What a Mistake

That’s one of most beautiful and moving song of this year,Richard God Bless you!

THE BULLET HOLE

Imagined of being able to backwards travel in the time carrying with you one of the best high definition camera available on the professional market and, once joints in years 30’s, to begin to resume the moments and vivid colors  of those times. Public Enemies written by Michael Mann, Ronan Bennett and Ann Biderman is drawn from bestseller of Bryan Burrough (the Italian edition published by Sperling Kupfer) and narrates of a country, the States, during the crisis of `the
29, while the bands of brave cold blood’s gangster running with fast car for the cities roads armed of powerful and automatic weapons ,heisting banks and destroying keeping books loans like modern Robin Hood. These will be destined to be confronted with the reaction of Washington and baby FBI with to head a young person and unscrupulous director, Edgar J.Hoover (Billy Crudup) and agent Melvin Purvis (a stoic Christian Bale). A epic as well as bloody-thirsty crash that will carry icone of the imaginary US collective  like the nobleman  John Dillinger (Johnny Deep with an interpretation that goes beyond the reliability of the personage), Pretty Boy Floyd (Channing Tatum) ; Baby Face Nelson (Stephen Graham) behind the slabs or often with their name carved over a tombstone. There is not a nostalgic translation of the facts but the search of the authenticity, of the realism meant also like a refusal of the subjects of conventional beauty (but Polly Hamilton interpreted from Leelee Sobiesky and Marion Cotillard in the role of Billie is splendid) and of every idealization in favour of a more pragmatic approach, often with an accent on the humble life or the quotidianity, with nearly documentaristic resumptions, for being able to us to render tangible which we are observing. This is the type of concept HD avant garde of sonorous visual authenticity/(powerful and defined sounds effects .45 ACP Tommy Gun included) and novellistic to which Michael Mann, collaborating with Dante Spinotti, it has intentional  join for Public Enemies; the dosed use of the classic conceptualized lighting system, typically named Hollywood’s Lighting, that it sees the use of powerful Beebe Night Lights for the nocturnal ambush to the hut of Little Bohemia in the forests of the Wisconsin for giving priority to the use of the practical natural light/already existing in location and available for that determined scene; being full  of nocturnal scenes of action, the conceptual key for this film is given by reading of the shadows from the support types as high definition, totally and positively different regarding if compared to film and this has allowed a dynamic use of the filmic grammar obtaining a modern film with hyper realistic look that does not get lost in romantic classicism and that it succeeds to conserve solid Manns trademarks beginning from the use of music, symphonic and ambient score by Elliot Goldenthal, music and use of the music that removes the breath for how much guessing, as it always happens in all the works of Michael Mann and that I have already wide dealt. Bravo and expert Italian director of photography Dante Spinotti to its fifth hard work with Michael Mann (Manhunter,the Last of the Moichans, Heat and The Insider) composing the film in format 2.40:1 has used for Public Enemies HD camera Sony F23, excellent for sharpness and depth of field (but also the F950 model with T950 adapter) in coupling to the small (but great) Sony EX1 for inner resumptions happened inside of car, using on these supports Lenses Zeiss Digiprimes and zoom Fujinon HAe10×10 (T1.8), while for any scenes shot in super 35mm with film Kodak Vison 3 500T 5219 has been used film cameras ARRI 435, 235 with the splendid optical Cooke S4 nearly to give a tribute to the past of Manhunter – “With digital cameras, there aren’t any steadfast rules, and I believe that gives me a huge amount of freedom,” he concludes. “The medium is romantic, interesting and beautiful, but it also looks real. And there’s so much you can do in post! Film has a certain kind of quality that cannot be matched by digital technology, but at times, the advantages digital has over film are important for the language and the contents of the story you’re telling, and that determines your choice.
Goes to to Colleen Atwood (already costume designer in Manhunter)the task ,does in excellent way because it becomes woven novellistic, to dress the personages of this film, sons of a casting at least fabulous: concept can be condensed with the face of the characther of Charles Winstead (interpreted from Stephen Lang). The production design, carefully splendid, are by Nathan Crowley (Dark Knigh,Batman Begins, Escape from L.A.) while in phase of pre-production the research work in location sees engaged, like always, Bravo photographer Gusmano Cesaretti that is also in dresses of Co-producer. There is who has compared Michael Mann to an author who prepares itself as Rembrandt and executes like Picasso others like Caravaggio that then is transformed in a Kandinsky, but what is the painting if not the main source through which the cinema he expresses himself visually? Interesting and true concept because in observing some they works have understood the visual process of Michael Mann. A visual and novellistic course ,that one of Mann,made by  a identification’s cinema (the scene of the Biograph Theater is a magum opus), revoluzionized  with ALI, stilized from Collateral and Miami Vice where Hi Def is contemporary phenomenon, witness of the change of our way to frame(shot) the images and transported in years 30’s it works to the perfection and that clean our preconcept been born from the repertory of sgranate, dirty images, sometimes sepia or black white images (than Mann it cites with a editing game during the scene of the extradition in Indiana), and far away from the reasoning that who it has lived those times and places has lived them  to colors and in the high definition of our eye.

MAN(N) OF ART

“Before I started working with him, he was described to me as ‘a director who prepares like Rembrandt and executes like Picasso,’ and I felt that was pretty insightful.”Dion Beebe ASC ,Aug.2004 American Cinematographer Hell On Wheels

Dante Spinotti, Mann’s cinematographer on four of his films, described the director’s visual processes in the following way. “It’s a little like being in front of a Caravaggio scene and changing it into a Kandinsky painting.” [25] The Kandkinsky-like qualities Spinotti is evoking are Mann’s intoxicating passion with the painterly, expressive, plastic possibilities of the cinema, with the way that framing, colour and light can transform a room in a house or a street at night. But while images in Mann’s films can sometimes be abstracted, expressive or surreal they are almost always tied to a character’s point of view, or the mood of the narrative, and always linked to emotion and affect.
MICHAEL MANN Cinema of images by Anna Dzenis

The Keep-The Last of Moichans

Manhunter-Heat-Collateral-Miami Vice

The Keep-The Insider-Public Enemies

Jericho Mile-Thief-ALI

GooD SamHaiN!

SamhaiN 2009

A second left to live

TIME IS LUCK

My Grandpa Longines,RIP

My most Expensive buy,1997,CITIZEN Promaster Titanium AA5440

My first CITIZEN ,it was 1990,still ok…

I’m not a watches collector but I think this three clocks fit perfectly for me…Now I have a dream ,not Omega or others expansive things, DIESEL DZ 4153 DZ 7092 ..really this brand has intresting designs!

PUBLIC ENEMIES Original Motion Picture Soundtrack

(As myself during the italian premier)

Waiting for the showtime start 6 November here in Italy finally I can press play over this interesting Soundtrack produced by Michael Mann Himself over Decca Label(B00013072-02) for his latest effort where Johnny Deep plays John Dillinger, famous gangster lived in to 30’s around US Midwest
Main compositions committed by restored and very original Elliot Goldendthal, back to scoring after 6 years since his last teathrcal work(SWAT) but involved in to the production of his opera GRENDEL and for the Beatles music of Across the Universe,now back to work with Michael Mann after HEAT(1995) and we see him employed to conduct a big orchestra with more than 70 elements.(Open and look at the booklet inside)
A powerful soundtrack in to the original compositions but reveal itself a fine blend with other songs, fine as the best Whiskey(call it burbon)of the after prohibition era
Open the CD the terrific TEN MILLION SLAVES by Otis Taylor from Recapturing the Banjo(2008) and repeat his talent with another one on position 10 NASTY LETTER from Truth is not Fiction(2003),a real genius this contemporary bluesman from Chicago.
Least of all the Track 2- CHICAGO SHAKE by Bruce Fowler Big Band(2008),Fowler is one of Hans Zimmer orchestrator, and tracks 8- BYE BYE BLACK BIRD from Mrs. Mark Isham Diana Krall , sing over arrangements by Goldenthal Himself this new version of a classic tune, amazing track, no less than this incredible rarity hypnotic that we can listen on track 12 – GUIDE ME O THOU GREAT JEHOVA, original recordings by Old Regular Baptist overlay by Elliot Goldenthal orchestrations.
As I note,I would point out the orginal compositions, powerful,different, miser of usual Goldenthalisms and in my view meet its best with the track 15 – JD DIES,this is the Opera Omnia of that outstanding soundtrack, death track that has reminiscence to Antonio Pinto ‘s “Requiem” from Collateral but could also remind a little bit of “Finale” from Titus Soundtrack. For what concern the last 6 track composed by Goldenthal I feel to draw a personal ranking from my tastes, 7 LOVES IN THE DUNES,3 DRIVE TO BOHEMIA,5 BILLIE’S ARREST,13 GOLD COAST RESTAURANT,9 PHONE CALL TO BILLIE ,11 PLANE TO CHICAGO(this latter remind me for a second to a famous Ruggero Leoncavallo’s opera)
A Memorable Soundtrack, excellent also in to sound record matter ,and keep in to 47 minutes of length a immense narrative’s soul , a real must for whom is follow Michael Mann also in his musical Choices ,choices supervisioned also here (since Collateral soundtrack)by three son as musical consultant Aran,Becca and Jessie Mann.
At the end of my short review the chronological sequence of the tracks used in to the feature with some happy surprises ,from rejected tracks HANNA SHOTS NEIL composed by Elliot Goldenthal for Heat’s final sequence,passing by BEAM by John Powell’s Thin Red Line directed by Terrence Malick till the tracks AFTER THE SHOOTING by Gustavo Santolalla for the soundtrack Things we Lost in Fire directed by Susanne Bier,and last but not the least THE LAST ROUND UP by Gene Autry sing by Johnny Deep after Jail Escape and than present again in to end credits.
Images and music, a functional soundtrack that helps to convey the magical power of author’s cinema by a Avant Garde Filmaker as Michael Mann, he is able learn us sniff at his cinema turn all that we are watching more tangible , real.
Thanks to reelsoundtrack
• After escape, packing at farm – Guide Me O Thou Great Jehovah by Indian Bottom Association Old Regular Baptists
• Chase in the woods – Ten Million Slaves by Otis Taylor
• Dinner song – Chicago Shake by The Bruce Fowler Big Band
• Second dinner song – Ballroom Bounce by The Bruce Fowler Big Band
• Dance with Billie – Bye Bye Blackbird by Diana Krall
• Walking into the hotel & coat check – King Porter Stomp by Benny Goodman ; His Orchestra
• (Unknown scene) – After The Shooting by Johan Soderqvist and Gustavo Santaolalla
• Kiss, love scene – Love Me Or Leave Me by Billie Holiday
• Bank robbery – Instrumental version of Ten Million Slaves by Otis Taylor
• Tucson hotel, after racetrack – The Man I Love (Life from Carnegie Hall) by Billie Holiday
• In car after broke out of jail – Nasty Letter by Otis Taylor
• Radio song in Billie’s apartment – Am I Blue? by Billie Holiday ; Her Orchestra
• Talk about going to Caracas – Bye Bye Blackbird by Diana Krall
• (Unknown scene) – Close Your Eyes by Al Bowlly with Lew Stone and His Orchestra
• At the bar, fixing deportation – Dark Was The Night, Cold Was The Ground by Blind Willie Johnson
• (Unknown scene) – Hanna Shoots Neil by Elliot Goldenthal
• (Unknown scene) – Beam by John Powell
• Closing credits – The Last Round Up by Gene Autry
• Original music for Public Enemies – Eliot Goldenthal

TRACKS
1 Ten Million Slaves / Otis Taylor 4:09
2 Chicago Shake / Bruce Fowler Big Band 3:10
3 Drive to Bohemia 1:11 Elliot Goldenthal
4 Love Me or Leave Me / Billie Holiday 3:21
5 Billie’s Arrest 2:20 Elliot Goldenthal
6 Am I Blue? / Billie Holiday & Her Orchestra 2:52
7 Love in the Dunes 1:50 Elliot Goldenthal
8 Bye Bye Blackbird / Diana Krall 3:47
9 Phone Call to Billie 1:44 Elliot Goldenthal
10 Nasty Letter / Otis Taylor 5:05
11 Plane to Chicago 3:24 Elliot Goldenthal
12 Guide Me O Thou Great Jehova / Indian Bottom Association Members 1:37
13 Gold Coast Resturant 2:04 Elliot Goldenthal
14 The Man I Love / Billie Holiday 3:07
15 JD Dies 3:56 Elliot Goldenthal
16 Dark Was the Night, Cold Was the Ground / Blind Willie Johnson 3:19

ITALIAN VERSION

The Dead

From brazilian composer Antonio Pinto,This is the most moving,beautiful song I have ever heard in my life,it comes from the soundtrack of Abril Despedaçado(Behind the Sun 2001) Directed by Walter Salles.

Behind the sun – Abril Despedaçado THE DEAD – A Morte

Thief

THIEF Recorded 1980,Chris Franke's Studio Berlin

Mastered George Piros all Composition by Edgar Froese,Chris Franke,Johannes Schmoelling Execerpt Confrontation by Craig Safan

Thank to Music Techology Inc for GDS Computer Instruments and Roland,Japan.

Direction TWM Management Bill Dern

Produced by Michael Mann and Tangerine Dream

1981 Elektra Records 5E-521

2004 Wounded Bird RecordsWO 521

1. Beach Theme 3:44
2. Dr. Destructo 3:18
3. Diamond Diary 10:48
4. Burning Bar 3:11
5. Scrap Yard 4:40
6. Trap Feeling 2:57
7. Igneous 4:45
8. Confrontation 5:44 Composed by Craig Safan

FROM MY SAMPLE “MANN OF SCORES”
In the Virgin edition the sound track Confrontation (composed by Craig Safan), used for the final gun fight between Frank (James Caan) and Leo (Robert Prosky), is omitted, apparently, by order of Edgar Froese, leader of the electronic rock group Tangerine Dream (born in the ‘70s in Germany), more inclined to produce an album exclusively of their pieces.
The wonderful post rock piece, whose player is “still unknown” and that vaguely recall Confortably Numb by Pink Floyd, has been replaced by another passage of a different kind and, equally great, called Beach Scene(Virgin Remastered reissue Tand 12).
Anyway, it is possible to draw some conclusion, both for the style rendered in the album Force Majeure and for the fact that played but not composed works are often omitted (in The Keep it is possible to notice that twice); such elements make us think that Tangerine Dream themselves have performed it.
As a result of my enquiry at ASCAP (American Society of Composers, Authors and Publishers) my hypothesis has been confirmed.
Anyway, the website voices in the net by Michael Berling quote this:

Thief was the second big Hollywood film that TD worked on after
Friedkin’s Sorcerer. Michael Mann was professionally prepared and knew precisely what he wanted. Up to this point, no one had ever used a sequencer for this category of movies. Sorcerer, which was the first film in which sequencers appeared, took place in very strange primeval
forest. Many people did not even really notice the exotic music. But
Thief took place in a normal thriller setting – here the music was
once unusual. This score was and is one of the most unusual of its
kind for American film, and TD received many offers after.
Michael Mann, who the band later worked for on The Keep, really helped TD quite a lot on the way when he offered this film to them.

There were two versions of the album; only the US release from 1981
included the track Confrontation that was composed and performed by
Craig Safan. All other worldwide releases featured the composition
Beach Scene (itself an extended version of the opening title Beach
Theme) instead, though, by mistake, the US track listing was printed
on the covers of some of the first releases.

There have been rumours that Confrontation was composed by Safan but played by TD, as the cover information suggests, but issue #9 of the newletter of TD’s now defunct official fan club (TDIFC) clearly
states: “During the time Michael Mann was editing and dubbing the
movie Thief, TD played some gigs in Italy. Michael rang them in
Venice and asked for a final guitar sequence which should close the
movie. There was no time for the band to step into an Italian studio
to record such a piece of music. What’s very unusual for TD,
happened. Michael had to ask an LA based guitarist to compose what’s
called later Confrontation on the record. It had to have playing
technique and a TD sound. Virgin records, who did the release of the
record outside the States, didn’t like the piece or the whole
procedure. It was done and taken off the tape. Business as usual!”

In the film, starting from the first talk between Frank and Leo and during the scene in the bar where the former quarrels with a very young William Petersen (Detective Will Graham in Manhunter), it is played Turning Point by the Mighty Joe Young (Album Live at Wise Fools Pub), with Willie Hayes,the band leader percussionist also in real life. However, in the music credits there is neither the title nor the author of the piece.

Willie Nelson, actor and famous country singer, has a small part in the film as Okla while Willie Dixon, bluesman in the Chicago area, appears in a short cameo in a wonderful scene both for colours and shade, cut off in the movie edition.
Finally, a note about the piece Igneous also included in the above mentioned “Force Majeure”; in this latter, slightly readapted album it is named “Thru Metamorphic Rocks” and it contains a part not present in the album but used in the film, and precisely when Frank is driving to
the car showroom unaware that some Leo’s hitmen (among whom “Carl” Dennis Farina) are waiting for him.
I would say for close this little analysis that Thief is Miliar stone in to field of 80’s soundtracks that keep alive its impressive electronic post rock modernism

KODAK Z1012 IS

6 Months later I have had the lucky to became the owner of this Kodak bridge camera I can assure that I really love what I can handle in my hands throught my eyes, these follow lines be the right and proper.
(photo taken with red tshirt under sun light through white curtain)I’m A die hard supporter of Canon Powershot A series expecially A620,whom I shot 5000 thousand or more pictures…I loved the way to use flip monitor (very important thing)and the quality of lenses 35mm-140mm;I love CANON DIGIC II processor with 7.1 Mpx 1/1.8″ Type CCD sensor and the quality of the images that can obtain,with very low artifact feeling,I loved the amazing .AVI shots and the software Zoom Browser Ex and last but not the least I was happy to be wide also with a “narrow” 35 mm wide angle and that’s cool…
So due some unexpected events and long readings on net,my hardware’s turning point(read my Hardware’s Dream on this blog) felt over KODAK Z1012IS expecially for budget reason,the best quality price never meet before; among these things I was lucky to found other amazing features (expecially one,the outstanding 16:9 setting )that help me have no regrets if compared to A620.
With a 1/2.33″ 10.1 Mpx CCD sensor combined with KODAK Color Science Chip I love KODAK Z1012IS color saturation and the amazing 12x Schneider-Kreuznach Variogon aspheric all-glass lens 33mm-396mm build in to this model,I love the total controls on MANUAL mode(many f steps) and good bless the engineer that build the SMART Mode of this device;last but not the least I like the flexibility on power supply matter(All Lithium type with size AA – Klic 8000 or CR V3) and how many available shoots I have with this kind of batteries.
Wide angle 33mm is not so wide if I compared to the amazing KODAK P880 24mm but is far better thing than the “wide very barrel distortion” 28mm of Z1015 IS and wider than A620 35mm.The best ISO setting are 64 & 100,the images are such perfect,pictorial,I’m learing to use IS0 200,and I’m sure that grain look from ISO 400/800/1600 could be a good thing in any status.I’m just in a bridge world that could have its limits but I believe that this camera could be good way to express my potentials.Is still available on the market since 2007 and If will become one of your wish I hope you will be able to found one.

One of my best 16:9 lucky strike with z1012,sudden lighting during a storm catched coming out drunk from a pub during a windy stormy nite
CHECK MY FLICKR

Panorama Stitch Mode Amazing tool

æsthetics reflection

æsthetics means the critical reflection on art, nature and culture,so today I was sitting in to a barbershop’s lobby waiting for my turn and a magazine comes in my hands,when I opened the first pages fall over this masterpiece,I love call masterpiece something bring me in what I wrote at the beginning of these lines…

This specatcular building named CAJA VITAL and its tructure made by stainless steel is set in northeast area of Victoria Gasteiz(capital city of the province of Álava and of the autonomous community of the Basque Country in northern Spain);That  æsthetics construction is a local Savings Bank created by Eduardo Aguirre and Javier Mosaz arquitectos.
If the original concept say to identify this building as a live organism in movment,my first thoughts been quite different,I saw in my mind this structures as the ending parts of a sea cliff,enough for wrote some lines and evidence this amazing and inspiring location.


CAJA VITAL