Taking advice from our reader, Amie, LI went out and rented Damnation, the Bela Tarr film, the other day. We’ve watched it twice. … I’m a reviewer of books, not film. I don’t know how to approach the medium. But let’s say something about Damnation anyway. Or one sequence. The sequence begins in a torrential rain – the rain beats down upon the coal mining city where the film is located, with few let ups, all through the film. You see the lights – this is a b&w film -- announcing the Titanik Bar. A car pulls up. A man gets out of it. We see all this from a camera that is mounted just behind the back of another man’s head, which looms in the shadows of the foreground. The camera is watching the bar at approximately his angle. Then the camera goes into the bar. In Goodfellas and Mean Streets, Scorcese made going into a bar or club a virtuoso fugue for camera, fluidly moving into the Copacabana (I think it was, in Goodfellas) through the kitchen and out into the show area with the faces
“I’m so bored. I hate my life.” - Britney Spears
Das Langweilige ist interessant geworden, weil das Interessante angefangen hat langweilig zu werden. – Thomas Mann
"Never for money/always for love" - The Talking Heads