grand canyon 2011
Even to an unworldly being the words ‘Buenos Aires’ manages to evoke a feeling of grandiose power and longing. It is an iconic city that could be easily perched beside our New Yorks, our Londons, our Berlins, our Paris’ or our Tokyos - but why?
I personally didn’t know the answer. But inside me…
Loved the story
Gerardo Mátos Rodríguez - La cumparsita
For something new: I converted the instrumental version of this song to 3/4, then overlaid the original vocals, which are still in 4/4.Tthus, we’ve got something of a funny hemiola-effect, but the mind is pretty good at letting the timing “slip” enough. It sounds different, but not intrinsically “wrong” like cutting/speeding up syllables does sometimes.
I’ve tried this for a handful of songs, but Human, by The Killers, worked out the best so far. I first heard the original on a late night show in 2008, and I like it quite a bit. It’s also thematically appropriate for dance music. :-)
- Tempo: 114 bpm
- Date of original hack: May 05, 2012
- Edit: Pattern 14, overlap 100%, Instrumental slowed down to 82.5% and vocals sped up 10% and matched up.
- Field-tested: May 07, 2012 (during Dancebreak)
I love this theme song. I used to watch this show as a kid.
There’s something cheerful yet tragic about this theme, composed by Dick DeBenedictis. One of my favorites of all time.
Gotan Project - Santa Maria
Love this Tango music! So much passion.
A director is like any other artist: a painter, a poet, a musician. And since it is required from him to contribute his own self, it is strange to see directors that take their work as a special position, given to them by destiny, and simply exploit their profession. That is, they live in one way, but make movies about something else. And I’d like to tell directors, especially young ones, that they should be morally responsible for what they do while making their films. Do you understand? It is the most important of all. Secondly, they should be prepared for the thought that cinema is a very difficult and serious art. It requires sacrificing of yourself. You should belong to it, it shouldn’t belong to you. Cinema uses your life, not vice versa. Therefore, I think that this is the most important: You should sacrifice yourself to the art.
My objective is to create my own world and these images which we create mean nothing more than the images which they are. We have forgotten how to relate emotionally to art: we treat it like editors, searching in it for that which the artist has supposedly hidden. It is actually much simpler than that, otherwise art would have no meaning. You have to be a child—incidentally children understand my pictures very well, and I haven’t met a serious critic who could stand knee-high to those children. We think that art demands special knowledge; we demand some higher meaning from an author, but the work must act directly on our hearts or it has no meaning at all.
Andrei Tarkovsky (April 4, 1932 - December 29, 1986)
The director’s task is to recreate life, its movement, its contradictions, its dynamic and conflicts. It is his duty to reveal every iota of the truth he has seen, even if not everyone finds that truth acceptable. Of course an artist can lose his way, but even his mistakes are interesting provided they are sincere. For they represent the reality of his inner life, of the peregrinations and struggle into which the external world has thrown him.
The Mirror // Zerkalo (1975)
The film aimed at reconstructing the lives of people whom I loved dearly and knew well. I wanted to tell the story of the pain suffered by one man because he feels he cannot repay his family for all they have given him. He feels he hasn’t loved them enough, and this idea torments him and will not let him be. Once you start to speak of things that are precious, you are immediately anxious about how people will react to what you have said, and you want to protect these things, to defend them against incomprehension. We were worried about how future audiences would receive the picture, but at the same time we went on believing, with maniac obstinacy, that we would be heard. (…) Mirror was not an attempt to talk about myself, not at all. It was about my feelings towards people dear to me; about my relationship with them; my perpetual pity for them and my own inadequacy— my feeling of duty left unfufilled. - Andrei Tarkovsky
"Don’t be surprised. I love you"
- Zerkalo (1975) by Andrei Tarkovsky
"Words can’t express everything."
Andrei Tarkovsky, Zerkalo (The Mirror), 1975
In cinema it is necessary not to explain, but to act upon the viewer’s feelings, and the emotion which is awoken is what provokes thought.