A Giorgio Moroder story: apropos of his appearance on a certain new album — a few years ago on ILX, someone named Tilman posted saying he’d been doing research into “I Feel Love“‘s production, saying he was “particularily interested in the delay effect that he uses to “double” the synth riff, and the other means with which he creates “metrical dissonances”, e.g. the echo effects.” He indicated that he’d contacted Moroder directly about this. Moroder replied with this graphic, adding:
“Dear Mr. Tilman
this is the only way i can help yousaluti
Giorgio Moroder”This is the greatest thing ever, of course. Credit to my friend Grady for the reminder.
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[F]or the first time in the history of the arts, in the history of culture, man found the means to take an impression of time. And simultaneously the possibility of reproducing that time on screen as often as he wanted, to repeat it and go back to it. He acquired a matrix for actual time. Once seen and recorded, time could now be preserved in metal boxes over a long period (theoretically for ever) … Time, printed in its factual forms and manifestations: such is the supreme idea of cinema as an art.
Andrei Tarkovsky, quoted in J. Hoberman’s Film after Film (via fourwindsshotgun)
Posted 4 days ago
The Bad Lieutenant: Port Of Call New Orleans (2009), dir. by Werner Herzog
Posted 4 days ago
Dreams, memories, the sacred—they are all alike in that they are beyond our grasp. Once we are even marginally separated from what we can touch, the object is sanctified; it acquires the beauty of the unattainable, the quality of the miraculous. Everything, really, has this quality of sacredness, but we can desecrate it at a touch. How strange man is! His touch defiles and yet he contains the source of miracles.
Yukio Mishima
Posted 5 days ago
the sudden realization that richard dawkins’ tweets are much better if you read them in jerry seinfeld’s voice
Posted 5 days ago
i put naked gun on for my 11 year old cousin and he’s asking me if i think OJ did it. what the fuck
