HBO’s True Detective defacing double exposure effect used to create title sequence is hunting, enveloped by the music. The main title was designed and directed by Elastic‘s Patrick Clair and music by The Handsome Family’s “Far From Any Road.”
Mutemath use some art Defacing illustration for their album Odd Soul. Check out their experimental visual stems mixer here.
Violens does some art Defacing in their Amoral sleeve cover. Learn more about Violens.
Listening to Asha
Listening to Santogold
New Young Pony Club inspired by Tate Modern installation… here
Love the man…
Lately I have being listen to Tumi and the Volume, a band from Johannesburg, I liked them… take a listen, you can find them in itunes… myspace here
Recently (five months ago) I saw the movie Le Samourai by Director Jean-Pierre Melville recommended to me by a respected miami artist and seconded the same night by dig. So I eagerly put it on top of my netflix list. I saw it and made notes while I watch it in the hopes of making some comments about it here. Time passed and today I decided to do it with the music background of Cansei de Ser Sexy.
I have to say that these are the type of movies I need to see. It confirms the idea in my head that there is art cinema out there to be explored. Since, I have seen many other Melville movies, but none is as good as Le Samourai. The first thing I noticed about the first shot that lasted like an eternity, it was a movie painting without the moving. Little by little I notice someone on the right side of the frame. It was Alain Delon, other than being one of my mother’s idols, I always noticed that many talked about him as if he was a joke because he starts every sentence about himself with “Alain Delon thinks …” all in the third person sentences, and always about himself. At least that was the way he was portrayed by Les Guignols and it always made me laugh about Delon. Yet this movie changed all that. This movie is a Masterpiece.
I think Melville was influenced by Luchino Visconti’s The Leopard and I can imagine movies by Jim Jarmusch’s Ghost Dog and John Frankenheimer’s Ronin are influenced by this one. This movie definitely did not have any blah-blah. There was not dialog during the first 10 minutes. There was a very Japanese / American thing to this movie. Every car and the clothes were very Americana while the personality of the protagonist was very japanese Bushido style. He spoke with few words, filled with passion and straight to the point. He was detached from everything and everybody. A scene where he is stealing a car is so powerful it needed to be seeing many times. He seems lost, without hope, or future, suicidal… it ends with a suicide by cop scene. Every frame seems pure. There is an elegance of iconography that lets you know everything without words. A bit like a medieval church in film. It is 1966 but it feels like it happened at any time. The solitude feeling of this movie is universal and timeless. At one point during the movie I wrote in in my notes “he is me, I am him” I do not feel that now but apparently while I was watching I did. The formal beauty of this movie makes it a kind of cinema that I would like to shoot myself. It was in my opinion a controlled form of minimalism that we don’t see today in cinema, a very silent movie that focused on masculinity and the beauty of being a true gentleman. What can I say, I admire being gentile and true, as it is hard to do that these days where everybody is right and there is not need to have guilt or personal regret for anything we do.
Jay Jay Johanson; very popular in France but less known in Amerika because of ramping homophobia, jjj is my best company when in deep melancholia. Some of his music is so sad that I feel ok by simple comparison. Although his last two cds were crap (Antenna and Rush) his first three cds (Whiskey, Tattoo, and Poison) were really gluey.