Spending a day with a movie

I read an interview of Vittorio Sorraro, who is a cinematographer (the guy responsible of cameras, light, image, in a movie).

Thus I discovered that this guy worked on Apocalypse Now & One From the Heart (Coppola), Reds (Beatty) and 1900 (Bertolucci).

All these films titles, this list, jumped on me. They are all of the same type : you could spend a whole day around these movies.

Apocalypse Now is based on a Conrad novel. There’s a “Redux” (which means “brought back”) version which is a masterpiece. You’ll also find a documentary about the shooting, made by Coppola’s wife. You’ll find plenty of interviews about this craziness on the web and in books. Etc.

I saw One From the Heart just a few years ago in Blu-ray. I was awaiting an über-artificial bad movie and I found it very touching. All around is fake (everything’s done in studios) with the will to appear a decoy. Yes, it’s like Manet and his brush strokes, remember?

Reds is so underrated. Beatty won the Best Director Academy Award, but everybody seems to have forgotten this fabulous and mature film.

This could have been about big big movies like Lawrence of Arabia, Zhivago or Ran, but it’s not. Some little movies are so enthralling that… you will spend days exploring the maturity, the complexity of them. OK I add one : The Sheltering Sky.

What other titles do you have in mind?

 

Have a nice day!

 

 

vlcsnap-2010-08-01-18h24m34s23

1900-4-7

apocalypse-now-2

image

TheSheltering-Sky.jpg

 

Moods and synthesizers in movie soundtracks

OK I’m french. My english is a frenglish, it’s rusty and wobbly, et voilà. Try me, though. I’ll do my best. I promise. If sometimes it’s too bad, just laugh at me or roll your eyes.

When you think “synthesizers in movie soundtracks”, here’s Blade Runner. Vangelis’ music is a masterpiece. This will never move. This movie is a milestone.

But there’s a whole problem with bad eighties synth scores.

What surprised me recently is this :

1-Within the eighties, it was OK.

2-After the eighties, it was (very often) ridiculous.

3-Today, it’s OK back (sorry to say it this way, I’m french). Sometimes.

Try this with American Gigolo (Paul Schrader)

Try this with Apocalypse Now (F. F. Coppola)

Try this with Thief (Michael Mann)

Maybe it’s personal. My perception of the music in the movie, altered by age, the distance of movies.

Maybe it’s nostalgia : the happy Sixties are charming, the hippie/disco Seventies are charming, and now probably that the Eighties are bearably charming too, with all this plastic fluo Buggles OMD snap.

The only secret of Daft Punk recent huge success is here : Finding back the flat comfortable disco beat who made Saturday Night Fever a neverending success. Remember Midnight Express ? Cerrone, maybe ?

Maybe it’s an eternal loop. OK/bad/OK/bad/OK. Depends on the sound of the moment.

Dial :

If what you make has the purpose to stick to the now, forget all this, you don’t care.

If you want to last, you have to realise that what you’re doing today will peut-être be a big pile of merdrrre in ten years, and (maybe) it will be re-discovered in twenty years. Then, you’ll be rich like a pacha.

Maybe.

2015-04-25_1429971078