Saltar para: Posts [1], Pesquisa [2]

luís soares

Blog do escritor Luís Soares

Hunted

"brown skin masculine frame head's a target / acting real feminine make 'em vomit / this nigga can't take it"

'Hunted', taken from the debut album, 'Power', by Lotic

Out July 13th.

 

Director: Matt Lambert
Produced by: Prettybird
Producer: Hannah Bellil
Production Assistant: Moritz Tibes
Cinematographer: John Perez
Stylist: Ameena Kara Callender
Stylist Assistant: Felix Choong
Make-up: Pablo Rodriguez
Hair: James Oxley
Movement Direction: MJ Harper
Production Design: Marie Patzer
Editor: Judy Landkammer
Colorist: Greg Reese @ The Mill LA
Actor: Felix Mayr

 

Fashion:
Headpiece by House of Malakai
Dress by Simone Rocha
Jewelry by Slim Barrett
Cuffs by EKIRA
Corset by House of Harlot

W.S. Merwin - The Speed of Light

So gradual in those summers was the going
          of the age it seemed that the long days setting out
when the stars faded over the mountains were not
          leaving us even as the birds woke in full song and the dew
glittered in the webs it appeared then that the clear morning
          opening into the sky was something of ours
to have and keep and that the brightness we could not touch
          and the air we could not hold had come to be there all the time
for us and would never be gone and that the axle
          we did not hear was not turning when the ancient car
coughed in the roofer's barn and rolled out echoing
          first thing into the lane and the only tractor
in the village rumbled and went into its rusty
          mutterings before heading out of its lean-to
into the cow pats and the shadow of the lime tree
          we did not see that the swallows flashing and the sparks
of their cries were fast in the spokes of the hollow
          wheel that was turning and turning us taking us
all away as one with the tires of the baker's van
          where the wheels of bread were stacked like days in calendars
coming and going all at once we did not hear
          the rim of the hour in whatever we were saying
or touching all day we thought it was there and would stay
          it was only as the afternoon lengthened on its
dial and the shadows reached out farther and farther
          from everything that we began to listen for what
might be escaping us and we heard high voices ringing
          the village at sundown calling their animals home
and then the bats after dark and the silence on its road

Jaws

The Discarded Image: Episode 01 - Jaws (Spielberg, 1975) from Julian Palmer on Vimeo.

Welcome to The Discarded Image. A new online video series that analyses and deconstructs well known pieces of cinema. In this episode I look at the beach scene from Steven Spielberg's pop classic JAWS.

 

Here's a link to the beach sequence without commentary - https://vimeo.com/122302722

 

"Spielberg asserted his own role and deftly organized the elements of a roller coaster without sacrificing inner meanings. The suspense of that picture came from meticulous technique and good humour about its own surgical cutting. You only have to submit to the travesty of JAWS 2 to realize how much more engagingly Spielberg saw the ocean, the perils, and the sinister beauty of the shark, and the vitality of its human opponents."
David Thompson in The New Biographical Dictionary of Film

"Spielberg uses his gift in a very free-and-easy, American way - for humour, and for a physical response to action. He could be that rarity among directors, a born entertainer - perhaps a new generation's Howard Hawks."
Pauline Kael in her review of The Sugarland Express

Films Referenced:

Sabotage (Hitchcock, 1936)
Citizen Kane (Welles, 1941)
Rear Window (Hitchcock, 1954)
Vertigo (Hitchcock, 1958)
Pierrot Le Fou (Godard, 1956)
Weekend (Godard, 1967)
Jaws (Spielberg, 1975)
Carrie (De Palma, 1976)
Close Encounters of the Third Kind (Spielberg, 1977)
Raiders of the Lost Ark (Spielberg, 1981)
E.T. the Extra-Terrestrial (Spielberg , 1982)
Indiana Jones and the Temple of Doom (Spielberg , 1984)
Jurassic Park (Spielberg , 1993)
Saving Private Ryan, (Spielberg , 1998)
A.I. Artificial Intelligence (Spielberg , 2001)
Catch Me if you Can (Spielberg , 2002)
War of the Worlds (Spielberg. 2005)
Munich (Spielberg , 2005)
The Adventures of Tintin: The Secret of the Unicorn (Spielberg, 2011)
Moonrise Kingdom (Anderson, 2012)

Álvaro de Campos - Barrow-On-Furness

                I

 

Sou vil, sou reles, como toda a gente,

Não tenho ideais, mas não os tem ninguém.

Quem diz que os tem é como eu, mas mente.

Quem diz que busca é porque não os tem.

 

É com a imaginação que eu amo o bem.

Meu baixo ser porém não mo consente.

Passo, fantasma do meu ser presente,

Ébrio, por intervalos, de um Além.

 

Como todos não creio no que creio.

Talvez possa morrer por esse ideal.

Mas, enquanto não morro, falo e leio.

 

Justificar-me? Sou quem todos são...

Modificar-me? Para meu igual?...

— Acaba lá com isso, ó coração!

 

                II

 

Deuses, forças, almas de ciência ou fé,

Eh! Tanta explicação que nada explica!

Estou sentado no cais, numa barrica,

E não compreendo mais do que de pé.

 

Porque o havia de compreender?

Pois sim, mas também porque o não havia?

Água do rio, correndo suja e fria,

Eu passo como tu, sem mais valer...

 

Ó universo, novelo emaranhado,

Que paciência de dedos de quem pensa

Em outra coisa te põe separado?

 

Deixa de ser novelo o que nos fica...

A que brincar? Ao amor?, à indiferença?

Por mim, só me levanto da barrica.

 

                III

 

Corre, raio de rio, e leva ao mar

A minha indiferença subjectiva!

Qual «leva ao mar»! Tua presença esquiva

Que tem comigo e com o meu pensar?

 

Lesma de sorte! Vivo a cavalgar

A sombra de um jumento. A vida viva

Vive a dar nomes ao que não se activa,

Morre a pôr etiquetas ao grande ar...

 

Escancarado Furness, mais três dias

Te aturarei, pobre engenheiro preso

A sucessibilíssimas vistorias...

 

Depois, ir-me-ei embora, eu e o desprezo

(E tu irás do mesmo modo que ias),

Qualquer, na gare, de cigarro aceso...

 

                IV

 

Conclusão a sucata!... Fiz o cálculo,

Saiu-me certo, fui elogiado...

Meu coração é um enorme estrado

Onde se expõe um pequeno animálculo...

 

A microscópio de desilusões

Findei, prolixo nas minúcias fúteis...

Minhas conclusões práticas, inúteis...

Minhas conclusões teóricas, confusões...

 

Que teorias há para quem sente

O cérebro quebrar-se, como um dente

Dum pente de mendigo que emigrou?

 

Fecho o caderno dos apontamentos

E faço riscos moles e cinzentos

Nas costas do envelope do que sou...

 

                V

 

Há quanto tempo, Portugal, há quanto

Vivemos separados! Ah, mas a alma,

Esta alma incerta, nunca forte ou calma,

Não se distrai de ti, nem bem nem tanto.

 

Sonho, histérico oculto, um vão recanto...

O rio Furness, que é o que aqui banha,

Só ironicamente me acompanha,

Que estou parado e ele correndo tanto...

 

Tanto? Sim, tanto relativamente...

Arre, acabemos com as distinções,

As subtilezas, o interstício, o entre,

A metafísica das sensações —

 

Acabemos com isto e tudo mais...

Ah, que ânsia humana de ser rio ou cais!

Offertorium

The State Academic Symphony Orchestra "Evgeny Svetlanov" (Государственный Академический Симфонический Оркестр России имени Е. Ф. Светланова), directed by Vladimir Yurovsky and with Vadim Repin on violin, performs Sofia Gubaidulina's "Offertorium" at Moscow's Tchaikovsky Concert Hall on May 30, 2016