The Cosmic Emporium

[Gio]

#Trending ...

***

Respect
Respect is a positive feeling or action shown towards someone or something considered important, or held in high esteem or regard; it conveys a sense of admiration for good or valuable qualities; and it is also the process of honoring someone by exhibiting care, concern, or consideration for their needs or feelings.

[Gio]

I will share this item here ...
Highly recommended ...

These Recovering Addicts Formed The Ultimate Orchestra
Inspirational Documentary) - Real Stories

In this touching documentary, we follow the orchestra and learn about the musicians' individual journeys as recovered addicts.

Among the personal stories, the initiator and composer James McConnel carries with him perhaps the most tragic story of them all: he lost his then only 18-year-old son to a heroin overdose and is now working to inspire and change the lives of addicts through music.

Follow James McConnel and the orchestra's intense work towards a spectacular one-off performance with the London Symphony Orchestra.

Published on Aug 31, 2019

1:01:40 minutes

Source: https://www.youtube.com/watch?v=Qxo2LYKP5ic

[Gio]

It surly looks it ...

SET IN MORALLY BANKRUPT AMERICA...

Joaquin Phoenix: I went mad transforming into 'Joker' ...

Joker Trailer #1

October, 2019


Movieclips Trailers
Published on Aug 28, 2019

2:34 minutes

Source: https://www.youtube.com/watch?v=rgXplohCw5o

Joaquin Phoenix boldly reinvents Batman's cackling arch-nemesis in Todd Phillips'
dark new vision of the supervillain origin story, also starring Robert De Niro.

The clown prince of crime is alive and mentally unwell in Gotham City in Todd Phillips' grippingly atmospheric supervillain origin story, Joker. While a never-better Joaquin Phoenix paints on the famed maniacal smile with his own blood at one memorable climactic moment of messianic rebirth, what's most noteworthy about this gritty entry in the DC canon and the lead actor's sensational performance is the pathos he brings to a pathetically disenfranchised character — just like countless others in a metropolis in which the social chasm separating the haves from the have-nots has become a pit of incendiary rage.

This is very much tethered to the superhero universe and intersects in ways both familiar and not with canonical Batman lore. But Joker could also be a film for audiences who don't much care about the usual Hollywood comic-strip assembly line. The smart screenplay by Phillips and Scott Silver anchors the story in a fiercely divided city with echoes of a contemporary, morally bankrupt America, albeit in the dire economic straits of a decade ago, or the next crisis that's just around the corner, depending on which financial forecasts you believe.

Built around a credible spiral from lonely outsider to deranged killer, it's as much a neo-noir psychological character study grounded in urban alienation and styled after Taxi Driver as a rise-of-the-supervillain portrait. It's arguably the best Batman-adjacent movie since The Dark Knight and Warner should see mighty box office numbers to reflect that. The must-see factor of Phoenix's riveting performance alone — it's both unsettling and weirdly affecting — will be significant.

The film is also an obvious homage to another Martin Scorsese title, The King of Comedy, with Robert De Niro playing the host of Live with Murray Franklin, a network late-night show on which it's the dream of Phoenix's party clown and aspiring standup comedian, Arthur Fleck, to appear.

Arthur tunes in to the show religiously with his sickly mother Penny (Frances Conroy) in their dingy tenement apartment, drifting early on into a fantasy in which he's plucked out of the studio audience to be embraced on-camera by Murray, stepping in for the father he has never known. Arthur even studies guests on the show and rehearses his entrance and couch banter at home, Rupert Pupkin-style, though it's clear from the outset that his disillusionment with Murray will turn ugly.

Some brisk scene-setting via opening news reports announces a city-wide emergency as an ongoing strike has left trash piling up, attracting a plague of "super-rats," while fire-sale signs line the depressed retail streets. Arthur is first seen trying on a smile and then a frown, a tear streaking his white clown makeup before he heads out for work carrying an "Everything Must Go" discount sign for a struggling business. He's jumped by a bunch of teen hoodlums who steal his sign and give him a beating in an alley.

"Is it just me or is the city getting crazier?" he asks his social worker (Sharon Washington), while requesting additional meds on top of the seven he's already taking. She agrees these are tough times, people are out of work and struggling.

One key symptom of Arthur's mental illness is a kind of ha-ha Tourette's — a medical condition that prompts him to laugh uncontrollably, usually at awkward moments. He carries a card by way of explanation, reading "Forgive My Laughter." This has contributed to his reputation as a freak at work and pretty much confined his social circle to his mother. She nicknamed him "Happy" from a young age and told him he was "put here to spread joy and laughter." But Arthur most of the time feels barely alive.

When Randall (Glenn Fleshler), a colleague at the clown-for-hire service where he works, slips him a handgun to protect himself, Arthur starts showing a little more spark. This manifests in the first of several mesmerizing sequences of shirtless dance (this one to "Slap That Bass," from the Fred Astaire movie Shall We Dance), in which Phoenix's sinewy body contorts in twisted rapture. The actor's dramatic weight loss for the role gives him an emaciated, reptilian look. Later those moves will become more elegant — almost balletic as he celebrates his first kills in a grimy subway restroom, and most memorably as he struts down a stone staircase in full Joker finery, to Gary Glitter's "Rock and Roll (Part 2)."

The music choices throughout are invigorating and slyly ironic, including a double dose of Sinatra ("That's Life" and "Send in the Clowns") and some vintage Cream ("White Room") as Arthur surveys the mayhem he's unleashed.

Some of the best moments of Phoenix's highly physical performance are the transformative interludes in which the increasingly unhinged Arthur applies his clown makeup and later dyes his hair, becoming the Joker.

The protagonist's simmering psychosis is echoed in the unrest rippling through the city, given gritty, grubby textures and deep, rich hues by cinematographer Lawrence Sher. The look of Mark Friedberg's production design is very much pre-Giuliani New York, with porn theater marquees advertising titles like Strip Search and Ace in the Hole (not the Billy Wilder film), and the blend of authentic NYC locations with sets is seamless. All this is rendered even darker by the disquietingly melancholy mood of Hildur Gudnadóttir's brooding orchestral score, which cranks up into thunderous drama as the chaos escalates.

Stitching their original supervillain genesis story neatly into the classic Batman world, Phillips and Silver have prominent moneybags Thomas Wayne (Brett Cullen) announcing a run for mayor with a promise to set the fractured city back on the right path. Penny Fleck worked for the Wayne family for many years, but her letters appealing for help, especially as she worries more and more about the stability of her son, have gone unanswered.

When Arthur reads one of them, he learns a different history than the one his mother has shared, leading to a pair of uneasy encounters — one with a brusquely dismissive Thomas Wayne at a gala screening of Chaplin's Modern Times, and a creepily portentous introduction through the iron gates of Wayne Manor to the mayoral candidate's young son Bruce (Dante Pereira-Olson), in which an unidentified Alfred (Douglas Hodge) intervenes. The murder of Bruce's parents sticks to the version depicted in the Christopher Nolan movies and elsewhere. But the Joker's evolution feels freshly minted, partially driven by a now far more personal resentment of the Wayne family.

Given that the world created here is clearly modeled on New York in the not-too-distant past, it will be interesting to see how audiences respond to the alarming depiction of a city under siege. The growing wave of vigilante violence includes a mob assault of two detectives (Shea Whigham and Bill Camp), left in critical condition. And the choice of a trio of cocky young Wall Street jerks as the murder victims that trigger a chain reaction seems a deliberate provocation, especially once tabloid headlines start blaring: "Kill the Rich: A New Movement?"

The more graphic violence is confined to just a small handful of key junctures, though it definitely gets visceral and bloody. But the movie's chief fascination is the tempestuous soup in Arthur's head as he steadily disconnects from reality and lurches into an alternate dimension. One example of this is his projection of a relationship with the cool single mom down the hall (Zazie Beetz), whose neighborly elevator chit-chat and eye-rolling acknowledgement of the lunacy gripping Gotham make Arthur believe she's on his wavelength.

What's so compelling about the title role, both as written and in Phoenix's full-throttle, raw performance, is that we're encouraged to feel sympathy for the Joker even as he's clearly turning into a homicidal maniac.

An innocent part of him really does just want to follow his mother's guidance and make people smile. But the city pulls funding for its welfare programs, forcing him to go off his meds; a video clip of him laughing uncontrollably while doing a spot at a standup club gets mocked by his idol Murray on national TV; even his doting mother is perceived to have failed him when he filches her medical records and finds what's either a disturbing cover-up or fuel for paranoia.

The trajectory of innocence to evil is a tragic one. But watching Arthur exult as the crime wave crescendos is a chilling spectacle illustrating what all the ridicule, abuse and marginalization he's been subjected to have wrought.

Phillips is a long way from the Hangover trilogy, working confidently in a more ambitious vein akin to what he did as a producer with Bradley Cooper (who's also on board here) to reimagine A Star is Born for contemporary audiences. With editor Jeff Groth, he keeps the pacing steady and satisfying over two hours, fueling the suspense and modulating the peaks and climactic builds with assurance.

De Niro appears to get a kick out of playing a smarmy character in a film that references two of his iconic screen roles, making Murray a slick showbiz pro but also a morally questionable figure ready to exploit Arthur's fragility for good TV. And Beetz demonstrates more of the relaxed appeal that makes her such a winning presence on Atlanta. (Her crony from the Donald Glover show, Brian Tyree Henry, makes a brief appearance as an asylum records clerk.)

But this is Phoenix's film, and he inhabits it with an insanity by turns pitiful and fearsome in an out-there performance that's no laughing matter. Not to discredit the imaginative vision of the writer-director, his co-scripter and invaluable tech and design teams, but Phoenix is the prime force that makes Joker such a distinctively edgy entry in the Hollywood comics industrial complex.

Rated R, 121 minutes

Source:hollywoodreporter.com

[Dreamtimer]

Heath Ledger suffered playing the role of the joker. He was already in pain with his back and then he went into a very dark place with that role. Acting really does involve tapping into real emotion and playing roles can be emotionally exhausting.

I always had a romantic idea about acting, that it was always fun. Turns out, that's not the case.

[Gio]

An outside inside look ...

Whitehouse insiders reveal damning allegations against Donald Trump | 60 Minutes Australia

No one in Washington DC works harder than the person in charge of the red carpet, and whoever it is will be extra busy when our Prime Minister arrives in the next few weeks to have his back slapped by President Donald Trump. The White House has already signalled it’s setting the pomp and ceremony switch to extreme because the US-Australia relationship is so vital. But there could be problems. Two former high-profile Trump aides, Omarosa Manigault Newman and Anthony Scaramucci, have turned on the President and are now revealing damaging details about the inner workings of the White House. And as Karl Stefanovic reports, one of the most embarrassing claims is that the supposed “unbreakable” alliance between our two countries, far from being Trumped, was almost dumped.

Published on Sep 1, 2019

19:50 minutes

Source: https://www.youtube.com/watch?v=v7oIZB-m9W0

[Gio]

Excellent rendition ...

♪ Those days are gone forever
I should just let them go but ♪

“The Boys of Summer”

Don Henley on the Howard Stern Show (2015)

Published on Aug 31, 2019

6:21 minutes

Source: https://www.youtube.com/watch?v=hoxEcD4PCco

[Gio]

I shared this excellent item yesterday on the "Tartaria Remembered, All Research N Truth Welcome" thread ... It is one of Max's best offerings recently to the Alternative community's conspiracy mindset ...

Hidden History - Cyclic Cataclysms


Max Igan - Surviving the Matrix -
Episode 390 - American Voice Radio, August 30, 2019

54:56 minutes

Source: https://www.youtube.com/watch?v=dUp4yjSR9fE

[Gio]

My how time fly's ...

Eyes Wide Shut: 20 years on, Stanley
Kubrick’s most notorious film is still
shrouded in mystery

On its 20th anniversary, Ed Power reflects on a film that was unflinching in its insights into sexuality and brusque about matters of the heart – to a degree unthinkable in mainstream entertainment today


Nicole Kidman and Tom Cruise in Eyes Wide Shut

It was the fastest “yes” Tom Cruise ever uttered. Late in 1995, the world’s biggest movie star travelled by helicopter to Childwickbury Manor in Hertfordshire. Waiting on the expansive lawn was director Stanley Kubrick, who’d lived semi-reclusively in the 18th-century pile since 1978. So began their great adventure together making Eyes Wide Shut, the eternally divisive psycho-sexual meditation released 20 years ago in the UK this week.

A still potent mystique hangs over Eyes Wide Shut. That’s partly down to the subject matter. When the glamorous wife (Nicole Kidman) of a successful doctor (Cruise) confesses the desire she felt for a stranger months previously, he plunges down a whirlpool of jealousy.

Over the course of a single hallucinatory evening, Dr Harford embarks on a tour of the murkiest recesses of the human heart. He fends off the daughter of a patient only just passed away, almost hires a manic pixie dream girl prostitute and then blunders upon a masked orgy. It’s nightmarish. The audience is never entirely clear whether what’s happening is real or a dive into Harford’s green-eyed dream-life.

All of that would be enough to ensure its notoriety. Yet the allure of Eyes Wide Shut also surely flows from the degree to which death intrudes on a film about sex. Kubrick suffered a fatal coronary before its release. Just six days previously, he had screened his final cut for Cruise and Kidman.

Eyes Wide Shut, along with all that, appeared to foreshadow the unravelling of Cruise and his co-star Kidman’s outwardly luminous marriage. They divorced in August 2001 – almost exactly two years since the project’s release.It seemed ominous and more than a coincidence. Had Kubrick’s caper put a stake through the heart of their relationship?

Such were the questions lurking in the future as Cruise, grinning like the matinee idol he was, sat down to a long lunch with Kubrick at Childwickbury in 1995. The conversation was mostly trivial. They discussed their shared passions: vintage cameras, planes, the New York Yankees. Cruise told Kubrick how seeing the director’s 2001: A Space Odyssey at age six had blown his mind. “I couldn’t stop thinking about it. What is life? What is space? What is existence?” (Some of us will have had the same experience watching Top Gun.)

“He was just waiting, alone in a garden,” Cruise remembered of meeting Kubrick. “He walked me around the grounds, and I just remember thinking, ‘This guy is kind of a magical, wonderful guy.’”

Still, they did eventually get around to the matter at hand. Kubrick wanted the star of Top Gun and Cocktail to play the lead in his sexually frank adaptation of an Austrian avant-garde novel from the 1920s. The film was to lay a seemingly solid marriage out on the figurative slab. Like a pathologist peeling back waxy layers of skin, Kubrick would coldly scrutinise what festered beneath.

Cruise was all in. And he had a suggestion of his own. He wondered if Kubrick might consider casting his real-life spouse, Nicole Kidman, as the wife. Two decades on, this unlikely teaming-up of hermit director, cocksure actor and screen siren can be considered one of Hollywood’s most fascinating anomalies. How on earth did this movie ever come to exist?

Eyes Wide Shut would cast a long shadow. It added to the background noise as Cruise’s public image underwent a post-Kidman meltdown. In 2005, he went on Oprah Winfrey and proclaimed his love of Katie Holmes. He did so in the traditional fashion of bouncing on a couch and baying like a labrador. The maniacal side he had first hinted at when going through the grinder with Kubrick had blossomed into something awe-inducing and frightening.

It’s impossible to watch Eyes Wide Shut today without all of that – Kubrick’s coronary, the Hollywood divorce, the couch-bouncing – playing on a continuous loop in your head. The effect is to amp up the already lurid weirdness. It is a deeply dissonant film. Even for Kubrick, certainly for Kidman and Cruise. But it’s also unflinching in its insights into sexuality and brusque about matters of the heart – and other body parts – to a degree unthinkable in mainstream entertainment today. Even in 1999, it felt slightly like something from another era. Eyes Wide Shut harked back to the chilliness and stylised nihilism of Seventies cinema.

On top of all that, it claims the Blue Riband for most famous on-screen orgy in Hollywood history. In the unlikely event of Kubrick and his stars ever being forgotten, it will reign in perpetuity as the group sex fandango to rule them all. Say “screen orgy” and what most people think of is Cruise gawping in pervy incredulity as revellers in Venetian masks get jiggy with it (and with each other).

The movie was a boundary-breaker long before its release. It holds the record for longest ever continuous film shoot. The 400 days Kubrick required his cast and crew to toil at Pinewood Studios was laborious even by his painstaking standards. And it played havoc with Cruise, forced to push back Mission: Impossible 2 again and again. As an entire production sat on its hands and waited on the actor in America, Kubrick rubbed his chin and tinkered.

Eye’s Wide Shut had been a lifeline obsession for the director. Its origins stretched back to the earliest years of his career. As a hotshot younger photographer in New York, he’d been spellbound by Austrian writer Arthur Schnitzler’s 1926 novella Traumnovelle (“Dream Story”). He felt it confronted one of the last taboos in society: how to deal with “forbidden” desire within a marriage?

“The book opposes the real adventures of a husband and the fantasy adventures of his wife,” Kubrick commented. “[It] asks the question: is there a serious difference between dreaming a sexual adventure, and actually having one?”

Kubrick had made several previous attempts to adapt Traumnovelle. In 1973, he had the idea of changing the setting from turn of the century Vienna to contemporary Dublin. His plan was to cast Woody Allen in the Cruise role of happily married husband sexually unmoored when his wife confesses her secret desires. Somewhere along the way he concluded, moreover, that the time-frame should be changed from Schnitzler’s Mardi Gras to Christmas – giving us the least seasonal Yuletide movie ever.

Steve Martin was also considered by Kubrick after the director had decided the adaptation should be set in New York. By the early Nineties he was eyeing A-list Mr and Mrs Alec Baldwin and Kim Basinger as his emotionally diseased power-couple. And then Cruise’s name came up.

It was suggested not by Kubrick but by his producer at Warner Brothers, Terry Semel. The director wanted Warner to stump up a $65m budget for Eyes Wide Shot. Kubrick refused to film outside the UK and much of the production costs would go towards recreating Manhattan in England. Semel was amenable – but only with a knock-out star in the Dr Harford role. Who was more knock-out than the magnetic lead from Top Gun and Mission: Impossible?

Kubrick wasn’t sure. The last big name he’d worked with had been Jack Nicholson on The Shining in 1980. The film was eventually hailed a masterpiece. But the shoot had been hell. Kubrick had been particularly unappreciative of Nicholson’s tendency to speak his mind rather than do as instructed. “Stars,” he told Semel, “have too many opinions.”

Semel persevered. And Cruise said “yes” without hesitation. Once that was settled, Kubrick was amenable to casting Kidman as Mrs Harford. “Tom and Nicole” were one of the most recognisable couples in the world. Their marriage had been subject to the traditional tabloid tittle-tattle. A real-life husband and wife portraying unravelling spouses introduced a new layer of psychosexual subtext. Kubrick loved it.


Kidman and Cruise on the red carpet at the 69th Academy Awards, 1997

Kubrick appeared to, additionally, get a kick out of exploring fissures in Cruise and Kidman’s real marriage. He had Kidman disclose her inner-most feelings in extensive therapy sessions, the contents of which were not revealed to Cruise. And he forbade the actor from the set when Kidman was shooting her fantasy trysts with the naval officer who had awoken something in Alice.

He retained his enthusiasm through the gruelling shoot. Cruise and Kidman found it harder to stay positive. It wasn’t the intensity of the material, nor the semi-nudity required of Kidman (who’d been strict from the outset as to what she would and would not do). It was that it went on and on, seemingly without end. On one occasion, Kubrick had Cruise walk through the same door 95 times. “Hey, Tom, stick with me, I’ll make you a star,” he is reported to have joked. Cruise tried to laugh but couldn’t quite bring himself to.

“We shot for 10-and-a-half months but we were there for a year and a half,” Kidman later lamented. “Sometimes it as very frustrating because you were thinking, is this ever going to end?

Cruise was meanwhile coming under pressure from Paramount Pictures over Mission: Impossible 2, already put back twice for Eyes Wide Shut. More than once he’d politely taken Kubrick aside and wondered if the director might possibly have an idea when he might done. Kubrick never had a straight answer. Cruise soon had ulcers – a fact he kept from Kubrick. He didn’t want more complications.

“I didn’t want to tell Stanley,” Cruise told Time. “He panicked. I wanted this to work, but you’re playing with dynamite when you act. Emotions kick up. You try not to kick things up, but you go through things you can’t help.”

It’s astonishing that scheduling was Cruise’s biggest issue. Kubrick made full use of the opportunity to strip away the actor’s movie star aura. Again and again through the 159 minutes, Kubrick went out of his way to paint him unflatteringly.

The fly-boy glibness central to the actor’s persona was openly ridiculed by the director. In an early scene, Harford flirts with two models at a party. Kubrick has Cruise unleash his trademark boyishness. But he frames it in such way as to make Cruise come across callow and charmless. Being chatted up by Tom Cruise, the film more or less says out loud, is the least seductive experience under the sun.

There were also winks towards unfounded rumours about Cruise’s sexuality. Navigating New York by night, Harford has a run-in with fratboys who taunt him with homophobic slurs. Kubrick used the same scene to mock Cruise’s “diminutive” 5ft 7in stature. “I got dumps bigger than you,” one of the aggressors laughs, swatting Harford aside.

“Kubrick seems to take immense delight in subverting Cruise’s virile man-of-action image – Bill is almost pathologically passive, unable to acknowledge, let alone explore, his sexuality,” went a BFI essay marking Eyes Wide Shut’s anniversary. “He’s also cringe-inducingly bourgeois, introducing himself as a doctor to everyone he meets, as if this automatically grants him moral authority in any situation.

And yet, both Cruise and Kidman proclaimed themselves delighted with the finished movie. Kubrick was so anxious that details might leak that when he arranged a screening for them in Los Angeles the projectionist was ordered to look away from the screen.

Their director’s paranoia notwithstanding they were proud of what their hard work had yielded. Here was an avant-grade film with a message everybody could understand: you can never fully know the person next to you in bed.

“I don’t think it’s a morality tale,” said Kidman. “It’s different for every person who watches it.”

Cruise agreed. Kubrick had made a masterpiece of ambivalence. “The movie is whatever the audience takes from it,” he said. “Wherever you are in life you’re going to take away something different.”

Twenty years on, Eyes Wide Shut is an acknowledged classic. But it is also notorious – largely on account of the masked orgy. It is in every sense the centre piece, and it was the sequence with which Kubrick struggled the most. He was never a prudish director.

But nor was he one for pressing his audiences’ noses in debauchery. As time came to shoot Eye Wide Shut’s carnival of flesh, assistant director Brian Cook joked that they should have hired Tony Scott to help out. The subject at hand far better suited his flashy style.

Kubrick’s way of getting his head into the orgy was via the soundscapes of composer Jocelyn Pook. One of his producers had introduced him to her piece “Backward Priests”, which features Romanian Orthodox Divine Liturgy played in reverse. Kubrick was struck by the dark, dissonant quality.

“He looked at me right in the eyes and said ‘Let’s make sex music!’ I thought to myself, what the hell is sex music? Is it Barry White?” Pook would tell Dazed and Confused. “Stanley didn’t really care to elaborate, he just trusted me to answer the question.”

She composed 24 minutes of roiling chants and percussion, using the same back-to-front technique pioneered with “Backwards Priests”. “And God told to his apprentices,” go the lyrics (when played right way around). “I gave you a command ... to pray to the Lord for mercy, life, peace, health, salvation, the search, the leave and the forgiveness of the sins of God’s children.”

Kubrick and his crew were meanwhile immersed in softcore pornography, in particular David Duchovny’s Red Shoe Diaries. They wanted a sense of how far they should be prepared to push the material. And to settle on a line they would not cross.

58 moments

Source: https://www.youtube.com/watch?v=xgVo96JaqeM


The orgy was shot at Mentmore Towers, a rural estate in Buckinghamshire built by the Rothschilds (known to hold mysterious masked balls). Initially, Kubrick wanted the models participating in the sequence to simulate sex at length. They were even asked to peruse the Kama Sutra. The response that came back was that they hadn’t signed up for that level of explicitness.

So the sequence was instead reimagined as a choreographic piece suggestive of bacchanalia. As Cruises takes it all in, you can’t quite focus on what’s going on. It’s mostly dark, suggestive blurs. The imagination is left to do the heavy lifting.

Cruise and Kidman may have adored Eyes Wide Shut but critics were slower coming around to it, even after Kubrick’s sudden death at 70 made this his accidental swan song. That wasn’t unusual with the director. Both 2001: A Space Odyssey and The Shining had been greeted with bafflement. And A Clockwork Orange had sparked a full-on moral panic. The reaction to Eyes Wide Shut was somewhere between these two poles. Many simply found it distant and a bit dull (it did make back its budget nearly three times over and is Kubrick’s highest grosser).

“It’s empty of ideas which is fine,” said The Washington Post. “But it’s also empty of heat.” “This is a film about sex that isn’t sexy,” agreed Total Film. “A movie about love with a cold heart.”

Kubrick, though, was always about the slow burn. And so it is only with the decades that the true genius of Eyes Wide Shut has been revealed. Christopher Nolan, a self-confessed Kubrick acolyte, is among the many who have confessed to misunderstanding it on first viewing. Only later, older and slightly wiser, did he begin to grasp what Kubrick was reaching for.

“Watching it with fresh eyes, it plays very differently to a middle-age man than it did to a young man,” Nolan said. “There’s a very real sense in which it is the 2001 of relationship movies.”

“I was happy that he had chosen to go after something very difficult: the idea of what should and shouldn’t remain unspoken in a marriage,” agreed Steven Soderbergh. “He was trying to get at something that was emotionally ambitious in a way that most of his films aren’t.”

Source: independent.co.uk/

[Gio]

Then and now ...
More movie/film stuff ...

#1123 Once Upon A Time in Hollywood w/ SCOTT MICHAELS -
Filming Locations - Rick's House (9/3/19)

Daze with Jordan the Lion


Published on Sep 3, 2019

19:26 minutes

Source: https://www.youtube.com/watch?v=MTThFJLEags

[Gio]

The latest ...

Queue the 9/11 Distraction Story - #NewWorldNextWeek

Welcome back to New World Next Week – the video series from Corbett Report and Media Monarchy that covers some of the most important developments in open source intelligence news ...


corbettreport
Published on Sep 5, 2019

15:45 minutes

Source: https://www.youtube.com/watch?v=wPbDD_J4CTk

This week:

Story #1: U.S. Unleashes Military to Fight Fake News, Disinformation
https://yhoo.it/2MPpy3W

HARPA, FAANG To Determine If Citizens Should Own A Gun
https://bit.ly/2lxcW52

Story #2: Khalid Sheikh Mohammad: 2021 Trial Date Set for “Architect of 9/11”
https://bbc.in/2k3zkTa

#PropagandaWatch: When is the News Not the News?
https://bit.ly/2ktmrlu

NWNW: New York Area Fire Commissioners Make History, Call for New 9/11 Investigation // Accused 9/11 Mastermind Open to Testimony Against Saudi Arabia (Aug. 1, 2019)
https://bit.ly/2lZkhKS

Story #3: A Modest Proposal Indeed - Academia Considers Cannibalism
https://bit.ly/2lxTO6S

“A Modest Proposal”, by Dr. Jonathan Swift
https://bit.ly/2q4HwSa

“#NormalizeCannibalism” Tweet Archive
https://bit.ly/2kuNvAJ

National Geographic Says Cannibalism Is Surprisingly Common
https://bit.ly/2lCUBTW

Netflix’s Ads for ‘Santa Clarita Diet’ Are Good Gross Fun, But One Went Too Far
https://bit.ly/2lZijtV

Truthstream News: The System Is Normalizing Cannibalism
https://bit.ly/2lZikxZ

FLNWO: Soylent Green
https://bit.ly/1Q6Vg8X

[Gio]

#Canipeeinthecorner ...

WATERGATE

Did Trump Break the Law by Altering Hurricane Dorian Map?


The Late Show with Stephen Colbert

Published on Sep 4, 2019

9:15 minutes

Source: https://www.youtube.com/watch?v=mW1sR6mlrhk

[Emil El Zapato]

I'm lost...

[Gio]

New season ...

Hiking with Kevin ~ Why Alec Baldwin can't run for president.

Alec Baldwin hikes with Kevin Nealon in a Los Angeles canyon. Alec chats about his portrayal of Trump on SNL, various experiences on SNL, his favorite sketches, disliking his brothers equally, his replaced hip, anger management, being stressed, social media, his dislike of the paparazzi, getting ‘intimate’ with the paparazzi, hanging out with Frank Sinatra, having a fifth child, his daughter Ireland, stand up, Trump, leaving his wife a pile of money, jealousy, his podcast, “Here’s The Thing,” playing football with Kevin at 30 Rock, super powers, having someone else’s career, running for president plus more…

Published on Sep 5, 2019

18:56 minutes

Source: https://www.youtube.com/watch?v=BcFHyOtQlpw

[Gio]

First recorded in September 1978 ...

And it never gets old !


Earth, Wind & Fire

Source: https://www.youtube.com/watch?v=Gs069dndIYk

[Gio]

And speaking of the past ...

Erik Davis - High Weirdness: Drugs, Esoterica, and Visionary Experience in the Seventies

LegaliseFreedom1

Erik Davis discusses his book 'High Weirdness - Drugs, Esoterica, and Visionary Experience in the Seventies'. A study of the spiritual provocations to be found in the work of Terence McKenna, Robert Anton Wilson and Philip K. Dick, 'High Weirdness' charts the emergence of a new psychedelic spirituality that arose from the American counterculture of the 1970s. These three authors changed the way millions of readers thought, dreamed, and experienced reality, but how did their writings reflect, as well as shape, the seismic cultural shifts taking place in America?

In 'High Weirdness', Davis - America's leading scholar of high strangeness - examines the published and unpublished writings of these vital, iconoclastic thinkers, as well as their own life-changing mystical experiences. He explores the complex lattice of the strange that flowed through America's West Coast at a time of radical technological, political, and social upheaval to present a new theory of the weird as a viable mode for a renewed engagement with reality. We ask 'What is real?', 'What is normal?', 'What are facts?', 'What is truth?' and find that reality is unstable and that the world is considerably more malleable than it at first appears.

Published on Sep 5, 2019

1:07:21 minutes

Source: https://www.youtube.com/watch?v=fPilOvQz3NQ