, Cindy-Jane Armbruster, Asa Bebbington, Asif Ali, Rajesh Kalhan, Jacob Chambers, Yusef, Bethany Asher, Ekow Otoo, Jessica Margraff, Frank & Cindy Williams, Mukandi Mashamba, Camphill Football Team, Evans Maripa, Nathan Hanekom, Rory Avenstrup, Monica e Lino, Max Ulivieri, Loredana Grandi, Lorenzo Casarini, Carlos Neme

THANKS TO: C-Talent and Dan Edge, Bev and Gatehouse, Pulse Italia and Giorgio Testi, Jenni Haberstock, Ryan Booth, Dav & Hillary, Bird and Indochina Productions

CREW: Agency: Adam & Eve Agency producers: Hannah / Rebecca /Jack CCO: Rik Brim Creative Director: Laura Rogers Creatives: Gen & Selma Production: Pulse Films MD: James Sorton & Davud Karbassioun Executive Producer: Lucy Kelly Producer: Dave French PM: Kishan Patel PA: Ellie Sanders Wright PA: Honey Cairns DP: Alex Barber & Chloë Thomson Focus: Merrit Gold Production Designer: Beck Rainford Set Assistant: Grace Bailey Props: Lloyd Vincent Grip: Johnny Donne Gaffer: Paul Molloy Stylist: Hannah Hopkins Stylist Assistant: Adam Martin H&MU: Gaby Winwood H&MU Assistant: Georgia Ryan 1st A.D: James Sharpe Playback: Alan Muszynski Sound: Stephen Hodge Boom Op: Esther Aside-Ofei Casting: Anna Stark CAPE TOWN Gatehouse Commercials EP: Beverley Wynne Producer: Karin Tanchel PM: Daniel Stoffberg 1st AD: Jaco Nel DP: Shaun Harley Lee Focus: Khalid Manuel Art: Willow Howell Make-Up Stylist: Annette Keet Sound: Henau Marais Location Manager: Bhut Gladstone MILAN Pulse Italia Executive Producer: Giorgio Testi Producer: Giulia Negretto Director: Tobia Passigato DP: Diego Indraccolo BANGKOK Indochina Productions EP: Nicholas Simón Producer: Atrachariya Pinitsanpirom (Bird) DP: Nicolas Axelrod Art Director: Salem Kardeeroj 1st A.D: Napon Limsomwong (Kwan) Casting Director: Sarawanee Yodnoon BOGOTA DP: Mauricio Vidal Editors: Ellie Johnson, Liam Bachler & Elyse Raphael at Tenthree Colour: Simon Bourne at Framestore Colour Producer: Chris Anthony VFX: Untold Studios Track: The Mohawks - The Champ (1968) Sync and Music Composition: Luis Almau at Soundtree Music Sound Design: Sam Ashwell & Mark Hellaby at 750mph Film Stock: Kodak Scans: Cinelab London Print: Dejonghe

[andyesisaidyesiwillyes]

2018-as olvasmányok:

1. Twin Peaks a színfalak mögött (5/2)

2. Laszlóczki Valentina: Az én kis Buddhám (5/5)

3. Jennifer Lynch: Laura Palmer titkos naplója (5/3)

4. R. D. Laing: A meghasadt én (5/3)

5. Anne Carson: Vörös önéletrajza(5/3)

6. Parti Nagy Lajos: Létbüfé (5/2)

7. Áfra János: Rítus (5/3)

8. Margaret Atwood: The Handmaid’s Tale (5/5)

9. Szijj Ferenc: Agyag és kátrány (5/5) - újraolvasás

10. Ernest Cline: Ready Player One (5/5)

11. Simon Márton: Dalok a magasföldszintről (5/3)

12. Győrffy Ákos: A hegyi füzet (5/5)

13. Nemes Z. Márió: A hercegprímás elsírja magát (5/4) - újraolvasás

14. Selvarajan Yesudian & Haich Erzsébet: Sport és jóga (5/5)

15. Pallag Zoltán: Noir (5/5) - újraolvasás

16. Timothy Snyder: A zsarnokságról. Húsz lecke a huszadik századból (5/5)

17. Gerőcs Péter: Ítélet legyen (5/5)

18. André Ferenc: Szótagadó (5/3)

19. Richard Siken: Crush (5/4)

20. Borda Réka: Hoax (5/4)

21. Paul Celan: Voltak éjszakák (5/5)

22. Bari Károly: Csönd (5/4)

23. Uj Péter: Ömbizalompunpa (5/5)

24. Gergely Ágnes: a chicagói változat (5/4)

25. Krasznahorkai László: A Manhattan-terv (5/5)

26. Székelyhidi Zsolt: Űrbe (5/3)

27. Lanczkor Gábor: Vissza Londonba (5/4)

28. Szálinger Balázs: 361 (5/5)

29. Lanczkor Gábor: Monolit (5/4)

30. Szilasi László: Luther kutyái (5/5)