"¡Hablar, hablar, hablar!... ¡La gente se la pasa hablando! Los animales no hablan, por eso no mienten."
----------La prostituta q sale en la peli BREAKING AND ENTERING
lunes, 31 de agosto de 2009
cetáceo
"Una vez me retaron a filmar MOBY DICK desde el punto de vista de la ballena... Mi película recaudó 400 millones de dólares por todo el mundo."
-----El personaje q hace Dustin Hoffman, en WAG THE DOG
-----El personaje q hace Dustin Hoffman, en WAG THE DOG
circunstancias
"No existe eso q la gente llama problemas. Sólo hay situaciones."
---------De la película Revolver, de Guy Ritchie.
---------De la película Revolver, de Guy Ritchie.
afrenta
HOMERO: No te preocupes, hijo. Yo te construiré una casa-de-árbol tan grande que ¡será una afrenta para el mismo Dios!
BART: ¿Y puede tener una escalera plegable?
HOMERO: Sólo si es una afrenta para Dios.
BART: ¿Y puede tener una escalera plegable?
HOMERO: Sólo si es una afrenta para Dios.
jueves, 27 de agosto de 2009
Executive Producer
EL DUEÑO DE UN ESTUDIO: "¿Y quién demonios es usted?"
HOMERO SIMPSON: "¿El término PRODUCTOR EJECUTIVO le dice algo?"
MEL GIBSON: "¡¿Productor ejecutivo?!"
HOMERO SIMPSON: "¿El término PRODUCTOR EJECUTIVO le dice algo?"
MEL GIBSON: "¡¿Productor ejecutivo?!"
lunes, 24 de agosto de 2009
melissa, siempre
pieza: malibu
artista: hole (live performance)
(En esta versión, hay un juego de cámaras entre el rostro de Curtney y el hermoso rostro de Mellissa Auf der Maur, más o menos hacia el final de la canción.)
artista: hole (live performance)
(En esta versión, hay un juego de cámaras entre el rostro de Curtney y el hermoso rostro de Mellissa Auf der Maur, más o menos hacia el final de la canción.)
domingo, 23 de agosto de 2009
con mayor razón...
-¿Y si candidateamos al Presidente para el Nobel de la Paz?
-Bueno, pues si Henrry Kissinger lo ganó...
-Pero, nuestro hombre sí trajo la paz.
-Oye, pero no había guerra.
-Pues eso le da mayor mérito.
-----------Diálogo entre Hoffmman y De Niro, en WAG THE DOG
-Bueno, pues si Henrry Kissinger lo ganó...
-Pero, nuestro hombre sí trajo la paz.
-Oye, pero no había guerra.
-Pues eso le da mayor mérito.
-----------Diálogo entre Hoffmman y De Niro, en WAG THE DOG
necesario
"No puedes tener una guerra sin un enemigo... Bueno, se podría, pero sería una guerra muy aburrida."
-----El personaje de Robert DeNiro en la peli WAG THE DOG
-----El personaje de Robert DeNiro en la peli WAG THE DOG
lunes, 17 de agosto de 2009
viernes, 7 de agosto de 2009
in the enosphere,,,,,,,,,,Franck Mallet 2001
http://music.hyperreal.org/artists/brian_eno/interviews/artpress01.html
"It's a particular color, ambient music is intended to induce calm and a space to think. Ambient music must be able to accommodate many levels of listening attention without enforcing one in particular."
It's strange to think a piece I recorded in two and a half days has aquired a kind of immortality. I thought it would be ephemeral. But it has a new life beyond the record. A part of me has become immortal, out of my control.
Nobody had really thought about this question, and yet we are increasingly likely to find ourselves in places with background music, an ambience. Still, no composers have thought to write for these modern spaces which represent 30% of our current musical experience.
I dreamed of a music without barriers, taking in classical instruments, new electronic instruments and "non-instruments"
I have always learnt things out of fascination.
For ten years Music For Airports was dismissed as crap!
People wanted to create a sound world using the studio, and not just to tell a story.
Music is my true home!
but when you study music in the classical system, you are always on the inside.
"It's a particular color, ambient music is intended to induce calm and a space to think. Ambient music must be able to accommodate many levels of listening attention without enforcing one in particular."
It's strange to think a piece I recorded in two and a half days has aquired a kind of immortality. I thought it would be ephemeral. But it has a new life beyond the record. A part of me has become immortal, out of my control.
Nobody had really thought about this question, and yet we are increasingly likely to find ourselves in places with background music, an ambience. Still, no composers have thought to write for these modern spaces which represent 30% of our current musical experience.
I dreamed of a music without barriers, taking in classical instruments, new electronic instruments and "non-instruments"
I have always learnt things out of fascination.
For ten years Music For Airports was dismissed as crap!
People wanted to create a sound world using the studio, and not just to tell a story.
Music is my true home!
but when you study music in the classical system, you are always on the inside.
miércoles, 5 de agosto de 2009
la revancha de lo intuitivo,,,,,,brian eno,,,,,,1999,,,,,,excerpts
http://www.wired.com/wired/archive/7.01/eno.html
But now I'm struck by the insidious, computer-driven tendency to take things out of the domain of muscular activity and put them into the domain of mental activity. This transfer is not paying off. Sure, muscles are unreliable, but they represent several million years of accumulated finesse. Musicians enjoy drawing on that finesse (and audiences respond to its exercise), so when muscular activity is rendered useless, the creative process is frustrated.
In my experience, the instruments and tools that endure (because they are loved by their users) have limited options.
Indeed, familiarity breeds content. When you use familiar tools, you draw upon a long cultural conversation - a whole shared history of usage - as your backdrop, as the canvas to juxtapose your work.
But now I'm struck by the insidious, computer-driven tendency to take things out of the domain of muscular activity and put them into the domain of mental activity. This transfer is not paying off. Sure, muscles are unreliable, but they represent several million years of accumulated finesse. Musicians enjoy drawing on that finesse (and audiences respond to its exercise), so when muscular activity is rendered useless, the creative process is frustrated.
In my experience, the instruments and tools that endure (because they are loved by their users) have limited options.
Indeed, familiarity breeds content. When you use familiar tools, you draw upon a long cultural conversation - a whole shared history of usage - as your backdrop, as the canvas to juxtapose your work.
brian eno,,,,,,,wired interview,,,,,2007
http://www.wired.com/culture/art/news/2007/07/eno_qa_full?currentPage=all
But the breakthrough for me -- I happened to start working in studios just at the time that multi-tracking became available, and I realized it made music-making a lot like painting in that you could add and take away colors, you could stretch things and turn them upsidedown and do all sorts of different things. So I thought of myself as a sonic painter rather than as a composer.
So, it was always really trying to pick technologies that were around and seeing what else you could do with them. You know, I think that technology is always invented for historical reasons, to solve a historical problem. But they very soon reveal themselves to be capable of doing things that aren't historical that nobody had ever thought of doing before.
But the breakthrough for me -- I happened to start working in studios just at the time that multi-tracking became available, and I realized it made music-making a lot like painting in that you could add and take away colors, you could stretch things and turn them upsidedown and do all sorts of different things. So I thought of myself as a sonic painter rather than as a composer.
So, it was always really trying to pick technologies that were around and seeing what else you could do with them. You know, I think that technology is always invented for historical reasons, to solve a historical problem. But they very soon reveal themselves to be capable of doing things that aren't historical that nobody had ever thought of doing before.
brian eno 2002
http://www.indexmagazine.com/interviews/brian_eno.shtml
"I recently read Richard Sennett’s book The Uses of Disorder. It’s a very intelligent anti-planning book, and I thought, “This is fantastic, but nobody’s ever going to read it.” So I decided to condense it. I wanted to present the argument of the book in three thousand words. I went through it with a yellow highlighter, marking the bits that really got the germ of the idea. Then I photocopied all the parts I’d marked and collaged them together. After that, I had this idea that every serious book should be publishedin two forms. There should be the full version, but preceding it by a month or so should be the filtered version."
"...the introduction to his book Contingency, Irony, and Solidarity. It’s only a few pages long and it’s so good. The book is about Nabakov and Orwell, and about writing and the idea that works of imagination are the way that we arrive at new social concepts, rather than works of so-called rational deduction. In the end, what Rorty turns out to be saying is that philosophy is just another kind of writing. It doesn’t have any special grasp on the truth."
"One often used to hear high art people saying that pop music was so boring and formulaic. I never thought that was true. All that formula and repetition is like a great big vehicle for carrying the moment of difference — the tiny point where something happens that didn’t happen before. As a listener, the first question I ask myself is, “Why am I moved by that? Why does that difference matter to me?”
"If something I do gets criticized, I would never say, “They didn’t understand me,” or “What I did was too good for them.” I would assume there was something wrong with what I was doing."
"I’ve often thought that there are two varieties of artists. There’s the fussy type, which I tend to be, who always censor themselves, and then there are people like Miles Davis and Prince who just say, “Look, if it came from me, it’s probably good.” "
"A few years ago I was interested in what was happening to the act of curating. I’d seen a few shows in Europe, particularly in France and Germany, where the name of the curator was bigger on the poster than the names of the artists. It’s like saying, “Here’s somebody who can draw an interesting line through our culture. He can connect a few things which you’ll probably find worth taking seriously.”
"As an English person living in America in the early-’80s, I was much more receptive than a native would have been. I didn’t have many friends there, so I would just listen to the radio. There were complete lunatics on the airwaves — people whose views seemed so objectionable. I started recording them just because I wanted to show my friends in England what people in America were listening to."
"Things always look much more calculated in retrospect. I agree that you can draw a line through the things that I did, but at the time they all seemed chaotic to me. "
PETER HALLEY: I’m such a workaholic that the only way I can even make friends with people is by interviewing them. [laughs]
BRIAN: I make most of my friends through working situations as well.
PETER: That’s said to be a skill that’s prominent in women.
BRIAN: Yes. It led me to my theory that cities are places built for women.
PETER: Wow.
BRIAN: In cities, you have the opportunity to do all the things that women are really specialized at: intense social relationships and interactions, attention to lots of simultaneous details. And of course in cities you can do very few of the things that men are good at.
PETER: Like what?
BRIAN: You can’t break anything in a city. Everything is valuable, so you’re limited in how much you can test the physical nature of things — which I think is a big part of a man’s make up.
"I recently read Richard Sennett’s book The Uses of Disorder. It’s a very intelligent anti-planning book, and I thought, “This is fantastic, but nobody’s ever going to read it.” So I decided to condense it. I wanted to present the argument of the book in three thousand words. I went through it with a yellow highlighter, marking the bits that really got the germ of the idea. Then I photocopied all the parts I’d marked and collaged them together. After that, I had this idea that every serious book should be publishedin two forms. There should be the full version, but preceding it by a month or so should be the filtered version."
"...the introduction to his book Contingency, Irony, and Solidarity. It’s only a few pages long and it’s so good. The book is about Nabakov and Orwell, and about writing and the idea that works of imagination are the way that we arrive at new social concepts, rather than works of so-called rational deduction. In the end, what Rorty turns out to be saying is that philosophy is just another kind of writing. It doesn’t have any special grasp on the truth."
PETER: I’d like to bring up Norbert Elias again. In one of his books, he kind of refutes the idea of individual consciousness. He says consciousness only resides in the group. That seemed enormously important to me.
BRIAN: I recently read a book about the CIA’s experiments in the ‘60s and ‘70s using psychedelic drugs as interrogation tools. In the end, they found that what worked best was old-fashioned solitary confinement. It drove the subjects completely mad.
PETER: It seems that almost the biggest pain humans can feel is total aloneness.
BRIAN: Occasionally I go off for a few days just to sit somewhere on my own. I refer to it as “going into the abyss.”"One often used to hear high art people saying that pop music was so boring and formulaic. I never thought that was true. All that formula and repetition is like a great big vehicle for carrying the moment of difference — the tiny point where something happens that didn’t happen before. As a listener, the first question I ask myself is, “Why am I moved by that? Why does that difference matter to me?”
"If something I do gets criticized, I would never say, “They didn’t understand me,” or “What I did was too good for them.” I would assume there was something wrong with what I was doing."
"I’ve often thought that there are two varieties of artists. There’s the fussy type, which I tend to be, who always censor themselves, and then there are people like Miles Davis and Prince who just say, “Look, if it came from me, it’s probably good.” "
"A few years ago I was interested in what was happening to the act of curating. I’d seen a few shows in Europe, particularly in France and Germany, where the name of the curator was bigger on the poster than the names of the artists. It’s like saying, “Here’s somebody who can draw an interesting line through our culture. He can connect a few things which you’ll probably find worth taking seriously.”
"As an English person living in America in the early-’80s, I was much more receptive than a native would have been. I didn’t have many friends there, so I would just listen to the radio. There were complete lunatics on the airwaves — people whose views seemed so objectionable. I started recording them just because I wanted to show my friends in England what people in America were listening to."
"Things always look much more calculated in retrospect. I agree that you can draw a line through the things that I did, but at the time they all seemed chaotic to me. "
martes, 4 de agosto de 2009
behind scenes
I really like the behind the scenes role, because all my freedom is there.
http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician
http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician
nature fabric
"I get steadily more interested in the idea that here's nature, the fabric of things or the ongoing current or whatever, and what you can do is just ride on that system, and the amount of interference you need to make can sometimes be very small."
http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician
http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician
can't understand
It's like David Byrne said to me the other day: 'Sometimes I write something that I really can't understand, and that's what excites me.' I felt such a sympathy with that position.
"writing" lyrics
"So what I do first is work on the track till its identity is fairly well established, I already know how its gonna sound in terms of textures and time and speed and all that, then I take all that home, a rough mix version of it and I just keep playing it very loud and just singing along with them just singing anything really, and sometimes that anything is just right for it. It s the only thing I do, I guess, that approaches improvising, because everything else is very pedestrian in the way it's made. What often happens is that I get an idea of how the words will fall and what their function be rhythmically, so I start singing or placing the syllables in a certain way, and they're just nonsense at the beginning. Then certain types of sounds will emerge, like a particular vowel sound will suit a particular song. Like, for some reason, the vowel sound 'i' suited 'Baby's on Fire,' it's a sharp kind of thin sound; so then I'm working around two things, which is this vowel sound and this syllable construction, and quite soon words arise from that, and you only need to get about six words out of that for you then to have a good clue of what the song is going to be about. And I know it sounds extremely perverse whenever I explain it, to finally at the end of it all sit down and read it and say, 'Ah, so that's what it's about.' But what strikes me is that following this process, the preoccupations that manifest are not ones that you're necessarily conscious of at any earlier point."
http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician
http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician
musicanción
You see, the problem is that people, particularly people who write, assume that the meaning of a song is vested in the lyrics. To me, that has never been the case
--------brian eno
http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician
--------brian eno
http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician
musilyrics
With the lyrics I have all these tricks and techniques which were first conceived as a way of defeating self-consciousness about writing lyrics, and because I don't have anything to say in the usual sense. I prefer to let the music prompt something from me. See what that prompts and then examine it after the event.
------------brian eno
http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician
------------brian eno
http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician
fuck the trainning
"One of the interesting things about having little musical knowledge is that you generate surprising results sometimes."
--------brian eno
http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician
--------brian eno
http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician
no-manual
"...so strictly speaking I'm a non-musician. None of my skills are manual, they're not to do with manipulation in that sense, they're more to do with ingenuity, I suppose."
-----------brian eno
http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician
-----------brian eno
http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#musician
fun, building
"Nearly all the things I do that are of any merit at all start off all just being good fun, and, I think, um, I'm sort of building up to doing something else quite soon."
------------brian eno
http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#tape
------------brian eno
http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#tape
musijungla
"...it's a sort of jungle sound, really."
-------------brian eno
http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#tape
-------------brian eno
http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html#tape
recordar a mcluhan
Everybody thinks that when new technologies come along that they're transparent and you can just do your job well on it. But technologies always import a whole new set of values with them.
----------brian eno
----------brian eno
primero, muerto
"Of course, they want another Nevermind, but I'd rather die than do that."
----------------------kurt cobain
http://en.wikipedia.org/wiki/In_Utero
----------------------kurt cobain
http://en.wikipedia.org/wiki/In_Utero
domingo, 2 de agosto de 2009
prosticel
Mi celular es como las prostitutas: siempre cobra más de lo acordado, entrega menos de lo prometido, y se la pasa apurándome para que "ya termine".
sábado, 1 de agosto de 2009
la apasionada ejecución de la bajista kristen pfaff
pieza: gutless (life performance)
artista: hole
(el video y el audio tienen pobre calidad técnica, pero con la grandísima ventaja de que está en primer plano, todo el tiempo, la hermosa bajista kristen pfaff, fallecida en 1994, a los 27 años de edad.)
artista: hole
(el video y el audio tienen pobre calidad técnica, pero con la grandísima ventaja de que está en primer plano, todo el tiempo, la hermosa bajista kristen pfaff, fallecida en 1994, a los 27 años de edad.)
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