Thursday, January 2

 
...as a performer, it’s not exactly like method acting. I don’t have to, like, work myself up. If I’m going to sing a song that’s, say, melancholy, I don’t have to work myself up to that state like a method actor might before I begin singing the song. The song, if it is well done, and listeners have the exact experience, it kind of reaches into you and grabs that kind of experience that you’ve had, that part of you, those kinds of emotions and pulls you to the surface and kind of recreates that experience every time you sing the song, more or less. So I thought, “Wow, yes — it’s pulling the stuff out of us.” The music is, as opposed to us putting it into the music. We make the thing that does that. As composers and musicians – we make the stuff, but then it acts back on us.
David Byrne

Tuesday, October 15

 
The drunken doctor almost cried
When he saw the cell divide
"In thirty days and three weeks time
This new body will fit fine!"

"I.C. Timer", Les Savy Fav

Friday, July 5

 
I didn't even speak English, I spoke Hate; and its verbs were fists.
— Rubin Carter, apud Denzel Washington

Wednesday, November 21

 
When you look back on the New York you knew in the seventies, how does it make you feel looking at what New York is like today? — It’s shocking, I still can’t believe it. Tom Verlaine and I lived in the East Village, we had a place that cost maybe a hundred dollars a month – six floor walk up with no bathroom – and now that same apartment is like a thousand dollars. Not only did it change aesthetically because they destroyed a lot of places, but the beauty of New York City for me was that people could come from all over – young people, people of any age – with ideas, with no money, but had creative instincts, or a plan, a design, could come and get some cheap apartment, get a job at a book store as I did, and build their life. You can’t do that anymore; it’s a completely different economic structure.
Patti Smith

Saturday, July 21

 
I feel like there’s something about playing a certain way — it’s almost like a dance or something like that. If I play a certain way then a certain sound comes out of the drum. Some of those songs it’s really hard to get the right sound. It’s just this crazy, intense, draining kind of experience trying to get the right sound out of each song.
Benjamin Weikel

Tuesday, July 10

 
"There must be some way out of here”, said the Joker to the Thief
“There’s too much confusion, I can’t get no relief
Businessmen, they drink my wine, plowmen dig my earth
None of them along the line know what any of it is worth”

“No reason to get excited”, the Thief, he kindly spoke
“There are many here among us who feel that life is but a joke
But you and I, we’ve been through that, and this is not our fate
So let us not talk falsely now, the hour is getting late”

All along the watchtower princes kept the view
While all the women came and went, barefoot servants too
Outside in the cold distance a wildcat did growl
Two riders were approaching and the wind began to howl

"All Along The Watchtower", Bob Dylan

Monday, February 13

 
Anyone who watches the real successes as they appear each year, will see a very curious phenomenon. We expect the so-called hit to be livelier, faster, brighter than the flop — but this is not always the case. Almost every season in most theatre-loving towns, there is one great success that defies these rules; one play that succeeds not despite but because of dullness. After all, one associates culture with a certain sense of duty, historical costumes and long speeches with the sensation of being bored: so, conversely, just the right degree of boringness is a reassuring guarantee of a worthwhile event. Of course, the dosage is so subtle that it is impossible to establish the exact formula — too much and the audience is driven out of their seats, too little and it may find the theme too disagreeably intense. However, mediocre authors seem to feel their way unerringly to the perfect mixture — and they perpetuate the Deadly Theatre with dull successes, universally praised. Audiences crave for something in the theatre that they can term 'better' than life and for this reason are open to confuse culture, or the trappings of culture, with something they do not know, but sense obscurely could exist — so, tragically, in elevating something bad into a success they are only cheating themselves.
— Peter Brook, The Empty Space

Tuesday, November 1

 
...Cassavetes was not interested in the trivial improvisations of actors improvising their lines, but the profound improvisations of characters improvising their lives.
— Ray Carney

Monday, October 24

 
Alguém, no final do século XIX, tem nítida noção daquilo que os poetas de épocas fortes chamavam inspiração? Se não, eu o descreverei. — Havendo o menor resquício de superstição dentro de si, dificilmente se saberia afastar a idéia de ser mera encarnação, mero porta-voz, mero medium de forças poderosíssimas. A noção de revelação, no sentido de que subitamente, com inefável certeza e sutileza, algo se torna visível, audível, algo que comove e transtorna no mais fundo, descreve simplesmente o estado de fato. Ouve-se, não se procura; toma-se, não se pergunta quem dá; um pensamento reluz como relâmpago, com necessidade, sem hesitação na forma — jamais tive opção. (...) A involuntariedade da imagem, do símbolo, é o mais notável; já não se tem noção do que é imagem, do que é símbolo, tudo se oferece como a mais próxima, mais correta, mais simples expressão. (...) Esta é a minha experiência da inspiração; não duvido que seja preciso retroceder milênios para encontrar alguém que me possa dizer: "é também a minha". —
— Nietzsche, Ecce Homo cap. IX §3
 
I remember visiting Marvin at home when he was working on this LP [What's Going On]. He was at the piano, saying, "Smoke, God is writing this album, he's sending me these songs."
Smokey Robinson
 
When we recorded ["Pretty Noose"], I had walked to the studio and my legs were really tired. But to make a long story short, I was trying to get a walking feel on the drum part. So it probably has a little weird shuffle to it probably from that walk that I took to the studio that day.
Matt Cameron

Eu amo Down On The Upside por muitas razões, das quais a composição e a sonoridade não são as menores. Mas acho que o que me faz voltar sempre a esse disco é essa noção forte de ritmo, como se meu coração precisasse reaprender a bater com o bumbo do Cameron.
Também por isso fui obcecado durante um bom ano por The New Romance, outra obra muito rica ritmicamente.

Friday, September 2

 

Sunday, August 7

 
Na TV americana, uma propaganda propõe que os pais submetam seus filhos adolescentes a um detector de mentiras, por preços módicos. Método grotesco, mas que encerra um sintoma. A geração dos desajustados, à moda de James Dean, e a dos revoltados de 1968 tinham algo em comum: expunham, publicamente, por atitudes ou proclamações, seus conflitos com a sociedade. Os jovens do ano 2000, ao contrário, isolam-se com fones de ouvido ou diante dos computadores e acreditam num comportamento dissimulado. Como atores, representam diante dos pais ou na escola, um mínimo, para serem deixados em paz. Formam fraternidades cúmplices e silenciosas. Desistiram de contrariar o resto do mundo, sentido como hipócrita e falso. A presença da droga, real, mas pretensamente condenada, reforça a dissimulação e acentua a hipocrisia; afinal, o presidente tragou ou não? O massacre do Colorado deixou as famílias perplexas, pois os autores eram, em aparência, bons garotos. Mas, por um outro viés, já que estes nossos tempos merecem tal dissimulação, quem sabe estes jovens de agora, desacorçoados com as imposturas de hoje, consigam criar um futuro feito de relações mais verdadeiras.
— Jorge Coli
 
Traditionally humankind has sought the answer to Aristotle's question from the four wisdoms — philosophy, science, religion, art — taking insight from each to bolt together a livable meaning. But today who reads Hegel or Kant without an exam to pass? Science, once the great explicator, garbles life with complexity and perplexity. Who can listen without cynicism to economists, sociologists, politicians? Religion, for many, has become an empty ritual that masks hypocrisy. As our faith in traditional ideologies diminishes, we turn to the source we still believe in: the art of story.
— Robert McKee, Story

How could anyone except a melancholic criminal speak to us in the name of the good (King of New York; 1990)? Who but a paranoid cop could make us believe for a second in the virtues of forgiveness (Bad Lieutenant; 1992)? Who today could bear to listen to a moral lesson if it was not acted out by a drug-addicted, leprous vampire (The Addiction; 1995)? Who could interest us, even for a moment, in the tired old questions of the family unit or the individual? Who could continue to arouse in us a desperate faith in sacrifice and love, unless they were almost autistic, completely crazed, haunted figures within films that cultivate advanced arguments concerning the need to destroy all filmic forms?
— Nicole Brenez, Abel Ferrara

Wednesday, July 13

 
"Listen," said I, murmuring the words in her ear, "we won't go through it again but just let me put it in a few moments and then I'll go. It's too good to stop all of a sudden. I won't come, I promise…." She looked at me imploringly, as if to say, "Can I believe you? Yes, I do want it. Yes, yes, only don't knock me up, will you?"
— Henry Miller, Sexus

Sunday, July 10

 
First you need a tremendous amount of persistence and belief and confidence, and very few people have those parts of their personality developed enough in order to get to the part where you actually are realized in the business. You've talked to a lot of directors; I think the bottom line is you're amazed at their total commitment to what they're doing. They're not in here to play games. When I talk to my friends Scorsese or Spielberg or Lucas or Coppola, these guys are driven. They've been to the top, they've been to the bottom, they've seen it all and they're still going. Because they have a commitment and belief in what they're doing, they've had some success to see that their visions can in fact be realized and they're just gonna keep going until they fall down.
Brian De Palma

Thursday, June 30

 
I haven't even told my brother

I just finished telling my mother, she took it OK

I always wondered what they'd do
When I told them about you

"About You", Eric's Trip

Sunday, March 6

 
Como a rigidez de seu método indica (filmar na ordem do roteiro e em take único), Garrel troca o realismo por algo mais difícil, mais exigente, uma forma de crença obsessiva no real, na autenticidade física de uma tomada cinematográfica, desde que feita à flor da pele e da câmera.
— Luiz Carlos Oliveira Jr., O axioma secreto de Philippe Garrel

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