September 2010

Cash

Cash admin | 29. September 2010 – 08:10 @ SonntagsZeitungWie alle anderen aus meinem Bekanntenkreis habe ich Johnny Cash erst so richtig entdeckt, als er krank war. Und mit brüchig gewordener Stimme die CDs aufnahm, die «American» heissen (I bis VI) und die zu den schönsten Vermächtnissen gehören, die ein Sänger hinterlassen kann. Damals hörte ich eine Weile so viel Johnny Cash, dass mir die Ohren schlackerten. Doch eins blieb mir trotzdem rätselhaft: Diese Geschichte mit dem «Man in Black». Johnny Cash hatte nämlich Einsicht in die dunkelsten Ecken der menschlichen Natur. Warum, weiss man nicht so genau. Armee, hiess es, Gefängnis, Alkohol, Drogen, all das habe ihm die menschlichen – und vor allem seine eigenen – Abgründe so krass vor Augen geführt, dass er nie wieder der Gleiche war. Der Sänger war sich sicher, das Vorzugsobjekt der teuflischen Verführung zu sein, und musste den Anfechtungen des Leibhaftigen immer ein Wehrschild entgegenhalten. Das war seine Musik. Oder seine Frau. Oder beides. Denken musste ich daran in den letzten Wochen – wegen Joaquin Phoenix. Der Schauspieler hat sich, nachdem er Johnny Cash im Film «Walk the Line» gespielt hatte, direkt in die Teufelsküche begeben. Zuerst länger als ein Jahr lang den Deppen gegeben, sich bei Letterman blamiert, alle Freunde verprellt und dann seinen Kumpel Casey Affleck den schrecklichen Dokumentarfilm am Filmfestival Venedig vorführen lassen, in dem er, Joaquin, nur lallt, sich wie ein Hirntoter benimmt und zu allem Elend noch zulässt, dass ein doofer Kumpel ihm mitten aufs Gesicht den Darm entleert. Widerwärtig. Jetzt sagen Casey und Joaquin, dass das nur ein Witz war. Falls wirklich, dann kein lustiger. Ich habe den Film gesehen. Da winkt am Schluss keine Erkenntnis. Da sieht man nur einen verwirrten Junkie in mittleren Jahren, mit Vollbart und Wampe, dem keine Einsicht zuteil wird. Nicht ins Helle und nicht ins Dunkle. Einfach nur blöd. Und dann dämmert es mir: Das hat Johnny Cash dem Joaquin eingebrockt. Als der Letztere den Ersteren spielte, musste er etwas von dieser Dunkelheit erhascht haben, die Cash sein Leben lang verfolgte. Nur reagierte Johnny Cash darauf mit abgründigen Songzeilen wie: «I shot a man in Reno just to watch him die». Und Joaquin mit einem kindischen Spektakel ohne Stil und Ehre. «I’m still here» von Casey Affleck hat kein Startdatum in der Schweiz. Johnny Cashs «American» gibts im Handel. «Der Sänger war sich sicher, das Vorzugsobjekt der teuflischen Verführung zu sein» Powered by © SonntagsZeitung @askewa @PSPresseschau Wunderbares textlein 🍀 thx 4 sharing 08:10:37 PM Mai 30, 2023 von &s in Antwort auf PSPresseschau@GESDA Hackathon 4 the future – Open Quantum Institute in the making. Impressive! https://t.co/hWBdlsEFkd 09:35:19 AM Mai 07, 2023 von &s in Antwort auf GesdaIt’s my #Twitterversary! I have been on Twitter for 13 years, since 26 Nov 2009 (via @twi_age). 01:00:51 AM Dezember 13, 2022 von &s @askewa folgen Neueste Beiträge Baselitz‘ WeltI likePrivate Sales, ein SchattenspielAdieu John BergerTalk mit Jacqueline Burckhardt Blogroll FAQNews-BlogPop MattersRevue 21Support ForumWordPress-Planet Themen Ai Weiwei Amerika Andy Warhol Aphrodite Ascona Baron Heinrich Thyssen Basel Biennale Venedig Bird’s Nest Caravaggio China Fischli/Weiss Fondation Beyeler Frank Gehry Georg Baselitz Gerhard Richter Ghirlandaio Gstaad Gurlitt Gustav Klimt Harald Szeemann Keanu Reeves Kunst Kunstmuseum Basel Louise Bourgeois Maja Hoffmann Maria Lassnig Marlene Dumas Melinda Nadj Abonji Monte Verità Nachtkritik Oprah Winfrey Pipilotti Rist Schweizer Architektur Schweizer Film Schweizer Kunst Schweizer Literatur Shakespeare Simon de Pury Thomas Hirschhorn Ugo Rondinone Urs Fischer Valentin Carron Warhol Weltwoche Next Post Schreibe einen Kommentar Cancel Reply Logged in as Ewa Hess. Edit your profile. Log out? Required fields are marked * Message*

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Anton Corbijn in Zurich

Anton Corbijn in Zurich admin | 14. September 2010 – 20:32 Ewa Hess talks to Anton Corbijn about his film „The American“, 9/8/2010 Hotel Hyatt, Zurich EWH: So in the meantime you became a serious filmmaker? AC: I have done two films so far, the funny thing is: people ask me, are you a photographer or a film maker? And i tend to say: filmmaker. The thing is, if you’ve made only two photographys, you never call yourself a photographer. But the amount of time and energy to make a film is so outragous, you really dive inside something, it changes your being, it changes your world. Clooney, Italy, beautifull women… Sounds like a sure thing. I did not knew it would come out this way when I started thinking of my next movie after „Control“. All I knew was that I wanted to make a different movie making experience. Control was a specific thing that dealt with a part of my life. The rock-music part of your life? No. That’s what people thought. But it was about a love story, really. Anyhow, I started looking for different genres. Westerns, thrillers, dark comedies. And I’ve realised, that one couldn’t make any westerns any more. The period is gone. „The Unforgiven“ is probably the last western ever. And then I’ve found a script, based on the book „A very private gentleman“. I’ve realised, that it was possible to hide a western in the structure of this novel. What made the novel ideal for that? It was talking about a man trying to redeem himself. For everything he has ever done. Everything happens inside him, so that’s why it was cosidered difficult to make a film out of it. I took one bit out of the film and put it in the beginning of the film, which kind of made it possible to me to tell the story afterward. You mean the shocking scene at the beginning, when Mr. Butterfly shoots his bed companionfrom behind? Yes. It kind of needed this shock to understand his embarassment afterwards. In the book the character is an Englishman, so nobody would think of Geroge Clooney. And there are two prositutes there, because he always went to bed with two prostitutes at the same time. May be it was a personal phantasy of the writer. It is not mine, so I’ve changed it. And I didn’t want ot work with english actors, because I’ve already done „Control“ with english actors. So I’ve changed it, too. And as I started to think about a 50 years old american actor, who is able to convey a certain emotion on the screen without saying anything… There is not many actors who can do that. So the script went to George Clooney. Did you know him before? No. But i came out, that he liked „Control“ very much. And we met a few days later. Unfortunately, it was the day of the earthquake in L’Aquila, where the movie was sensed to be shot. So I was thinking at this moment, that this film is never going to happen. All locations were destroyed and this tragedy was so pre-eminent. I couldn’t imagine anybody would ever think of filming there again, because there was so much grief and human loss around. It felt like an irony: I’ve got George Clooney, but lost my film. Guess you’ve talked all the same? It was amazing. George was telling me a lot about fillms. He knows a lot about films. Almost everything! You don’t? No. I haven’t seen that much films in my life. I don’t think it is a disadvantage. But it’s just different. The most film who make films are film -buffs. I am not. Why is the movie called „The American“? I didn’t like the title of the book for my film. „A very private gentleman“, coming from a dutchman, people would think it is a porno movie, I was afraid. Why? You know, the Dutch and the reputation they have. So my proposition for the title was „Il Americano“ Is it correct? Don’t you say L’Americano? Yes. On pourpose. The idea behind this is one of an american not fitting in. And of course it is a reference to the spaghetti westerns. But the studio didn’t like the title, they thought the american audiences cannot cope with it. You are quite stressing the idea of a „hidden western“. For me, in the middle of the film there is something i would call 2the craftmanship“. First of all the character Clooney plays is loving what he does: producing weapons. And then, the movie has a lot of craftsman-appeal, the way it is done, frame by frame perfect images, functioning like a clockwork. It is for sure a very different film than those which are done today. It takes a whole film to make one gun. Which shows : that is what this guy loves to do. It is his only love in his life. He is really into it, but at the end, it leaves his life still empty. He comes back from the brothel, there is fog, he starts again on his own. After I finished the film I realised, it was how I did the film. Carin about the story, about the actors, about the look of the actors, about the music, putting all this components carefully together… Every piece getting so much love as the other. We have known you for so many years as this outstanding photographer. This movie seemed to me to be much nearer your first career. It is a photographers movie. The mood in the film ist similiar to the modd in your photographs. And Clooneys character pretends to be a photographer. So may be it is a portrayal of yourself. May be. May be not. If it was, quite a thing to make George Clooney play yourself, Yeah, it is a given… Like in this questionaire. „Whom do you think you look like?“

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C’était un homme…

C’était un homme… admin | 14. September 2010 – 18:54 Play Video A wonderful song by Les Rita Mitsouko(Courtesy to JMC ) Oh c’est pour vous direOh se souvenirEt pour vous raconterD’où je suis néePrès d’AuschwitzMon père grandissaitC’était un juif polonaisAux Beaux Arts à CracovieIl rêve de Paris Et puis la guerre l’a surprisIls l’ont pris à 19 ansIl fit pendant ces cinq ansNeufs camps différents Un hommeC’était un hommeDifformeDans sa personneDont le for intérieurAvait encore peur Mais toujours lui est restéLe sens de la beautéOn m’a dit quand tout s’écroulaitComme il dessinait,Comme il résistait Miracle, il en est sortiIl a réussi à tenirEt à venir à ParisPeindre et donner la vie Oh c’est pour vous direSe souvenirEt pour vous raconter… @askewa @PSPresseschau Wunderbares textlein 🍀 thx 4 sharing 08:10:37 PM Mai 30, 2023 von &s in Antwort auf PSPresseschau@GESDA Hackathon 4 the future – Open Quantum Institute in the making. Impressive! https://t.co/hWBdlsEFkd 09:35:19 AM Mai 07, 2023 von &s in Antwort auf GesdaIt’s my #Twitterversary! I have been on Twitter for 13 years, since 26 Nov 2009 (via @twi_age). 01:00:51 AM Dezember 13, 2022 von &s @askewa folgen Neueste Beiträge Baselitz‘ WeltI likePrivate Sales, ein SchattenspielAdieu John BergerTalk mit Jacqueline Burckhardt Blogroll FAQNews-BlogPop MattersRevue 21Support ForumWordPress-Planet Themen Ai Weiwei Amerika Andy Warhol Aphrodite Ascona Baron Heinrich Thyssen Basel Biennale Venedig Bird’s Nest Caravaggio China Fischli/Weiss Fondation Beyeler Frank Gehry Georg Baselitz Gerhard Richter Ghirlandaio Gstaad Gurlitt Gustav Klimt Harald Szeemann Keanu Reeves Kunst Kunstmuseum Basel Louise Bourgeois Maja Hoffmann Maria Lassnig Marlene Dumas Melinda Nadj Abonji Monte Verità Nachtkritik Oprah Winfrey Pipilotti Rist Schweizer Architektur Schweizer Film Schweizer Kunst Schweizer Literatur Shakespeare Simon de Pury Thomas Hirschhorn Ugo Rondinone Urs Fischer Valentin Carron Warhol Weltwoche Next Post Schreibe einen Kommentar Cancel Reply Logged in as Ewa Hess. Edit your profile. Log out? Required fields are marked * Message*

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Venice ’10 (day 6)

Venice ’10 (day 6) admin | 6. September 2010 – 12:04 Two strange press conferences. Casey Affleck – Bens younger brother – explains, why he decided to film during his brother-in-law Joaquin Phoenix is kind of going crazy. „Sometimes“, says Affleck, „you have a dream. A woman on that hill, a stain on that pillow. And then… you just want to follow this feeling. That’s what stands at the beginning of every film and that’s how I decided to do this film“. It comes out, that crazy Joaquin is hiding some place in Venice. Not sure if he comes to the official screening of „I am still here“ and apparently Casey haven’t seen him either yet. „I am still convinced, that his being some place here means that he wants to support the film“. There is a lot of physical resemblance between Joaquin and his actor colleague Vincent Gallo, who is starring in the new film of Skolimowski. Also Vincent is some place around. He is presenting also a film he directed later in the Venice programm. Skolimowskis producer says, he met Vincent at the Darsena yesterday and asked him to come to press conference today. „I am doing no press conferences“, said Gallo. „Not even for my own film“. Skolimwski is revealing, that Gallo was using „a kind of acting method“ while shooting the film „Essential Killing“. A he is playing a man who is surrounded by enemies, he was trying to anthagonize every person he met during the shooting of the film, so he could feel really alienated from his surroundings. „Believe me“, explains old Mr. Skolimowski in his friendly way, „I am still describing it in a very diplomatic way“. @askewa @PSPresseschau Wunderbares textlein 🍀 thx 4 sharing 08:10:37 PM Mai 30, 2023 von &s in Antwort auf PSPresseschau@GESDA Hackathon 4 the future – Open Quantum Institute in the making. Impressive! https://t.co/hWBdlsEFkd 09:35:19 AM Mai 07, 2023 von &s in Antwort auf GesdaIt’s my #Twitterversary! I have been on Twitter for 13 years, since 26 Nov 2009 (via @twi_age). 01:00:51 AM Dezember 13, 2022 von &s @askewa folgen Neueste Beiträge Baselitz‘ WeltI likePrivate Sales, ein SchattenspielAdieu John BergerTalk mit Jacqueline Burckhardt Blogroll FAQNews-BlogPop MattersRevue 21Support ForumWordPress-Planet Themen Ai Weiwei Amerika Andy Warhol Aphrodite Ascona Baron Heinrich Thyssen Basel Biennale Venedig Bird’s Nest Caravaggio China Fischli/Weiss Fondation Beyeler Frank Gehry Georg Baselitz Gerhard Richter Ghirlandaio Gstaad Gurlitt Gustav Klimt Harald Szeemann Keanu Reeves Kunst Kunstmuseum Basel Louise Bourgeois Maja Hoffmann Maria Lassnig Marlene Dumas Melinda Nadj Abonji Monte Verità Nachtkritik Oprah Winfrey Pipilotti Rist Schweizer Architektur Schweizer Film Schweizer Kunst Schweizer Literatur Shakespeare Simon de Pury Thomas Hirschhorn Ugo Rondinone Urs Fischer Valentin Carron Warhol Weltwoche Next Post Schreibe einen Kommentar Cancel Reply Logged in as Ewa Hess. Edit your profile. Log out? Required fields are marked * Message*

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Venice ’10 (day 5)

Venice ’10 (day 5) admin | 5. September 2010 – 21:24 After hectic first three days of the festival strangely quiet weekend follows on the Lido. John Turturros directorial debut „Passione“, a documentary about napolitan music, suffers from the bad quality of soundsystem in the Sala Darsena. Turturros introductions are witty, but the overly dramatic staging of the canzones requires some habituation. Nevertheless, the primetime screening on saturday gets masses of applaus (which i mischieviously suspect is coming from friends and relatives). On Sunday tho old master Jerzy Skolimowski keeps Vincent Gallo 80 minutes in a high octan fight/flight modus („Essential killing“). As Roman Polanskis wife Emmanuelle Seigner with lots of Dior’s dark eye makup pretends to be a dumb country woman (who helps the Gallo character) spectator’s goodwill is stretched a little bit far. Miss Segner didn’t come to festival, by the way. Press conference tomorrow with old Jerzy and his producer only. @askewa @PSPresseschau Wunderbares textlein 🍀 thx 4 sharing 08:10:37 PM Mai 30, 2023 von &s in Antwort auf PSPresseschau@GESDA Hackathon 4 the future – Open Quantum Institute in the making. Impressive! https://t.co/hWBdlsEFkd 09:35:19 AM Mai 07, 2023 von &s in Antwort auf GesdaIt’s my #Twitterversary! I have been on Twitter for 13 years, since 26 Nov 2009 (via @twi_age). 01:00:51 AM Dezember 13, 2022 von &s @askewa folgen Neueste Beiträge Baselitz‘ WeltI likePrivate Sales, ein SchattenspielAdieu John BergerTalk mit Jacqueline Burckhardt Blogroll FAQNews-BlogPop MattersRevue 21Support ForumWordPress-Planet Themen Ai Weiwei Amerika Andy Warhol Aphrodite Ascona Baron Heinrich Thyssen Basel Biennale Venedig Bird’s Nest Caravaggio China Fischli/Weiss Fondation Beyeler Frank Gehry Georg Baselitz Gerhard Richter Ghirlandaio Gstaad Gurlitt Gustav Klimt Harald Szeemann Keanu Reeves Kunst Kunstmuseum Basel Louise Bourgeois Maja Hoffmann Maria Lassnig Marlene Dumas Melinda Nadj Abonji Monte Verità Nachtkritik Oprah Winfrey Pipilotti Rist Schweizer Architektur Schweizer Film Schweizer Kunst Schweizer Literatur Shakespeare Simon de Pury Thomas Hirschhorn Ugo Rondinone Urs Fischer Valentin Carron Warhol Weltwoche Next Post Schreibe einen Kommentar Cancel Reply Logged in as Ewa Hess. Edit your profile. Log out? Required fields are marked * Message*

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Venice ’10 (day 1)

Venice ’10 (day 1) admin | 1. September 2010 – 15:25 First day of the festival. I have to leave the screening of the opening flick „Black Swan“ at the very moment when Natalie Portman’s character Nina, a confused ballerina, is having the first orgasm of her life. I run to the „Nastro Azzuro“-Club, where the interviews with the „Machete“-crew take place. Hilarious moment during the director Robert Rodriguez‘ interview: a journalist with strong polish accent is constantly posing long, uncomprehensible, but apparently critical questions. Rodriguez wants to understand: „what exactly is your question?“, he asks. Marek: „aren’t you full of pop-culture?“ R: „Full?“ Marek: „aren’t you tired of pop-culture?“ Rodriguez still doesn’t get it, looks around in search of help, which he gets from a bald guy with a flowery shirt: „He wants to know if you don’t feel like doing polish films instead of your usual comic-book stuff“. Everybody laughs. Rodriguez still looks like he doesn’t get it. This guy is definitly lost for any Kieslowski-style movie making. @askewa @PSPresseschau Wunderbares textlein 🍀 thx 4 sharing 08:10:37 PM Mai 30, 2023 von &s in Antwort auf PSPresseschau@GESDA Hackathon 4 the future – Open Quantum Institute in the making. Impressive! https://t.co/hWBdlsEFkd 09:35:19 AM Mai 07, 2023 von &s in Antwort auf GesdaIt’s my #Twitterversary! I have been on Twitter for 13 years, since 26 Nov 2009 (via @twi_age). 01:00:51 AM Dezember 13, 2022 von &s @askewa folgen Neueste Beiträge Baselitz‘ WeltI likePrivate Sales, ein SchattenspielAdieu John BergerTalk mit Jacqueline Burckhardt Blogroll FAQNews-BlogPop MattersRevue 21Support ForumWordPress-Planet Themen Ai Weiwei Amerika Andy Warhol Aphrodite Ascona Baron Heinrich Thyssen Basel Biennale Venedig Bird’s Nest Caravaggio China Fischli/Weiss Fondation Beyeler Frank Gehry Georg Baselitz Gerhard Richter Ghirlandaio Gstaad Gurlitt Gustav Klimt Harald Szeemann Keanu Reeves Kunst Kunstmuseum Basel Louise Bourgeois Maja Hoffmann Maria Lassnig Marlene Dumas Melinda Nadj Abonji Monte Verità Nachtkritik Oprah Winfrey Pipilotti Rist Schweizer Architektur Schweizer Film Schweizer Kunst Schweizer Literatur Shakespeare Simon de Pury Thomas Hirschhorn Ugo Rondinone Urs Fischer Valentin Carron Warhol Weltwoche Next Post Schreibe einen Kommentar Cancel Reply Logged in as Ewa Hess. Edit your profile. Log out? Required fields are marked * Message*

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