quarta-feira, 31 de março de 2010
Espero não estar trabalhando neste dia! sim, arranjei um emprego, hoje!
All I wanted was a small sum of money, no script; just kids, a camera, and a beach.
A young American, Lewis Allen, felt that private backers could be found who would be interested in each putting up a couple of thousand dollars for a film. With this sum they would have no excessive anxiety about losing the lot. He and his partner Dana Hodgdon had just financed the film of The Connection this way, and they offered to do the same for Lord of the Flies.
We were going into the unknown and we knew that luck and faith were completion’s only security.
In France, feature films have been made for $150. The $150 gets you through the first day’s shooting. By then, enough wheels are turning to get you through the second day and soon you have enough to show to justify credit for going on a bit longer. Our only question was how to get to the point of no return.
An assistant I had in New York named Mike Macdonald stood on the docks and accosted likely-looking families as they set foot on American soil. He loitered outside the circus, he wrote to the Embassy families in Washington, he found in the New York telephone directory an Old Estonians Club, an Old Harrovians Club and even one of the Old Boys of Mill Hill. I suppose we saw about 3000 children, all anxious to be in the film, with parents ardently keen on the novel and glad to have a quiet summer with the children taken off their hands.
Ralph, the leading boy, we found in a swimming pool in an army camp in Jamaica just four days before filming began. And as for Piggy, he arrived by magic through the post—a sticky Just William on lined paper, “Dear Sir, I am fat and wear spectacles,” and a crumpled photograph that made us cry with delight. It was Piggy, come to life in Camberley—the unique boy himself, conceived ten years before at the very moment that Golding was wrestling with the birth of the novel.
We found an island off the coast of Puerto Rico. A jungle paradise; miles of palm-fringed beaches owned by Woolworth’s. They lent us the island in exchange for a screen credit.
Being for once in a position to decide, I ruled that no one could ever question the use of film. This was our salvation, because despite bad weather, illness, no rushes, no lights, no facilities, we kept on shooting, several cameras turning at once, leaving them to run as we talked to the children, starting again and again.
We ended up with 60 hours of unbroken screening—and a year’s editing. This was not the ideal technique, but it was the only technique open to us, and in a sense it was our completion guarantee.
I believed that the reason for translating Golding’s very complete masterpiece into another form in the first place was that although the cinema lessens the magic, it introduces evidence.
The book is a beautiful fable—so beautiful that it can be refuted as a trick of compelling poetic style. In the film no one can attribute the looks and gestures to tricks of direction. The violent gestures, the look of greed, and the faces of experience are all real.
People always ask whether the children understood, and what effect it had on them. Many of their offscreen relationships completely paralleled the story.
Even the wise and calm Piggy came to me one day close to tears. “They’re going to drop a stone on you,” the other boys had been telling him. “That scene on the schedule, Piggy’s death. It’s for real. They don’t need you anymore.”
My experience showed me that the only falsification in Golding’s fable is the length of time the descent to savagery takes. His action takes about three months. I believe that if the cork of continued adult presence were removed from the bottle, complete catastrophe could occur within one long weekend.
Excerpted from The Shifting Point,©1987 Peter Brook, reprinted by permission from Harper, Collins Publishers.
Lord of the Flies
Black and White
terça-feira, 30 de março de 2010
nunca tinha de fato parado pra pensar na influência que a luz do sol exerce em nosso humor. parado pra pensar e sentido (bom momento para trabalhar o musgo interior).
previsão para 5 dias:
sexta-feira, 26 de março de 2010
É uma salada feita com cenoura, (às vezes cebola) e repolho fatiados bem fininhos misturados a maionese, de preferência leve, quase com textura de iogurte. Muito gostoso, super calórico e eficaz na produção de gases intestinais.
Aqui vai uma receita:
|COLE SLAW LITE|
4 c. shredded cabbage
1 c. grated carrots
1/2 c. plain non fat yogurt
1 1/2 tbsp. cider vinegar
1 tbsp. sugar
1 tbsp. dill weed
2 tsp. brown spiced mustard
1/4 tsp. pepper
Combine cabbage and carrots in a large bowl. Mix remaining
ingredients together. Add dressing to cabbage and toss well
to coat. Refrigerate for at least one hour before serving.
quinta-feira, 25 de março de 2010
Plymouth, A Miscellany. The Francis Frith Collection. 2009.
A carcaça desta igreja é um dos meus lugares favoritos aqui em Plymouth. Depois que a cidade foi terrivelmente bombardeada pelos nazistas, os restos da construção foram preservados e hoje é um memorial. Acho incrivelmente bonito e ao mesmo tempo tão estranho, porque fica bem no meio de uma rotatória movimentada, ao lado de um shopping center moderno.
Neste link aqui: http://www.francisfrith.com/plymouth/photos/charles-church-1889_22405/
você pode ver como era a igreja antes do bombardeio.
domingo, 21 de março de 2010
sábado, 20 de março de 2010
As duas me responderam prontamente que não ouviram sinos nem avistaram anjos, e que ainda hoje não tem certeza.
Então, será que estatisticamente a dúvida é um pré-requisito para o sucesso?
Chaos then ensues as he searches for the most convenient person to sacrifice in this highly entertaining comedy of upper-class morality.
Making his comedy debut, the multi-talented Lee Mead stars as Lord Arthur Savile. Following his success in hit BBC show Any Dream Will Do, he played the role of Joseph in Tim Rice and Andrew Lloyd Webber’s Joseph and the Technicolor Dreamcoat for 72 sold-out weeks in London’s West End.Lee will be performing opposite an all-star cast led by legendary entertainer Gary Wilmot (Chitty Chitty Bang Bang, Copacabana and Me and My Girl) the glamorous Kate O’Mara, (Dynasty, Bad Girls), David Ross (The Green Green Grass), Derren Nesbitt, (Special Branch, Where Eagles Dare) and Louisa Clein (Judge John Deed).
diversão diversã! ontem fomos ao teatro, Zsuzsanna, Gulnar, Karin, Marta e eu. Boas risadas, ótimas companhias. Say no more. :D
sexta-feira, 12 de março de 2010
terça-feira, 9 de março de 2010
sábado, 6 de março de 2010
Entrando na quarta semana de curso, tem sido muito bom revisar conteúdos que não via há anos, ou talvez nunca tenha visto. Tenho conhecido gente de todo canto do mundo, e lidar com diferenças culturais naturalmente nos transforma, creio eu, em pessoas mais flexíveis e tolerantes. Tem sido bastante prazeiroso de um modo geral e acho que firmar esta base é de extrema importância, visto que o IELTS é cheio de pegadinhas e testes pra confundir a tua cabeça.
Essa noite sonhei que estava numa espécie de tanque e havia um tubarão dentro. Me sentia estranhamente à vontade perto dele.
Antes de ontem acordei e o primeiro pensamento que tive foi: caramba, tenho quase 30 anos!
segunda-feira, 1 de março de 2010
-- Sri Swami Sivananda