Among so many references, do you want to mention some?
There are several interpretations of You make me feel like it’s Halloween, mainly originated by the final phrase: but you are the caretaker.
In an interview Matt Bellamy jokingly stated that there were too many songs about Christmas and it was time for someone to celebrate some other holiday, like Halloween for example.
What do you think about?
Over these twenty years undoubtedly Muse with their hits accustomed us to different kind of emotions.
I have always been impressed first and foremost by the powerful charge that Matthew Bellamy & Co. manage to exude, but also by their trademark flair combined with a completely unique genre that initially made it complicated to include them into a defined musical genre.
What is your favorite among their songs?
I know, it’s not easy to choose, I can’t rank them, although I have a special connection with some in particular.
In light of this we can perhaps reconsider You make me feel like it’s Halloween more for the message than the horror quotes, would you agree?
On October 26 Muse will be at Alcatraz in Milan great way to feel in the Hallooween mood.
How about you? When do you feel like it’s Halloween?
West Side Story was born as a play on Broadway and Jack Gottlieb tells us how it was conceived by drawing inspiration from Shakespeare’s Romeo and Juliet and how Jerome Robbins had initially imagined Juliet as a Jewish girl and Romeo as an Italian Catholic. The action, set during the Easter / Passover season, was supposed to take place on the Lower East Side of New York City. So the title could have been EAST Side Story or Gangway.
I find it totally understandable that Steven Spielberg said it was the toughest film of his career.
I started looking at it together with all the positive assumptions, and with all the curiosity to find out how the arduous challenge had been solved.
The beginning shows the imminent demolition of the neighborhood and, personally, I interpreted it as the metaphor of a breaking wrecking ball but not about the past.
Time is to be demolished.
Because despite all the years that have passed, studded with dramatic events, it is as if history had been written today.
And Rita Moreno becomes like a fulcrum of human suffering, around which the repeated cyclically recurring pain manifests itself despite the passage of time.
In this video she receives the Oscar for the interpretation of the character of Anita in 1962
And following is the post with which she congratulates Ariana DeBose for the recent victory for having played the role of Anita, differently and yet with equal effectiveness.
For Rita Moreno in Spielberg’s film the role of Valentina was created: Doc’s widow, who helps and supports Tony after his misadventures with justice, but in various interviews she has been defined as the “mother” of West Side Story for how she advised, assisted, supervised tirelessly.
And obviously all of this entered my heart.
Not to mention her iconic joke for me: Tony asks her to translate “forever” because she wants to declare herself to Maria in Spanish and she, frightened by that tragically unreal idea of absolute, replies something like “why don’t I just say I’d like to have a coffee with you?”
Undoubtedly, it is still an important statement, right!?
And while drinking your coffee, I once again recommend you the detailed and professional analysis of Matavitatau.
Is there a particular song you prefer from the West Side Story soundtrack?
They are all songs destined to stay in your mind once you listen to them, but, just to name three sensationally super famous, are you more for Tonight, Maria, or America?
The Gucci family has repeatedly dissociated itself from the portrait that the film portrays, and I will not go into the merits, but now I can finally say that Lady Gaga in the House of Gucci is truly credible, for the vision I had of it.
Obviously I observed clothes, accessories, and outfits in general, with particular interest both for Gucci pieces and for 80s looks, and I have to say that I enjoyed the work of costume designer Yanti Yates.
Very scrupulous work, starting from months of study in the archives of the Gucci maison.
In an interview with the New York Times, available in full on Instagram, Yanti Yates stated that Lady Gaga was hugely involved, not least because she is a complete clotheshorse and looks marvelous in everything. She was hugely focused on how her character might appear at a particular moment, and had very strong views on aspects like hair and makeup.
But also difficult work, again according to the statements made during the interview: I would create initial selections, and then she would select from there.
It also seems that there have been days when for her it was “not today.”
Moreover, the same Gucci website reports as an iconic statement from Yanti Yates: “Lady Gaga told me that in this movie she wanted to dress like her Italian mom. To create her looks, I was able to draw on both her personal and historical Gucci archives.”
At the same time, however, I have this doubt that is spinning in my head, so help me understand if my perception is deceiving me since, actually, in the early 70s despite I wasn’t really in the world from longer (also now I am not, but this is a other story).
Unfortunately I could not find the image of the scene in which Maurizio Gucci introduces Patrizia to his father Rodolfo, but more or less the same goes for the floral dress in this picture.
Obviously I’m nobody to question the reconstruction, which in all other situations I have admired, and I stress it well, but the idea of this dress leaves me perplexed. I’m wrong, right?
In addition to the clothes, House of Gucci offers the vision of a fantastic series of precious “vintage” cars.
In particular, I really loved the way director Ridley Scott frames the arrivals at Rodolfo Gucci’s home: focused on the entrance. From the outside to the outside.
This shot occurs more than once in the movie, with different cars arriving in front of that entrance.
For me it was a sort of “story within history,” almost a symbol to mark the time.
In the picture below, with the same principle, in contrast we are witnessing a departure.
Which is also a beginning: the beginning of a strategy for Maurizio being back in the company.
For the rest, I refer you to the review by Matavitatau, me, a bit like Cruella, I really enjoyed the non-original soundtrack.
As for the floral dresses, I felt a sort of temporal disorientation that in some cases conquered me, in others it left me a kind of question mark.
For example, I liked the choice for George Michael’s Faith as soundtrack of the wedding scene: despite the anachronistic incongruity, it gave me a joyfulness that counterbalanced the void created by the absence of Maurizio’s family.
On the contrary, I was perplexed listening to Ritornerai by Bruno Lauzi as the background to the scene in which Aldo Gucci goes with Maurizio and Patrizia to the estate where their historic breeding is located. The song is wonderful, ça va sans dire, and the meaning is centered on returning to the origins, but for my personal perception it is as if something screeches.
Apart from that, I could list one song more beautiful than the other, and I would like to propose them all: Here comes the rain again by Eurythmics, Heart of glass by Blondie, Ashes to ashes by the White Duke David Bowie, Blue Monday by New Order, Una notte speciale by Alice, Sono bugiarda by Caterina Caselli, but also Largo al factotum from Il Barbiere di Siviglia by Rossini, Madame Butterfly and much more.
As you choose which one you prefer to listen to first, here are some coffees.
Utopia is a controversial Channel 4 series then revised for an Amazon production by an exceptional showrunner: Gillian Flynn, author of Gone Girl and screenwriter by David Fincher, who appears in three different cameos, and disseminates various Easter eggs.
Utopia thus becomes a graphic novel. Viral …
A weird group of fans in search of this mysterious “comic” to be interpreted by riddles, find themselves catapulted into a reality that prefigures dystopia rather than Utopia.
Comics to tell the truth not really, it is a series of drawings by the artist Joao Ruas: some of the inspirations behind his work are the dawn of mankind, folklore, magical realism, the concept of wabi-sabi (侘寂) and human conflict.
Gillian Flynn, in an interview with the New York Times said: “I think it’s a Rorschach test … It’s a show designed to let you find what you want from it, and have different points of view, which is exactly where we are right now.”
Speaking of points of view, John Cusack, in his first role in a series, plays Kevin Christie … but rather than my Agatha, it is inspired by well-known characters of a completely different genre.
Those who follow him have the opportunity to know how much John has a certain aversion to some of Mr. Christie’s alter egos, which is why it was a cathartic interpretation.
In his interview published by The Guardian in addition to defining himself a kind of Cassandra, he gave me an amazing ending!
Cusack rubs his tired eyes. He drinks from his big tin tankard of coffee. (!) Who knows, he says? “Maybe being outspoken hurts your career… I’m just aware it helps me sleep better at night, knowing that I wasn’t passive during this time.”
After all, isn’t such an awareness already a kind of Utopia for many of us?
How do you see Utopia?
An exceptional admirer saw Utopia like this:
Stephen King writes: I’m loving UTOPIA, on Amazon Prime. Might not be everyone’s cup of tea, given the times we’re living in, but it has the slow build to full steam that I associate with page-turning novels. Horrifying, violent, and occasionally laugh-out-loud funny.