Category Archives: celluloid

covering the film front

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Do yourself a favor and go see ‘The Assasination of Jesse James by the Coward Robert Ford’. It’s the first time I recognized a film I really liked to be not really well written, which could have easily gone wrong. Instead, it turned out to be a wonderful film, very well shot and starring beautiful performances by some of the best actors in Hollywood like Brad Pitt, Paul Schneider and (an excellent) Sam Rockwell. But the real treat is watching Casey Affleck make it exciting for the super talented Brad Pitt who, in zero moments in this film, was able to slip into auto-pilot mode like I see him do in almost every film he’s in. As if he’s way too comfortable with the parts he’s playing. Not while being Jesse James, kids. Here’s a performance that’ll leave you somewhere in the front of your seat during the entire film. ‘On edge’, is the expression I’m obviously looking for.
When checking the IMDb, Casey Affleck apparently starred in numerous films I had already seen (To Die For, Chasing Amy, American Pie, 200 Cigarettes, The Oceans Classics), but I gotta admit I only first noticed him in Gus van Sant’s masterpiece Gerry. But it’s kind of hard not to spot him in that particular film. If you don’t know why, go see that film and find it out for yourself.

Anyway, back to celluloid homosexuality. Go see ‘The assasination of…’ and find out everything there is to know about the stalky love for Jesse James by one Robert Ford. A kid who’s just so very much into Jesse James that he decides to ‘do him’ (as Beavis and Butthead would put it) since he could never become him. I’m not exactly sure why, but the whole thing made me think of these lyrics:

Neil Young
Pocahontas

Aurora Borealis
The icy sky at night
Paddles cut the water
In a long and hurried flight
From the white man to the fields of green
And the homeland we’ve never seen

They killed us in our teepee
And they cut our women down
They might have left some babies
Cryin on the ground
But the firesticks and the wagons come
And the night falls on the setting sun

They massacred the buffalo
Kitty corner from the bank
The taxis run across my feet
And my eyes have turned to blanks
In my little box at the top of the stairs
With my indian rug and a pipe to share

I wish a was a trapper
I would give thousand pelts
To sleep with Pocahontas
And find out how she felt
In the mornin on the fields of green
In the homeland we’ve never seen

And maybe Marlon Brando
Will be there by the fire
We’ll sit and talk of Hollywood
And the good things there for hire
And the astrodome and the first teepee
Marlon Brando, Pocahontas and me
Marlon Brando, Pocahontas and me
Pocahontas!

Television Delivers People (Richard Serra, 1973)

Hier voor jou, ruuf!

LFFR

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Some thirteen years ago Victor Vroegindeweij and Oscar ‘Ruud’ Disco were a Rotterdam Terror Duo video taping everything they could within the time they had outside their official bedtime, including flatlining friends and the Rotterdam incrowd at gallery artshow openings. Apart from this the two youths came up with ideas for art shows themselves, were both hilariously portrayed in the Ben Phone Book and were quite known for all kinds of jokes and the inventing of legendary things that would never actually take place, bands that would not really exist and so on.
Victor grew up to become an actual tv and film maker and Oscar, I think, studies production design at the Film Academy and still is a character (after a brief period of being called Keesie Kamikaze and Mirodrag Pavlovic, he is now called ‘Spandex Mutilator’). Time seperated our two heroes, one of the two now lives in Amsterdam and the other stayed here in the mighty city of Rotterdam.

Tonight they will be reunited on the Barbosa Victor film night. Ivan Barbosa and Victor
Vroegindeweij will be showing their latest cinematic adventures, Oscar Disco (completely in style not on the flyer) will be playing some records afterwards together with Mike Latina and Mietze B of the Drunken Lion SS and myself, the Black Dog AKA Homey Universalis. Come and join us for party at:
ZAAL DE UNIE, Mauritsweg 34, entrance without flyer: TWO EUROS!!!

Meet the Maestro

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campaign design (HuMobisten, 2007)
client: Int. Film Festival R’dam & Kunstgebouw
October 2007

We were asked (for the third time) by the International Film Festival Rotterdam and the Kunstgebouw to design an identity for their annual educational project called ‘Meet the Maestro’. During MTM, a super talented and obstinate film director will be the focus of attention.

IFFR

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We were invited by the International Film Festival Rotterdam to be in a pitch, for
making a new campaign for the next episode of their festival. This was one of our
sketches. We really like it, they did too, but we didn’t win it.

When finishing this piece we saw the ads for the new Andy Warhol exhibition from the
Stedelijk Museum in Amsterdam using an 1982 advertisement from TDK with Andy.
Rufus and I were inspired by the same TDK advertisement that we found a long time ago through YouTube. Really weird that some things really hangt in de lucht

Time is sometimes really weird..

quite the discovery

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This year I saw 7 short ones and three feature films at the annual Rotterdam
Film Festival. One of these three films was ‘Daft Punk’s Electroma’. I can’t say
that I’m an objective viewer here (Discovery being my alltime favourite album),
but I did not expect to see this incredibly sad, beautiful fairytale. The Daft Punks
did it again, everything that’s so great about their music is all there in the
picture, the sci-fi that explains about the ‘today’, life’s bittersweetness or the
fine line between fun and failure. Also, just as on their albums D.P. uses the
exact amount of exposure of cinematic notes/beats (props, scenery, mise en
scene, camera motion, dialogue (none, since two robots needn’t really talk to
one another)) it takes to tell their story. In the case of Daft Punk this is pretty
often wrongly called ‘minimalism’. I guess sometimes there simply isn’t any
more to see or hear, and one musn’t look out for extras but focus on what is
presented exactly to them instead. The beauty and the magic is already there,
it simply isn’t believed by an audience yet. Some artists can lift audiences up
to the level that they MUST believe everything they hear and see. This is how
they pursuade us, the humble witnesses, into their universe/truth. You can
shut your senses off and have a boring time or be spiritually challenged and
suddenly find yourself in a fairytale of two robots who struggle with their
inability to become human after all.

the festival scene is beautiful, man…

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Just like last year, HuMobisten made the IFFR (International Film Festival Roffa)
educational side project design. It’s called Meat The Maestro. This year you’re
going to meet Gus Van Sant (who might just be attending this years’ festival!!!).
That would be something. Gyz and me are big fans. I remember seeing ‘My
Own Private Idaho’ in the early nintees in the Melkweg Cinema and ‘Even Cow-
girls get the Blues’ around the same time in the ‘Filmhuis Delft’. It was then that
I first saw miss Uma Thurman. I was in love with these films immediately. Later
I rented Drugstore Cowboy (starring Bill Burroughs as a priest on smack, if I
remember correctly) and much later Last Days and Gerry. I haven’t seen
Elephant yet. I don’t know, it’s just sitting there in my house, staring at me,
saying ‘ahhhh… you don’t want to see me… yet!’. I don’t know why DVDs do
that, but they do. I remember when I saw ‘To Die For’ (at Venster) it was maybe
one of the first times in my life that I thought ‘I know this stuff from my own
life and I must remember to never act the same in a situation like so and so…’,
in other words, it may have been the first time I had seen a film about some
drama that had occured to me once, even BEFORE I had seen the movie. The
same thing happened with Good Will Hunting in a way. So, in retrospect, either
Gus Van Sant was studying my life secretly and from a distance, or I was
actually not just having a life, I was living one. That’s always a nice thing to
recognize I guess.

Anyway, besides Gus Van Sant there’s tons of great films one obviously can’t
see anywhere else just yet. I already got tickets to go see the Zidane film, the
Daft Punk film and the Rotterdam Shorts, but I guess that’s about it for me. I
don’t know but it seems harder for me to go see films ’round the end of january
every year. It doesn’t trouble me so much, though. I’ll see the lot of ’em
throughout the rest of the year. I guess I just spend too much on trying to
booze the early darkness off. We’re officially a month and four days past the
shortest day in the year by the way. Things are starting to look slightly
frolicsome even.

Hollywoods latest gossip!

De Nederlandse film American Dreams heeft op het Hollywood Film Festival de prijs voor beste korte film gewonnen. Dat heeft actrice Victoria Koblenko vandaag bekend gemaakt. Koblenko was samen
met regisseur Eelko Ferwerda (Ja toch!!!!) in Hollywood om de film te presenteren.

Yeah Boyeeee!

‘Ignorance is Strength’

To add something extra to my last post that I forgot to mention.
The Chancellor in the film ‘V for Vendetta’ was played by John Hurt,
who was the lead character Winston Smith in the film ‘1984’. It was
ironic seeing him this time as Big Brother..

Sonny & Rico Strike Again

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Above, obviously, that’s me. The year is 1984/1985… I’m not sure. Anyway,
since there’s a Ghostbusters poster up there on the wall it must 1984 or after.
I remember that poster came free with a couple of bottles of Coke. There was
a Coca Cola logo on the poster as well (which merely made the poster even
better than it already was.) I remember diggin’ Coca Cola just as much as I
dug that incredibly funny movie, starring the incredibly funny Bill Murray.
In 1984, life just… well… started to get ‘pretty cool’.

What also started in 1984 was Tubbs and Crockett racing around their nifty
wagons, freeing Miami from (usually) hispanic thugs. My birthday buddy
‘De Baron, Heili Proberi, Marcel Alexander Wiebenga I, King of the Bongos’
whose birthday is today (there you go, bud!) reminded me of the fact that
Miles Davis once was a pimp in a MV episode. (can TV get any better!?).
Anyway, I was 9, 10, 11, 12 and 13 when I watched Miami Vice. I never
cared much about the plot or how Don and Philip Michael nailed crooks. It
was more about their looks, their weird italian, american gigolo-like outfits,
the overall interior design, the classic soundtrack, the way pastels look in
bright sunlight, the existential beauty of neon in a very dark blue, windy,
palm tree covered city… I guess ‘styling’ is the word I’m looking for here.
It really worked like a charm.

Me and my brother went to see Michael Mann’s recent update, the other day.
It fucking rocks! The styling’s still ace (but we already knew that from ‘Heat’),
Tubbs and Crockett have cell phones now, but for the rest: they drive fast
cars, date fast women, dance some in Havana, fly planes, pop tricks and
talk like no one talks. I haven’t seen ’em use sentences consisting of five
words or over. Now, say what you want, but that’s suave! Big ups for Colin
Farrell, he’s about as B.A.D. as the Don, which must be tough, even for him.
If I even imagine someone giving me a stache and a hairstyle like that and
then told me to act cool, I’d tell ’em to go to hell.

In the picture of me as a youth, there’s a book on the shelf there called ‘Lees
Je Knetter!’. I hadn’t thought of that book since about that time. I must have
thrown it away or sold it at some flee market or so. Also, evidently there on
the bed’s a copy of ‘de reuzenperzik’ (James and the Giant Peach). Life truly
was great, back then: I got to be a kid and at the same time be interested in
grown up stuff, like watching Miami Vice and Sigourney Weaver!