[a una melodia, de sirena, a les orelles; i a un timó del qual m'he deslligat]
escena de the singing detective, sèrie escrita per dennis potter (bbc, 1986), una de les millors sèries del món, considerada al 2000, amb el número vint, dins del rànquing dels millors cent programes de la televisió britànica, i que ha passat a formar part de les col·leccions dels museus de ràdio i televisió de nova york i los angeles. la refilada dels ocells que imita el pare de philip e. marlow en aquest fragment són, per aquest ordre: la cadernera, el moixó canari, el rossinyol, el cucut i el pinsà... admirable!
Es mostren els missatges amb l'etiqueta de comentaris ombres de la xina. Mostrar tots els missatges
Es mostren els missatges amb l'etiqueta de comentaris ombres de la xina. Mostrar tots els missatges
3 de març del 2009
19 de febrer del 2009
projecció
[als avis que marxen amb quietud, als néts, els nostres fills,
que amb la càmera de l’aplom a les mans enquadren silenciosament les escenes de la vida... i a aquelles coses que entenem només amb el pas del temps, i que són un regal.]
cinema paradiso, de giuseppe tornatore (frança - itàlia: miramar, 1988), banda sonora d'ennio morricone
que amb la càmera de l’aplom a les mans enquadren silenciosament les escenes de la vida... i a aquelles coses que entenem només amb el pas del temps, i que són un regal.]
cinema paradiso, de giuseppe tornatore (frança - itàlia: miramar, 1988), banda sonora d'ennio morricone
9 de febrer del 2009
intriga
hugo pratt, corto maltese, concerto in ó minore per arpa e nitroglicerina, del cicle le celtiche (milà: lizard, 1998 [d'una versió primera publicada a la revista francesa pif gadget entre el setembre de 1971 i el juliol de 1972]), primera part del capítol de la sèrie animada de richard danto i liam saury, a partir de l'obra original (ellipsanime - canal+ - pomalux - rai fiction, 2002), emès a rai tre el 2 d'octubre de 2007
12 de desembre del 2008
soffito viola
Quando sei qui con me
questa stanza non ha più pareti
ma alberi, alberi infiniti. Quando sei
qui vicino a me questo soffitto viola no
non esiste più; io vedo il cielo sopra noi
che restiamo qui,
abbandonati come se non ci fosse più
niente più niente al mondo.
Suona un'armonica. Mi sembra un organo
che vibra per te, per me,
su nell'immensità del cielo...
per te e per me nel cielo.
versió de franco battiato de il cielo in una stanza en fleurs 3 (columbia, 2007) de gino paoli en gino paoli (ricordi, 1961)
2 de desembre del 2008
dalila
[a un desig en forma de tisores]
anna galiena i jean rochefort en le mari de la coiffeuse, de patrice leconte (frança: lambart - tf1 - sofica, 1990), música de michael nyman
anna galiena i jean rochefort en le mari de la coiffeuse, de patrice leconte (frança: lambart - tf1 - sofica, 1990), música de michael nyman
28 de novembre del 2008
encaix
[a la perfecció]
jeremy clapin, une histoire vertebrale (backbone tale) (frança: strapontin - spirit, 2006), premi al millor film en la competició internacional de cinema d'animació de dresden, alemanya.
jeremy clapin, une histoire vertebrale (backbone tale) (frança: strapontin - spirit, 2006), premi al millor film en la competició internacional de cinema d'animació de dresden, alemanya.
26 de novembre del 2008
fred
[a un fred benigne, compartit]
Traversare una strada per scappare di casa
lo fa solo un ragazzo, ma quest’uomo che gira
tutto il giorno le strade, non è più un ragazzo
e non scappa di casa.
Ci sono d’estate
pomeriggi che fino le piazze son vuote, distese
sotto il sole che sta per calare, e quest’uomo, che giunge
per un viale d’inutili piante, si ferma.
Val la pena esser solo, per essere sempre più solo?
Solamente girarle, le piazze e le strade
sono vuote. Bisogna fermare una donna
e parlarle e deciderla a vivere insieme.
Altrimenti, uno parla da solo. È per questo che a volte
c’è lo sbronzo notturno che attacca discorsi
e racconta i progetti di tutta la vita.
Non è certo attendendo nella piazza deserta
che s’incontra qualcuno, ma chi gira le strade
si sofferma ogni tanto. Se fossero in due,
anche andando per strada, la casa sarebbe
dove c’è quella donna e varrebbe la pena.
Nella notte la piazza ritorna deserta
e quest’uomo, che passa, non vede le case
tra le inutili luci, non leva più gli occhi:
sente solo il selciato, che han fatto altri uomini
dalle mani indurite, come sono le sue.
Non è giusto restare sulla piazza deserta.
Ci sarà certamente quella donna per strada
che, pregata, vorrebbe dar mano alla casa.
cesare pavese, lavorare stanca (florència: solaria, 1936), clip dirigit per andrea galli, també arranjador musical sobre una partitura d'ennio morricone
Traversare una strada per scappare di casa
lo fa solo un ragazzo, ma quest’uomo che gira
tutto il giorno le strade, non è più un ragazzo
e non scappa di casa.
Ci sono d’estate
pomeriggi che fino le piazze son vuote, distese
sotto il sole che sta per calare, e quest’uomo, che giunge
per un viale d’inutili piante, si ferma.
Val la pena esser solo, per essere sempre più solo?
Solamente girarle, le piazze e le strade
sono vuote. Bisogna fermare una donna
e parlarle e deciderla a vivere insieme.
Altrimenti, uno parla da solo. È per questo che a volte
c’è lo sbronzo notturno che attacca discorsi
e racconta i progetti di tutta la vita.
Non è certo attendendo nella piazza deserta
che s’incontra qualcuno, ma chi gira le strade
si sofferma ogni tanto. Se fossero in due,
anche andando per strada, la casa sarebbe
dove c’è quella donna e varrebbe la pena.
Nella notte la piazza ritorna deserta
e quest’uomo, che passa, non vede le case
tra le inutili luci, non leva più gli occhi:
sente solo il selciato, che han fatto altri uomini
dalle mani indurite, come sono le sue.
Non è giusto restare sulla piazza deserta.
Ci sarà certamente quella donna per strada
che, pregata, vorrebbe dar mano alla casa.
cesare pavese, lavorare stanca (florència: solaria, 1936), clip dirigit per andrea galli, també arranjador musical sobre una partitura d'ennio morricone
25 de novembre del 2008
vi
[a un vi, clos de vougeot de 1845 de chez philippe, de la rue montorgueil de parís... i als altres vins, que ara dormen a les bótes, i a les seves possibilitats]
[primera part]
[segona part]
babette's feast, de gabriel axel (danish film institute, 1987), basada en el conte de la baronessa karen von blixen-finecke [isak dinesen], babettes gæstebud dins winter's tales (random, 1942)
[primera part]
[segona part]
babette's feast, de gabriel axel (danish film institute, 1987), basada en el conte de la baronessa karen von blixen-finecke [isak dinesen], babettes gæstebud dins winter's tales (random, 1942)
16 de novembre del 2008
àfrica
kristin scott thomas (katharine clifton) i ralph fiennes (comte lászló d'almásy) a the english patient d'anthony minghella (miramax, 1996) basada en la novel·la de michael ondaatje (toronto: mcclelland and stewart, 1992)
10 de novembre del 2008
ànima
I wanna tell you a story that every man oughta know:
If you want a little lovin' you gotta start real slow.
She gonna love you tonight, if you just treat her right.
Oh! squeeze her real gentle, you gotta make her feel good.
Tell her that you love her like you know you should:
She gonna love you tonight, if you just treat her right.
If you practice my method just as hard as you can,
You gonna get a reputation as a lovin' man.
Yeah, you'll be glad every night that you're treatin' her right.
Hey hey hey hey...
roy head i gene kurtz, treat her right, roy head & the traits (1965); george thorogood & the destroyers, born to be bad (1988), i ara a the commitments d'alan parker (beacon communications, 1991)
9 de novembre del 2008
valor
[a les pors de qui estimem, al f.c. barcelona, als partits a les 7 del matí, i als qui lluitaren en la batalla d'agincourt, el dia 25 d'octubre de 1415, diada de sant crispí]
This day is called the feast of Crispian: [Avui és Sant Crispí:]
He that outlives this day, and comes safe home, [aquell qui sobrevisqui avui, i torni sa i estalvi a casa,]
Will stand a tip-toe when the day is named, [s’alçarà dempeus quan es parli d’aquest dia,]
And rouse him at the name of Crispian. [i despertarà amb el nom de Crispí.]
He that shall live this day, and see old age, [Qui després d’avui encara arribi a vell]
Will yearly on the vigil feast his neighbours, [cada any el dia abans convidarà els veïns]
And say ‘To-morrow is Saint Crispian’: [i els dirà: “Demà és Sant Crispí”.]
Then will he strip his sleeve and show his scars. [Llavors s’arromangarà i en mostrarà les cicatrius.]
And say ‘These wounds I had on Crispin’s day’. [Dirà: “Aquestes ferides me les van fer el dia de Sant Crispí”.]
Old men forget: yet all shall be forgot, [Qui és vell oblida: tot cau en l’oblit,]
But he’ll remember with advantages [però l’home sempre recordarà amb profit]
What feats he did that day: then shall our names [la proesa que va fer aquell dia. I els nostres noms]
Familiar in his mouth as household words: [retornaran als seus llavis aleshores com noms familiars:]
Harry the king, Bedford and Exeter, Warwick and Talbot, Salisbury and Gloucester, [el rei Enric, Bedford i Exeter, Warwick i Talbot, Salisbury i Gloucester…]
Be in their flowing cups freshly remember’d. [tots serem dolçament recordats entre l’escuma de les copes.]
This story shall the good man teach his son; [I el bon home explicarà aquesta història a son fill;]
And Crispin Crispian shall ne’er go by, [i no hi haurà Sant Crispí i Sant Crispinià]
From this day to the ending of the world, [—des d’ara i fins a la fi del món—]
But we in it shall be remember’d; [que no hi siguem recordats.]
We few, we happy few, we band of brothers; [Nosaltres pocs, feliços pocs, una colla de germans,]
For he to-day that sheds his blood with me [—perquè qui avui vessi la seva sang amb mi]
Shall be my brother; be he ne’er so vile, [serà per sempre mon germà, i mai més serà un vilà,]
This day shall gentle his condition: [que, des d’avui, serà noble la seva condició.]
And gentlemen in England now a-bed [Quants cavallers que ara són al llit a Anglaterra]
Shall think themselves accursed they were not here, [maleiran el fet de no ser ara aquí]
And hold their manhoods cheap whiles any speaks [i se sentiran poc homes si s’escolten]
That fought with us upon Saint Crispin’s day. [qui va lluitar entre nosaltres el dia de Sant Crispí!]
[...]
william shakespeare, henry V, (c. 1599) [acte IV, escena III]; kenneth branagh, henry V (bbc, 1989)
[...]
This day is called the feast of Crispian: [Avui és Sant Crispí:]
He that outlives this day, and comes safe home, [aquell qui sobrevisqui avui, i torni sa i estalvi a casa,]
Will stand a tip-toe when the day is named, [s’alçarà dempeus quan es parli d’aquest dia,]
And rouse him at the name of Crispian. [i despertarà amb el nom de Crispí.]
He that shall live this day, and see old age, [Qui després d’avui encara arribi a vell]
Will yearly on the vigil feast his neighbours, [cada any el dia abans convidarà els veïns]
And say ‘To-morrow is Saint Crispian’: [i els dirà: “Demà és Sant Crispí”.]
Then will he strip his sleeve and show his scars. [Llavors s’arromangarà i en mostrarà les cicatrius.]
And say ‘These wounds I had on Crispin’s day’. [Dirà: “Aquestes ferides me les van fer el dia de Sant Crispí”.]
Old men forget: yet all shall be forgot, [Qui és vell oblida: tot cau en l’oblit,]
But he’ll remember with advantages [però l’home sempre recordarà amb profit]
What feats he did that day: then shall our names [la proesa que va fer aquell dia. I els nostres noms]
Familiar in his mouth as household words: [retornaran als seus llavis aleshores com noms familiars:]
Harry the king, Bedford and Exeter, Warwick and Talbot, Salisbury and Gloucester, [el rei Enric, Bedford i Exeter, Warwick i Talbot, Salisbury i Gloucester…]
Be in their flowing cups freshly remember’d. [tots serem dolçament recordats entre l’escuma de les copes.]
This story shall the good man teach his son; [I el bon home explicarà aquesta història a son fill;]
And Crispin Crispian shall ne’er go by, [i no hi haurà Sant Crispí i Sant Crispinià]
From this day to the ending of the world, [—des d’ara i fins a la fi del món—]
But we in it shall be remember’d; [que no hi siguem recordats.]
We few, we happy few, we band of brothers; [Nosaltres pocs, feliços pocs, una colla de germans,]
For he to-day that sheds his blood with me [—perquè qui avui vessi la seva sang amb mi]
Shall be my brother; be he ne’er so vile, [serà per sempre mon germà, i mai més serà un vilà,]
This day shall gentle his condition: [que, des d’avui, serà noble la seva condició.]
And gentlemen in England now a-bed [Quants cavallers que ara són al llit a Anglaterra]
Shall think themselves accursed they were not here, [maleiran el fet de no ser ara aquí]
And hold their manhoods cheap whiles any speaks [i se sentiran poc homes si s’escolten]
That fought with us upon Saint Crispin’s day. [qui va lluitar entre nosaltres el dia de Sant Crispí!]
[...]
william shakespeare, henry V, (c. 1599) [acte IV, escena III]; kenneth branagh, henry V (bbc, 1989)
27 d’octubre del 2008
blade runner
[al director de cinema que si vol serà el meu fill, i a les vegades que hem interpretat aquesta escena a la cuina de casa]
-Quite an experience to live in fear, isn't it? That's what it is to be a slave.
-(...) Kinship!
-(...) I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I've watched c-beams glitter in the dark near the Tannhäuser Gate. All those moments will be lost in time, like tears in rain. It's time to die.
harrison ford i rutger hauer en blade runner de ridley scott (warner bross, 1982), basada en la novel·la de philip k dick do androids dream of electric sheep? (doubleday, 1968)
roy batty (nexus 6):
-Quite an experience to live in fear, isn't it? That's what it is to be a slave.
-(...) Kinship!
-(...) I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I've watched c-beams glitter in the dark near the Tannhäuser Gate. All those moments will be lost in time, like tears in rain. It's time to die.
harrison ford i rutger hauer en blade runner de ridley scott (warner bross, 1982), basada en la novel·la de philip k dick do androids dream of electric sheep? (doubleday, 1968)
9 d’octubre del 2008
manipulació
[o l'art de la conversa]
_harry: I love you.
_sally: How do you expect me to respond to this?
_harry: How about you love me, too?
_sally: How about, I'm leaving.
_harry: Doesn't what I said mean anything to you?
_sally: I'm sorry, Harry. I know it's new year's eve. I know you're feeling lonely, but you just can't show up here, tell me you love me, and expect that to make everything all right. It doesn't work this way.
_harry: Well, how does it work?
_sally: I don't know, but not this way.
_harry: How about this way? I love that you get cold when it's seventy-one degrees out. I love that it takes you an hour and a half to order a sandwich. I love that you get a little crinkle above your nose when you're lookin' at me like I'm nuts. I love that after I spend the day with you, I can still smell your perfume on my clothes. And I love that you are the last person I want to talk to before I go to sleep at night. And it's not because I'm lonely. And it's not because it's new year's eve. I came here tonight because when you realize you want to spend the rest of your life with somebody, you want the rest of your life to start as soon as possible.
_sally: (feeling manipulated but also melting) You see. That is just like you, Harry. You say things like that, and you make it impossible for me to hate you, and I hate you, Harry. I really hate you. I hate you.
meg ryan i billy crystal en when harry met sally, escrita per nora ephron i dirigida per rob reiner (castle rock entertainment, 1989)
_harry: I love you.
_sally: How do you expect me to respond to this?
_harry: How about you love me, too?
_sally: How about, I'm leaving.
_harry: Doesn't what I said mean anything to you?
_sally: I'm sorry, Harry. I know it's new year's eve. I know you're feeling lonely, but you just can't show up here, tell me you love me, and expect that to make everything all right. It doesn't work this way.
_harry: Well, how does it work?
_sally: I don't know, but not this way.
_harry: How about this way? I love that you get cold when it's seventy-one degrees out. I love that it takes you an hour and a half to order a sandwich. I love that you get a little crinkle above your nose when you're lookin' at me like I'm nuts. I love that after I spend the day with you, I can still smell your perfume on my clothes. And I love that you are the last person I want to talk to before I go to sleep at night. And it's not because I'm lonely. And it's not because it's new year's eve. I came here tonight because when you realize you want to spend the rest of your life with somebody, you want the rest of your life to start as soon as possible.
_sally: (feeling manipulated but also melting) You see. That is just like you, Harry. You say things like that, and you make it impossible for me to hate you, and I hate you, Harry. I really hate you. I hate you.
meg ryan i billy crystal en when harry met sally, escrita per nora ephron i dirigida per rob reiner (castle rock entertainment, 1989)
30 de setembre del 2008
llibertat
[al meu treball]
(agència: euro RSCG, 2008)
nova campanya de promoció de la furgoneta citroen berlingo
(agència: euro RSCG, 2008)
24 de setembre del 2008
pausa
[a una musa i a un silenci gairebé elèctric]
what is this thing called love? gwyneth paltrow, infamous (douglas mcgrath, 2006)
what is this thing called love? gwyneth paltrow, infamous (douglas mcgrath, 2006)
9 de setembre del 2008
27 de juliol del 2008
sordesa
[a una situació molt incòmoda]
one trick pony (escrita per paul simon i dirigida per robert m. young, 1980)
one trick pony (escrita per paul simon i dirigida per robert m. young, 1980)
17 de juliol del 2008
proporció
[a les pel·lícules de pirates i al fet de no poder-les oblidar quan som amb el meu fill a la platja]
8 de juliol del 2008
peixos
lauren bacall i humphrey bogart en howard hawks: to have and have not (1944) [guió de jules furthman i william faulkner a partir de la novel·la d'ernest hemingway]
5 de juliol del 2008
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