Sanjala sam te. Sjedio si na stepenicama koje vode u podrum stare bakine kućice, negdje u vinogradu, nogama okrenutim prema unutra. Rekla sam: "Nemoj sjediti ovdje, prehladit ćeš se. Beton je hladan u ovo doba godine." Nisi me slušao, samo si se nasmijao. Pomislila sam: "Boli me kurac, punoljetan je." Nisam to glasno izgovorila.
16.10.2007. (10:18)
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Sanjati mene, znači: 1. Suočiti se s iskonskim strahom. 2. Uskoro ćete na putovanje. 3. Žudnju za nečim nedostižnim. 4. Dobre vijesti. 5. Silne duševna uzbuđenost sanjara/ice ili napetost, preteran duhovni napor. 6. Uskoro ćete dobiti nagradu za svoj trud. 7. Promijena vremena. Ako se u snu smješkam, onako, šeretski, kao Mona Lisa ili Budha, to znači: 1. Sanjač/ica je upravo imala nevjerojatnu sreću i trebala bi zapaliti svijeću u prozoru i na Kamenitim vratima. Taj bi san trebalo uokviriti tekućim srebrom i svakog 29. februara provetriti ga na hazarskom bradatom vetru-mužjaku. 2. (Bračna) nevera. 3. Smak sveta.
16.10.2007. (12:09)
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Kako originalno odgovoriti na komentar nekom iz čijih usta (ili iz tipkovnice) i najveća sranja, kao što je tumačenje snova, zvuče taaaaako pametno? Ide li ovdje upitnik ili točka? Vlažim se čak i na stavku 2. A tek na osmijeh šeretski... Ma, neću odgovoriri ništa.
16.10.2007. (14:19)
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Bako, to što si imala jedinicu iz fizike i asocijacija na Brazil u najtješnjoj su vezi. Inače, sanjati popravni iz fizike znači da ćeš uskoro postati feministica. Ti znaš da ja tebe volim, ali molim te brzo se ispravi i reci da si bila odličan matematičar: sposobnost računanja u djevojaka je najizrazitiji znak inteligencije. Pogledaj sponzoruše! Luce, tebi je sve jasno, što da ti solim pamet. Imati toliko hrabrosti pa na Vaseljeni podijeliti s nama djevojačke snove, to može samo istinska poetesa i, zanimljivo vidiš, matematičarka poput tebe. Što te nema češće? Bako, to da je šeretski osmijeh Mona Lise super i nije neko otkriće! Mislim...Malo me danas zbunjuješ, priznajem. Pametni zub, pametna opaska; a pazi sad ovo: scenaristi su prvog Batmana - inače čisto remek-djelo o kojemu sam napisao nekih 30-tak kartica teksta još osamdesetih - ovako rezonirali o motrištu s kojega naziru svijet djela i njegove artefakte: kao da čovjek osamdesetih, očima čovjeka tridesetih, gleda svijet početka trećeg milenija! Ima genijalnih ljudi i izvan Zagroba, zar ne? Tako treba zamišljati i Nemanju: kao da ljudi današnjice, očima bivših, zamišljaju budućeg čoveka, da zaključim.
16.10.2007. (18:07)
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Pametni zubu, razmisli malo o svojoj opasci. Naime, tu bi se moglo svašta iz-misliti, iz te misli o nazadno-naprednoj tehnologiji. Ja ću samo započeti, jer je večera na stolu: naše teleoklino, judeokršćansko poimanje povijesti kao svrhovitog gibanja k Eshatonu u tehnici je pronašlo posljednji i možda dovoljan dokaz svoje ispravnosti: tehnika je očit znak napredovanja i od njene je biti neodvojiv pojam novuma. Što sad to dakle znači da se napredovanje same povijesti kao ostvarenja naših, ljudskih svrha zbiva i pokazuje kao nazadno: da postoji nekakav karcinom povijesti, da nam se njeno napredovanje ukazuje kao nazadovanje? Znači li humanizacija drugim riječima denaturalizaciju čovjeka, sasvim suprotno od onoga što je recimo pametni Marx mislio? To je ozbiljna konzekvenca, nije li? S druge strane, ne čini li ti se Tehnika zapravo novovijekom, nekakvom magijom Moderne? Pogledaj samo pojmove koji imenuje naše naprave, recimo onu osnovu: remote control! Daljinski upravljač! Fantastična naprava! Rudolf II a i John Dee bi bili fascinirani: naprava, običan bumo rekli minijaturni monolit, uz pomoć koje, po volji, mijenjamo sliku svijeta. Svijet je prethodno naime osmišljen kao volja i predodžba. Svijet je samo fenomenalno, pojava lišena biti, od koje subjekt po svojoj volji može raditi što hoće. (Schopenhauer je presudniji za razumijevanje suvremenog svijeta (Tehnike) no što mu se to želi priznati. Doduše, Priroda je prethodno stavljena na mučila, kako to veli , po predaji, Bacon, a zapravo, Leibniz!, no svejedno, hoće se kazati da je priroda sasvim desupstancijalizirana, što je u krajnjoj konzekvenci zaglavni kamen Kantove filozofije: mi možemo spoznati samo ono pojavno, fenomenalno...). Na pritisak gumba mijenjamo sliku svijeta, zapravo svijet sam, jer samo slika i postoji. Na pritisak gumba možemo svijet i uništiti, doslovno, i to je najviša potencija modernoga svijeta: APOKALIPSA NOW! Prije nas čovjek je uvijek u svim epohama imao mogućnost totalnog uništenja svoga svijeta, ili nekog njemu izvanjskog, tuđeg svijeta, poput svijeta latinskoameričkih civilizacija. Ali, tek danas imamo tu privilegiranu, ultimativnu mogućnost uništenja zbiljske mogućnosti svih mogućih ljudskih svijetova, ljudske rase i vrste kao takve. Možda i ne bismo uništili Planet, možda bi Samsara i preživjela, ali ljudska vrsta ne. To je naša navlastita mogućnost, mogućnost Univezalnog Suicida Čovjeka kao ljudskog bića. Tu je tehnika nenadomjestivo uslužna, a služnost joj je, kako nas uči Martin iz Zagreba Heidegger, bit, kaj ne?! Naravno, ja sad ne aklamiram za nekakav barbarski svijet bez pluga i motike, ali, da se baš kao protagonist svijeta mora pojaviti homo faber, to mi i nije drago, Diklić, naravno. Nastavi sad ti, ohladila mi se krepka juhica, jebem ti tehniku i općinu...No, da, da dovršim ovo o RC-u: ta, zar nije daljinski upravljač realizacija svih starodrevnih magijskih snova: konačno imamo napravu, gadget, kojom upravljamo na daljinu! Ne trebaju nam čini ni zazivi, homeopatska ni simpatička magija, ni woodu-lutke, šišmišova krila ni vlat iz kose ljubljenoga! Djelujemo na nevidljiv način, bumo rekli. Pa to je tak štos, kaj ne!?
16.10.2007. (18:31)
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Da dolazim češće, stigla bih prekasno, snovi ne bi bili Snovi nit' bi Car ostao car, to je valjda jasno. A primedbom o ured(ov)nim snovima obrisat ću mirisnu guzu jer znam da od mene neuredno uspavane nemaš jaču muzu. Bože, Care, Direktore - stvarno mi ide sa riječima,a? Da mogu, sad bih samu sebe mrknula, toliko sam se uspalila na vlastite kvalitete.
16.10.2007. (20:46)
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Luce, Luce, ljubičice moja, pa ja sam se uljuljkao u te tvoje rime sve to posljednje, guze i muze, i čitam ti ja dalje, ovo Bože, Care, Direktore, i, jasno, nakon zasluženog samopriznanja - to ja volim kod tebe, tu moju osobinu, to da čovjek sebi uvijek treba odati zasluženo prizanje na vlastitoj veličini i čestitati si na uspjehu - očekujem još jedno skandiranje, završnu rimu...a kad tamo ništa, samo kvalitete! Čudan osjećaj, to iznevjereno očekivanje. I što sad kazati, osim možda, uspavati te stihom (ide li sad dvotočje ili upitnik?): Muzo Luce, obrisanog guza, lijepo stoji partizanska bluesa, o, yeah.
16.10.2007. (21:17)
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Možda mi je više ovo kakav Jules Verne a la Danijel Žeželj i Tim Burton. Stoga mi se, vjerojatno, i sviđa. Nego, jedno (preko napol ozbiljno) pitanje: ima li tko kakvo objašnjenje zašto su svi ti Timovi, a očito i ovi Anthonyjevi, likovi - vitki i izduženi? Mislim, simbolika ili čisto vizualno-estetski element?
17.10.2007. (01:59)
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Ispod debelih, zdepastih i teških ljudi u podne? Haha! Ok, ok, ali zašto su sjene? Jungovske sjene? "Blijede sjene ljudi kakvi bi trebali biti"? Kreature bez lica (osobnosti)? Kužiš, ima tu prostora i materijala za razmišljanje... EDIT: Ok, da pojasnim: Neki dan sam baš gledao "Mrtvu nevjestu" s djetetom, i pita me točno to pitanje: "Zašto su ovi ljudi takvi mršavi?" I... I nisam znao točno što bih odgovorio. Eto.
17.10.2007. (02:47)
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The lack of funding available for full length features in Australia may be a subject for much rueful debate but an unexpected bonus in recent years has been the proliferation of excellent short films, perhaps no bad thing considering the imaginative opportunities and vital experience such a medium provides. After all, a string of highly creative and popular shorts have successfully forged the careers of high-flying cultists Tim Burton, Spike Jonze, and Michel Gondry. In this respect Anthony Lucas is perhaps exhibiting a shrewdness sadly absent in many other overly-ambitious directors. In twenty-six minutes Lucas stakes his claim as the new gun in town. Based around the largely neglected technique of 18th Century silhouette paper cutting, The Mysterious Geographic Explorations of Jasper Morello is billed as ‘a steampunk journey into the heart of man.’ In the year 1276, the society of Gothia lives entirely in the air, landmasses float with no explanation and transport is composed of huge wrought-iron dirigibles, powered by steam and primitive computers. It is the thirteenth century as designed by Jules Verne, where noble men of science and career airmen exist to explore the boundaries of their realm and their own abilities. Jasper Morello is a navigator who bears the guilt of a crewman’s death on his hands, a one-degree error that almost cost him his career and his soul. His chance at redemption comes when he and the crew of his latest voyage are forced to abandon ship and transfer to a ghost vessel, the Hieronymous, found drifting in uncharted air. Whilst investigating the disappearance of her crew, Doctor Claude Belgon persuades the gruff Captain to explore a hidden island filled with horrors but also containing the secret cure to the Plague which riddles their society, and Jasper’s wife. Verne’s well-documented reverence for Edgar Allen Poe is never more evident than in writer Mark Shirref’s menacing script. The iron airships defy physics, much as the Nautilus appeared to seamen in Verne’s books and the horror elements of the damned voyage are a direct nod to Poe’s sole full-length novel, The Narrative of Arthur Gordon Pym of Nantucket. Verne’s perennial theme of man’s imposition of science upon nature provides juicy pickings for Lucas and Shirref, with the eloquent Doctor Belgon proving to be a monster worse than what the crew find on the uncharted island. All of which is a refreshing wonder to behold, the greatest mystery being why no-one has delved so literally into this rich material before. Unheralded Australian actor Joel Edgerton, who has appeared as fine support alongside big name colleagues Guy Pearce and Heath Ledger in major commercial films, as well as cameoing briefly as Uncle Owen in the latest Star Wars fiascos here provides the voice for Jasper Morello, a textured, polite, melancholic performance so completely in tune with the animation that we are left in no doubt as to how deeply committed he was to the character, showing what a difference a good actor can make to an animated feature. The blend of animation techniques separated by over 200 years is startling and highly effective, lending Jasper Morello a unique, modern look, the cloudy monochrome spattered with occasional color reminiscent of Rumble Fish and Sin City (Mickey Rourke’s two finest performances?) alongside which it sits admirably. It is little wonder that the film has been so applauded at festivals across the globe, awarded best short animation at the Australian Film Institute awards and the Flickerfest International Short Film Festival this year. This is the first in a mooted trilogy of Jasper Morello adventures, certain to cement the director’s reputation as a talent to be reckoned with, whilst sending Lucas himself on a journey into the dark heart of film-making. As is beautifully illustrated on the jaspermorello.com site, this complete world of an imaginary past is indeed a glimpse into a mouth-watering celluloid future.
17.10.2007. (03:12)
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Another winner in the recent Australian Film Institute Awards was The Mysterious Geographic Explorations of Jasper Morello, which picked up Best Short Animation, and Oustanding Achievement in Craft in a Non-Feature, Production Design, for the director, Anthony Lucas. It caught my attention not only because it looks cool, but because it's another example of the exciting work going on with shadow puppetry and new technologies that I mentioned in a couple of previous posts. Back in October, Ward was really enthusiastic about seeing Jasper at the Ottawa Animation Festival: Omigosh, I absolutely LOVED the next film... Is it stop-motion? CG? It's a little bit of both and it looks entirely amazing. Harking back to the very first animated film, The Adventures of Prince Achmed (1926), Jasper is done in silhouette, like an elaborate shadow puppet play. You can get a feel for film by looking at their wallpaper downloads. There is an interesting mix of silhouette and photographic detail. And I like the whimsy of the imagined world and the gazette; some of it is quite pointed. Too bad Jasper not going to be screened here in Canberra. Anthony Lucas is from 3D Films, which specializes in clay and stop-motion animation for TV commercials, station IDs and special effects. It's an interesting site to take a wander through. There are some precursors to Jasper. For instance, there are stills and making details of the SBS Station IDs that were done with silhouettes and organic materials to give them a handmade look, as well as a quick time movie of one of them. And the selection of images from their film Holding your Breath are great. I like the look of Bad Baby Amy, too.
PuppetVision recently referred to The Modern Shadow where Michelle Zacharia is exploring combining Indonesian Wayang Golek puppetry and video and digital production techniques, and thinking about western influences in Indonesia. It reminded me of a production here called The Theft of Sita which was commissioned by the 2000 Adelaide Festival of Arts and received acclaim both here and overseas. It was a modern retelling of the Ramayana using shadow puppetry, and involved a remarkable collaboration of artists, puppeteers, makers and musicians. The piece was written and directed by Nigel Jamieson (AU); music composed by the Australian jazz musician Paul Grabowsky (AU) and Balinese gamelon artist I Wayan Gde Yudane; designed by Julian Crouch (UK); and the puppetry directors were Peter J. Wilson (AU) and Balinese master I Made Sidia (who both performed in the show). This Ramayana begins conventionally, but quickly explodes into a metaphor of the tumultuous events surrounding the overthrow of Suharto. Computer-generated images and photographic projections of demonstrations coexist with giant shadow puppet logging beasts. There are white water rafters and withering paddy fields in Bali. And Langka becomes a futuristic city of gleaming steel and glass towers, and of rubbish tips. Giant screens lift and disappear, perspective shifts from screens at the front to screens at the back of the stage. Shadow puppets emerge on tiny screens in the middle of the space and then shift again. -- Robin Laurie, Inside Indonesia, The Theft of Sita Robin's article is worth reading in full, as is Peter Wilson's account in his book 'The Space Between: The Art of Puppetry and Visual Theatre in Australia', where he describes The Theft of Sita as a transformation of the ancient tale into a modern allegory of environmental politics. Unfortunately I didn't see The Theft of Sita, but I have seen a TV program that was made about it. The designer, Julian Crouch, has a gallery showing some of the wonderful shadow puppets and scenes from the show, including the one above. His other galleries have some gems in them, too. Just a couple of examples: a dog, some huge figures, and some rather beautiful arresting star faces.
17.10.2007. (03:19)
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Što sam radio... Ahahaha! To me podsjetilo... Evo što! ;D (Je l' kužiš kako se tu s druge strane opet došlo do snova koji se protežu kroz komentare pod ovim postom?) Čitam, čitam... Burton, Verne, ehhh... još samo da sam spomenuo Poea u svom prvom komentaru, sad bih bio zbilja ponosan na se. Sjene... krhkost?
17.10.2007. (03:23)
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Svijet kao kazalište, ovaj svijet kao sjena, Platonova spilja... Anthony Lucas’s animated short film The Mysterious Geographic Explorations of Jasper Morello is one of the freshest-looking films in a long time. Ironically, the whole film uses a medium that started in the 18th century: silhouettes.I attended a question and answer session by director and co-writer Anthony Lucas one Saturday evening in mid-December, at the Schonell Cinema, Brisbane. Anthony Lucas said silhouettes had been around for 250 to 300 years. “So I’m the latest incarnation of that – doing this.” In his 26-minute animated film The Mysterious Geographic Explorations of Jasper Morello, everyone and everything appears in silhouette form, except for atmospheric effects like steam, clouds, and the sepia sky. The silhouette of a Victorian era- gentleman, like an Indonesian shadow puppet, stands on a cast-iron platform high in the sky, looking out at iron dirigibles flying past - strange masses of metal that look like Jules Verne-style submarines. The setting, Gothia, floats in mid-air, and it's a world of steam, revolving cogs and gears.The darkness of the silhouettes matches the Victorian gothic atmosphere perfectly. The film is set in 1276, but everything about Gothia is Victorian fantasy, influenced by Jules Verne and Edgar Allen Poe. Jasper Morello, (voiced by Joel Edgerton) narrates the tale of an air voyage. He and the rest of the crew, including an old seadog style captain, and a sinister scientist Doctor Claude Belgon, leave Gothia where a plague is sweeping the population. Red, pulsating lava-like eruptions are shown on some silhouetted figures to depict the disease. Jasper is haunted by a one-degree error he once made – an error that resulted in a crewman’s death, and he gets a chance to redeem himself on the voyage. On the voyage the crew are forced to transfer to an abandoned vessel, the Hieronymous, drifting in uncharted airspace. Later Doctor Belgon entices the Captain to land on an unknown island, where they encounter a plant that could cure the plague sweeping among the people of Gothia. Back at Gothia, Jasper’s wife has contracted the disease, too. There is a problem, however – the plant is carnivorous, and voracious. It's a unique film and Jasper Morello and the Lost Airship is the first in a trilogy of voyages.The two sequels will be titled Jasper Morello and the Secret of Alto Mea, and Jasper Morello and the Ebenezer of Gothia. There is also a feature in the works, about an aeronaut war.Mr Lucas showed a couple of his other films that evening I saw him speaking at the Schonell Cinema, at the University of Queensland.The first was his short claymation film, Slim Pickings, about a hungry guy in a lonely house in a bleak junkyard landscape. Desperate for food he eats his tomato plant, which is also his best friend - unaware that the plant has provided him with a tomato. After the screening of Slim Pickings, Mr Lucas opened his briefcase full of claymation models and shadow puppets and used a small camera to highlight the tiny models, which projected onto the screen behind him. There was the anthropomorphic tomato plant (about ten centimetres high), and a tea pot (about five centimetres high) both from Slim Pickings. One technique he used in Slim Pickings was to only film one shot of the feet of the main character walking along. Once it had been established the character had feet and could walk, he only needed to film the character from the waist up. He said Slim Pickings had similar themes to The Little Prince by Antoine de Exupery. The Little Prince had been about giving and taking, too. Mr Lucas didn’t think he’d make another stop motion film. Then he screened The Mysterious Geographic Explorations of Jasper Morello, which won the best short animation prize at this year’s Australian Film Institute awards, and at the Flickerfest International Short Film Festival. After the screening, Mr Lucas talked about the making of the film.He said he wrote a one-page outline first, then he and writer Mark Shirrefs wrote the story together. Then Shirrefs wrote a 25 page treatment. They received more money to make the film, and then Shirrefs scripted it. He said the film received $220,000 funding from the Australian Film Commission.Mr Lucas said Mark Shirrefs had written more than 50 hours of tv and knew every scenario there was. “I end up writing heaps of stuff that he ignores,” Mr Lucas said. Jasper Morello took three-and-a-half to four years to make. Mr Lucas put the start of this period at the time he made station identifications for SBS (an Australian government tv station). He had made a lot of other tv commercials, too, like for Smarties. He said the SBS station identifications were 20 second grabs made with “highly-stylised silhouettes”. But he wanted to take his silhouette-style films to the next level: he wanted to tell a story.
17.10.2007. (03:51)
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But he wanted to take his silhouette-style films to the next level: he wanted to tell a story. So he made a six minute drama, Holding Your Breath. (He showed this film after he talked about The Mysterious Geographic Explorations of Jasper Morello.) Then it took “a year and a bit” to get the script written for Jasper Morello, and the film took one and a half years to make. It took six months to pitch the film, and now Jasper Morello had a distributor, Madman Cinema, which would be releasing the film in select cinemas throughout Australia. Jasper Morello had a crew of nine, including an old-style animator, Peter Cook – a “stunningly brilliant animator” who drew all the key poses of the film. Also on the crew he had two c.g.s, two miniature-makers, one background artist, and one character designer. He said he learned to use Photoshop during the making of the film.And there was a lot of research and development as the filming progressed, trying to work out how to show hair on silhouettes for example. Now it was a 16 hour a day job marketing the film. The dvd of Jasper will be released in March, 2006, and it will have its SBS premiere on March 9. Mr Lucas said he’d made the investors' money back, “if not more”. Also he had written two page-long synopses for two short sequels to Jasper Morello, and was working on a feature outline. The Mysterious Geographic Explorations of Jasper Morello was in the Sundance Film Festival, and he hoped this would lead to more investors for his film plans. The feature would be about a war of aeronauts, and would have themes inspired by the battle at Gallipoli, Turkey, in WW1, where many Australian and New Zealand soldiers lost their lives. Mr Lucas said 10 members of his family on his father’s side lost their lives in the battle. So one theme of the feature film would be the senselessness of wasted life. He said the feature would be “more like a full-blown adventure film from beginning to end, like a spy thriller”. I asked Anthony Lucas for the titles of some of his favorite books. Anthony Lucas: Pride and Prejudice - I didn’t at first appreciate this one when I did it at high school, but over the years I have read and re-read it and watched the movies and grown to love it. The delicate observations of human nature are really fantastic. Lord of the Rings - for sheer thrill and imagination nothing beats it. I remember when I was seventeen reading it for the third time - It was 4.00am in the morning and Frodo was climbing Mt Doom and I couldn’t put the book down. Heart of Darkness - a very mysterious novel. The Art of the Empire Strikes Back - the first book about movies I bought, with the conceptual art and production art from behind the scenes. Better in some ways than the final images from the film; all the work by Ralph McQuarrie was quite inspirational. The Album Cover Album - a collection of record covers which inspired me to think in terms of graphic design, and it was the first graphics book I ever bought. I thumbed through it at QBD in the city for six months before I had the money to afford it. All of the above books have influenced Jasper Morello to some degree. I also greatly admire Jane Eyre, the Diaries of Douglas Mawson, anything by Conan Doyle and H.G. Wells.
17.10.2007. (03:53)
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Rak-tehnologija, onaj rak iz mladenačkih snoviđenja koji umišlja da je škorpion. Napučuje stanište naše duše. Još su taoisti (Čuang Ce) o tome govorili (ona pričica o seljaku koji odbija instalitrati nekakvu pumpu za vodu ali on odbija jer lukave sprave uništavaju ljudsko srce), a Kinezi odbili primijenjivati vlastita tehnoloka otkrića A je li ta ista tehnologija tvar od koje se sastoje naši snovi? Tko nije bar jednom u svojoj mladosti, ne snimio porno film, nego sanjao neku čudovišno-čudnovatu napravu. Morello je jedan od takvih snova? Podsjeća na jednako dobra crtić "Put u Bellvile", bicklističko-sadistička fantazija u kojoj su proporcije također izobličene.
17.10.2007. (08:04)
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Luce
Sanjala sam te. Sjedio si na stepenicama koje vode u podrum stare bakine kućice, negdje u vinogradu, nogama okrenutim prema unutra. Rekla sam: "Nemoj sjediti ovdje, prehladit ćeš se. Beton je hladan u ovo doba godine." Nisi me slušao, samo si se nasmijao. Pomislila sam: "Boli me kurac, punoljetan je." Nisam to glasno izgovorila.
16.10.2007. (10:18) - - - - - promjene spremljene- uredi komentar - obriši komentar - prijavi ovaj komentar kao spam - zabrani komentiranje autoru ovog komentara- učitavam...
NEMANJA
Sanjati mene, znači:
1. Suočiti se s iskonskim strahom.
2. Uskoro ćete na putovanje.
3. Žudnju za nečim nedostižnim.
4. Dobre vijesti.
5. Silne duševna uzbuđenost sanjara/ice ili napetost, preteran duhovni napor.
6. Uskoro ćete dobiti nagradu za svoj trud.
7. Promijena vremena.
Ako se u snu smješkam, onako, šeretski, kao Mona Lisa ili Budha, to znači:
1. Sanjač/ica je upravo imala nevjerojatnu sreću i trebala bi zapaliti svijeću u prozoru i na Kamenitim vratima. Taj bi san trebalo uokviriti tekućim srebrom i svakog 29. februara provetriti ga na hazarskom bradatom vetru-mužjaku.
2. (Bračna) nevera.
3. Smak sveta.
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ici roi enrico
aloisius.pinkerton@gmail.com
16.10.2007. (12:48) - - - - - promjene spremljene- uredi komentar - obriši komentar - prijavi ovaj komentar kao spam - zabrani komentiranje autoru ovog komentara- učitavam...
Baka
Ova prva me nekako podsjeća na Gilliamov Brazil.
Ja sam pak sanjala da još idem u srednju školu i da trebam ispraviti jedinicu iz fizike. Još se oporavljam od traume.
16.10.2007. (13:49) - - - - - promjene spremljene- uredi komentar - obriši komentar - prijavi ovaj komentar kao spam - zabrani komentiranje autoru ovog komentara- učitavam...
halter skelter
Tko vas je učio javno pričati snove. Pa jeste li vi normalni!
16.10.2007. (13:58) - - - - - promjene spremljene- uredi komentar - obriši komentar - prijavi ovaj komentar kao spam - zabrani komentiranje autoru ovog komentara- učitavam...
Luce
Kako originalno odgovoriti na komentar nekom iz čijih usta (ili iz tipkovnice) i najveća sranja, kao što je tumačenje snova, zvuče taaaaako pametno? Ide li ovdje upitnik ili točka?
Vlažim se čak i na stavku 2.
A tek na osmijeh šeretski...
Ma, neću odgovoriri ništa.
16.10.2007. (14:19) - - - - - promjene spremljene- uredi komentar - obriši komentar - prijavi ovaj komentar kao spam - zabrani komentiranje autoru ovog komentara- učitavam...
Baka
Šeretski osmijeh Mona Lise je super :)
16.10.2007. (14:37) - - - - - promjene spremljene- uredi komentar - obriši komentar - prijavi ovaj komentar kao spam - zabrani komentiranje autoru ovog komentara- učitavam...
pametni zub
Da Bako, to je ono što me oduševilo u Brazilu, nazadno-napredna tehnologija.
Javit ću se kad pogledam film.
16.10.2007. (16:17) - - - - - promjene spremljene- uredi komentar - obriši komentar - prijavi ovaj komentar kao spam - zabrani komentiranje autoru ovog komentara- učitavam...
NEMANJA
Bako, to što si imala jedinicu iz fizike i asocijacija na Brazil u najtješnjoj su vezi. Inače, sanjati popravni iz fizike znači da ćeš uskoro postati feministica.
Ti znaš da ja tebe volim, ali molim te brzo se ispravi i reci da si bila odličan matematičar: sposobnost računanja u djevojaka je najizrazitiji znak inteligencije. Pogledaj sponzoruše!
Luce, tebi je sve jasno, što da ti solim pamet. Imati toliko hrabrosti pa na Vaseljeni podijeliti s nama djevojačke snove, to može samo istinska poetesa i, zanimljivo vidiš, matematičarka poput tebe. Što te nema češće?
Bako, to da je šeretski osmijeh Mona Lise super i nije neko otkriće! Mislim...Malo me danas zbunjuješ, priznajem.
Pametni zub, pametna opaska; a pazi sad ovo: scenaristi su prvog Batmana - inače čisto remek-djelo o kojemu sam napisao nekih 30-tak kartica teksta još osamdesetih - ovako rezonirali o motrištu s kojega naziru svijet djela i njegove artefakte: kao da čovjek osamdesetih, očima čovjeka tridesetih, gleda svijet početka trećeg milenija! Ima genijalnih ljudi i izvan Zagroba, zar ne?
Tako treba zamišljati i Nemanju: kao da ljudi današnjice, očima bivših, zamišljaju budućeg čoveka, da zaključim.
16.10.2007. (18:07) - - - - - promjene spremljene- uredi komentar - obriši komentar - prijavi ovaj komentar kao spam - zabrani komentiranje autoru ovog komentara- učitavam...
NEMANJA
Pametni zubu, razmisli malo o svojoj opasci. Naime, tu bi se moglo svašta iz-misliti, iz te misli o nazadno-naprednoj tehnologiji. Ja ću samo započeti, jer je večera na stolu: naše teleoklino, judeokršćansko poimanje povijesti kao svrhovitog gibanja k Eshatonu u tehnici je pronašlo posljednji i možda dovoljan dokaz svoje ispravnosti: tehnika je očit znak napredovanja i od njene je biti neodvojiv pojam novuma. Što sad to dakle znači da se napredovanje same povijesti kao ostvarenja naših, ljudskih svrha zbiva i pokazuje kao nazadno: da postoji nekakav karcinom povijesti, da nam se njeno napredovanje ukazuje kao nazadovanje? Znači li humanizacija drugim riječima denaturalizaciju čovjeka, sasvim suprotno od onoga što je recimo pametni Marx mislio? To je ozbiljna konzekvenca, nije li?
S druge strane, ne čini li ti se Tehnika zapravo novovijekom, nekakvom magijom Moderne? Pogledaj samo pojmove koji imenuje naše naprave, recimo onu osnovu: remote control! Daljinski upravljač! Fantastična naprava! Rudolf II a i John Dee bi bili fascinirani: naprava, običan bumo rekli minijaturni monolit, uz pomoć koje, po volji, mijenjamo sliku svijeta. Svijet je prethodno naime osmišljen kao volja i predodžba. Svijet je samo fenomenalno, pojava lišena biti, od koje subjekt po svojoj volji može raditi što hoće. (Schopenhauer je presudniji za razumijevanje suvremenog svijeta (Tehnike) no što mu se to želi priznati. Doduše, Priroda je prethodno stavljena na mučila, kako to veli , po predaji, Bacon, a zapravo, Leibniz!, no svejedno, hoće se kazati da je priroda sasvim desupstancijalizirana, što je u krajnjoj konzekvenci zaglavni kamen Kantove filozofije: mi možemo spoznati samo ono pojavno, fenomenalno...). Na pritisak gumba mijenjamo sliku svijeta, zapravo svijet sam, jer samo slika i postoji. Na pritisak gumba možemo svijet i uništiti, doslovno, i to je najviša potencija modernoga svijeta: APOKALIPSA NOW! Prije nas čovjek je uvijek u svim epohama imao mogućnost totalnog uništenja svoga svijeta, ili nekog njemu izvanjskog, tuđeg svijeta, poput svijeta latinskoameričkih civilizacija. Ali, tek danas imamo tu privilegiranu, ultimativnu mogućnost uništenja zbiljske mogućnosti svih mogućih ljudskih svijetova, ljudske rase i vrste kao takve. Možda i ne bismo uništili Planet, možda bi Samsara i preživjela, ali ljudska vrsta ne. To je naša navlastita mogućnost, mogućnost Univezalnog Suicida Čovjeka kao ljudskog bića. Tu je tehnika nenadomjestivo uslužna, a služnost joj je, kako nas uči Martin iz Zagreba Heidegger, bit, kaj ne?!
Naravno, ja sad ne aklamiram za nekakav barbarski svijet bez pluga i motike, ali, da se baš kao protagonist svijeta mora pojaviti homo faber, to mi i nije drago, Diklić, naravno. Nastavi sad ti, ohladila mi se krepka juhica, jebem ti tehniku i općinu...No, da, da dovršim ovo o RC-u: ta, zar nije daljinski upravljač realizacija svih starodrevnih magijskih snova: konačno imamo napravu, gadget, kojom upravljamo na daljinu! Ne trebaju nam čini ni zazivi, homeopatska ni simpatička magija, ni woodu-lutke, šišmišova krila ni vlat iz kose ljubljenoga! Djelujemo na nevidljiv način, bumo rekli. Pa to je tak štos, kaj ne!?
16.10.2007. (18:31) - - - - - promjene spremljene- uredi komentar - obriši komentar - prijavi ovaj komentar kao spam - zabrani komentiranje autoru ovog komentara- učitavam...
NEMANJA
Molio bih sve devojke koje me sanjaju da to čine u uredovno vreme.
Direktor Svemira
Nemanja, m.s.
16.10.2007. (18:37) - - - - - promjene spremljene- uredi komentar - obriši komentar - prijavi ovaj komentar kao spam - zabrani komentiranje autoru ovog komentara- učitavam...
Luce
Da dolazim češće,
stigla bih prekasno,
snovi ne bi bili Snovi
nit' bi Car ostao car, to je valjda jasno.
A primedbom o ured(ov)nim snovima obrisat ću mirisnu guzu
jer znam da od mene neuredno uspavane nemaš jaču muzu.
Bože, Care, Direktore - stvarno mi ide sa riječima,a?
Da mogu, sad bih samu sebe mrknula, toliko sam se uspalila na vlastite kvalitete.
16.10.2007. (20:46) - - - - - promjene spremljene- uredi komentar - obriši komentar - prijavi ovaj komentar kao spam - zabrani komentiranje autoru ovog komentara- učitavam...
NEMANJA
Luce, Luce, ljubičice moja, pa ja sam se uljuljkao u te tvoje rime sve to posljednje, guze i muze, i čitam ti ja dalje, ovo Bože, Care, Direktore, i, jasno, nakon zasluženog samopriznanja - to ja volim kod tebe, tu moju osobinu, to da čovjek sebi uvijek treba odati zasluženo prizanje na vlastitoj veličini i čestitati si na uspjehu - očekujem još jedno skandiranje, završnu rimu...a kad tamo ništa, samo kvalitete!
Čudan osjećaj, to iznevjereno očekivanje.
I što sad kazati, osim možda, uspavati te stihom (ide li sad dvotočje ili upitnik?):
Muzo Luce, obrisanog guza,
lijepo stoji partizanska bluesa, o, yeah.
16.10.2007. (21:17) - - - - - promjene spremljene- uredi komentar - obriši komentar - prijavi ovaj komentar kao spam - zabrani komentiranje autoru ovog komentara- učitavam...
Milou
Možda mi je više ovo kakav Jules Verne a la Danijel Žeželj i Tim Burton. Stoga mi se, vjerojatno, i sviđa. Nego, jedno (preko napol ozbiljno) pitanje: ima li tko kakvo objašnjenje zašto su svi ti Timovi, a očito i ovi Anthonyjevi, likovi - vitki i izduženi? Mislim, simbolika ili čisto vizualno-estetski element?
17.10.2007. (01:59) - - - - - promjene spremljene- uredi komentar - obriši komentar - prijavi ovaj komentar kao spam - zabrani komentiranje autoru ovog komentara- učitavam...
NEMANJA
Milou, izduženi su, očito je, jer su sjene! Gdje si vidio debele, zdepaste i teške sjene?
17.10.2007. (02:27) - - - - - promjene spremljene- uredi komentar - obriši komentar - prijavi ovaj komentar kao spam - zabrani komentiranje autoru ovog komentara- učitavam...
Milou
Ispod debelih, zdepastih i teških ljudi u podne? Haha! Ok, ok, ali zašto su sjene? Jungovske sjene? "Blijede sjene ljudi kakvi bi trebali biti"? Kreature bez lica (osobnosti)? Kužiš, ima tu prostora i materijala za razmišljanje...
EDIT: Ok, da pojasnim: Neki dan sam baš gledao "Mrtvu nevjestu" s djetetom, i pita me točno to pitanje: "Zašto su ovi ljudi takvi mršavi?" I... I nisam znao točno što bih odgovorio. Eto.
17.10.2007. (02:47) - - - - - promjene spremljene- uredi komentar - obriši komentar - prijavi ovaj komentar kao spam - zabrani komentiranje autoru ovog komentara- učitavam...
NEMANJA
Pa što si radio ispod takvih ljudi u podne?:)))))
The lack of funding available for full length features in Australia may be a subject for much rueful debate but an unexpected bonus in recent years has been the proliferation of excellent short films, perhaps no bad thing considering the imaginative opportunities and vital experience such a medium provides. After all, a string of highly creative and popular shorts have successfully forged the careers of high-flying cultists Tim Burton, Spike Jonze, and Michel Gondry. In this respect Anthony Lucas is perhaps exhibiting a shrewdness sadly absent in many other overly-ambitious directors.
In twenty-six minutes Lucas stakes his claim as the new gun in town. Based around the largely neglected technique of 18th Century silhouette paper cutting, The Mysterious Geographic Explorations of Jasper Morello is billed as ‘a steampunk journey into the heart of man.’ In the year 1276, the society of Gothia lives entirely in the air, landmasses float with no explanation and transport is composed of huge wrought-iron dirigibles, powered by steam and primitive computers. It is the thirteenth century as designed by Jules Verne, where noble men of science and career airmen exist to explore the boundaries of their realm and their own abilities. Jasper Morello is a navigator who bears the guilt of a crewman’s death on his hands, a one-degree error that almost cost him his career and his soul. His chance at redemption comes when he and the crew of his latest voyage are forced to abandon ship and transfer to a ghost vessel, the Hieronymous, found drifting in uncharted air. Whilst investigating the disappearance of her crew, Doctor Claude Belgon persuades the gruff Captain to explore a hidden island filled with horrors but also containing the secret cure to the Plague which riddles their society, and Jasper’s wife.
Verne’s well-documented reverence for Edgar Allen Poe is never more evident than in writer Mark Shirref’s menacing script. The iron airships defy physics, much as the Nautilus appeared to seamen in Verne’s books and the horror elements of the damned voyage are a direct nod to Poe’s sole full-length novel, The Narrative of Arthur Gordon Pym of Nantucket. Verne’s perennial theme of man’s imposition of science upon nature provides juicy pickings for Lucas and Shirref, with the eloquent Doctor Belgon proving to be a monster worse than what the crew find on the uncharted island. All of which is a refreshing wonder to behold, the greatest mystery being why no-one has delved so literally into this rich material before.
Unheralded Australian actor Joel Edgerton, who has appeared as fine support alongside big name colleagues Guy Pearce and Heath Ledger in major commercial films, as well as cameoing briefly as Uncle Owen in the latest Star Wars fiascos here provides the voice for Jasper Morello, a textured, polite, melancholic performance so completely in tune with the animation that we are left in no doubt as to how deeply committed he was to the character, showing what a difference a good actor can make to an animated feature.
The blend of animation techniques separated by over 200 years is startling and highly effective, lending Jasper Morello a unique, modern look, the cloudy monochrome spattered with occasional color reminiscent of Rumble Fish and Sin City (Mickey Rourke’s two finest performances?) alongside which it sits admirably. It is little wonder that the film has been so applauded at festivals across the globe, awarded best short animation at the Australian Film Institute awards and the Flickerfest International Short Film Festival this year.
This is the first in a mooted trilogy of Jasper Morello adventures, certain to cement the director’s reputation as a talent to be reckoned with, whilst sending Lucas himself on a journey into the dark heart of film-making. As is beautifully illustrated on the jaspermorello.com site, this complete world of an imaginary past is indeed a glimpse into a mouth-watering celluloid future.
17.10.2007. (03:12) - - - - - promjene spremljene- uredi komentar - obriši komentar - prijavi ovaj komentar kao spam - zabrani komentiranje autoru ovog komentara- učitavam...
NEMANJA
Another winner in the recent Australian Film Institute Awards was The Mysterious Geographic Explorations of Jasper Morello, which picked up Best Short Animation, and Oustanding Achievement in Craft in a Non-Feature, Production Design, for the director, Anthony Lucas. It caught my attention not only because it looks cool, but because it's another example of the exciting work going on with shadow puppetry and new technologies that I mentioned in a couple of previous posts.
Back in October, Ward was really enthusiastic about seeing Jasper at the Ottawa Animation Festival:
Omigosh, I absolutely LOVED the next film... Is it stop-motion? CG? It's a little bit of both and it looks entirely amazing. Harking back to the very first animated film, The Adventures of Prince Achmed (1926), Jasper is done in silhouette, like an elaborate shadow puppet play.
You can get a feel for film by looking at their wallpaper downloads. There is an interesting mix of silhouette and photographic detail. And I like the whimsy of the imagined world and the gazette; some of it is quite pointed. Too bad Jasper not going to be screened here in Canberra.
Anthony Lucas is from 3D Films, which specializes in clay and stop-motion animation for TV commercials, station IDs and special effects. It's an interesting site to take a wander through. There are some precursors to Jasper. For instance, there are stills and making details of the SBS Station IDs that were done with silhouettes and organic materials to give them a handmade look, as well as a quick time movie of one of them. And the selection of images from their film Holding your Breath are great. I like the look of Bad Baby Amy, too.
PuppetVision recently referred to The Modern Shadow where Michelle Zacharia is exploring combining Indonesian Wayang Golek puppetry and video and digital production techniques, and thinking about western influences in Indonesia. It reminded me of a production here called The Theft of Sita which was commissioned by the 2000 Adelaide Festival of Arts and received acclaim both here and overseas. It was a modern retelling of the Ramayana using shadow puppetry, and involved a remarkable collaboration of artists, puppeteers, makers and musicians.
The piece was written and directed by Nigel Jamieson (AU); music composed by the Australian jazz musician Paul Grabowsky (AU) and Balinese gamelon artist I Wayan Gde Yudane; designed by Julian Crouch (UK); and the puppetry directors were Peter J. Wilson (AU) and Balinese master I Made Sidia (who both performed in the show).
This Ramayana begins conventionally, but quickly explodes into a metaphor of the tumultuous events surrounding the overthrow of Suharto. Computer-generated images and photographic projections of demonstrations coexist with giant shadow puppet logging beasts. There are white water rafters and withering paddy fields in Bali. And Langka becomes a futuristic city of gleaming steel and glass towers, and of rubbish tips. Giant screens lift and disappear, perspective shifts from screens at the front to screens at the back of the stage. Shadow puppets emerge on tiny screens in the middle of the space and then shift again.
-- Robin Laurie, Inside Indonesia, The Theft of Sita
Robin's article is worth reading in full, as is Peter Wilson's account in his book 'The Space Between: The Art of Puppetry and Visual Theatre in Australia', where he describes The Theft of Sita as a transformation of the ancient tale into a modern allegory of environmental politics.
Unfortunately I didn't see The Theft of Sita, but I have seen a TV program that was made about it.
The designer, Julian Crouch, has a gallery showing some of the wonderful shadow puppets and scenes from the show, including the one above. His other galleries have some gems in them, too. Just a couple of examples: a dog, some huge figures, and some rather beautiful arresting star faces.
17.10.2007. (03:19) - - - - - promjene spremljene- uredi komentar - obriši komentar - prijavi ovaj komentar kao spam - zabrani komentiranje autoru ovog komentara- učitavam...
Milou
Što sam radio... Ahahaha! To me podsjetilo... Evo što! ;D (Je l' kužiš kako se tu s druge strane opet došlo do snova koji se protežu kroz komentare pod ovim postom?)
Čitam, čitam... Burton, Verne, ehhh... još samo da sam spomenuo Poea u svom prvom komentaru, sad bih bio zbilja ponosan na se.
Sjene... krhkost?
17.10.2007. (03:23) - - - - - promjene spremljene- uredi komentar - obriši komentar - prijavi ovaj komentar kao spam - zabrani komentiranje autoru ovog komentara- učitavam...
NEMANJA
Svijet kao kazalište, ovaj svijet kao sjena, Platonova spilja...
Anthony Lucas’s animated short film The Mysterious Geographic Explorations of Jasper Morello is one of the freshest-looking films in a long time. Ironically, the whole film uses a medium that started in the 18th century: silhouettes.I attended a question and answer session by director and co-writer Anthony Lucas one Saturday evening in mid-December, at the Schonell Cinema, Brisbane. Anthony Lucas said silhouettes had been around for 250 to 300 years.
“So I’m the latest incarnation of that – doing this.”
In his 26-minute animated film The Mysterious Geographic Explorations of Jasper Morello, everyone and everything appears in silhouette form, except for atmospheric effects like steam, clouds, and the sepia sky. The silhouette of a Victorian era- gentleman, like an Indonesian shadow puppet, stands on a cast-iron platform high in the sky, looking out at iron dirigibles flying past - strange masses of metal that look like Jules Verne-style submarines. The setting, Gothia, floats in mid-air, and it's a world of steam, revolving cogs and gears.The darkness of the silhouettes matches the Victorian gothic atmosphere perfectly. The film is set in 1276, but everything about Gothia is Victorian fantasy, influenced by Jules Verne and Edgar Allen Poe. Jasper Morello, (voiced by Joel Edgerton) narrates the tale of an air voyage. He and the rest of the crew, including an old seadog style captain, and a sinister scientist Doctor Claude Belgon, leave Gothia where a plague is sweeping the population. Red, pulsating lava-like eruptions are shown on some silhouetted figures to depict the disease. Jasper is haunted by a one-degree error he once made – an error that resulted in a crewman’s death, and he gets a chance to redeem himself on the voyage.
On the voyage the crew are forced to transfer to an abandoned vessel, the Hieronymous, drifting in uncharted airspace. Later Doctor Belgon entices the Captain to land on an unknown island, where they encounter a plant that could cure the plague sweeping among the people of Gothia. Back at Gothia, Jasper’s wife has contracted the disease, too. There is a problem, however – the plant is carnivorous, and voracious. It's a unique film and Jasper Morello and the Lost Airship is the first in a trilogy of voyages.The two sequels will be titled Jasper Morello and the Secret of Alto Mea, and Jasper Morello and the Ebenezer of Gothia.
There is also a feature in the works, about an aeronaut war.Mr Lucas showed a couple of his other films that evening I saw him speaking at the Schonell Cinema, at the University of Queensland.The first was his short claymation film, Slim Pickings, about a hungry guy in a lonely house in a bleak junkyard landscape. Desperate for food he eats his tomato plant, which is also his best friend - unaware that the plant has provided him with a tomato.
After the screening of Slim Pickings, Mr Lucas opened his briefcase full of claymation models and shadow puppets and used a small camera to highlight the tiny models, which projected onto the screen behind him. There was the anthropomorphic tomato plant (about ten centimetres high), and a tea pot (about five centimetres high) both from Slim Pickings.
One technique he used in Slim Pickings was to only film one shot of the feet of the main character walking along. Once it had been established the character had feet and could walk, he only needed to film the character from the waist up. He said Slim Pickings had similar themes to The Little Prince by Antoine de Exupery. The Little Prince had been about giving and taking, too. Mr Lucas didn’t think he’d make another stop motion film. Then he screened The Mysterious Geographic Explorations of Jasper Morello, which won the best short animation prize at this year’s Australian Film Institute awards, and at the Flickerfest International Short Film Festival. After the screening, Mr Lucas talked about the making of the film.He said he wrote a one-page outline first, then he and writer Mark Shirrefs wrote the story together. Then Shirrefs wrote a 25 page treatment. They received more money to make the film, and then Shirrefs scripted it. He said the film received $220,000 funding from the Australian Film Commission.Mr Lucas said Mark Shirrefs had written more than 50 hours of tv and knew every scenario there was. “I end up writing heaps of stuff that he ignores,” Mr Lucas said. Jasper Morello took three-and-a-half to four years to make. Mr Lucas put the start of this period at the time he made station identifications for SBS (an Australian government tv station). He had made a lot of other tv commercials, too, like for Smarties.
He said the SBS station identifications were 20 second grabs made with “highly-stylised silhouettes”. But he wanted to take his silhouette-style films to the next level: he wanted to tell a story.
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NEMANJA
But he wanted to take his silhouette-style films to the next level: he wanted to tell a story. So he made a six minute drama, Holding Your Breath. (He showed this film after he talked about The Mysterious Geographic Explorations of Jasper Morello.) Then it took “a year and a bit” to get the script written for Jasper Morello, and the film took one and a half years to make. It took six months to pitch the film, and now Jasper Morello had a distributor, Madman Cinema, which would be releasing the film in select cinemas throughout Australia. Jasper Morello had a crew of nine, including an old-style animator, Peter Cook – a “stunningly brilliant animator” who drew all the key poses of the film. Also on the crew he had two c.g.s, two miniature-makers, one background artist, and one character designer. He said he learned to use Photoshop during the making of the film.And there was a lot of research and development as the filming progressed, trying to work out how to show hair on silhouettes for example. Now it was a 16 hour a day job marketing the film. The dvd of Jasper will be released in March, 2006, and it will have its SBS premiere on March 9. Mr Lucas said he’d made the investors' money back, “if not more”. Also he had written two page-long synopses for two short sequels to Jasper Morello, and was working on a feature outline. The Mysterious Geographic Explorations of Jasper Morello was in the Sundance Film Festival, and he hoped this would lead to more investors for his film plans. The feature would be about a war of aeronauts, and would have themes inspired by the battle at Gallipoli, Turkey, in WW1, where many Australian and New Zealand soldiers lost their lives. Mr Lucas said 10 members of his family on his father’s side lost their lives in the battle. So one theme of the feature film would be the senselessness of wasted life. He said the feature would be “more like a full-blown adventure film from beginning to end, like a spy thriller”. I asked Anthony Lucas for the titles of some of his favorite books. Anthony Lucas:
Pride and Prejudice - I didn’t at first appreciate this one when I did it at high school, but over the years I have read and re-read it and watched the movies and grown to love it. The delicate observations of human nature are really fantastic.
Lord of the Rings - for sheer thrill and imagination nothing beats it. I remember when I was seventeen reading it for the third time - It was 4.00am in the morning and Frodo was climbing Mt Doom and I couldn’t put the book down.
Heart of Darkness - a very mysterious novel.
The Art of the Empire Strikes Back - the first book about movies I bought, with the conceptual art and production art from behind the scenes. Better in some ways than the final images from the film; all the work by Ralph McQuarrie was quite inspirational.
The Album Cover Album - a collection of record covers which inspired me to think in terms of graphic design, and it was the first graphics book I ever bought. I thumbed through it at QBD in the city for six months before I had the money to afford it.
All of the above books have influenced Jasper Morello to some degree.
I also greatly admire Jane Eyre, the Diaries of Douglas Mawson, anything by Conan Doyle and H.G. Wells.
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pametni zub
Rak-tehnologija, onaj rak iz mladenačkih snoviđenja koji umišlja da je škorpion. Napučuje stanište naše duše. Još su taoisti (Čuang Ce) o tome govorili (ona pričica o seljaku koji odbija instalitrati nekakvu pumpu za vodu ali on odbija jer lukave sprave uništavaju ljudsko srce), a Kinezi odbili primijenjivati vlastita tehnoloka otkrića
A je li ta ista tehnologija tvar od koje se sastoje naši snovi? Tko nije bar jednom u svojoj mladosti, ne snimio porno film, nego sanjao neku čudovišno-čudnovatu napravu. Morello je jedan od takvih snova? Podsjeća na jednako dobra crtić "Put u Bellvile", bicklističko-sadistička fantazija u kojoj su proporcije također izobličene.
17.10.2007. (08:04) - - - - - promjene spremljene- uredi komentar - obriši komentar - prijavi ovaj komentar kao spam - zabrani komentiranje autoru ovog komentara- učitavam...
Milou
Sviđa mi se objašnjenje s Platonovom spiljom. Može - prodano. Zahvaljujem.
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Konj Spadislav Aždahanov'ć, Zmaj
električne sjene, čini mi se da je to doslovni prijevod kineske riječi za film
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NEMANJA
Električne sjene...izvrsno!
17.10.2007. (18:52) - - - - - promjene spremljene- uredi komentar - obriši komentar - prijavi ovaj komentar kao spam - zabrani komentiranje autoru ovog komentara- učitavam...