The Wild Bunch | Final Shootout: Battle of Bloody Porch | Warner Classics
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Afterhours sul Mucchio Selvaggio, Novembre 1997
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Mauro Pagani - The interview (Mucchio Selvaggio n. 307, 26 May/1 June 1998)
Musician, producer and a thousand other things, Mauro Pagani is one of the most serious and significant figures of Italian rock (and beyond) of the last twenty five years: from activism in the former Premiata Forneria Marconi to the various collaborations with Demetrio Stratos and Fabrizio De André, from research in the world music field (well before this had become a fad) to the soundtracks, the multi-instrumentalist and singer was undoubtedly the most authoritative of the possible candidates for the difficult role of Musical Director of 1º Maggio. It is precisely in this capacity that we interviewed him, asking him for information on the workings and intrigues that govern the event
How did you get this artistic direction?
I think that the appointment is due to my friendship with Fabrizio De André, who mentioned my name to Riccardo Corato, the producer of the concert. There was a need to put some order into a chaos due to pressure from record companies to include anyone, to the television that wanted to have their say, to the technical madness caused by too many guests... but I'm sure they also chose me because they hoped that I would be able to convince Fabrizio to come…
Being a musician, I take it that you were first concerned with technical issues.
Exactly. Having ascertained that it was not possible to obtain two stages, not due to problems of space, but due to the declared unavailability of RAI to double up on equipment and personnel, I convinced the organization to build a revolving stage, in order to reduce dead times to a minimum and avoid having to equip the stage in front of the audience. The one in San Giovanni is a large atypical concert, made extremely complicated by the needs of each artist and by the presence of the TV.
To what extent does RAI intervene on the concert?
The truth is that the TV, slave as it is to audience ratings, has become incapable of being a mere spectator and tends by its culture to "televise" anything, as the Sanremo Festival clearly demonstrates. At RAI they did not want to accept the idea of leaving 1º Maggio the possibility of being itself, that is, a musical review with a political meaning behind it and not just a television event: they proposed Fiorello as presenter, and when they spoke of "inviting others, invite different ones”, they were referring to Cugini di Campagna. For them, starting off with Almamegretta in prime time was blasphemy, they would have liked someone who sang "O sole mio". Luckily the whole Network (the company that manages the concert, N.d.l.) has earned and defended the decisions taken: it was a courageous act, considering that TV still acts as a "timepiece" of what is happening in San Giovanni and serves as a commodity exchange to negotiate the availability of their artists with record companies.
Are you somehow responsible for the TV broadcast idea on one network?
Absolutely not. I don't know why they changed the system, maybe they understood that the old one was too cumbersome. Even so, however, problems were not lacking, given that it was a question of upsetting the schedule of a network for about seven hours, with all its journalistic and advertising needs. Perhaps all these complications also explain why we were denied a connection with C.S.I., who had already made arrangements to perform in Reggio Emilia and therefore could not be physically present in Rome as we would have liked.
How did you move, on the contrary, in terms of artistic choices?
A complicated matter, because in any case the chosen ones would have thought that it was up to them and that I hadn't done anything special except to notice their merits, while I would have had to explain to all the others the reasons for an exclusion that they wouldn’t have willingly accepted anyway; what's more, I also suffered from the handicap of the previous editions, for example the disheveled willingness of the Network to accept everything and to submit to a series of give-and-take games. At the beginning, adopting an almost terrorist tactic, I announced my intention to halve attendance, hoping - as it later happened - to limit them to 60/70% compared to last year: this is not only because of stage changes, but also to ensure that each participant could offer two or three songs and not just the classic "promotional" piece that usually makes it to Sanremo and Festivalbar. As a basic principle I have tried to avoid pop, not out of racism towards the genre but because those who play pop still have many opportunities to appear, while at 1º Maggio - which is not the same as the Festivalbar, whatever enemies and cynical trombones may say marketed like Luzzatto Fegiz - it should be the concert of others, of those who struggle to find spaces outside the specialized circuit. Then I decided to favor groups, and not only because the first two months I was hammered with offers from young soloists, more or less singer-songwriters: groups know how to better protect themselves from the deliberate or unconscious conditioning of record companies, there are more people who keep the job alive and they sow each other's souls. They are like a laboratory, and therefore usually bring more elaborate proposals. I sincerely believe these musicians deserve more official exposure.
I don't think this modus operandi made you very popular.
I know, but what can I do? There was a line to carry and I did it all the way, there was a choice and I chose. The bad thing was having to say no to some friends for whom participation could be important, such as Massimo Bubola: we've known each other for years, we've worked together, but for reasons of coherence with the project I preferred to invite Almmegretta, Subsonica or Afterhours.
In addition to being petitioned, have you also been subjected to bribery attempts?
No, not at all. The only time they offered me money was a few years ago, when I was part of the youth jury for Sanremo. However, I've been subjected to less pressure than I expected, perhaps because of my reputation as a grouch, or because when you always speak your mind people have a harder time breaking your balls.
In the end, those who should have been on your side broke your balls: RAI, Cofferati who wanted songwriters…
The controversy of the songwriters was born fake: Cofferati was afraid that the lack of "big names" could keep the public away, and therefore in good faith he almost decided to say not to "give up" on 1º Maggio because it was something more of a concert anyway. In reality, San Giovanni, beyond the fact that there are those who want to participate for strong personal reasons and those who are less touched by the implications that are not strictly artistic, it is a maxi-musical event with television broadcasting, and the reason why we are talking about it is because it brings fights, altercations, discussions. If it were just the union party in the piazza, no one would worry too much about it, at most you'd read a few reviews in the newspapers.
Do you think you have sown something important for the future?
I hope so. And I hope next year’s artistic director realizes that a new principle has been established which at least has made the participants more protected from a technical and organizational point of view.
You assume it won't be you again.
Since they were all very happy, except perhaps Freccero, they have already asked me if I was interested in repeating. I am very honored and proud of it, but I am a little afraid of being institutionalized as "the one of 1º Maggio". But if I decided to say yes, I'd start working on it as early as September, in order to be sure of having truly exceptional foreign guests and not having to accept what little or much that has finally arrived, also thanks to the bureaucratic delays of the recording world. Furthermore, I would try to open up television prospects at a European level, and perhaps reserve a half hour for five or six "brand new” particularly promising acts.
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(...) L'uomo smise di essere un animale selvaggio solo quando costruì il suo primo muro. L'uomo smise di essere un selvaggio solo quando noi costruimmo la Muraglia Verde, quando con questa isolammo il nostro perfetto mondo delle macchine dall'irragionevole e informe mondo degli alberi, degli uccelli, degli animali...
(...) Dentro di me formicolava un pensiero: "E se poi il tizio dagli occhi gialli - nel suo mucchio di foglie insensato e sporco, nella sua vita non precalcolata - fosse più felice di noi?".
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Il mucchio selvaggio
I.S.A.
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Do not remove the captions pls.
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Psyco (1960) Alfred Hitchcock
Il mago di Oz (1939) Victor Fleming
Il padrino (1972) Francis Ford Coppola
Quarto potere (1941) Orson Welles
Pulp Fiction (1994) Quentin Tarantino
I sette samurai (1954) Akira Kurosawa
2001: Odissea nello spazio (1968) Stanley Kubrick
La vita è meravigliosa (1946) Frank Capra
Eva contro Eva (1951) Joseph L. Mankiewicz
Salvate il soldato Ryan (1998) Steven Spielberg
Cantando sotto la pioggia (1952) Stanley Donen e Gene Kelly
Quei bravi ragazzi (1990) Martin Scorsese
La regola del gioco (1939) Jean Renoir
Fa' la cosa giusta (1989) Spike Lee
Aurora (1927) Friedrich Wilhelm Murnau
Casablanca (1942) Michael Curtiz
Nashville (1975) Robert Altman
Persona (1966) Ingmar Bergman
Il padrino - Parte II (1974) Francis Ford Coppola
Velluto Blu (1986) David Lynch
Via col vento (1939) Victor Fleming
Chinatown (1974) Roman Polanski
L'appartamento (1960) Billy Wilder
Tokyo Story (1953) Yasujirō Ozu
Susanna! (1938) Howard Hawks
I 400 colpi (1959) François Truffaut
Gangster Story (1967) Arthur Penn
Luci della città (1931) Charlie Chaplin
La fiamma del peccato (1944) Billy Wilder
L'impero colpisce ancora (1980) Irvin Kershner
Quinto potere (1976) Sidney Lumet
La donna che visse due volte (1958) Alfred Hitchcock
8 1/2 (1963) Federico Fellini
Ombre rosse (1939) John Ford
Il silenzio degli innocenti (1991) Jonathan Demme
Fronte del porto (1954) Elia Kazan
Io e Annie (1977) Woody Allen
Lawrence d'Arabia (1962) David Lean
A qualcuno piace caldo (1959) Billy Wilder
Fargo (1996) Joel e Ethan Coen
Il mucchio selvaggio (1969) Sam Peckinpah
Moonlight (2016) Barry Jenkins
Shoah (1985) Claude Lanzmann
L’avventura (1960) Michelangelo Antonioni
Titanic (1997) James Cameron
Notorious - L'amante perduta (1946) Alfred Hitchcock
Mean Streets (1973) Martin Scorsese
Lezioni di Piano (1993) Jane Campion
Non aprite quella porta (1974) Tobe Hooper
Fino all'ultimo respiro (1960) Jean-Luc Godard
Apocalypse Now (1979) Francis Ford Coppola
Come vinsi la guerra (1926) Buster Keaton
In the Mood for Love (2000) Wong Kar-wai
Interceptor - Il guerriero della strada (1981) George Miller
Il lamento sul sentiero (1955) Satyajit Ray
Rosemary's Baby (1968) Roman Polanski
I segreti di Brokeback Mountain (2005) Ang Lee
E.T. - L'extraterrestre (1982) Steven Spielberg
Senza tetto né legge (1985) Agnès Varda
Moulin Rouge! (2001) Buz Luhrmann
La passione di Giovanna D'Arco (1928) Carl Theodor Dreyer
La vita è un sogno (1993) Richard Linklater
Bambi (1942) David Hand
Carrie - Lo sguardo di Satana (1976) Brian De Palma
Un condannato a morte è fuggito (1956) Robert Bresson
Parigi brucia (1990) Jennie Livingston
Ladri di biciclette (1948) Vittorio De Sica
King Kong (1933) Merian C. Cooper e Ernest B. Schoedsack
Beau Travail (1999) Claire Denis
12 anni schiavo (2013) Steve McQueen
Il matrimonio del mio migliore amico (1997) P. J. Hogan
Le onde del destino (1996) Lars von Trier
Intolerance (1916) D.W. Griffith
Il mio vicino Totoro (1988) Hayao Miyazaki
Boogie Nights (1997) Paul Thomas Anderson
The Tree of Life (2011) Terrence Malick
Agente 007 - Missione Goldfinger (1964) Guy Hamilton
Jeanne Dielman (1975) Chantal Akerman
Sognando Broadway (1966) Christopher Guest
Pixote - La legge del più debole (1981) Héctor Babenco
Il cavaliere oscuro (2008) Christopher Nolan
Parasite (2019) Bong Joon-ho
Kramer contro Kramer (1979) Robert Benton
Il labirinto del fauno (2006) Guillermo del Toro
Assassini nati - Natural Born Killers (1994) Oliver Stone
Close Up (1990) Abbas Kiarostami
Tutti insieme appassionatamente (1965) Robert Wise
Malcolm X (1992) Spike Lee
Bella di giorno (1967) Luis Buñuel
The Shining (1980) Stanley Kubrick
Scene da un matrimonio (1974) Ingmar Bergman
Pink Flamingos (1972) John Waters
Frank Costello faccia d'angelo (1967) Jean-Pierre Melville
Le amiche della sposa (2011) Paul Feig
Toy Story (1995) John Lasseter
Tutti per uno (1964) Richard Lester
Alien (1979) Ridley Scott
Donne sull'orlo di una crisi di nervi (1988) Pedro Almodóvar
La parola ai giurati (1957) Sidney Lumet
Il laureato (1967) Mike Nichols
Dall’articolo "I 100 migliori film della Storia del Cinema secondo Variety: 1° Psyco, 5° Pulp Fiction, 33° 8 1/2, 45° Titanic" di Antonio Bracco
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Il Mucchio Selvaggio - Il Mio Nome è Nessuno
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Senza Riscaldamento – Il Bologna di Thiago Motta e il "mucchio selvaggio" per il quarto posto
Nella puntata del 19 febbraio di “Senza riscaldamento”, condotto da Marco Lollobrigida e in onda il lunedì alle 20.30 su RaiNews24, si parla della grande stagione del Bologna di Thiago Motta, dell'”incompiuta” Fiorentina e del “mucchio selvaggio” il quarto posto che vale la Champions League.
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Torna dopo una lunga assenza il #TGTable, il telegiornale di around the table, anche per quersto mese ci prendiamo l'improbo compito di segnalare tutti i #giochidatavolo in uscita per il mese di Ottobre, ancora una volta ringrazio Hirtemis Giochi da Tavolo , per la preziosa collaborazione!
In attesa di #LuccaComics, ottobre vede l'uscita di alcuni interessanti #bordgame e varie espansioni per titoli molto amati.
In coda commenteremo il terzetto di giochi che si contenderanno il Gioco dell'Anno dutante la prossima edizione di #LuccaComicsandGames.
In qursta ediziione vedremo:
@Asmodee (Casting Shadows, Classic Art, Cortex Challenge Disney Edition, #DisneySorcerersArena, Forest Shuffle, Il Signore degli Anelli LCG – Espansione Saga Le Due Torri, #NightmareBeforeChristmas, Perspectives, Soldati (+ espansione Agli Ordini), Unstable Unicorns espansione Christmas Special, Unstable Unicorns espansione Nightmares, Waterfall Park, ristampa espansione Dune Imperium L’Ascesa di Ix)
@DVGiochi (Bonsai, Paper Dungeon espansione Side Quests)
@ghenosgame (Great Western Trail – Nuova Zelanda, Terraforming Mars Dice Game, Trio)
@pendragongamestudio (#TheWitcher - Il Vecchio Mondo)
@CranioCreation ( #EscapeRoom “Ladri di Tombe” + “L’Oro di Barbarossa” + “Il Colpo” + “Il Dentista, Le Rovine Perdute di Arnak espansione “La Spedizione Perduta”, Sagrada espansione 5-6 giocatori)
@msedizioni (Sherlock “L’Intruso” + “Stanza 208” + “Frida”, Western Legends + espansioni “Ante Up” e “Il Selvaggio Mucchio di Extra” e “L’Uomo in Nero”)
@studiosupernova (Yucatan + espansioni 5-6 giocatori + solo mode)
@boardgamesinvasion (Small Samurai Empires seconda edizione 2023)
@Ravensburger (Escape The Room – Omicidio di Mafia, Scotland Yard 40° Anniversario)
@Tambu (Explorers of the Woodland e Whakaari di Sonia e Stefano - Dal sogno allo scaffale )
@HELVETIQ (On The Road)
#boardgaming#boardgamegeek#boardgameaddict#giocodatavolo#tabletopgaming#tabletop#bgg#BoardGamesOfInstagram#boardgames#tabletopgames#gamestagram
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Il Forum del Cazzo
Un pezzo di storia del Mucchio Selvaggio.
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"Il Mucchio Selvaggio", girato da Sam Peckimpah nel 1969, segna la fine del Western vecchia maniera. E' grandioso, crepuscolare, truculento. Sotto quest'ultimo aspetto anticipa i film di Tarantino di qualche decennio più avanti. Non ci sono buoni che vincono in questo film, non ci sono buoni di nessun genere, nemmeno quando apparentemente combattono per una giusta causa. I protagonisti sono un gruppo di pistoleri feroci e attempati (gli attori principali sono William Holden, Robert Ryan, Ernest Borgnine), che si comportano come se, consapevoli di essere ormai fuori dal loro tempo, cercassero nella battaglia finale una sorta di catarsi autodistruttiva. Tecnicamente eccellente e innovativo, questo film è considerato il capolavoro di Peckimpah e, forse, può essere annoverato fra i dieci migliori Western di sempre. — view on Instagram https://ift.tt/ITCVD1A
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Peter Dinklage, Michael Fassbender e Jamie Foxx nel remake de Il Mucchio Selvaggio di Mel Gibson
#PeterDinklage, #MichaelFassbender e #JamieFoxx nel remake de #IlMucchioSelvaggio di #MelGibson
La notizia è di quelle forti, tanto imponenti ed eclatanti sono i nomi coinvolti e il soggetto per cui sono stati chiamati: Peter Dinklage, Michael Fassbender e Jamie Foxx faranno infatti parte del cast del remake di Il Mucchio Selvaggio diretto da Mel Gibson.
A diffondere la notizia circa il coinvolgimento delle suddette star è il sito Deadlineil quale riporta che, al momento, gli attori sono…
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Il mucchio selvaggio
I.S.A.
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Do not remove the captions pls.
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I Promessi Sposi ...cap. XX
Il castello dell'Innominato. ..( Somasca )
" Il castello dell’innominato era a cavaliere a una valle angusta e uggiosa, sulla cima d’un poggio che sporge in fuori da un’aspra giogaia di monti, ed è, non si saprebbe dir bene, se congiunto ad essa o separatone, da un mucchio di massi e di dirupi, e da un andirivieni di tane e di precipizi, che si prolungano anche dalle due parti. [...] Dall’alto del castellaccio, come l’aquila dal suo nido insanguinato, il selvaggio signore dominava all’intorno tutto lo spazio dove piede d’uomo potesse posarsi, e non vedeva mai nessuno al di sopra di sé, né più in alto ."
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Il Mucchio Selvaggio - Il Mio Nome è Nessuno
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