Krzysztof Komeda playing sax for Zofia Komeda | Poland, 1958


Wojciech Plewiński: Krzysztof Komeda and his wife Zofia Komeda, Zakopane, Poland, 1958

Wojciech Plewiński: Krzysztof Komeda and his wife Zofia Komeda, Zakopane, Poland, 1958


Krzysztof Komeda (1931-1969) was a Polish film music composer and jazz pianist. Komeda wrote the scores for Roman Polanski’s films Rosemary’s Baby, The Fearless Vampire Killers(1967), Knife in the Water (1962) and Cul-de-sac(1966). Komeda also wrote the music for Tom Segerberg’s movie Kattorna, Hennig Carlsen’s Hvad Med Os, and Sult (based on Knut Hamsun’s novel Hunger), Andrzej Wajda’s Innocent Sorcerers (1960), Janusz Morgenstern’s Good Bye, Till Tomorrow (1960), Jerzy Stefan Stawinski’s Pingwin (1965), Jerzy Skolimowski’s Le départ (1967) and more than 70 soundtracks

Komeda’s album Astigmatic (1965) is widely regarded as one of the most important European jazz albums.


Also: 


Human Relations | Anton Chekhov (1888)

"There should be more sincerity and heart in human relations, more silence and simplicity in our interactions.
Be rude when you’re angry, laugh when something is funny, and answer when you’re asked." 

Anton Chekhov
Letter to his brother, A.P. Chekhov (October 13, 1888)


Also:

Crave | Sarah Kane, 1998

“And I want to play hide-and-seek and give you my clothes and tell you I like your shoes and sit on the steps while you take a bath and massage your neck and kiss your feet and hold your hand and go for a meal and not mind when you eat my food and meet you at Rudy’s and talk about the day and type up your letters and carry your boxes and laugh at your paranoia and give you tapes you don’t listen to and watch great films and watch terrible films and complain about the radio and take pictures of you when you’re sleeping and get up to fetch you coffee and bagels and Danish and go to Florent and drink coffee at midnight and have you steal my cigarettes and never be able to find a match and tell you about the tv programme I saw the night before and take you to the eye hospital and not laugh at your jokes and want you in the morning but let you sleep for a while and kiss your back and stroke your skin and tell you how much I love your hair your eyes your lips your neck your breasts your arse your

and sit on the steps smoking till your neighbour comes home and sit on the steps smoking till you come home and worry when you’re late and be amazed when you’re early and give you sunflowers and go to your party and dance till I’m black and be sorry when I’m wrong and happy when you forgive me and look at your photos and wish I’d known you forever and hear your voice in my ear and feel your skin on my skin and get scared when you’re angry and your eye has gone red and the other eye blue and your hair to the left and your face oriental and tell you you’re gorgeous and hug you when you’re anxious and hold you when you hurt and want you when I smell you and offend you when I touch you and whimper when I’m next to you and whimper when I’m not and dribble on your breast and smother you in the night and get cold when you take the blanket and hot when you don’t and melt when you smile and dissolve when you laugh and not understand why you think I’m rejecting you when I’m not rejecting you and wonder how you could think I’d ever reject you and wonder who you are but accept you anyway and tell you about the tree angel enchanted forest boy who flew across the ocean because he loved you and write poems for you and wonder why you don’t believe me and have a feeling so deep I can’t find words for it and want to buy you a kitten I’d get jealous of because it would get more attention than me and keep you in bed when you have to go and cry like a baby when you finally do and get rid of the roaches and buy you presents you don’t want and take them away again and ask you to marry me and you say no again but keep on asking because though you think I don’t mean it I do always have from the first time I asked you and wander the city thinking it’s empty without you and want what you want and think I’m losing myself but know I’m safe with you and tell you the worst of me and try to give you the best of me because you don’t deserve any less and answer your questions when I’d rather not and tell you the truth when I really don’t want to and try to be honest because I know you prefer it and think it’s all over but hang on in for just ten more minutes before you throw me out of your life and forget who I am and try to get closer to you because it’s beautiful learning to know you and well worth the effort and speak German to you badly and Hebrew to you worse and make love with you at three in the morning and somehow somehow somehow communicate some of the overwhelming undying overpowering unconditional all-encompassing heart-enriching mind-expanding on-going never-ending love I have for you.”

Sarah Kane, Crave, a one-act play


It was first performed in 1998 by the theatre company Paines Plough at the Traverse Theatre, Edinburgh.

The play was initially presented under the pseudonym Marie Kelvedon; Kane used a pseudonym 
to avoid the distraction of her reputation for graphic staged violence from her previous works.

It is dedicated to Mark Ravenhill.


On directing > Professionally I am invisible | Michael Haneke

Michael Haneke


"As a private person, professionally I am invisible."

"I consider all my films experiments. I consider all my films an experiment, at least in my mind."

"All movies assault the viewer in one way or another."

"Film is simply the most complex way you can express yourself."

"It's harder to write a story with just two people in a room than with 50 characters."

The Seventh Continent, 1989


“Film is 24 lies per second at the service of truth, or at the service of the attempt to find the truth.”

“I do think that our perception of reality is fragmentary, and in 20th-century literature, it’s totally normal to not describe reality as something whole and completely transportable and explicable. That’s been accepted in novels. But genre films always pretend that reality is transportable, which means that it is explicable.”

“I like the multiplicity of books, because each book is different in the mind of each reader. It's the same with this film - if 300 people are in a cinema watching it, they will all see a different film, so in a way there are thousands of different versions of "Caché (Hidden)". The point being that, despite what TV shows us, and what the news stories tell us, there is never just one truth, there is only personal truth.”

“My films are intended as polemical statements against the American 'barrel down' cinema and its dis-empowerment of the spectator. They are an appeal for a cinema of insistent questions instead of false (because too quick) answers, for clarifying distance in place of violating closeness, for provocation and dialogue instead of consumption and consensus.”


71 Fragments of a Chronology of Chance, 1994 


“There are those who see film and take it seriously as an artistic medium, and others who go to have a good time, to simply be entertained. I have to be careful , because it sounds like I am condemning, or criticizing what people are doing. I have nothing against that, in the same way that some people like rock music or to go dancing, and other people like to go to a Beethoven concert. It's just that I'm more interested in the one than the other.”

"In all of my work I'm trying to create a dialogue, in which I want to provoke the recipients, stimulate them to use their own imaginations. I don't just say things recipients want to hear, flatter their egos or comfort them by agreeing with them. I have to provoke them, to take them as seriously as I take myself."

"At its best, film should be like a ski jump. It should give the viewer the option of taking flight, while the act of jumping is left up to him."

"I'm not someone who enjoys long talks, long rehearsals. I'm very technical: I tell my actors, you come in, you sit down, you pick up a coffee, you look here, you say the line. 
We try it with the cameras rolling, and if it doesn't work, we adjust it until it does. It's very simple."

Benny's Video, 1992


"I love actors, both my parents were actors, and the work with actors is the most enjoyable part of making a film. It's important that they feel protected and are confident they won't be betrayed. When you create that atmosphere of trust, it's in the bag - the actors will do everything to satisfy you."

"I learned my business in the theater and in television, particularly working with the actors. You can learn much more in the theater than directing a movie, because then you have no time when you are shooting a movie to really work with the actors. You have to learn this craft somewhere else."

"It's more enjoyable to shoot in a studio on a single location with two actors...if they are good."


 Amour, 2012


"There are really two types of laughter on the part of the spectator. There is the laughter of recognition - which means seeing things you're familiar with and laughing at yourself. But there's also hysterical laughter - a way of dealing with the things we see that upset us."

"I want to make it clear: it's not that I hate mainstream cinema. It's perfectly fine. There are a lot of people who need to escape, because they are in very difficult situations, so they have the right to escape from the world. But this has nothing to do with an art form."

"To me, it's far more efficient to mobilize the imagination. It's far more efficient to hear a creaking step, for example, than to see the face of a monster, which usually looks ridiculous, and where you know that the blood is ketchup."

"You can use your means in a good and bad way. In German-speaking art, we had such a bad experience with the Third Reich, when stories and images were used to tell lies. After the war, literature was careful not to do the same, which is why writers began to reflect on the stories they told and to make readers part of their texts. I do the same."


Caché (Hidden), 2005


"It's a fact that people who are in a weakened position, whether physically or mentally, have this perception of the outer world as threatening. 
Everything that is unexpected or unknown is seen as a potential danger."

"What we're doing for another person is more important than what we're feeling for them."

"And I don't believe that children are innocent. In fact, no one seriously believes that. Just go to a playground and watch the kids playing in the sandbox! 
The romantic notion of the sweet child is simply the parents projecting their own wishes."

"The smaller and younger kids are, the more patient you have to be. But if they're gifted, then it's a wonderful present that you're given by having a child like that in your film... more so than in the case of actors because, for example, if you ask them to play a lion, they don't then play a lion, they actually are a lion. So, a gifted child is something very special. On the other hand, if a child has no gifts in that way it's absolutely hopeless and there's nothing you can do!"


 The Piano Teacher, 2001


"I try to get closer to reality, to get close to the contradictions. The cinema world can be a real world rather than a dream world."

"Usually music is used to hide a film's problems. I never use soundtrack; it is always part of the story."

"Because I'm the author of my screenplays I know what I'm looking for. It's true that I can be stubborn in demanding that I get what I want, but it's also a question of working with patience and love. I think it's a little simplistic to explain a work through the psychology of its author. In other words, that Haneke has emotional problems, so I don't have to take his films seriously. By using this argument, the viewer retreats from the challenges of the film."


Code Unknown, 2000


"As a European filmmaker, you can not make a genre film seriously. You can only make a parody."

"It is boring to have all the answers. Only political people have answers."

"To decide to film a movie again shot by shot, you must be masochistic to a certain degree because it is a much greater challenge."

"Mainstream cinema raises questions only to immediately provide an answer to them, so they can send the spectator home reassured. 
If we actually had those answers, then society would appear very different from what it is."

Funny Games, 1997


"A strict form such as mine cannot be achieved through improvisation."

"To be perfectly honest, I think that as I'm growing older, I'm just growing more impatient. I'll be very happy if at some point people say, 
'Michael's grown wiser and softer in his old age.' But we'll have to wait and see what my next project is."

"The film [the white Ribbon] does try to use German Fascism as an example, but not specifically Fascism... the results of German Fascism. It shows how people are prepared or indoctrinated for an ideology... people who are already in a state of repression who have been humiliated by society and who clasp at a straw that's offered to them. And how that's then developed into a form of indoctrination."

"Of course, we avoid death. To know something is inevitable is one thing. To accept, to truly feel it... that's different."


White Ribbon, 2009


"I like to write for actors I know and with whom I've worked before. You can write to their strengths and weaknesses and write roles that are better suited to them."

"You cannot hurt animals, so what do I do? I kill the dog first. Then I do it with the boy. You're not supposed to break the illusion of this being a film, so I make the actor talk to the audience. Provocation is the principle of the whole film [ Funny Games]. It is very ironic. In my film "Benny's Video," I depicted violence but I failed to say all that I had to say, so I wanted to continue the dialog and that's why I did "Funny Games." The irony is that after I shot "Funny Games," but it hadn't been released at all anywhere."

"If I tell the audience what they should think, then I am robbing them of their own imagination and their own capacity of deciding what's important to them."

"It's much harder to write a script that involves two people in a single location than 20 people in 30 different locations."


Michael Haneke

Time Of The Wolf, 2003


Landscapes | paintings by Axel Kargel (1961-1968)

Axel Kargel (1896-1971) House by the sea, 1961
Axel Kargel, Sjöstrand, 1966
Axel Kargel (1896-1971) Åkertegar, 1964
Axel Kargel (1896-1971) Kustväg, 1963
Axel Kargel (Swedish, 1896-1971), Landskap, 1968
Axel Kargel, Sädesfält, 1967
Axel Kargel (Swedish, 1896-1971), 1968


Sections Ιn Τhe Βookstore | Italo Calvino, 1979








-Books You Haven’t Read
-Books You Needn’t Read
-Books Made for Purposes Other Than Reading
-Books Read Even Before You Open Them Since They Belong to the Category of Books Read Before Being Written
-Books That If You Had More Than One Life You Would Certainly Read But Unfortunately Your Days Are Numbered
-Books You Mean to Read But There Are Others You Must Read First
-Books Too Expensive Now and You’ll Wait Till They’re Remaindered
-Books ditto When They Come Out in Paperback
-Books You Can Borrow from Somebody
-Books That Everybody’s Read So It’s As If You Had Read Them Too
-Books You’ve Been Planning to Read for Ages
-Books You’ve Been Hunting for Years Without Success
-Books Dealing with Something You’re Working on at the Moment
-Books You Want to Own So They’ll Be Handy Just in Case
-Books You Could Put Aside Maybe to Read This Summer
-Books You Need to Go with Other Books on Your Shelves
-Books That Fill You with Sudden, Inexplicable,Curiosity, Not Easily Justified
-Books Read Long Ago Which It’s Now Time To Re-Read
-Books You’ve Always Pretended to Have Read and Now It’s Time to Sit Down and Really Read Them


Italo Calvino, If on a Winter’s Night a Traveler, 1979




< Edinburgh, 1955



Not to be found in the notes | Gustav Mahler, 1860 - 1911

Gustav Mahler


"What is best in music is not to be found in the notes."

"Tradition is not the worship of ashes, but the preservation of fire."

"A symphony must be like the world. It must contain everything."

"If a composer could say what he had to say in words he would not bother trying to say it in music."


Gustav Mahler young                                                                 Justine and Gustav Mahler


"When I have reached a summit, I leave it with great reluctance, unless it is to reach for another, higher one."

"In its beginnings, music was merely chamber music, meant to be listened to in a small space by a small audience."

"The call of love sounds very hollow among these immobile rocks."

"An operetta is simply a small and gay opera."

"Don't bother looking at the view - I have already composed it."


Santa Cecila di Roma. Mahler in rehearsal, Rome, 1910


"I beg of you... never assume an inner or an outer pose, never a disguise. Fortunately, something always remains to be harvested. So let us not be idle."

"I have become a different person. I don't know whether this person is better, he certainly is not happier."

"It's not just a question of conquering a summit previously unknown, but of tracing, step by step, a new pathway to it."

"It is strange how one feels drawn forward without knowing at first where one is going. If I weren't the way I am, I shouldn't write my symphonies."


Gustav Mahler

"Behind me the branches of a wasted and sterile existence are cracking."

"I live like a Hottentot. I cannot exchange one sensible word with anyone."

"It should be one's sole endeavor to see everything afresh and create it anew."

"I hope you will no longer accuse me of a lack of delicacy. as I now count on your understanding."


Gustav Mahler with his daughter Anna Justine Mahler (Gucki) 


"Even if people censure me, they should do so hat in hand."

"It is easier to achieve a desired result in short pieces."

"All that is not perfect down to the smallest detail is doomed to perish."

"I don't let myself get carried away by my own ideas - I abandon 19 out of 20 of them every day."


Gustav and Alma Mahler with seamen and fellow passengers


"What I wanted and what I visualized while composing has not always been realized."

"There is a world of difference between a Mahler eighth note and a normal eighth note."

"In the theatrical works we love and admire the most, the ending of the drama generally takes place offstage."


Gustav Mahler, 1860 - 1911


Gustav Mahler with Dutch colleagues, Amsterdam, 1909 
Max Rienhardt, G. Mahler, Carl Moll and Alfred Roller in the garden of the villa Carl Moll, ph. Moriz Nhr, Austria, Vienna, 1903

Gustav Mahler and his daughter Anna Justine Mahler (Gucki). Toblach (Dobbiaco), Italy, 1909
Gustav Mahler and his wife Alma Mahler, Toblach, Italy, 1909
Gustav Mahler and his wife Alma Mahler, Toblach, Italy, 1909
Gustav Mahler with friends, Prague, 1908
Alma, Maria Eberstaller-Moll, Maria Anna Mahler (Putzi), the conductor Oskar Fried and Anna Sofie Moll
S.S. Kaiser Wilhelm II, 1910

Gustav Mahler, Quartet for Piano and Strings in A minor - Allegro 
Borodin String Quartet 

Gustav Mahler with his daughter Anna Justine Mahler (Gucki) and Theodore Spiering
Zemlinsky, Schoenberg and Schreker in Prague 1912               Mahler with Ossip Gabrilowitsch and Bruno Walter, Prague, 1908


Gustav and Alma with historian Friedrich Spiro by the Appian Way, Rome, Italy 

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