– v-a deranjat ca aveati o partitura mai mica in acest film?
– nu, am fost fericita ca am un job, ca am fost angajata. in rest ai nevoie de foarte mult umor, sa nu te iei in serios, ca sa-ti faci bine treaba la acest film.
judi dench, intr-un interviu pe care tocmai l-am vzt pe unul din canalele tv.
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private screening coke zero e in seara asta, deci nu stiu f multe despre film inca, desi aseara noul james bond s-a vizionat public, royal – mai exact – cu printii William si Harry in sala.
is it possible to fall in love with someone you have never met, someone you watch on tv?
nothing is easier than to desire people we don’t know. getting to know someone is generally a highly unromantic process, for it means discovering that other people are ultimately as inadequate and anxious as we are.
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we don’t need beauty to make art. art is inspired precisely by the absence of beauty, the recollection and nostalgia for a beauty we do not clearly possess.
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life is essentially a tragic business for all of us. Why? because all our loved ones will die and our children are mortal.
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how terrible would it be if, in 100 years, people didn’t have relationships with each other, but with robots and computers?
one can fully imagine sex with machines, but somehow love with seems harder. why? because at the end of the day, we all are troubled with the question: does she/he really love me? or is she/he faking?
the robots just couldn’t reassure us enough, the robots could never quell our anxious narcissism.
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it is recognised that to be good at sex requires practice, even thought. less common is the idea that love would require equall effort. in other words, it’s not just a feeling, it’s a discipline – an art.
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do you think certain animals love each other?
it’s uncomfortably likely that yes, animals feel a lot more that we hope they might when we fry them up for supper. they probably are seduced by one another’s lively appearance.
they feel tenderly towards children, they are saddened bu death. they cry. what does that make of us? casual murderers of course.
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interviu cu alain de botton in another magazine despre noua sexualitate.
domnul care a pus intrebarile acestea magice se numeste dan crowe.
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alain de botton are carti traduse si in romaneste; eseuri de indragostit, despre farmecul lucrurilor plictisitoare, consolarile filozofiei si sex, shopping si-un roman.
unele geniale, cum e aia de la interview cu marc jacobs .
clasamentul aici
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asta e cea mai buna
coperta a anului.
contextul e ca, domnul din poza, eliot spitzer a fo nevoit sa demisioneze din functia d guvernator al statului new york, dupa ce s-a aflat ca e prieten apropiat cu niste doamne prostituate.
in time, simplu si la obiect, emotionant si discret: Robert Redford Remembers Paul Newman
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noi romanii nu putem trata cu la fel de multa eleganta acest gen de subiecte. nu -mi aduc aminte ca la disparitia lui pintea, rautu, ciobanu sau iordache, una bucata publicatie sa fi dat spatiu pentru un remember scris- trait – simtit de unul de-al lor, din gasca lor, de nivelul lor.
nu vorbesc aici de interviuri si dat cu parerea, or de reportaje. vorbesc de lasat la liber pe un actor sa scrie despre altul de-al lui.
cind e sa fie nashpa si sa se incurce lucrurile, apoi chiar se incurca.
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ieri sedinta foto lunga si complicata.
dupa 4 cadre constatam ca pe primul tras ( cu o anume lumina, anume stare) nu-l mai putem folosi si trebuie sa-l refacem. e complicat sa ne intoarcem la costumele acelea, trebuie luat alt personaj de figuratie, suntem limitati de timp si de soare.
rezolvam la limita.
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seara premiera de teatru la Pod (debut in regie al lui Cristi Balint, proaspat absolvent in actorie, detalii despre proiectu lui aici )
telefonul nu mai are baterie, nu stiu unde trebuie sa ma intilnesc cu prietenele, iau telefonul minune care apare in viitorul james bond si e atit de sofisticat de-mi prind urechile ( un sony ericsson C902 Cyber-shot™) ne intilnim la limita. fara sa stiu sa folo telefonul ca sa le anunt unde sunt, plus ca imi ia o juma de ora sa scriu un sms pt Cristi la final ( sunt atehnica:( )
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noaptea tirziu telefon in america, interviu. dupa 2 min reportofonul nu mai merge. nu pot inregistra cu telefonul pentru ca vorbesc la el, nu pot inregistra cu nimik altceva din casa. nu-i pot spune femeii de la capatul firului ca tre sa inchid sa caut solutii in casa mea, timpul se dilata, secundele par ore, nu mai aud ce spune femeia aia la telefon, caut agenda, scriu tot (in romana in engleza in orice limba imi trece prin cap).
azi scriu interviul. mi-e cam frica sa ma uit pe notite.
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ziua hardcore va fi avea rezultatul in 2 materiale impo in tabu d nov:)
iar eu sunt…zen
la londra. pina in 5 oct. cu mulatrul pe nume Akram Khan, care a lucrat cu peter brook.
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When she was filming Minghella’s Breaking And Entering in London in 2006, her shiatsu masseuse, a friend of Khan’s, asked her if she wanted to learn to dance. Binoche did and loved what she’d seen of Khan’s work. Her masseuse introduced them and they spent three days working in his studio.
Was it chance, I suggest. “Intuition,” she prefers. “I see life as being a movement in you that has a certain certainty but you can’t hang on. It’s like a healthy earth – you’ve got to put air in it, you’ve got to ask questions and move it in order not to become stuck in your thinking.”
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“In film, we have to get intimate very quickly. You’re showing your soul – you have to get naked, sometimes physically but mostly emotionally. Dancers don’t really get involved emotionally that much because it would be too much – they’re so close physically all the time, the body becomes like a tool.”
She and Khan, she says, are aiming for both kinds of closeness. “To put emotion and body together – it’s a weird experience because it’s a very intimate relationship.”
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interviul cu binoche aici – desigur, minunat scris, la mare distanta d ce s-ar scrie la romania