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luís soares

Blog do escritor Luís Soares

Free in the Knowledge

Free in the knowledge
That one day this will end
Free in the knowledge
That everything is change

And this
Was just a bad moment
We were fumbling around
But we won’t get caught like that
Soldiers on our backs
We won’t get caught like that

A face using fear to try to keep control
But when we get together, well then, who knows

If this
Was just a bad moment
We were fumbling around
But we won’t get caught like that
Soldiers on our backs
We won’t get caught like that

I talk to the face in the mirror
But he can't get through
I said it's time that you deliver
'Cause we see through you
I talk to the face in the mirror
But he can't get through
Turns out we’re in this together
Both me and you

Skrting On The Surface

Skrting On The Surface out now on XL Recordings.
 
Mark Jenkin – Director, DOP, Editor, Grade, Sound Design, Film Processing
Joel Spencer - Exec Producer
Denzil Monk – Producer (Cornwall)
Ella Turner – Production Manager
Esme Drummond – Production Assistant
Toby Matthews – Assistant Camera
Callum Mitchell – 1st AD
Jonny Dry – 2nd AD / COVID Supervisor
Colin Holt – Lighting Camera
Michael Gibson – Best Boy
Joe Gray – Production Designer
Luke Hudson – Standby Props
Mae Voogd – Costume / MUA
Izzie Jones – Production Assistant
Tony Bennett – Mine Captain / Location Manager
James Arscott – Rigger
Niccola Ioannuo – Runner
Steve Tanner – Stills Photography
Bullion Productions - Production Company
Bosena - Service Company
Director’s Representation: OB Management | @obmanagement

Paul Thomas Anderson: From a Distance

Paul Thomas Anderson: From a Distance from Jacob T. Swinney on Vimeo.

The characters in the films of Paul Thomas Anderson share many similarities. They come from dysfunctional families, they are desperately seeking acceptance, they let their emotions get the best of them, and the list goes on. But a similarity that seems to especially stand out is a sense of isolation. Anderson's characters are adrift, looking for someone or something to connect with in their lonely worlds. This idea is expressed visually through the use of long/extreme long shots. We are often presented with characters lost within the frame, and therefore have trouble connecting with said characters--we become isolated ourselves. Here is a look at Anderson's use of the long/extreme long shot throughout his first six feature films.
MUSIC: "Alethia" by Jonny Greenwood
Films:
Hard Eight (1996)
Boogie Nights (1997)
Magnolia (1999)
Punch-Drunk Love (2002)
There Will be Blood (2007)
The Master (2012)

Featured at http://blogs.indiewire.com/pressplay/watch-a-video-essay-on-paul-thomas-andersons-provocative-use-of-the-long-shot-20150130

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