[Édith Piaf in Jean Renoir‘s FRENCH CANCAN, via.]
Driving with only terrestrial radio and a temperamental CD player means embracing chance and the random. [Also, overlapping NPR, "New" "Country," the Jeebus-inclined, and fervent sports/political commentary emanating from a hateful mirror planet.] So for the final day on the road, I thought I'd put up an alternate mix tape of sorts.
- A candy-colored clown they call Nick Rombes/Tiptoes to my room every night: "Over the period of one full year—three days per week—TheBlue Velvet Project will seize a frame every 47 seconds to explore, ending at around second 7,200 in August 2012. The goal is to move through this seminal film in the equivalent of digital slow motion, using the technologies of our hyper-speed era against themselves to rediscover the photographic beauty, lost meanings, and ideological fault lines in the frames of Blue Velvet."
- Give me back my broken night/my mirrored room, my secret life/it's lonely here, there's no one left to torture: Aaron Hillis speaks with Miranda July.
- That burrrr! Sean Connery and Zoe Caldwell in a scene from Macbeth, telecast by the CBC in 1961. [via]
[via]
- Serge Gainsbourg, La recette de l’amour fou, 1958, live at the Trois Baudets, Paris.
- Sublime? Girish, considering the musical, name-checks Dyer ["An attempt to dissolve the very distinction between narrative and numbers by means of something that strongly unites and binds them both together."] and Rosenbaum ["displaying a related impulse — 'to perceive the musical form as a continuous state of delirious being rather than a traditional story with musical eruptions.'"].
- Ridiculous? Flavorwire singles out 50 of the Best Music Moments in Film History. So much with which to argue.
- Via Twitter, Mark Olsen gives the back story on a personal favorite music moment in film history: "Also, blast "Don't Stop 'Til You Get Enough" during MORVERN's final rave scene. It's what Lynne Ramsay initially wanted but couldn't afford."
- Music supervisor Karen Elliott discusses the challenges of "finding and licensing the 'source cues' — the background songs that play throughout the movie.... [for a] film [that] consists of a series of scenes taking place the same day – July 15 — in years spanning the ‘80s through the aughts." "That was something Lone felt very strongly about,” remembers Elliott. “She wanted music that was year-specific, and she also didn’t want people writing in later, ‘You used this song but it wasn’t released until October!’"
- "Trent Reznor and Atticus Ross scored David Fincher's The Social Network and are doing the same for Dragon Tattoo. Results are, as expected, creepy and ambient!"
- Intriguing query via H-Film.net: "A colleague and I are developing English transcripts of some older Hong Kong films that are not currently available with subtitles. Some of the movies are full of colloquialisms, puns, slang, obscenities, and physical gestures particular to Cantonese or even just Hong Kong Cantonese. While these elements are easily annotated within a textual transcript, we're not sure how to preserve them within the space and legibility conditions of subtitles. Should the translation go for literal accuracy or intended meaning? Do subtitles ignore bodily communication altogether?"
- Finally, via Balk, an outro.
