TAP

OS FILMES MAIS CAROS DE SEMPRE

De acordo com o ‘Business Insider’ os 25 filmes mais caros do cinema são:

25.º 2012
25.º ‘O Exterminador Implacável: A Salvação’
25.º ‘Transformers – Retaliação’
22.º ‘Os Vingadores’
21.º ‘Homens de Negro 3’
20.º ‘O Fantástico Homem-Aranha’
19.º ‘Wild Wild West’
18.º ‘Super-Homem – O Regresso’
17.º ‘X-Men 3: The Last Stand’
16.º ‘As Crónicas de Nárnia: O Príncipe Caspian’
15.º ‘Spider-Man 2’
14.º ‘King Kong’ (2005)
13.º ‘John Carter’
13.º ‘Batman: O Cavaleiro das Trevas Renasce’
13.º ‘O Hobbit: Uam Viagem Inesperada’
10.º ‘O Exterminador Implacável 3: A Ascensão das Máquinas’
9.º ‘Avatar’
8.º ‘Piratas das Caraíbas: O Cofre do Homem Morto’
7.º ‘Waterworld’
6.º ‘Harry Potter e o Príncipe Misterioso’
5.º ‘Entrelaçados’
4.º ‘Spider-Man 3’
3.º ‘Titanic’
2.º ‘Cleopatra’ (1963)
1.º ‘Piratas das Caraíbas: Nos Confins do Mundo’

barfly

http://www.telefilme.net/artigo/3588/filme-barfly-boteco

On the Road (2012) - Official Trailer [HD]

Deste Lado da Ressurreição

Título original:

Deste Lado da Ressurreição

De:

Joaquim Sapinho

Com:

Pedro Sousa, Joana Barata, Pedro Carmo, Sofia Grillo, João Cardoso,Guilherme Garcia, Luís Castro

Género:

Drama, Aventura

Classificação:

M/12

Outros dados:

POR, 2011, Cores, 118 min.

Rafael (Pedro Sousa, campeão júnior de surf do Guincho) é um jovem surfista perdido no mundo, desenquadrado de tudo e de todos. Com uma grande violência interior, que se reflecte no seu corpo e na maneira como surfa, busca um sentido para a sua vida. E será ali, entre a praia do Guincho, o Convento dos Capuchos e a serra de Sintra, que vai finalmente encontrar o seu lugar...
Quarta longa-metragem de Joaquim Sapinho, depois de "Corte de Cabelo (1995), "A Mulher Polícia" (2003) e "Diários da Bósnia" (2005), "Deste Lado da Ressurreição" teve a sua estreia mundial na selecção oficial do Festival de Cinema de Toronto no Canadá, na secção Visions, dedicada aos filmes que, nesse ano, contribuíram para a expansão das possibilidades poéticas do cinema. O filme foi escolhido como um dos dez melhores do ano na revista nova-iorquina "Film Comment" e teve antestreia nos EUA nas mais prestigiadas cinematecas do país: a Harvard Film Archive (Cinemateca da Universidade de Harvard) e Anthology. PÚBLICO

o melhor

http://en.wikipedia.org/wiki/Paul_Schrader

Auto Focus

http://en.wikipedia.org/wiki/Auto_Focus

Argo

Título original:

Argo

De:

Ben Affleck

Com:

Ben Affleck, Bryan Cranston, John Goodman

Género:

Drama, Thriller

Classificação:

M/12

Outros dados:

EUA, 2012, Cores, 120 min.

Links:

Site Oficial

Irão, 4 de Novembro de 1979. Militares iranianos invadem a Embaixada dos EUA em Teerão, em retaliação ao apoio ao recém-deposto Xá. Antes dos militantes entrarem no edifício, o pessoal tenta destruir documentos comprometedores. Nesse dia, 52 pessoas são tomadas como reféns. Porém, no meio do caos que se instala, seis conseguem escapar, escondendo-se em casa de Ken Taylor (Victor Garber), o embaixador canadiano. Apesar da situação ser mantida em segredo pelo Governo americano - e cientes de que é apenas uma questão de tempo até todos serem capturados e mortos -, Tony Mendez (Ben Afleck), um especialista da CIA, desenvolve um plano surpreendente para os salvar: entrar no Irão como uma equipa de filmagens e retirar os diplomatas sãos e salvos.
Com argumento de Chris Terrio e realização de Ben Affleck ("Vista Pela Última Vez...", "A Cidade"), é baseado em factos verídicos, revelados no artigo "How the CIA Used a Fake Sci-Fi Flick to Rescue Americans from Tehran", publicado na revista Wire e escrito pelo jornalista Joshuah Bearman. PÚBLICO

João César Monteiro [Branca de Neve (2000)] - A Estreia

La Société Du Spectacle - Guy Debord - 1973 - 1h 27min

inimigo

http://inimigo.publico.pt/

deus

http://www.arcauniversal.com/iurdtv/

já se esperava

Assalto À 13ª Esquadra (1976)

Título Original: Assault On Precinct 13.
Duração: 90: minutos.

Diretor: John Carpenter.
Distribuidor: Ecofilmes Dreamia Hollywood Outubro 2011.

Uma esquadra prestes a ser desactivada é alvo de um assalto por um gang imparável.

Pussy Riot consideradas culpadas de "hooliganismo"

As três mulheres que integram a banda punk russa Pussy Riot foram consideras culpadas de “hooliganismo” pela juíza que preside ao tribunal Khamovnitcheski de Moscovo. A pena máxima para este crime é de sete anos de prisão, mas ainda não é conhecida qual a pena que o tribunal vai decretar.

No inicío da leitura da sentença, a juíza Marina Syrova sublinhou que as acusadas não mostram qualquer sinal de “arrependimento” e que “violaram seriamente a ordem pública” e “ofenderam os sentimentos religiosos dos crentes”.

Nadejda Tolokonnikova, 22 anos, Ekaterina Samoutsevitch, 30, e Maria Alekhina, 24, estão em detenção provisória há cinco meses e começaram a ser julgadas no início de Julho.

As três mulheres foram julgadas por “hooliganismo” e por “incitamento ao ódio religioso” depois de terem cantado, no dia 21 de Fevereiro, uma “oração punk” na Catedral do Cristo Salvador em Moscovo, pedindo à Virgem Maria para “correr com Putin” do poder.

A acusação pediu três anos de prisão para cada uma delas, mas a defesa argumentou que elas deveriam ser libertadas porque nunca quiseram ofender a igreja, mas sim encenar um protesto político contra Putin e contra a proximidade da hierarquia religiosa da Rússia com o poder do Kremlin.

Um enorme dispositivo de segurança foi montada em redor do tribunal Khamovnitcheski de Moscovo, tendo sido colocadas barreiras de metal a barrar os principais acessos ao edifício, de modo a evitar qualquer ajuntamento de massas, testemunhou um repórter da AFP.

De manhã, uma dezena de simpatizantes das Pussy Riot juntaram-se frente ao tribunal onde também juntaram alguns militantes do Partido Liberal-democrata (LDPR, ultra nacionalista) para se manifestarem a favor da Igreja Ortodoxa.

Ainda antes do início da leitura da sentença, Serguei Oudaltsov, líder da Frente de Esquerda e uma das figuras principais da contestação ao regime do Presidente Vladimir Putin, foi detido pela polícia, juntamente com dois simpatizantes anónimos das Pussy Riot, quando tentava transpor uma das barreiras policiais em frente ao tribunal.

Asking Alexandria "A Prophecy" Official Music Video HD | Director @Robby...

Pussy Riot: A única banda que interessa este Verão

As Pussy Riot são - e tomando momentaneamente de empréstimo um dos lemas dos Clash - a única banda que realmente interessa. Quase não importa o que diz o tribunal. As três mulheres das Pussy Riot - um explosivo e irritante cruzamento entre um grupo musical e um anónimo movimento de dissidentes russos - já conseguiram, de uma maneira muito significativa, vencer a farsa de julgamento a que estão a ser sujeitas em Moscovo (e cuja sentença será conhecida dia 17). Cada dia do seu julgamento por "vandalismo motivado por ódio religioso" chamou a atenção da comunidade internacional para a repressão paranóica na Rússia de Vladimir Putin.

As Pussy Riot entalaram Putin nos cornos de um dilema: ou o seu Governo condena a banda e aumenta ainda mais o seu estatuto de mártires, ou recua e reconhece que acusar o trio mascarado devido a um cacofónico protesto musical na Catedral de Cristo Salvador que chamou a atenção da aliança da Igreja russa com o regime de Putin terá sido sempre um erro. Três dos cinco membros da banda enfrentam agora a possibilidade de passar sete anos na prisão, o que está a causar um inesperado repúdio internacional. Na semana passada, antes de um encontro com o primeiro-ministro britânico David Cameron, Putin terá admitido que preferia recuar.

Isto é algo que não era suposto acontecer. Para começar, os dissidentes não se dão bem na Rússia "putinista"; depois, o punk rock - o filho ilegítimo, mais sujo, mais esperto e mais irritante do rock"n"roll - normalmente não vence. O movimento punk tem um longo historial de aspirações a rebentar com governos corruptos e autoritários, multinacionais e outras estruturas de poder internacional. Mas não tem um longo historial de sucessos.

Assim, o punk rock decidiu-se por objectivos políticos mais atingíveis, menos globais: normalmente, protestos localizados e atrair atenções e despertar consciências. As Pussy Riot, que ainda há poucos meses eram um grupo obscuro, são agora um fenómeno internacional: as três detidas foram consideradas prisioneiras de consciência pela Amnistia Internacional e a banda tornou-se o ai-jesus dos intelectuais russos, que há tanto tempo sofrem e que agora se juntaram em defesa das três artistas. E se bem que ninguém fale do grupo pela sua música, uma olhadela para a história dos anteriores sucessos geopolíticos do punk rock mostra que as Pussy Riot já os ultrapassaram - e talvez tenham dado ao punk rock um futuro como uma força global para a justiça e a liberdade.

Não demorou muito até o que o punk se afastasse do niilismo sem futuro dos Sex Pistols, o lendário grupo inglês da segunda metade dos anos 70 que basicamente iniciou o punk rock. Os Clash rapidamente viraram a atenção do punk para lutas globais. Joe Strummer, uma das forças criativas dos Clash, colocou o punk rock a cantar acerca da Guerra Civil de Espanha, as classes exploradas da Jamaica, o martírio do poeta de esquerda chileno Victor Jara, e mesmo, num disco intitulado Sandinista!, sobre as vítimas do comunismo soviético e chinês.

Na Irlanda do Norte, os seus contemporâneos Stiff Little Fingers cantaram o aparecimento de um tipo diferente de revolta - a banda chamou-lhe uma "força anti-segurança", dado que o grupo se opunha às milícias locais que apoiavam os britânicos - em Alternative Ulster. O punk fracturou-se em incontáveis subgéneros obscuros e espalhou-se a nível mundial, mas um tema comum manteve-se: resistência face ao poder global arbitrário e brutal, algo que pode ser percebido em todo o lado, desde o punk "crust" dos britânicos Discharge ao hardcore melódico dos canadianos Propagandhi e ao folk abrasivo dos Against Me!, da Florida. O punk canalizou a angústia juvenil para um catecismo antiguerra, antigoverno e anticapitalismo.

Mas essas ambições não alcançaram resultados geopolíticos palpáveis. Talvez o ponto alto da importância geopolítica do punk tenha vindo de uma banda britânica que já tinha deixado para trás o seu período mais criativo de finais da década de 70. Pioneiros de um tipo de punk particularmente agressivo - reconhecível pela militante e imparável batida da bateria -, os Crass definiam-se pela anarquia, pelo pacifismo e pelo humor (por vezes de forma totalmente isenta de humor). Mas foi necessária uma guerra a sério, nas ilhas Falkland, para que os Crass, então já longe do seu período áureo, se metessem em acção. Um single, tipicamente cáustico, perguntava à primeira-ministra Margaret Thatcher, no título, How does it feel (to be the mother of a thousand dead? [Qual é a sensação (de ser a mãe de mil mortos)?] Contra todas as expectativas, chegou ao primeiro lugar do top independente, e levou o deputado conservador Tim Eggar a tentar levar os Crass a tribunal, sob a alçada de uma lei antiobscenidade. Escapando às autoridades, os Crass engendraram uma partida que prenunciava o sucesso das Pussy Riot. Em 1983, a banda, de forma secreta, cedeu a jornalistas crédulos uma cassete que supostamente revelava uma conversa entre Thatcher e o Presidente norte-americano Ronald Reagan. Parecia confirmar a paranóia esquerdista acerca de ambos os líderes conservadores: discutindo a situação nas Falkland, Reagan parecia aconselhar moderação a uma Thatcher sedenta de sangue; Thatcher punha Reagan a divagar sobre sacrificar a Europa numa disputa nuclear com os soviéticos.

A cassete rapidamente se elevou a incidente internacional. O Departamento de Estado e a CIA afirmaram que era uma manobra de desinformação soviética: "Este tipo de actividade encaixa-se no padrão de falsificações que o KGB soviético faz circular, apesar de normalmente envolverem documentos falsos e não fitas magnéticas", podia-se ler numa declaração oficial do Departamento de Estado. O jornal inglês Sunday Times publicou um artigo intitulado Como o KGB enganou a imprensa ocidental. Após terem marcado a sua posição e os governos terem ficado embaraçados, membros dos Crass admitiram à agência Associated Press que tinham sido eles, e não os soviéticos, os arquitectos do embuste.

Quase 30 anos depois, a agitação já foi esquecida. Os Crass são mais recordados pelos seus dois primeiros álbuns, The Feeding of the 5000 e Stations of the Crass, do que pelas chamadas "cassetes do Thatchergate". Para pessoas como eu, que continuam a levar a sua música demasiado a sério, isso infelizmente diz muito acerca da relevância geopolítica do punk rock.

Desde então, e partindo do princípio que o punk tem objectivos políticos - e tem havido sempre dentro da cena punk um contingente considerável que discorda dessa proposição -, eles têm-se manifestado de duas formas: protesto e desafio local. A lendária cena punk hardcore de Washington nos anos 80 simboliza a primeira forma. No Verão de 1985, um ano que os punks ao longo dos Estados Unidos relembram como o "Verão da Revolução" da capital, punks locais como Guy Picciotto da banda Rites of Spring levaram percussões para a porta da embaixada da África do Sul para incomodar os representantes do regime do apartheid. "Pensámos em injectar alguma espontaneidade", recorda Picciotto, que se sentia insatisfeito com os protestos habituais e repetidos de então.

Jeff Nelson, co-fundador da seminal editora hardcore de Washington Dischord Records, encheu paredes da zona no Natal de 1987 com posters a ridicularizar o procurador-geral Ed Meese. O Ministério da Justiça declarou que a propaganda pública era "ofensiva", a sua origem desorientou o jornal Washington Post. Pouco depois, os Fugazi - a banda seguinte de Picciotto e principal nome da Dischord - dariam concertos no National Mall, parque entre o Capitólio e o Monumento de Washington, denunciando a Guerra do Golfo.

A outra opção tem sido a acção localizada - quer para mudar comunidades locais ou para alterar a forma como as pessoas que são expostas ao punk rock vêem o mundo. Em cada cidade americana que tem uma cena punk - ou seja, em todas as cidades americanas - pode-se encontrar os seus membros em parques, normalmente nos fins-de-semana, a cozinhar comida vegetariana para distribuir grátis a quem vier, ao que juntam panfletos contra a guerra, num ritual político denominado Food Not Bombs. Em alternativa, outras bandas têm trabalhado para dessacralizar o próprio punk, uma subcultura esmagadoramente branca, masculina e heterossexual. Uma das melhores bandas dos anos 90, Los Crudos, de Chicago, era composta apenas por elementos de ascendência latina e cantavam exclusivamente em castelhano, provocando assim a juventude branca e levando-a a questionar o que é ser um outsider cultural; o seu vocalista, Martin Sorrondeguy, mais tarde fundou os Limp Wrist, um caso raro: uma banda hardcore assumidamente homossexual.

Todos estes esforços significam imenso para os milhões de pessoas cujas vidas têm sido enriquecidas pelo punk, que, no seu melhor, instila uma ética de responsabilidade pessoal e auto-suficiência que os de fora podem achar difícil de conciliar com a estética caótica do punk. (Afinal de contas, quando salas grandes não aceitam que a nossa banda toque, temos nós que construir uma rede de caves e sofás para a digressão.)

Mas não têm significado muito para os temas internacionais - reconheçamos, um objectivo quase impossível para algo que continua a ser um movimento de jovens. Os protestos punk têm-se tornado uma espécie de fim em si mesmos - Protest and Survive, como cantavam ironicamente os Discharge -, uma medalha de mérito para ganhar ou um ritual para os punks protegerem. Nas suas letras, o punk ainda afronta a guerra e as injustiças - Asesinos, dos Crudos, é sobre o apoio dos Estados Unidos aos ditadores da América Central, e continua a impressionar -, mas, como acontece com a maioria dos artistas, o seu impacto geopolítico é marginal. O lema da veterana editora anarco-punk de Minneapolis Profane Existence é - de forma reveladora e de algum modo patética - Making Punk a Threat Again (Tornar novamente o punk ameaçador).

As Pussy Riot poderão não inverter esta tendência. O punk continua a ser essencialmente um fenómeno do mundo ocidental, o que significa, tal como os Propagandhi diziam, que "reconheço a ironia de que o sistema a que me oponho me permite o luxo de morder a mão que me dá de comer". Os punks que na realidade não vivem sob governos autoritários não enfrentam os mesmos riscos que os membros das Pussy Riot. Se o punk rock se mobilizou em força contra a Guerra do Iraque em 2003, editando álbuns para angariar fundos para organizações de activistas e organizando concertos contra a guerra no National Mall, não atraiu a atenção de George W. Bush, as Pussy Riot, pelo contrário, claramente atraíram a atenção de Putin.

Mas talvez seja necessário um punk visionário para efectivamente reconhecer o potencial das Pussy Riot. Na revista de cultura alternativa Dazed & Confused, Tobi Vail disse sobre a banda russa: "O seu método de protesto depende do anonimato. Elas criaram um método de protesto cheio de possibilidades e que pode ser utilizado a nível global, ultrapassando as fronteiras internacionais. Putin pode encarcerar membros do colectivo, mas como pode ele impedir a possibilidade de novos membros se juntarem ou impedir que o movimento se propague para além da Rússia?"

Se há alguém que sabe acerca da criação de um método de protesto repleto de possibilidades e aplicável para além das fronteiras internacionais, esse alguém é Vail, uma das figuras mais inspiradoras que o punk rock já produziu. A banda em que tocava bateria, Bikini Kill, transcendeu as suas raízes punk para se tornar naquele que pode ser considerado o grupo de rock feminista mais importante de sempre. O movimento "riot grrrl" que as Bikini Kill ajudaram a forjar representou uma linha de demarcação para as mulheres que exigiam representação numa cultura underground exageradamente masculina, e rapidamente se expandiu a nível global. As cáusticas apresentações ao vivo das Bikini Kill eram eventos políticos em miniatura. Elas instigaram as mulheres a que ousassem ser quem elas quisessem ser, e exigiram que os homens se confrontassem com os seus privilégios, mais do que se congratularem por serem suficientemente abertos para irem ao espectáculo.De facto, consideremos aquilo que Vail percebeu. As Pussy Riot actuaram de forma anónima numa igreja de Moscovo, as caras cobertas com balaclavas coloridas. Podiam ser qualquer pessoa, e isso poderá ser a inspiração para as próximas Pussy Riot. Por coincidência, quando o seu julgamento começou, o fanzineMaximumrocknroll, a publicação mais influente do punk, publicou a sua edição de trigésimo aniversário.

O único artigo acerca do impacto que o punk continua a ter a nível internacional debruçava-se sobre as Pussy Riot - um implícito reconhecimento que aquelas três mulheres não apenas envergonharam Putin e apontaram para o seu banditismo, mas também redimiram as aspirações de uma cultura de protesto global.

Spencer Ackerman, ex-baterista em várias bandas punk de que ninguém ouviu falar, é redactor principal na Wired.com, cobrindo a área da segurança nacional

Eles Vivem

PAUL CADDEN: HIPER-REALISMO

I.R.A.

http://publico.pt/Mundo/tres-grupos-dissidentes-da-irlanda-do-norte-juntamse-para-formar-um-novo-ira-1556517

A passividade existencial do homem comum e a indiferença perante a historia torna-o vitima do totalitarismo

Liberdade

Ted

Título original:

Ted

De:

Seth McFarlane

Com:

Mark Wahlberg, Mila Kunis, Seth MacFarlane

Género:

Comédia

Outros dados:

EUA, 2012, Cores

Aos oito anos, John Bennett (Mark Wahlberg) tem apenas um único amigo: Ted (voz de Seth MacFarlanez), o seu ursinho de peluche. Uma noite, o seu desejo ardente de dar vida a Ted concretiza-se e eles torna-se companheiros de todas as aventuras. Assim, os anos vão passando e eles crescendo lado a lado, dividindo alegrias, tristezas e o apartamento. Porém, aquela amizade quase perfeita tem um grande entrave: Lori (Mila Kunis), a namorada de longa data de John, que considera Ted, e os seus modos bruscos, um entrave ao bom funcionamento da sua relação. E é assim que parece ter chegado o momento de Ted assumir a sua independência e viver a sua própria vida.
Uma comédia escrita e realizada por Seth MacFarlane, o criador da célebre série de animação Family Guy. PÚBLICO

Catastroika (legendas em português)

Cavalos em fuga

Em Cavalos em Fuga, Mishima não esconde a sua fixação na honra dos antigos samurais, símbolo da entrega e da devoção ao Imperador . O uso do Iai ( sabre Japonês) reflecte assim a Via ( DO) dessa entrega. Quioaqui reaparece na figura de um jovem patriota “Issau” que prepara o renascer do Japão através de um acto heróico inspirado na Liga do Vento Divino, que após o acto de pura entrega ao Imperador, pretende praticar o Sepuku ( morte ritual , abrindo o ventre com sabre ou punhal).
Vive-se , (sente-se) toda a atmosfera “do Ultimo samurai” e da história de Kasumoto .
Conhecendo-se o fim de Mishima ( praticou o Sepuku, depois de um discurso patriótico), é com admiração que se lê todo este envolvimento do autor na personagem de Issau. Este segundo acto da tetralogia “O mar da felicidade”, é um texto mais pesado, mais reflectido, na procura da pureza do espírito que o primeiro. Só nos últimos capítulos há ritmo, até lá parece que as personagens vão lentamente tomando forma e destino, sempre com um interlocutor presente, Honda, amigo intimo de Quioaqui, e que o reconhece em Issau. Também aqui, há uma história de amor e de sacrifício, mas desta vez o patamar do sacrifício eleva-se ao serviço do Imperador, em detrimento da entrega ao amor passional sentido por Issau. Mishima, numa curta frase , numa conversa entre Issau e o Pai ( tutor de Quioaqui) expressa o desejo de ser mulher ( tal como reencarnará do terceiro volume - O Templo da Aurora).

Retirei este curto texto de uma carta escrita por Honda a Issau,

(...)

“Não sou adepto das novidades do cristianismo, nem critico o zelo pelo passado ou a pouca largueza de ideias dos homens da Liga. No entanto, se queremos aprender com a História, não devemos concentrar-nos apenas num único aspecto de uma época, mas sim fazer uma meticulosa investigação dos muitos factores complexos e mutuamente contraditórios que fizeram dessa época o que ela era. Temos de pegar nesse aspecto único e colocá-lo no contexto correcto. Devemos avaliar os vários elementos que lhe conferiram características especiais. Assim, temos de olhar para a História de uma perspectiva que nos ofereça uma visão ampla e equilibrada.

Isto, creio, é o que significa aprender-se com a História. Pois a opinião de qualquer homem sobre a sua época é limitada, e ele tem grande dificuldade em tentar formar uma imagem compreensiva do seu tempo. Portanto, precisamente por isto, a imagem compreensiva dada pela História fornece informação e constitui um modelo pelo qual podemos guiar-nos.

Um homem que vive confinado pelas limitações do dia-a-dia, consegue, graças à visão ampla proporcionada pela História que transcende o tempo, uma imagem compreensiva do seu mundo e assim corrigir o seu estreito ponto de vista das coisas.

É este o agradável privilégio que a História oferece aos homens.

Aprender com a História nunca devia significar concentrarmo-nos sobre um aspecto particular de uma determinada época e usá-lo como modelo para reformar um dado aspecto presente. Tirar do quebra-cabeças do passado uma peça uma determinada forma e tentar encaixá-la no presente não é coisa que possa dar bons resultados. Fazê-lo é tentar brincar com a História, como se fosse um passatempo próprio para crianças. Temos de perceber que, por mais que se assemelhem, o idealismo de ontem e o idealismo de hoje têm condições históricas diferentes. Se quisermos procurar uma determinação tão pura, devemos procurá-la numa «ideologia diametralmente oposta» dos nossos dias, que exista sob as mesmas condições históricas. Uma atitude modesta deste tipo adequa-seao «eu dos nossos dias», caracteristicamente limitado. Assim, podemos finalmente considerar esta pureza de ideal um problema histórico e fazer deste «motivo humano» que transcende a História o nosso objecto de estudo. Então, as condições históricas comuns à época tornam-se apenas factores constantes da equação. “

(...)

Segue-se o terveiro volume - O Templo da Aurora

Os Donos de Portugal

http://www.publico.pt/Media/rtp-mostra-a-teia-politica-e-economica-dos-donos-de-portugal-1543370

Admirável Mundo Novo

http://pt.wikipedia.org/wiki/Admir%C3%A1vel_Mundo_Novo

No espaço de Kubrick

http://ipsilon.publico.pt/artes/texto.aspx?id=307006

Bertrand Russell

escreve em "A History of Western Philosophy":

“

Apesar de Nietzsche criticar os românticos, a sua atitude é fortemente determinada por eles; é o ponto de vista do anarquismo aristocrático que Byron também representara, de modo que não é surpreendente que Nietzsche seja um grande admirador de Byron. Ele tenta unir duas categorias de valores que dificilmente se relacionam: por um lado ele ama a crueldade, a guerra e o orgulho aristocrático e, por outro, a filosofia, a literatura, arte e antes de tudo a música.

O Moinho e a Cruz

Título original:

The Mill and the Cross

De:

Lech Majewski

Com:

Rutger Hauer, Michael York, Charlotte Rampling

Género:

Drama

Classificação:

M/12

Outros dados:

SUE/POL, 2011, Cores, 92 min.

Em 1564, Peter Bruegel (1525-1569) pintou "A Procissão e o Calvário", uma representação a óleo em tela com mais de 500 personagens, sob o tema da crucificação de Jesus e as perseguições religiosas em Flandres. Em 1996, mais de 400 anos depois, esse quadro deu origem à monografia "The Mill and the Cross", uma análise exaustiva à obra de Bruegel pelo reconhecido crítico de arte Michael Francis Gibson. Em 2011, o cineasta polaco Lech Majewski, inspirado por ambas as obras e utilizando cenários pintados conjuntamente com as mais recentes técnicas digitais, transporta para o grande ecrã a história de 12 daqueles personagens, num ambiente estilizado como se de um quadro a óleo se tratasse.
Com argumento do realizador Lech Majewski e do académico Michael Francis Gibson, o filme conta com a participação dos actores Rutger Hauer, Michael York e Charlotte Rampling.

Mais Uma Noite de Merda Nesta Cidade da Treta

Título original:

Being Flynn

De:

Paul Weitz

Com:

Paul Dano, Robert De Niro, Julianne Moore

Género:

Drama, Comédia

Outros dados:

EUA, 2012, Cores, 102 min.

Nick Flynn (Paul Dano) é um jovem escritor de vinte e poucos anos que cresceu atormentado com afastamento do pai e que ainda não ultrapassou o recente falecimento da mãe (Julianne Moore). Jonathan (Robert De Niro), o pai, é um megalómano que sempre se autoproclamou escritor e poeta, apenas comparado a Mark Twain ou J. D. Salinger. Nick era ainda uma criança quando o pai abandonou a família e acabou preso por burla qualificada. Hoje, a trabalhar numa associação de apoio aos sem-abrigo em Nova Iorque, o seu caminho acaba por cruzar-se com o de Jonathan que, pelas circunstâncias e modo de vida irrealista, acabou por se tornar num indigente. Aproveitando a oportunidade que a vida lhes proporcionou, os dois vão empenhar-se em reencontrar o elo quebrado há quase 20 anos.
Um filme dramático com argumento e realização de Paul Weitz ("Era Uma Vez Um Rapaz"), baseado em "Another Bullshit Night in Suck City", o livro de memórias de Nick Flynn. PÚBLICO

tudo pedófilos

http://www.abola.pt/mundos/ver.aspx?id=338127

Nietzsche

O Cavalo de Turim

Título original:

The Turin Horse

De:

Béla Tarr, Ágnes Hranitzky

Com:

János Derzsi, Erika Bók, Mihály Kormos

Género:

Drama

Classificação:

M/12

Outros dados:

SUI/FRA/ALE/HUN, 2011, Cores, 146 min.

Turim, 3 de Janeiro de 1889. O filósofo Friedrich Nietzsche sai de casa. Ali perto um camponês luta com a teimosia do seu cavalo, que se recusa a obedecer. O homem perde a paciência e começa a chicotear o animal. Nietzsche aproxima-se e tenta impedir a brutalidade dos golpes com o seu próprio corpo. Naquele momento perde os sentidos e é levado para casa onde permanece em silêncio por dois dias. A partir daquele trágico evento Nietzsche nunca mais recuperará a razão, ficando aos cuidados da sua mãe e irmãs até ao dia da sua morte, a 25 de Agosto de 1900. Partindo deste evento, o filme tenta recriar o percurso do camponês, da sua filha, do velho cavalo doente e a sua existência miserável.
O filme, realizado pelo húngaro Béla Tarr ("Sátántangó", "Perdição", "O Homem de Londres"), foi o vencedor do Urso de Prata - Grande Prémio do Júri no Festival de Berlim em 2011 e é, segundo as palavras do realizador, o filme que encerra a sua carreira. PÚBLICO

Alain de Botton quer um templo para ateus

http://videos.publico.pt/Default.aspx?Id=db1d252f-fceb-4533-8fca-803a1e88d952

Cidade Dos Malditos, A (1995)

Título Original: Village Of The Damned.

Duração: 100: minutos.

Diretor: John Carpenter.
Distribuidor: Universal Lib Basic.

Numa cidadezinha perdida, nove meses após serem visitadas por um estranho, as mulheres começam a dar luz a seres hostis de aparência humana.

ira

Fear And Loathing In Las Vegas

Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream is an autobiographical novel by Hunter S. Thompson, illustrated by Ralph Steadman. The book is a roman à clef, rooted in autobiographical incidents. The story follows its protagonist, Raoul Duke, and his attorney, Dr. Gonzo, as they descend on Las Vegas to chase the American Dream through a drug-induced haze while ruminating on the failure of the 1960s countercultural movement. The novel first appeared as a two-part series in Rolling Stone magazine in 1971, was printed as a book in 1972, and was later adapted into a film of the same name in 1998 by Terry Gilliam starring Johnny Depp and Benicio del Toro.

Origins

The novel Fear and Loathing in Las Vegas is based on two trips to Las Vegas, Nevada, that Hunter S. Thompson took with attorney and Chicano activist Oscar Zeta Acosta in March and April 1971. The first trip spawned from an exposé Thompson was writing for Rolling Stone magazine about the Mexican-American television journalist Rubén Salazar, whom officers of the Los Angeles County Sheriff's Department had shot and killed with a tear gas grenade fired at close range during the National Chicano Moratorium March against the Vietnam War in 1970. Thompson was using Acosta—a prominent Mexican-American political activist and attorney—as a central source for the story, and the two found it difficult for a brown-skinned Mexican to talk openly with a white reporter in the racially tense atmosphere of Los Angeles, California. The two needed a more comfortable place to discuss the story and decided to take advantage of a Sports Illustrated magazine offer to write photograph captions for the annual Mint 400 desert race being held in Las Vegas from 21–23 March.

The 1971 Thompson and Acosta personae, on which Raoul Duke and Dr. Gonzo were based

Thompson wrote that he concluded their March trip by spending some thirty-six hours alone in a hotel room "feverishly writing in my notebook" about his experiences.^[1] The genesis of Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream is in that notebook.
What originally was a two-hundred-fifty-word photo-caption-job for Sports Illustrated grew to a novel-length feature story for Rolling Stone; Thompson said publisher Jann Wenner had "liked the first 20 or so jangled pages enough to take it seriously on its own terms and tentatively scheduled it for publication — which gave me the push I needed to keep working on it". He had first submitted a 2,500 word manuscript to Sports Illustrated that was "aggressively rejected".^[2]
Weeks later, Thompson and Acosta returned to Las Vegas to report for Rolling Stone on the National District Attorneys Association's Conference on Narcotics and Dangerous Drugs being held from 25–29 April 1971, and to add material to the larger Fear and Loathing narrative. Besides attending the attorneys' conference, Thompson and Acosta looked for ways in Vegas to explore the theme of the American Dream, which was the basis for the novel's second half, to which Thompson referred at the time as "Vegas II".^[3]
On 29 April 1971, Thompson began writing the full manuscript in a hotel room in Arcadia, California, in his spare time while completing Strange Rumblings in Aztlan, the article chronicling the slain Chicano journalist Rubén Salazar.^[4] Thompson joined the array of Vegas experiences within what he called "an essentially fictional framework" that described a singular free-wheeling trip to Vegas peppered with creative licenses.^[5]
In November 1971, Rolling Stone published the combined texts of the trips as Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream as a two-part article illustrated by Ralph Steadman, who, two years before, had worked with Thompson on a Scanlan's Monthly article titled "The Kentucky Derby is Decadent and Depraved".^[6] The next year, Random House quickly published the hardcover edition, with additional Steadman illustrations; The New York Times said it is "by far the best book yet on the decade of dope",^[7] with Tom Wolfe describing it as a "scorching epochal sensation".^[8]

Plot summary

The novel lacks a clear narrative and frequently delves into the surreal, never quite distinguishing between what is real and what is only imagined by the characters.
The basic synopsis revolves around journalist Raoul Duke (Hunter S. Thompson), and his attorney, Dr. Gonzo (Oscar Zeta Acosta), as they arrive in 1970s Las Vegas to report on the Mint 400 motorcycle race. However, they soon abandon their work and begin experimenting with a variety of recreational drugs, such as LSD, ether, cocaine, alcohol, mescaline, and cannabis. This leads to a series of bizarre hallucinogenic trips, during which they destroy hotel rooms, wreck cars, and have visions of anthropomorphic desert animals, all the while ruminating on the decline of culture in a city of insanity.

Major themes

The preface quotes Samuel Johnson: He who makes a beast of himself gets rid of the pain of being a man. The quotation alludes to the protagonists' profuse drug use in escaping the coarse realities of American life; passages detail the failed counterculture, people who thought drug use was the answer to society's problems. The contradiction of solace in excess is thematically similar to The Great Gatsby, a favourite novel of Thompson's.
H. S. Thompson posits that his drug use (unlike Dr. Leary's mind-expansion experimentation drug use) is intended to render him a mess; that he is the poster boy of a generation of "permanent cripples, failed seekers...;" their erratic behaviour depicts the restless failure his generation feels.
The "American Dream" is the novel's prevalent thematic motif, while searching for the literary and metaphoric American Dream, and for an eponymous real place in Las Vegas, Duke and Dr Gonzo find only a burnt psychiatric office. At story's start, Duke claims their adventure shall be a "gross, physical salute to the fantastic possibilities of life in this country", an idea soon cooled when the excess and fear settle in them.
Throughout Fear and Loathing in Las Vegas, the protagonists go out of their way to degrade, abuse, and destroy symbols of American consumerism and excess, while Las Vegas symbolizes the coarse ugliness of mainstream American culture.

The "wave speech"

The "wave speech" is an important passage at the end of the eighth chapter that captures the hippie zeitgeist and its end.

“

Strange memories on this nervous night in Las Vegas. Five years later? Six? It seems like a lifetime, or at least a Main Era—the kind of peak that never comes again. San Francisco in the middle sixties was a very special time and place to be a part of. Maybe it meant something. Maybe not, in the long run… but no explanation, no mix of words or music or memories can touch that sense of knowing that you were there and alive in that corner of time and the world. Whatever it meant.… History is hard to know, because of all the hired bullshit, but even without being sure of "history" it seems entirely reasonable to think that every now and then the energy of a whole generation comes to a head in a long fine flash, for reasons that nobody really understands at the time—and which never explain, in retrospect, what actually happened. My central memory of that time seems to hang on one or five or maybe forty nights—or very early mornings—when I left the Fillmore half-crazy and, instead of going home, aimed the big 650 Lightning across the Bay Bridge at a hundred miles an hour wearing L. L. Bean shorts and a Butte sheepherder's jacket… booming through the Treasure Island tunnel at the lights of Oakland and Berkeley and Richmond, not quite sure which turn-off to take when I got to the other end (always stalling at the toll-gate, too twisted to find neutral while I fumbled for change)... but being absolutely certain that no matter which way I went I would come to a place where people were just as high and wild as I was: No doubt at all about that… There was madness in any direction, at any hour. If not across the Bay, then up the Golden Gate or down 101 to Los Altos or La Honda.… You could strike sparks anywhere. There was a fantastic universal sense that whatever we were doing was right, that we were winning.… And that, I think, was the handle—that sense of inevitable victory over the forces of Old and Evil. Not in any mean or military sense; we didn’t need that. Our energy would simply prevail. There was no point in fighting—on our side or theirs. We had all the momentum; we were riding the crest of a high and beautiful wave.… So now, less than five years later, you can go up on a steep hill in Las Vegas and look West, and with the right kind of eyes you can almost see the high-water mark—that place where the wave finally broke and rolled back.

”

Some critics and readers believe this wave speech was Thompson's favourite passage in Fear and Loathing in Las Vegas and the writing of which he was most proud. Thompson often cited it during interviews, choosing it when asked to read aloud from the novel.^[9]

Title

Fear and Loathing in Las Vegas is Thompson's most famous work, and is known as "Fear and Loathing" for short; however, he later used the phrase "Fear and Loathing" in the titles of other books, essays, and magazine articles.
Moreover, "Fear and Loathing", as a phrase, has been used by many writers, the first (possibly) being Friedrich Nietzsche in The Antichrist. In a Rolling Stone magazine interview, Thompson said: "It came out of my own sense of fear, and [is] a perfect description of that situation to me, however, I have been accused of stealing it from Nietzsche or Kafka or something. It seemed like a natural thing."^[10]
He first used the phrase in a letter to a friend written after the Kennedy assassination, describing how he felt about whoever had shot President John F. Kennedy.^[11] In "The Kentucky Derby is Decadent and Depraved", he used the phrase to describe how people regarded Ralph Steadman upon seeing his caricatures of them.
Jann Wenner claims that the title came from Thomas Wolfe's The Web and the Rock.^[12][13]

Reactions to the novel

When the novel was published in fall of 1971, many critics did not appreciate the novel's loose plot and the drug use of Raoul Duke and Dr. Gonzo; however, some reviewers understood that Fear and Loathing in Las Vegas was to become important American literature.
In the New York Times, Christopher Lehmann-Haupt told readers to not "even bother" with the novel, and that "what goes on in these pages make[s] Lenny Bruce seem angelic"; however, he acknowledged that the novel's true importance is in Thompson's literary method: "The whole book boils down to a kind of mad, corrosive prose poetry that picks up where Norman Mailer's An American Dream left off and explores what Tom Wolfe left out".^[14]
As the novel became popular, the reviews became positive; Crawford Woods, also in the New York Times, wrote a positive review countering Lehmann-Haupt's negative review: the novel is "a custom-crafted study of paranoia, a spew from the 1960s and — in all its hysteria, insolence, insult and rot — a desperate and important book, a wired nightmare, the funniest piece of American prose"; and "this book is such a mind storm that we may need a little time to know that it is also literature . . . it unfolds a parable of the nineteen-sixties to those of us who lived in them in a mood — perhaps more melodramatic than astute — of social strife, surreal politics and the chemical feast"; about Thompson, Woods said he "trusts the authority of his senses, and the clarity of a brain poised between brilliance and burnout".^[15]
In any event, Fear and Loathing in Las Vegas became a benchmark in American literature about U.S. society in the early 1970s. In Billboard magazine, Chris Morris said, "through Duke and Gonzo's drug-addled shenanigans amid the seediness of the desert pleasure palaces, it perfectly captured the zeitgeist of the post–'60s era".^[16] In Rolling Stone magazine, Mikal Gilmore wrote that the novel "peers into the best and worst mysteries of the American heart" and that Thompson "sought to understand how the American dream had turned a gun on itself". Gilmore believes that "the fear and loathing Thompson was writing about — a dread of both interior demons and the psychic landscape of the nation around him — wasn't merely his own; he was also giving voice to the mind-set of a generation that had held high ideals and was now crashing hard against the walls of American reality".^[17]
Although the drug use and its degree of autobiography remain tepidly controversial, Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream (1971) is often required reading for students of American literature.^{[citation needed]}

As a work of gonzo journalism

Main article: Gonzo journalism

In the book The Great Shark Hunt, Thompson refers to Fear and Loathing in Las Vegas as "a failed experiment in the gonzo journalism" he practiced, which was based on William Faulkner's idea that "the best fiction is far more true than any kind of journalism — and the best journalists have always known this".^[18] Thompson's style blended the techniques of fictional story-telling and journalism.
He called it a failed experiment because he originally intended to record every detail of the Las Vegas trip as it happened, and then publish the raw, unedited notes; however, he revised it during the spring and summer of 1971. For example, the novel describes Duke attending the motorcycle race and the narcotics convention in a few days' time; the actual events occurred a month apart.^[19] Later, he wrote, "I found myself imposing an essentially fictional framework on what began as a piece of straight/crazy journalism".^[20]
Despite saying that ‘‘Fear and Loathing’’ was a failed experiment, critics call it his crowning achievement in gonzo journalism. One said the novel "feels free wheeling when you read it [but] it doesn't feel accidental. The writing is right there, on the page — startling, unprecedented and brilliantly crafted".^[21]

Illustrations

Main article: Ralph Steadman

British cartoonist Ralph Steadman added his style of beautiful yet grotesque illustrations to the Rolling Stone issues and to the novel. Steadman had first met Thompson when Scanlan's Monthly hired Steadman to do the illustrations for Thompson's first venture into gonzo journalism called "The Kentucky Derby Is Decadent and Depraved."
Many critics have hailed Steadman's illustrations as another main character of the novel and companion to Thompson's disjointed narrative. The New York Times noted that "Steadman's drawings were stark and crazed and captured Thompson's sensibility, his notion that below the plastic American surface lurked something chaotic and violent. The drawings are the plastic torn away and the people seen as monsters."^[22]

Film adaptation

Main article: Fear and Loathing in Las Vegas (film)

The novel's popularity gave rise to attempted cinematic adaptations; directors Martin Scorsese and Oliver Stone each unsuccessfully attempted to film a version of the novel. In the course of these attempts, Jack Nicholson and Marlon Brando were considered for the roles of Duke and Dr. Gonzo but the production stalled and the actors aged beyond the characters. Afterwards, Dan Aykroyd and John Belushi were considered, but Belushi's death ended that plan.^[23] Art Linson's 1980 film Where the Buffalo Roam starring Bill Murray and Peter Boyle is based on a number of Thompson's stories, including Fear and Loathing in Las Vegas.
In 1989, Fear and Loathing in Las Vegas was almost made by director Terry Gilliam when he was given a script by illustrator Ralph Steadman. Gilliam, however, felt that the script "didn’t capture the story properly". In 1995, Gilliam received a different script he felt worth realising; his 1998 film features Johnny Depp and Benicio del Toro as "Raoul Duke" and "Dr Gonzo", respectively; however, criticism was mixed and the film was a box office failure.^[24] It has since become a cult classic due in large part to its release on DVD, including a Special Edition released by The Criterion Collection.

será que os bimbos sabem que são bimbos?

será que os bimbos sabem que são bimbos? é uma pergunta que me faz pensar e cheguei à conclusão que os bimbos não sabem que são bimbos. Porque senão acabariam por mudar e não ser bimbos. Mas a sociedade leva-os a julgar que não são bimbos e são apenas "normais". Porventura normalmente ignorantes e burros.

Cru, a revista rasca e vadia está viva e dá pontapés

O P3 apanhou a Cru e o seu editor, Mr. Esgar, à saída da gráfica. O número 34 tem bolinha no canto superior direito muito por culpa de Valter Hugo Mãe, o argumentista de banda desenhada

Texto de Luís Octávio Costa • 19/05/2012 - 11:40

“Por vezes as raparigas estragam as amizades entre os rapazes”. O texto de Valter Hugo Mãe e os esboços de Esgar Acelerado estiveram cinco anos esquecidos num caderno. A mistura explosiva vê finalmente a luz do dia na Cru - Revista Rasca e Vadia, inactiva desde 1999.

São quatro páginas com uma bolinha — correcção: uma grande bola — no canto superior direito que assinalam a estreia absoluta de Valter Hugo Mãe como argumentista de banda desenhada e o regresso como desenhador de Mr. Esgar, ele que assina a edição do número 34 da Cru, uma “soberba revista” que se orgulha de quebrar todas as regras.

O número de infracções é infinito. O papel da Cru foi conseguido através do abate clandestino de árvores da Amazónia, as reuniões de trabalho terminaram invariavelmente com consumo excessivo de posta à mirandesa e vinho tinto do Douro e o orçamento para a edição foi conseguido numa mesa de póquer num casino chinês na zona industrial do Mindelo. Para além disso, a Cru não respeita nenhum livro de estilo e tem raiva de quem já adoptou o novo acordo ortográfico. “Desejamos uma boa estadia no inferno a todos quanto passaram a escrever arquitecto, actual e espectador sem o ‘c’”.

Então a Cru não estava morta e enterrada? “No outro dia comecei a remexer coisas, encontrei em capas perdidas alguns originais da revista, fui digitalizando aquilo e coloquei alguns números num arquivo online. Nós brincávamos muito com o Cavaco, com o Paulo Portas, com o Marcelo Rebelo de Sousa e apercebi-me que passados 20 anos os tipos ainda são os mesmos. Coisas que nós escrevíamos na altura, ainda fazem sentido agora. Aquilo não mudou nada”, explicou ao P3 Esgar Acelerado. “Num lampejo pensei... se os tipos continuam aqui, a Cru também tem que continuar. Esse foi o primeiro baque”.

Esgar Acelerado, que segundo o Facebook nasceu em 1908, só teve que sacudir o pó a um projecto dos seus tempos de faculdade (de Belas Artes) que na altura serviu para “experimentar as coisas”. “E o mais simples nessa altura era um fanzine. Tinha lá a máquina de escrever do meu pai e era tudo feito com métodos tradicionais de cortar as coisas e colar, com letras de decalcar, fotocópias, tudo muito artesanal”.

"Como arroz com atum"
Este laboratório sobreviveu até 1999 — mais ou menos o momento em que Esgar começou a concentrar energias na Mondo Bizarre — e foi reabilitado em 2012, com festa de lançamento desta edição de 300 exemplares na sexta-feira, dia 25, no V5, rua Mártires da Liberdade, no Porto.

“Comecei a convidar pessoas e contactei antigos colaboradores, alguns já casados e com filhos. E fui vendo coisas de pessoas novas, com vinte e poucos anos, que estão a fazer coisas que eu gosto. Arranjei um orçamento tentador e disse ‘que se dane, durante dois meses como arroz com atum e faço isto mesmo em gráfica a sério’ E foi isso”.

Para além de, “por vezes as raparigas estragam as amizades entre os rapazes”, esta Cru é suficientemente espaçosa para os vícios de Johnny Ryan, para o “Novo Acordo Ortográfico” segundo Wasted Rita (que nesta edição também ilustra “Tratado Semiótico do Pirilau Estrangeiro”), para a verdadeira história de “Zakarella, Bela e Perigosa”, de Jorge Silva, para os conselhos de Zita Carícias, para o “Cantinho Sentimental”, de Valquíria Aragão (ilustração de Mariana, a Miserável), para a rúbrica “Filmes que o Tempo Esqueceu”, de Amílcar Macieira, e para outros anónimos cobardes.

O número 34 é tão interventivo como a Cru do passado? “Nem sequer tem assim tanto conteúdo político. É preciso ter algum desconforto para fazer aquilo de uma forma rasca e interventiva, mas eu também não queria politizar demais”, responde o editor de uma revista de “cultura marginal” que não pretende estar nas bancas. “Não é a Playboy”.

“Assim, aqui estão estas páginas de desenhos e palavras aguçadas, capazes de provocar mal estar... por isso consciência.” CRU número 3 (1992)

“Daqui jorram as expressões mais orgânicas de uma dúzia de vadios que não se sabem nem podem conter” CRU número 5 (1993)

Rain When I Die Lyrics

Is she ready to know my frustration?
 What she slippin' inside, slow castration
 I'm a riddle so strong, you can't break me
Did she come here to try, try to take me
Did she call my name?
I think it's gonna rain
When I die
Was it something I said, held against me?
 Ain't no life on the run, slowly climbing
 Caught in ice so she stares, stares at nothing
I can help her but won't, now she hates me
 She won't let me hide
She don't want me to cry
Will she keep on the ground, trying to ground me
Slowly forgive my lie, lying to save me
Could she love me again, or will she hate me
Prob'ly not, I know why, can't explain me
Did she call my name?
 I think it's gonna rain
When I die

bartoon

os donos de portugal II

os donos de portugal

http://www.publico.pt/Media/rtp-mostra-a-teia-politica-e-economica-dos-donos-de-portugal-1543370

Linha Vermelha

Título original:
Linha Vermelha
De:
José Filipe Costa
Género:
Documentário
Classificação:
M/6
Outros dados:
POR, 2011, Cores, 80 min.

"Torre Bela", de Thomas Harlan, é um documento único e extraordinário sobre a ocupação da Herdade da Torre Bela no Ribatejo no pós-25 de Abril. A 23 de Abril de 1975, ex-trabalhadores agrícolas e ex-prisioneiros políticos invadem a quinta, propriedade do duque de Lafões, numa acção rara no Ribatejo, quando a maioria das ocupações se passavam no Alentejo e o Ribatejo permanecia refúgio da direita. 37 anos após a rodagem deste filme, José Filipe Costa volta aos seus protagonistas e à sua equipa. De que maneira Harlan interveio nos acontecimentos que parecem desenrolar-se naturalmente frente à câmara? O que é feito hoje dos heróis da altura? O que pensam sobre a ocupação e sobre o filme "Torre Bela"? Que memórias têm dos acontecimentos?
"Linha Vermelha" pretende ser um estudo sobre o filme de Harlan e, ao responder a estas questões, demonstrar como "Torre Bela" continua a marcar a história de um período revolucionário português. PÚBLICO

persepolis

http://www.youtube.com/watch?v=nerB-qo88ashttp://www.blogger.com/img/blank.gif

valsa com bashir II

http://pt.wikipedia.org/wiki/Sabra_e_Shatilahttp://www.blogger.com/img/blank.gif

valsa com bashir

http://www.youtube.com/watch?v=jeHOH6PSbfM&feature=relatedhttp://www.blogger.com/img/blank.gif

bartton

Ron Mueck

ZEITGEIST: MOVING FORWARD | OFFICIAL RELEASE | 2011

Hobo With A Shotgun (2011) - Unrated Trailer [HD]

Mike Patton Talks The Solitude of Prime Numbers

Though The Solitude of Prime Numbers is not readily available in the States, as it has not been released theatrically or on DVD, the soundtrack for both the movie, and the book upon which it is based, will be available in stores and for download starting today, Tuesday, November 1st. It may seem odd that the soundtrack to a film that isn't slated for a US release would be something of interest, until you learn that it was scored by world renown musician and vocalist Mike Patton, who has decided to release the album as a stand-alone solo record; a companion piece to both the movie and Paolo Giordano's Italian novel upon which it is based.

This is Mike Patton's third time scoring a film project, coming after A Perfect Place in 2008 and Crank High Voltage in 2009. It is being hailed as a provocative, genre-defying work that is both beautifully orchestrated and quite a departure from Patton's previous works, of which there are many.

We recently caught up with Mike Patton to chat about the record. And as well, we got an update on quite a few of his upcoming projects, including Nevermen, the new Tomahawk record, the status of Peeping Tom, and the second return of Faith No More. We also found out a couple of other surprises along the way. If you've been needing a good, solid Mike Patton update, this should tide you over for a bit.

Here is our conversation:

In the folklore of your public persona, people understand you to be quite a superstitious fellow. You've even gone as far as to not include the 13th track on past albums. Yet, 13 is a prime number. And you've included 13 as the name of a track on this album. Are you surrendering to bad luck in the name of Prime Numbers?

Mike Patton: Weeeeellllllllll....I only left track 13 out on one CD. And that was just for fun. To see if I could do it, really. It was a numerical experiment, to see if I could get away with it on a CD. Actually, you can't get away with it. The way that CDs are manufactured, you have to follow the normal numerical sequence. But what happens is, the ID for track 13 comes, and it lasts for 2 seconds. I think that is the minimum. You have to index it at the end of track 12, so that it passes without you noticing. But its there. For this CD, that was sort of a primer. It gave me the courage to try something like this, where there is six different IDs buried within one track. If you watch your CD player, or your computer, or whatever you are listening to, you will see the track numbers flying by. It's pretty funny.

I remember getting the Fantomas album, and it doesn't skip track 13. It comes up on the display for just a second or two...

Mike Patton: That is correct!

With A Perfect Place, you were working with one main theme that you ran through various different genres of music. Then with Crank 2, that was a series of individual vignettes. Here, with The Solitude of Prime Numbers, we really hear a full narrative in the music, from beginning to end, and it even circles back to that open track during the climax...

Mike Patton: Correct! This is a very different type of film, first of all. A Perfect Place is character driven. The director for that wanted a couple of identifiable themes with a bunch of variations. That is what I did. The director for The Solitude of Prime Numbers did not want that at all. In fact, a lot of things I submitted, he thought were too thematic. He wanted there to be no real identification, or no one theme or sound for any one character. Initially, I wanted to write the entire thing for solo piano. He had a very different viewpoint. I work for him, so we went back and forth. Basically, what he wanted, was like you said, a narrative. Something that is way more organic. The changes come in a subtle way, where you might not even notice them. There is one thing that is really, really long. I think I put it on the last track of the CD. It's a composite of five or six different ideas. The way he uses it in the film is really nice. Because Its way in the background, but its always there. You think it's gone, but it comes back again. It was a nice approach. It was definitely challenging for me.

I read that you'd assigned each instrument used in the recording of this its own Prime Number. How did you work through that in deciding or discovering which Prime fit with which instrument?

Mike Patton: Wow! I didn't actually do that. But that is not a bad idea. (Laughs) I'm just not that good of a mathematician. I didn't map it out that way at all. I'm not sure where you read that...

I read that in another interview this morning. I thought that is what you'd said. But I guess I misunderstood how you were explaining the process...

Mike Patton: Yeah. You must have. Because I didn't do that. But, no...I think there were four or five moods that I wanted to tie together. Seamlessly. Organically. So that it felt like one particular mood or emotion. That flowed back and forth in different places. And then it tied itself up nicely in a bow, there at the end.

With A Perfect Place and Crank 2, we, as listeners, had the visual element that goes along the music. Here, we don't have those visuals. This is a score we have to take on its own. Were you offered the luxury of having visuals from the movie when you put the music together? Or were you solely going off of the director's instructions, as far as what he wanted you to create?

Mike Patton: Yeah. I did have the visuals. But I started writing it before I'd seen the visuals. I had read the script. I met the director. And I thought it would be a fun thing to do. Then I went out and got the book. After I read the book...I actually read the book in English and Italian...I was getting musical ideas while I was reading this book. It really hit me. It is beautiful writing. It's really strong. At that point, I wasn't totally positive about what the visuals were going to be like. And they were very different than what I was expecting, to be honest. The director, Saverio Costanzo, had a vision of the book as a romantic horror film. Which I didn't pick up on. But I thought that take was interesting.

I've only seen photographs of the film. It's not at all what I was expecting, either. I have no idea what the actual moving images look like...

Mike Patton: It's nice looking. The way it's pieced together is unorthodox. It jumps through decades and decades in these kids' lives. It takes you a while to get it. It's a little bit disorienting, to be honest. But it is beautiful.

You mentioned that this may never be released in the states...

Mike Patton: It's possible. One can only hope.

Fans, right now, only have the music as a reference. They don't have the movie. In a way, the music overrides what we will come to know in the film, if we ever see it...

Mike Patton: I think it's an independent entity, obviously, or I wouldn't have even bothered releasing it. It's also a peculiar release in that a lot of this music isn't in the film. I ended up writing a lot of things that the director didn't want to use. Hence, the very verbose title. Music from the film and inspired by the book! I had to find a way to make all of these ideas concise. And poignant. If you even see the film, you won't hear a lot of this stuff in it. I'd say it's about half and half. For me, to hear the music independently from the film, especially with a peculiar release like this...I think it's not a problem at all.

Do you recommend fans listen to the record in solitude?

Mike Patton: They can do whatever they like! It certainly isn't music you'd put on at a rave (laughs). I wrote it, actually, in solitude. I wrote it completely by myself while I was on a short vacation in Indonesia. That is when I wrote most of this stuff. I felt like, instead of hiring a particular group, or a set of musicians, or an ensemble to do this, I had to play all the instruments, and record it myself. I had to make it a hands-on, lonely experience.

Do you feel that the atmosphere of where you were, there, alone in the jungle, seeped into the music while you were creating it?

Mike Patton: Ahhhhh? Not really. Because I was just in a small room. (Laughs) I was in this small dark room most of the time. I just felt that being alone while I wrote this was important.

Maybe I have my facts wrong. But it seems like the first solo album you put out was recorded in a similar fashion. Alone in hotel rooms as you toured.

Mike Patton: That is, more or less, correct. But that was just a little different in that it was written for a solo instrument. That was written for just my voice. I couldn't hire anyone to do what I did on that record. Trust me! (Laughs)

That first solo album was way ahead of its time. I don't think I've heard anything else released that is quite like that...

Mike Patton: Oh, yeah...A number of people have released albums like that over the years. In the 60s, there was the Fluxus Movement. There were a lot of sound poets at the time. I took inspiration from them in doing that record. It was pre-verbal language. I believe that's what they called it. It was a lot of grunts and sounds. Sometimes, there would be a lot of effects. It was really interesting stuff. There was a whole scene of those guys doing that. Obviously, I am not coming from an academic or poetic background. I did a different take on that.

Here is a question that a lot of fans want to know...Why does Ali Larter have the ability to download an entire CD of Crudo in the movie Obsessed? And here, three or four years later, we still can't get our hands on that music?

Mike Patton: Well, I don't believe there is a record. We certainly haven't released anything. That is one of those projects that, I think, is on the shelf. I don't know if people have found it somehow. But I'm not even really sure where it is, to be honest. I think it's important sometimes...You don't have to release everything you do. Some ideas need to just stay on the shelf. That's not to say it's not good, or that I'm not proud of it. There are a lot of other considerations. It's just not fit for consumption yet.

Did you see that movie, Obsessed?

Mike Patton: No. You know what? I have never seen it.

In that movie, Ali Larter has the whole Crudo album. It plays a major plot point in the story. She uses that album to lure in Idris Elba. She gives it to this guy she is stalking...

Mike Patton: I think they used a little creative license there (laughs). I mean, we gave them one song. That is the only thing that is in the movie. She is probably holing some fake CD. Beyonce is probably holding her own CD!

I thought that was a really weird CD to even have in that particular movie.

Mike Patton: (Laughs) It was strange when we got that proposal. We were like, "Huh? We're not even a band yet." I figured they were going to use the song somewhere, buried in some really bad scene. They ended up talking about the group. That is hilarious. I don't know what lunatic wrote that into the script, but he may not have a job now! (Laughs)

You have so many fans working in film and television right now, so I don't think its that odd. We were recently on the set of Ghost Rider 2. Have to ask, what happened with that? Were you just too busy to do the score?

Mike Patton: No. I didn't really get asked to do the score. I love those guys. Neveldine and Taylor, obviously. We had talked about it. Basically, after I finished Crank High Voltage, they said, "We're going to call you about this next thing we are doing." That thing didn't pan out (Jonah Hex), and then a couple of years passed. Ghost Rider: Spirit of Vengeance came up. It's not an easy thing. Maybe they wanted me. The studio wanted someone else. Okay, no big deal. At the last second, I got a call from those guys. And they wanted me to do some voice over sound effects. Nicolas Cage is in that, right?

Yeah. Nicolas Cage said that he was given the Mondo Cane album. He had gotten the record from the directors...

Mike Patton: What did he think of it?

He seemed to love it. That's the thing, though. Sometimes, you don't know if they are just being nice. He seemed to dig it, though...

Mike Patton: Wow.

At the time, the directors weren't sure what was going on with you, or the score. So, you are going to actually voice some of the demons in the movie?

Mike Patton: Well, no...It didn't work out. The way these things go...They contacted me, and they needed it in one day. They sent me the scene. I said, "Oh, yeah. I can do this." It was basically a couple of really loud, roaring screams that Ghost Rider does at some point. I still haven't seen the film, so I can't tell you exactly what it was. They sent me this short scene of him transforming. He opens his mouth, and he has this incredible roar. They wanted me to do a few of those roars. But I was on tour. I couldn't do it.

It's funny, because I will see your name pop up all the time now, in terms of rumors. You are voicing different characters for whatever film. I think there was even a rumor that you were voicing Snowy, the dog in Tintin...

Mike Patton: People have asked me about that. I have no idea where this stuff comes from. It is funny. Maybe one day one of these rumors will come true. Who knows?

The Transformers rumor was a pretty popular one. They had you voicing a cement mixer, or a dump truck. That was proven false, then part 3 comes out. Oh, wait, Mike Patton is voicing a soda machine in this new sequel...

Mike Patton: Yeah! (Laughs)

You did, however, narrate the recent release Bunraku. That is a very neat voice-over. How did that gig come about?

Mike Patton: That is a beautiful movie. It is crazy. That is one of those films that will hopefully find its place in the world. As of now, I am not sure what is going on with it. Turns out, the director was a fan. Basically, he just found me. He asked me if I would be into it. I read the script, and I couldn't make heads or tales of it. Once I saw some images, it clicked for me. I thought, "This is something I better try." Also, it was very straight forward, as opposed to doing sound effects. And screams. Zombie noises. I was doing a straight, voice of God type of narration thing. It's throughout the entire film. I thought, "Hmm. I haven't tried this before. Let's see if I can handle it."

I don't know if you've seen it yet, but someone cut the first part of that narration and opening together into a music video. It's pretty cool.

Mike Patton: I haven't seen that yet.

The movie hit theaters in September, I think. It was also on VOD.

Mike Patton: I knew that it had played at some festivals. I wasn't sure if it had ever been properly released yet, or not.

No, its out there. People are seeing it. Now, I have to address this. According to my sources, which would be Billy Gould on Twitter, you guys are in the midst of rehearsals for your next set of Faith No More shows...

Mike Patton: That is true.

Roddy Bottum, just in the last week or two, debuted his score for Fred 2. Do you guys ever talk shop, or discuss the process of what it takes to score a film? Do you ever give each other notes?

Mike Patton: Yeah, we definitely do. There is a lot of time to kill on the road. Plus, we are all reconnected now. We are enjoying each other's company. So we do talk about that stuff. He has done a lot more scoring work than I have. I ask him a lot of questions. I think when I did Crank High Voltage, I asked him for a few bits of advice. In terms of how the business side of the process works. Whether he worked a picture. What different programs he used. Yeah. That kind of stuff. We are always swapping spit, so to speak.

In the past, when you first started going down this road of wanting to score films, and getting involved in the movie side of music and sound effects, you said that the projects came out of people approaching you. That they were a friend of a friend. Now that you have a couple of scores under your belt, do you ever seek out certain projects, or throw your hat into the ring, so to speak, in attempting to land a job?

Mike Patton: I tried for a while to seek them out. I just never had much luck. I had a couple of different agents try to help me. Nothing has ever panned out. I spent quite a frustrating phase of going to meetings, and shaking hands...Doing things like this, and I kind of lost patience with it. I figured that, if this is something that is going to become a part of my life, it will happen naturally. There is not a lot I can do about it. There is plenty of other things I can do. I think...I hope...That it can be something I do from time to time.

I brought up Roddy's work on Fred 2, because that seems like a throwaway Nickelodeon movie that kids will watch, and then they will forget about it two minutes after its over. But when I listened to the score, I was surprised by how good that music is. He's not just tossing off fast food riffs, he's actually putting a lot of thought into it. That made me think of you. If someone asked you to participate in something like Fred 2, which may not necessarily be in your wheelhouse, would you take on the project? Or do you feel the need to be selective when it comes to taking on a film score at this point?

Mike Patton: Yeah...I wouldn't...Look, It may not be my first choice, but I figure, the only way to learn is to keep putting challenges ahead of yourself. That's what works for me. So, yeah, if there was a children's movie, or, God forbid, a romantic comedy that I thought I could do something with, I would. I would of course try it. The tricky part is developing a nose for it. Knowing what you can get away with, and what you can't. Sometimes a certain project will have a smell...It will have a little stench about it. That is a warning signal. You know it's going to be a nightmare. You know they are not going to like it, and it's not worth it. It has to feel comfortable, no matter what it is.

Lovage could play into any type of romantic drama or comedy, and I think it would play well...

Mike Patton: That is true!

Is it cool if I ask you about some of the upcoming projects people want to know about?

Mike Patton: Sure!

You are currently working on Nevermen with Doseone and Tunde. What is that going to sound like, and when is that going to hit?

Mike Patton: Not sure when it's hitting. There are just a few tunes that are completed, now. It is something that we are all working on in our spare time. It's one of those things that has involved quite a bit of editing and studio trickery. Its basically vocalists that are also doing programming. We've done a few sessions together that were pretty loose, and pretty improvisational, really. Now, we are becoming surgeons in turning these sessions into quote-unquote songs. But its very vocal based. There are also a lot of electronics. But its not completely apparent yet, what it sounds like. Not yet. I can't tell you. It certainly doesn't sound like anything else I have ever done. Not quite.

Is the Nevermen an offshoot of Peeping Tom? Were these contacts you'd made while putting that record together?

Mike Patton: Uh? It could be. Certainly with Doseone. We met around that time. We'd always talked about doing something together. We'd been mutual admires for quite awhile, from a distance. We finally met, we hit it off, and we became fast friends. At some point, I must have mentioned to him that I had this idea. I wanted a band with three vocalists. Three people that can sing, and they can also program. But there wouldn't be any backing band at all. He though that was a good idea. A little while later, he came back to me, and he said, "Let's do this! Who can we get?" We went through a couple of crazy ideas. Finally, he mentioned Tunde. I love his voice, and his writing is great. So we met up, and we hit it off. We decided to do it. The important thing was to not put a timeline on it. To just let it happen when it happens.

That's the cool thing about you, and trying to follow your music. We'll hear about a project, but we never know when it may hit. Years will go by, and then there's that sudden notice. It's coming next week. It's like getting a little Christmas gift...

Mike Patton: Ah, thank you!

It's always pretty neat. Pretty fun. Now, when Peeping Tom came out a couple of years ago, you claimed that it was a part of a trilogy. Is that still hold true? Will you be going back to that project? Will we see those albums?

Mike Patton: Uh....Yeah! You have to do the second one before you can do the third one. But that is something I am looking to do next year.

Whenever I see the guys from Sunny, I ask when you're going to be in an episode. They say they've tried to get you a couple of times, but it's never worked out time wise, with all the touring you do. The show only has two seasons left. Are we eventually going to see you on there?

Mike Patton: Gosh, I don't know. I love those guys. I certainly would be up for it. If I remember correctly, they've only asked me once. That time, yes, it didn't work out. If they are still into it, I think it would be fun. I don't know what the Hell I would do...

They've never tossed a couple of ideas your way? I know they are a little secretive when it comes to storylines and characters, but I'd have to imagine they have a seed of an idea...

Mike Patton: Oh, they are even apprehensive when it comes to telling me about storylines. Its funny. Hanging out with those guys? You can see where the material comes from. They just sit around, in a bar or a restaurant, and they crack on people. And each other the entire time. Its non-stop. In an odd way, just hanging out and being a fly on the wall, you see how all of that stuff comes together. Just sitting around a table with those guys? It's like watching their show. It's so great.

I always imagined that you'd be part of the McPoyle family.

Mike Patton: Uh...What is that?

The two brothers that sort of drift in and out of seasons. They're kind of creepy. They hang out in bathrobes and drink warm milk...

Mike Patton: Oh, yeah! (Laughs) I know what you mean. Oh, man...Well, sure...I'm sure that they could cook up something pretty interesting for me if they wanted to.

If you've seen the recent episodes, they've gotten quite weird, and quite bloody, which is new territory for a sitcom.

Mike Patton: They get away with a whole hell of a lot from what I've seen. It's worked out for them. People sort of expect it. I tip my hat to them, for sure.

It seems like quite a long time ago that you said all of the music was done for a fourth Tomahawk record. Now, you are finally approaching that project vocal wise, and we may see it next year. Is that correct?

Mike Patton: Yeah, we are recording early next year. I think we are recording in February. But yes, most of the music is done. It's written. We just have to record it.

Duane wrote the entire last album, right? Anonymous?

Mike Patton: Um...No....We wrote most of that together. Duane wrote most of it. Most of it was actually public domain Native American or Cowboy tunes that we rearranged. In terms of taking writing credits? That's not too prudent. Most of that music was already written. The main themes, let's just say. Duane and I would work together in fleshing them out. Sometimes we would add our own parts to them. Sometimes we would just use a snippet of a song, and then we would write around it. But it was basically us using those old songs and themes as building blocks.

I wasn't trying to pry into who wrote what, really. I just knew that Duane came up with the main concept on that last album. And I was wondering what your theme or narrative would be this time out. If you were pointing the music in a particular direction, or if you were going back to the roots of the original album, or maybe even the second album...

Mike Patton: No, we haven't figured that out just yet. Let's just say that it is more of a rock record. It's a little more stripped down. It's a little more lean. That's pretty much it. Sometimes these things don't take shape until you are doing them. Right now, it sounds like a pretty nasty record.

I watched the Director's Cut DVD that just came out last month, and I believe you put that package together, and helped edit it. You guys really found an interesting way to make a concert movie that is re-watchable on many levels. I've seen some of the beautifully shot Mondo Cane video. Are we going to see a proper release for that? Because that needs to be seen to fully enjoy the impact of what you are doing with that project...

Mike Patton: There will be a DVD at some point. There is also a second record that is in progress as well. I will probably put that second record out first. And then the DVD. At some point, you will see one. I'm not sure if it will have all of the editing and effects. It may be a much more subtle affair. But in any case, it will come out.

I don't want to pry to much into budgetary issues, but I was watching a clip of that the other day, and that has to be a pricey affair. You have so many people in this orchestra, and they are just top-notch musicians. They can't be turning minimum wage...

Mike Patton: Yeah. It's not easy for a lot of different reasons. But finances is one of the biggest ones. It's tough. That's one of the reasons I have only done one concert with it in the states. It's much easier to pull it off financially in Europe, at a big festival that has a big budget. We also get citywide sponsoring. We've played a lot of these outdoor city festivals in Italy. There are all of these sponsors, and they can afford to hire the orchestra. The band isn't cheap. There are thirteen people in the band. The one thing I have done to make it more affordable is, I have cut the orchestra way down. I have a redux version that translates well live. That is what I have been playing. I just got back from a tour about a month ago. We played South America with that line-up. It was great.

The funniest part of those videos for me to watch is watching members of the orchestra watch you. Just the looks they get on their faces sometime. Have you gone back and looked at some of the reactions you get, especially when you start to break into a bout of loud screaming...

Mike Patton: I have watched some of that, yeah. (Laughs) I see it live, so I don't need to go back and watch it. The people laughing, and the wide eyes, and what not...Yeah...

There was this one woman sitting behind you, that stopped playing her instrument, and she is just starring at you in total shock and awe. She is just amazed that these sounds that are coming out of you. It's hilarious to watch them watch you.

Mike Patton: (Laughs) It's unfortunate, but in that world, there are a lot of time clock musicians that play with orchestras. They get the call, and then they look at the charts a little bit. They arrive, and its music by numbers, unfortunately. Sometimes. That's why, when we are on tour, we have to build in an extra day or two, to make sure they really get this. Even though it's not like playing Paganini, it is deceptively complex. Its not like they can just snooze their way through it. There is a lot of police work that goes on.

Does it ever get tense with one of those studio musicians, when they come in, and they don't understand something, or understand where you are coming from...Where the music is headed?

Mike Patton: It's never really tense. At that level, everyone is usually quite professional. But you do see people plugging their ears. Or they will make an unpleasant face. Its two worlds that are colliding. It's my job, and the arranger's job...The conductor's job, to make sure that everything is cool. That the musicians are happy. And that everything is meshing together. Because, obviously, we don't want to piss them off. And they don't want to piss us off. We have to find a common ground. Its fun to do that.

Now, you guys are in the midst of rehearsing for the upcoming Faith No More shows. Can you hint at any of the surprises that fans are really going to get a kick out of this time around?

Mike Patton: Um...Yeah, there are a couple of new things. But those are all better left as surprises. We are playing some stuff that we haven't ever played live before. The most unique thing we are doing is a show in Chile. There, we will be playing King for a Day from front to back. We are doing it with the guitarist that played on that record, Trey Spruance. We have never played live with him before. So that will be pretty exciting.

I didn't know you guys were doing that. You, of course, have played live with Trey for many years in Mr. Bungle. What is that like to bring him into this particular mix?

Mike Patton: We'll find out. We start the rehearsals with him tomorrow. (Laughs) Those guys have played with him. They played with him a couple of weeks ago, before he left on his own tour. And they said it went great. I am anticipating that it will go good. I think it will be smooth.

I've heard for a long time that there were certain songs from both Angel Dust and King for a Day that were never released. Is that true? And if so, is that stuff we will ever hear?

Mike Patton: No. I can't think of any. I think most of the stuff we did...There may be a song or two...But there are reasons for leaving something off a record. Maybe we didn't think they were good enough. Over the years, there have been so many compilations, and greatest hits, I think they have gone through the graveyard of B Sides, and they have exhausted them all.

Are you going to play some of those King for a Day B Sides during this show? Or is it going to be straight through track one to I'm Just a Man?

Mike Patton: I think we are just going to do front to back. I think there maybe...We are doing a tune we've never done from that era. I guess that would be a B Side. I don't know if we released that at all...I don't know (laughs)!

Are you going to bring that show to the states at least once? I mean, that's a show that I think a lot of fans would die to see...

Mike Patton: The King for a Day?

Yeah...I would love to see that show. You guys did that with Director's Cut, right? The New Years Eve show that is on the DVD?

Mike Patton: Yeah, we did that. We played the whole album, but we may have switched a thing or two around. We've done that a few times. Obviously, we did that hear in NSF, the one we recorded. We did it in Europe a couple of times. We did it in Australia. In terms of the Faith No More one, we'll see. We don't have any plans.

I'd love to see that show. I'd love to see Angel Dust done live all the way through. I think that is one of my all-time favorite records. I don't know in what regard you hold it.

Mike Patton: I'm proud of it. I'm glad we did it. But I don't really make a list of my own favorite records (laughs). There are too many other great records out in the world that I hold in higher regard!

Well, I don't, so there you go. It's interesting to see that album keep popping back up now, as time goes on. When you guys made that, it barely got noticed in the states. Now it always makes, like, the hundred greatest rock albums of the last century lists.

Mike Patton: The reviewers are getting older (laughs)!

Last question, which I know people keep asking, and we get the back and forth from Roddy and Billy Gould all the time. Do you think there will be new material, a new song, or possibly a new album from Faith No More sometime in the future?

Mike Patton: Well...There are no plans. That is all I can say. We have basically talked very little about it. I think that is because we are really just getting to know each other again. And we are getting to enjoy each other's company again. We are taking it, and appreciating it for what it is. We are not trying to look too far ahead. That is the honest truth.

Does that make it a funnier experience for you? To know that you don't have to work towards that particular end goal in terms of the music. If it comes naturally, it comes naturally. If it doesn't, it doesn't...

Mike Patton: Basically. Yeah. I think its important not to make plans. And to not put extraneous demands on something like this. It's a delicate thing. We hadn't played together in more than ten years. It was nerve wracking enough to get in the same room again, and revisit this, and play some of this stuff. But I think we were all really, very pleasantly surprised.

I think everyone has been pleasantly surprised. The shows have been great. I've only gotten to see the clips here and there. But the response has been very positive from the fan community. Do you think you guys will play the states at all, again?

Mike Patton: Not sure, again. We are not getting back in that habitrail. We are not getting back on the circuit. Milking it too much is a real danger. You can only bleed the cow so many times.

The Solitude of Prime Numbers was released in 2011 and stars Alba Rohrwacher, Luca Marinelli, Martina Albano, Arianna Nastro, Tommaso Neri, Vittorio Lomartire, Aurora Ruffino, Giorgia Pizzio. The film is directed by Saverio Costanzo.