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Sunday, January 17, 2010 Fiona I spent a while last night with a friend trolling through YouTube videos including a number by Fiona Apple and discovered that I somehow managed to miss this gem from her last record Extraordinary Machine, featuring none other than Zach Galifianakis. Also, inaugural "crushes" addition: Fiona Apple. Labels: crushes, curiosities, la cine, lolgore, music, videos posted by Nihilist Loves Hate, Hates Everything at 1/17/2010 03:00:00 PM 0 comments Wednesday, January 13, 2010 I Love The Shit Out Of This Man, Forever And Always  Jeffrey Beaumont Life Hero David Lynch is at it again, not with a new film but an exploration of the America he loves so dearly in his "Interview Project" video series. Learn about the Interview Project from David here or go here directly to watch the videos of characters discovered across his world. Love this man. Labels: BEAUMONT, heroes, la cine, LYNCH, videos posted by Nihilist Loves Hate, Hates Everything at 1/13/2010 01:22:00 AM 1 comments 1
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Wednesday, December 09, 2009 Yep, Actually Saw This Last Night  And I ain't got nothing approaching regret. Sandra, you make my blood run hot***. NOTES: *** -- For a fun time, check out the Crushes tag, unified by little other than being generally middle-aged and of curious gender. posted by Nihilist Loves Hate, Hates Everything at 12/09/2009 10:53:00 AM 0 comments Monday, December 07, 2009 I Must Be Blind I wish I could explain why I'm feeling interested in watching this film, beyond my inexplicable lifelong crush on Sandra Bullock and the fact that I've been obsessively watching Friday Night Lights in the past week. Labels: crushes, fucktactics, la cine, lolgore, videos posted by Nihilist Loves Hate, Hates Everything at 12/07/2009 06:54:00 PM 1 comments Monday, October 26, 2009 Momday Problem Solvers It's Monday and I'm tired. God I love these guys. Labels: animals, art, la cine, paper rad, videos posted by Nihilist Loves Hate, Hates Everything at 10/26/2009 01:45:00 PM 1 comments 1
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Thursday, October 08, 2009 Holy Rock-afire NIN Explosion! HAAAA! YEZZIR!! Labels: curiosities, la cine, lolgore, music, VICTORY, videos, YEZZIR posted by Nihilist Loves Hate, Hates Everything at 10/08/2009 06:07:00 PM 0 comments Saturday, October 03, 2009 The BJM (REVISED)  It's 5:45am. I just woke up from being asleep on the couch and, on my way to my bed, decided that it would be a reasonable time to sit down and watch DIG!, the documentary by Ondi Timoner about The Brian Jonestown Massacre and--incidentally, really--The Dandy Warhols. It's screening this week as part of Pitchfork's more or less rad One Week Only series, and I implore you absolutely to check it out. I've known about this doc for many years but had never gotten around to watching it because I'd always been disinterested in the Dandy Warhols and knew little about The BJM (other than that they played vaguely psychedelic garage rock). Now though, after watching it, holy lord am I a believer (though I'm still entirely disinterested in the Dandy Warhols). Which is a testament not just to the immense talent of band and Anton Newcombe as a songwriter, but to the excellent work by Timoner in fashioning this once-in-a-lifetime story into a gripping and concise treatise on music, art, and making or breaking it in an art world not run by artists. The thing I'll say about the film and the band is that--while perhaps this opinion is strictly the gift of hindsight--I'm a little bit bewildered by how convinced so many people seemed to be about the "certainty" over the fact that The BJM were destined for some kind of stardom. A point is made by Anton and others later on in the film that by the early 2000s, many bands achieving popularity like the White Stripes were just traveling a road the BJM had traveled since the early 90s. The point is entirely true and hints at perhaps the real reason the band never took off. Beyond any of the craziness and unpredictability of its members (especially Anton, obviously), I am struck mostly by the thought that in the mid to late 90s (96-2000), there was almost no popular*** music being made that sounded anything like the raucous throwback sound of the BJM. That period in mainstream music coincides precisely a stretch some of the tamest and poppiest mainstream tunes dominating the charts, and there appeared at the time to be little room for any kind of band that wasn't warm, clean and/or completely straight. Most pop offerings were either rap or the boy band variety, and the harder rock offerings were of the blandest, faceless arena rock variety (Creed, POD, etc) or the most soul-crushing uberclean rap-rock (Limp Bizkit, Korn, etc). I just basically don't get how ANYONE heard the BJM's loose, wild, uber-retro 60s sounds and thought, "These guys are awesome and are gonna be a sure hit". By 2001 or so the landscape had changed entirely, but by then the crazy combustible commune of BJM had broken apart and, just as importantly, were no longer pumping out two to three records a year. And now Anton is mostly just footnote made popular by a not-widely seen documentary depicting him as a crazed, drug-addicted madman. Last thoughts: In the last six hours I've downloaded three of their records: Take It From The Man$, Give It Back, and Their Satanic Majesties' Second Request, and I'm completely blown away by their total awesomeness (and equally stunned by the fact I've made it to 2009 without giving these guys a real listen). Watch the film and, most importantly, pick up the records. NOTES: *** -- By "popular" I mean record-selling success, not "of the popular form". $$$$ -- One aside on this record: the track "Monkey Puzzle" sounds exactly like the blue-print for Greg Cartwright's alcohol-soaked 60s southern soul blues. Like, EXACTLY. LISTEN/WATCH: Brian Jonestown Massacre - "(David Bowie I Love You) Since I Was Six", from Take It From The Man Brian Jonestown Massacre - "Not If You Were The Last Dandy On Earth", from Give It Back Brian Jonestown Massacre - "All Around You", Their Satanic Majesties' Second Request Labels: BJM, la cine, mp3, music, videos posted by Nihilist Loves Hate, Hates Everything at 10/03/2009 05:20:00 AM 0 comments Tuesday, August 04, 2009 Spitting Ions In The Ether  from here I just had the misfortune of viewing the entirety of the 1985 film St. Elmo's Fire (umm, thanks Netflix InstantView :-/), and I now want 100 minutes of my life back. At one point I could probably have relied on knowing that a sizable portion of any under 40s I spoke to would have seen St. Elmo's Fire already and therefore I would need to explain nothing, but I guess it's a good thing for you all that we're far enough removed from 1985 now that its mediocre b-movies can sleep silently in peace. It's not really worth an explanation, but the short of it is that St. Elmo's Fire is a movie that almost astonished me in its terribleness. I expected it to be a bit hokey and solipsistec like many what-should-the-white-folk-do?! 80s films, but the petty, self-interested depravity of every single one of the characters made me wanna vomit all over my TV. The thing that felt strange about St. Elmo's is the deprarious degree to which the film seemed to be lacking in self-awareness. Were this film to have been made in the past ten years, it would have been a dark comedy where everyone's in on the joke and they'd all laugh mirthlessly as each new "tragedy" befell another member of Team I; or perhaps a straight-up Todd Solondz film culminating in a scene where Emilio Estevez, in climactic stalker wing-spreading is either arrested or killed in a car crash and Rob Lowe finally seduces lowly "Wendy" into boning him and he gives her AIDS. Instead we have a picture that is utterly unable to imagine the realistic viewpoint in which all of these people are actually just fucked. In watching, I could hardly contain myself--with each passing frame, I found it harder and harder to control myself from shouting at the assholes in front of me and their bullshit perceptions of a life they haven't begun to live. And don't even get me started on the poor women in this film, some of whom represented the few arguably not terrible humans, all of whom allowed themselves to be treated like garbage by the self-centered twats they were surrounded by. Grow some balls! Stand up! Dear god. But most significantly, this film served as a reminder to me that, culturally speaking, the 80s were not in fact the beginning of the Forward-Looking Future Generation, but instead a quaint last gasp ode to the limited-thinking/dreaming dogmatism of the 50s; and, dare I say it, a period where Americans were worse even: people of the 50s at least bought into McCarthyism because it was new and they didn't know much else, but in the 80s we looked back despite knowing the dark side because we thought we might rather choose death over an uncertain future so desperately feared. The long and the short: do us all a favor and keep on living righteously. Let yourself get bent out of shape when you witness awfulness, and be prepared to catch a sunbeam if it crosses your path. LISTEN: Brian Eno - "St. Elmo's Fire" from Another Green World Uilab (Stereolab and Ui) - "St. Elmo's Fire" from Fires Labels: deprarious, FAIL, fucktactics, la cine, mp3 posted by Nihilist Loves Hate, Hates Everything at 8/04/2009 01:44:00 AM 0 comments Friday, July 03, 2009 Old Folks  Those eyes have seen a lot of world. As I mentioned in my Berlin photos post yesterday, there are a few more galleries to come that I need to post on Flickr, one of which is some film shots I took with the Pentax K1000 / 50mm while in Boston visiting my grandparents the week before last. The visit was nice and bike-filled but mostly relatively sad, as my grandfather--known to us all as "Poppy"--is now truly a man of age, and you can see the weight of the world resting heavily on his eyes. In the end, c'est la vie? Or I say that now. But anyway, as I'm home now, my mom showed me this short video she shot of us on her point and shoot, and it's pretty hilarious in its absurdity and its beautiful representation of the now and the divide of generations. Old Folks from Jeffrey Beaumont on Vimeo. Yeah, erm, wow. I have no idea why my only vocal contribution here is the line "Cements and my bricks and mortar", but the juxtaposition of their conversation (they are discussing the idea of moving out of their lifelong home) and my actions is curious. Enjoy. LISTEN: Real Estate - "Old Folks", from Suburban Beverage 7" Labels: family, la cine, memories, quicksnaps, videos posted by Nihilist Loves Hate, Hates Everything at 7/03/2009 11:19:00 PM 0 comments Thursday, June 25, 2009 You Still Get Me Sometimes, Beck Record Club: Velvet Underground & Nico 'Sunday Morning' from Beck Hansen on Vimeo. Recorded as part of Beck's "Record Club" project, where he gets together with friends and records whole albums in a day. This just went up, and we are now waiting patiently for the rest. I know you've definitely lost it, Beck, but you've also definitely still got it. love Jeffrey Labels: Beck, la cine, music, videos posted by Nihilist Loves Hate, Hates Everything at 6/25/2009 07:51:00 AM 0 comments Wednesday, June 24, 2009 I Find This Video To Be Strange And Amusing Labels: curiosities, fucktactics, la cine, lolgore, videos posted by Nihilist Loves Hate, Hates Everything at 6/24/2009 01:23:00 PM 0 comments Friday, June 19, 2009 Bikes Forever  Starting yesterday and running until Sunday is the New York Bicycle Film Festival. I'm going out of town this afternoon and will sadly miss everything, but you should really check it out if you get a chance. Details below but also available here. 6:00 PM | 6:00 PM | FRIDAY JUNE 19 7:00 PM | Program 1 - Where Are You Go - World Premiere - BUY TICKETS 9:15 PM | Program 2 - Repeat of Program 1 - BUY TICKETS 11:15 PM | Program 3 - Repeat of Program 1 - BUY TICKETS SATURDAY JUNE 20 12:30 PM | 1:00 PM |1:00 PM | Program 4 - Mountain Bike Screening - BUY TICKETS 3:00 PM | Program 5 - The Third Wheel - World Premiere - BUY TICKETS 5:00 PM | Program 6 - I Love My Bicycle - The Story of FBM Bikes - World Premiere - BUY TICKETS Labels: biking, exercise, la cine posted by Nihilist Loves Hate, Hates Everything at 6/19/2009 10:38:00 AM 0 comments Tuesday, April 28, 2009 Young Adults Growin' Up Here it is, second Pains video. Also by Art, also on Super 8. Very cute: posted by Nihilist Loves Hate, Hates Everything at 4/28/2009 10:46:00 AM 1 comments 1
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Friday, April 24, 2009 The Beat Builds Slowly Toward Summer This is precisely the kind of thing I can imagine Doorknobs hating on but I think it's some cute kidshit: Nothing to write home to mom about, but it was apparently made with all college kids and was shot in one take. The rapping of Nyle is innocuously safe, but I'm comfortable with this all nonetheless. Labels: la cine, Lil Wayne, music, rap posted by Nihilist Loves Hate, Hates Everything at 4/24/2009 02:37:00 PM 0 comments Tuesday, April 14, 2009 David, I Heart You and Whatever You Do... And Moby... Well, You Too So, thanks to Logan for alerting me about this: today Pitchfork debuted a video for the lead single for the new Moby album (yeah yeah) and sure enough, it is an animation short directed by Beaumont life-supplier David Lynch (!!!). !!!!!. ... and the music part is acceptable. ?? Yeah, I know--it's like 3x WTF. But truly, wow. This would seem less wow-like if a variety of other things were true, like say, it was back in 2002 when people (sorta) cared about Moby and David Lynch still seemed theoretically active beyond weather reporting. But again, I repeat: this video is pretty cool and the Moby music seems decent (though perhaps I'm thinking of it as a soundtrack to a David Lynch film rather than a Lynch clip for a Moby song). Watch for yourself here: See? Not so bad. Moby explains a bit more about the album and how the video came about on his blog. Again, this to me continues to read as more WTF. To wit: i started working on the album about a year ago, and the creative impetus behind the record was hearing a david lynch speech at bafta, in the uk. david was talking about creativity, and to paraphrase, about how creativity in and of itself, and without market pressures, is fine and good. ...in making this record i wanted to focus on making something that i loved, without really being concerned about how it might be received by the marketplace.Notes on the three bolded parts: 1) ???? 2) haaaa!! i guess that's one way to look at it... 3) Durm? "Wait for Me", another track from the record? Does that mean Lynch is also doing ANOTHER video for the record, or did you just tease us accidentally by mixing up the song titles? Still, this pairing of Moby and Lynch though is less crazy than it may seem to anyone familiar with the lad, as he first made waves back in 1992 with the Twin Peaks-sampling "Go". I just gave "Go" a first listen in maybe eight years and it sounds like pretty dated, standard early 90s rave-house (mp3 below), but in '92 it was significant: pleasant, catchy, and Twin Peaks was still creepy and on the American brain. I never really got into "Go", as it sounded too "early 90s house" even when I first heard it about fourteen years ago (...!!!...fuckkkkk...), but I will admit that I actually went through a fervent and significant period of where I was quite invested in Moby and the music he made throughout the second half of the 90s. Ok, here's where it gets long. dum dum dum....  It all began in 1995 when I was nearly entering high school and decided that I was ready to escape my upstate hick trappings and fall in love with "new music". Armed with Rolling Stone and Columbia House subscriptions, obsessive tendencies, and a burgeoning David Lynch craving, I set out to track down new "atmospheric" electronic music, to open up my world and set my mind on fire. (seriously). This is the period I would pinpoint as the first significant "mature" development in my musical taste, and this maturity was carried forward by the discovery of five records which more or less changed everything for me: Moby, Everything Is Wrong; Aphex Twin, I Care Because You Do; Tricky, Maxinquaye; the Trainspotting soundtrack; and Aphex Twin, Richard D. James Album (US version). These five records, purchased between June 1995 and February 1997, were the most profound and jaw-dropping selections of music I had ever heard in my entire young life and, upon hearing them, my life was never again the same. With the benefit of hindsight, Richard D. James was probably the most significant to me of the group, both in that it is the "best" of them all and the one that I think most aggressively challenged me to consider the amazing possibilities of music and how I might go about understanding them. I also appreciated and respected I Care Because You Do for being strange, new and crazy (and I still am obsessed with closer "Next Heap With"), though it was too abrasive for me to ever "fall in love" with it. Maxinquaye, on the other hand, was arguably the most important of these records to me at the time***--I'm sure I've referred to it as "my favorite album" at some point or another during my life--and was responsible for a) teaching me what "cool" could really mean, b) rekindling my interest in hiphop, and c) providing my first soundtrack for young adult friction. And then, Trainspotting had perhaps the widest-spread effect as it made me obsessed with an entire country, culture, and history of music, including--wait for it--giving me my first real connection with David Bowie ("Golden Years"--a great Bowie deep cut for a first connection--appears). Bowie! Iggy Pop! Brit-pop! Techno! Fucking mind-blowing, all of it. And topping it off is Pulp's "Mile End", still hovering high in my "Top Whatever Songs of All-time" list. But then there is Everything Is Wrong, the one I found first and which got it all started.  Of these five pieces of music, Everything Is Wrong is the disc that I'm least likely to pull out and listen to for fun today, in 2009 (though I am listening to it now as I type this post). Additionally, it takes me no more than half a second to declare that it is easily the most dated and least weighty of the five--even including Trainspotting, of which 25% is mid 90s techno nonsense. And, taking it a step further, unlike the other four records, parts of Everything Is Wrong sounded cheesy and dated from the very first time I heard them. But yet... for various reasons, I think that for me Everything is Wrong is probably the most personally substantial of them all. To reference yesterday's discussion of different people's reactions to Roger Daltrey and Listzomania, what comes in play here is the unquantifiable impact of emotional and historical context on a person's experience. For me, what made Everything Is Wrong so significant to me was that a) it was my first exposure to the rapidly maturing field of experimental electronic music, b) it predated my awareness of and subsequent intense life impact on by Brian Eno (whose styles Moby has aped, emulated and followed, and, on a futurist level, used as platform to move beyond), c) its music ran an impressively wide range of sounds, genres and dynamics, d) it has many great, catchy tunes, and e) it made me feel incredibly cool for discovering something on my own that literally no one I knew had ever heard of The impact of all five of these points cannot be overstated, especially on an impressionable and experience-hungry 13 year old boy. At this point in my existence I was literally lusting after new life knowledge, particularly life knowledge that might help transport me beyond what I felt were depressingly constrictive confines of my upstate NY life. The sudden discovery of something profound and different, coupled with the understanding that it was due to my own newly attained agency that it had come it into my life, imbued that discovery with magical power unique to anything in the world. So what, then, of Everything Is Wrong specifically? What worked about this record that made me just "get" it so much? For starters, it is HELLA dramatic. Lots of early-to-mid 90s dance music sounded dramatic, but in a way that I found to be primarily cheesy and unearned. Everything Is Wrong, however, had a kind of intensely satisfying emotive bombast that I'd only previously experienced through rock music--and suddenly hearing it filtered through the technicolor hi-fi of richly textured electronics was sort of mind-blowing. Additionally, not only did Moby hit emotional highs with me, but he also showed restraint while doing so: sure, numbers like "I'm Feeling So Real" and "Everytime You Touch Me" are over-the-top melodrama--high bpm disco for kids tuned to the fast speeds of punk and the e-love of house--but on Everything Is Wrong, Moby balances them out by slowing things down with beautiful, contemplative piano compositions like "Hymn", "God Moving Over The Face Of The Waters", and "When It's Cold I'd Like to Die". It was these tracks that impressed me--yes, the track titles tell you enough to know that they too are over-the-top, but they were truly unlike any other music I had heard at that point in my life. I was an eager but sad and lonely boy, trying to learn the ropes of a world that seemed cruel and confusing but also filled with promise, and these songs were elegant, futuristic lovenotes that shot straight into my heart. Curiously--or perhaps appropriately, I guess--my love affair with Moby only lasted a few years, as I began to lose interest in him at the precise moment that rest of the world was finally made aware of his existence with the release of Play in 1999. While the mainstream audience-at-large (now conditioned to consider "electronica" after a few years of Next Big Thingism") was captivated by his "whoa! sampling old black people" techniques, those songs on that album felt excruciately unnatural and inorganic to me. I had grown to love the man enough to stand by the man through the appreciatable-but-kind-of terrible Animal Rights$$$$, an album that abandoned dance music entirely for a record of strangely alternating "hardcore" and "ambient" tracks, and I spent money and energy tracking down his earlier work (Moby and Ambient, in particular). But by the time Play hit made waves, I had moved on. But to close and get back to what matters: I can't say that in 2009 Everything Is Wrong stands tall with those other five records--it absolutely does not. And I can't even say that were I twenty-six in 1995 that it would have stood as tall then either--I was thirteen and everything was still new. But: some of those songs still sound as beautiful to me now as they did so many years ago. They are without doubt "special" and I will cherish them forever, as music and has footnotes on the story of my life. Listen: Moby - "God Moving Over the Face of the Waters", from Everything Is Wrong Moby - "Hymn", from Everything Is Wrong Moby - "When It's Cold I'd Like to Die", from Everything Is Wrong Moby - "Go (Radio Edit)", from Go EP Moby - "That's When I Reach For My Revolver", from Animal Rights ------- The Days Ahead I have to say that writing about all of this makes me yearn for the days when I could read and read about a record and still have no idea what to expect before I put it on--and then after listening, have little to no past experience-informing data to swarm my thoughts and impressions to tell me what it sounded like, who it referenced and "what it meant". The days when I could hear a record and think of nothing but the record itself. I read the following passage in an article in the NYT today on Mike Nichols and his upcoming retrospective at the MOMA that is germane to this line of thought: Nichols also doesn't listen much anymore to his classical record collection.Someday, perhaps, I too I suppose I might reach this point, when I have so exhausted and overstimulated my ears so that nothing will sound richer than the tone poems of natural life. A part of me fears these days but the rest of me just accepts them for what they are, life being lived as it must. --------------- NOTES: ***--Weirdly enough, I did not get into Portishead's Dummy at this time or through this album. Despite coming out a few months before Maxinquaye, it was 1995 and I was in eighth grade and lived in upstate NY, so these kinds of connections were neither instant nor obvious. It wasn't until summer '97 when I finally heard Dummy, and my only memory of the experience was that I exclaimed to my friend Pete at the album's conclusion that, "Hey! This is a Tricky song!" as "Glory Box" came on (it shares the same Isaac Hayes "Ike's Rap II" sample as Maxinquaye's "Hell Is Round the Corner"). This anecdote is mostly amusing to me in that i'm absolutely sure that had I discovered and enjoyed either one of these records in 2009 or even 2001, the other would have come to me immediately rather than years later. $$$$--Beyond having a few of those syrupy dark ambient instrumentals that I love so much, Animal Rights is at the very least memorable for its cover of the Mission of Burma song "That's When I Reach for My Revolver", which I didn't know was a cover for years (I just thought it was the best song on the record) and which, upon learning the truth later, made me love Moby forever a bit more than I had previously. Labels: BEAUMONT, curiosities, la cine, LONG, LYNCH, memories, mp3, music, old flames, thoughts posted by Nihilist Loves Hate, Hates Everything at 4/14/2009 09:52:00 PM 2 comments 2
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Friday, April 10, 2009 Lisztomania al Cine  Tonight I saw one of the most unexpectedly insane movies ever, Ken Russell's Lisztomania. Russell's follow-up to the cinematic version of The Who's Tommy, Lisztomania is a "far out" ode to the life and times of Hungarian composer Franz Liszt, starring Who frontman Roger Daltrey as Liszt. And I swear to any available god: not only does "far out" fail to even begin to hint at the state of mind of this film, but there are literally no words that could possibly do justice to the out-and-out insanity of Lisztomania. It is truly a film that must be seen to be believed.  I am certain you cannot guess what is actually happening in the film at this exact moment. Which is not really to say that Lisztomania is a "great film"--in fact, it's pretty indisputably not. For starters, Daltrey isn't much of an actor, and many of the other cast members--including Ringo Starr as the Pope (!!!)--are much, much worse. Also, the score, which melds and recontextualizes the musics of Liszt and Wagner with 70s prog (erm) was crafted and performed by Yes-mastermind Rick Wakeman (which I believe is says everything). And course, the entire film is fantastic to the point of absurd--Nazis, photographers, giant expanding penises, and so forth. In fact, just about every nuance of the film is preposterous--the subject, the context, the cast, the fact it's shot in the superwide anamorphic 2.35:1 format, the fact that it can only be watched in the US on out-print VHS (the version I watched was a bit-torrented rip of a European LASERDISC!!!). Everything about Lisztomania makes it pretty much impossible to walk away from a viewing saying to yourself, "Wow, that was one of the best films I've ever seen--I would recommend that to anyone!" And yet... WOW.  "My, what big appendages you have, Franzi!"  Richard Wagner as Hitler-Frankenstein Jew-killing Culture Leader. Seriously. Because, truly, Lisztomania is, honestly, an absolutely amazing picture. I have seen so many of films, feature-format or otherwise, and Lisztomania is easily one the most unique and bizarre cinematic spectacles i've ever taken in. The considerable pageantry of craziness and bombast is something to behold, and the fact that most all of the story ties at least loosely to actual historical truths gives the film a kind of confidence and authoratative panache that, again, is actually quite impressive. In fact, every one of the facets named above that work to label it preposterous are also what make it unique and precious, and immensely enjoyable.   It is late and I am too tired to go on about this film any longer, but just try and find it and watch it if you can. I wish that there was some easy way I could just make this film available to you right from Slang, but it's far too big for me to host anywhere (>4GBs). The best thing I can recommend doing is downloading the torrent file here. It actually went a lot faster than I expected, and again, it's worth the wait--you won't see anything else like it. Labels: curiosities, INSANITY, la cine posted by Nihilist Loves Hate, Hates Everything at 4/10/2009 01:36:00 AM 0 comments Friday, April 03, 2009 French, German, Dutch, Whatever  On Werner Herzog's Nosferatu: "Herzog prepared to shoot in the Dutch town of Delft. However, still bitter over their occupation by the Nazis during WWII, the citizens of Delft were less than enthusiastic about this small army of German filmmakers invading their town. When Herzog announced his plan to release 11,000 rats into the streets of Delft for the scene in which Nosferatu arrives (the director wanted grey rats but could only obtain white ones, which his crew painted grey), the Delft Mayor categorically refused and told the apparently insane German that his town had just spent months clearing the canals of their own home-grown rats and had no intention of reinfesting the area with laboratory rats from Hungary. Nonplussed, Herzog moved his rats to a more accommodating city, Schiedam, where he was allowed to shoot, albeit on a smaller scale. I thought of this because I saw a friend's photo from Amsterdam, which she titled "I felt like a character in a French movie a little bit," that made me think instead of of Nosferatu's daylight end scene, with carcasses littered everywhere. Weird. Labels: curiosities, fucktactics, la cine, lolgore posted by Nihilist Loves Hate, Hates Everything at 4/03/2009 05:24:00 PM 0 comments Sunday, March 22, 2009 The Internets Bringeth Great Promise ...By providing us with trailers like these to whet our appetites for days to come. To quote Senator Clay Davis, "Sheeeeeeeeeee-it!" I can imagine a definite possibility that this movie might turn out to be nothing more than a half-baked attempt to throw a bone "for those pain in the ass kids", but my brain is still auto-tuned enough to trigger a reaction of automatic and immediate stoked-ness over a film featuring two great actors in a scene where one makes the other's heart flutter by revealing a shared dotage over Morrissey and his Smiths. Right now I'm assuming off the bat that I'm gonna love this one, and let's leave it at that, shall we? Labels: la cine, quickthoughts posted by Nihilist Loves Hate, Hates Everything at 3/22/2009 02:46:00 AM 0 comments |
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