Saturday, April 18, 2015
As you have doubtless heard, Manoel de Oliveira, the protean Portuguese filmmaker, has passed away at the more-than-ripe age of 106 on the second of April 2015.
Wiki sez ...
"Manoel Cândido Pinto de Oliveira GCSE, GCIH (Portuguese: [mɐnuˈɛɫ doliˈvɐjɾɐ]; December 11, 1908 – April 2, 2015) was a Portuguese film director and screenwriter born in Cedofeita, Porto. He first began making films in 1927, when he and some friends attempted to make a film about World War I. In 1931 he completed his first film Douro, Faina Fluvial, a documentary about his home city Porto made in the city symphony genre. He made his feature film debut in 1942 with Aniki-Bóbó and continued to make shorts and documentaries for the next 30 years, gaining a minimal amount of recognition without being considered a major world film director. Among the numerous factors that prevented Oliveira from making more films during this time period were the political situation in Portugal, family obligations and money.
"In 1971 Oliveira made his second feature narrative film Past and Present, a social satire that both set the standard for his film career afterwards and gained him recognition in the global film community. He continued making films of growing ambition throughout the 1970s and 1980s, gaining critical acclaim and numerous awards. Beginning in late 1980s he was one of the most prolific working film directors and made an average of one film per year past the age of 100. In March 2008 he was reported to be the oldest active film director in the world, and was possibly the second oldest film director ever after George Abbott, who lived to be 107 and 7 months. He was also the only filmmaker whose active career spanned from the silent era to the digital age. Among his numerous awards were two Career Golden Lions from the and the French Legion of Honor."
Here are his credits.
And here are three of his best films. Enjoy!
(A Talking Picture)
(Le Soulier de Satin)
p.s. Hey. This weekend Mr. E takes over this place in tribute to the recently late filmmaker extraordinaire and ageless beacon Manoel de Oliveira. He offers a triple bill of three of Oliveira's films and suggests you watch one-to-all of them at your leisure, as do I. Enjoy everything, and thank you mightily, David! ** James, Hi. Oh, I can see that. Huh. The new apartment is in the 4th arr. It's on rue St. Antoine close to Bastille, if you know where that is. ** Armando, Hi. Ah, yeah, to each his own on Clark films, on Korine, and, well, on everything in the world, I guess. Zac is a visual artist, my great beloved friend, and my collaborator on a bunch of projects, including the film, which he directed. The film is called 'Like Cattle Towards Glow'. It's a feature, 93 minutes. It's in five parts. We shot it last summer, and we're doing the final post-production work on it right now. Sorry you're feeling bad, pal. ** David Ehrenstein, Hi, David, and thank you again so very much for the weekend's enlightenment and entertainment. I don't know Jean-Claude Biette's work at all. In fact, I don't think I've heard his name before. I don't know if that speaks to his presence in French cinema appreciation or not. In any case, I'll investigate him and his work. Thank you for the alert. ** Steevee, Hi, man. Thanks about the apartment. It's a relief, for sure. Ouch, about the hot food's temporary damage. Egg rolls can be like fresh lava. Yes, today is Record Store Day here too, and I'll be venturing out to see what France's version offers up and hopefully find something exciting enough to score. Let me what you get. ** Thomas Moronic, Thank you kindly, fellow gif aficionado/reinventor. ** Cal Graves, Hi, Cal! Thank you. Moving, urgh, yeah. Yes, exciting about your slot in Zach's shebang! Can't wait to read it! Oh, I suspect the slaves market is very full of fantasizing fakes, so it could be the same slave or some guy pretending to be a slave who wishes he looked like the guy on tumblr. I hope all of your upcoming work goes really well. Consider me to be, like, an angel on your shoulder or something? Wow, that sounds creepy, never mind. Is it work you're anxious in the good way to be doing, I hope? Rummagingly, Dennis ** MANCY, Hi, Stephen. Thank you. No, I haven't heard the new Swervedriver. Holy shit, I need to. It's great? That's very exciting. Awesome, I'll download it today. Thanks, man! ** Chilly Jay Chill, Thanks, Jeff. The bloody helicopter gif is from some video game, but I don't know which one. Cool that you got to hit the Walker. I've never been. What's the Turrell like? I've never seen Grant Hart perform. I never even saw Husker Du live, sadly and weirdly. I haven't listened to his most recent stuff, but the earlier post-HD stuff seemed pretty spotty. I read about 'The Argument'. I think what I read was pretty critical. But it sounds quite ambitious, and that's interesting enough. I'll try it. Cool, I'll look into Frank Stanford, for my own sake and hopefully for the blog's too. Thanks a lot! ** Casey McKinney, Hi, Casey! Really awesome to see you, man! Yeah, Joel told me that I just missed you in LA. That sucks. Thank you so much about the gif thing, and, yeah, big thanks for publishing Joyelle's interview with me. It was so great to get to talk with her. I admire her and her mind and her work a lot. Ah, the pier, the rides, ... sweet. I remember watching you down a king's ransom's worth of oysters there. Lots of love to you! ** _Black_Acrylic, Hi, Ben, thanks. Cool that Art101 thing went so well. But, shit, man, so sorry about the accident. I'm glad you're okay apart from some superficial wreckage. Spring for the taxi, yeah. Or for Uber. Do you have Uber there? Have a peaceful and creative weekend, buddy. ** Keaton, I think a lot of the best poetry is drunken and maybe even bad. May Godard twist and turn your weekend, as only he can. ** Kier, Hi, K! The new apartment us cool. Yeah, it's much bigger than my Recollets room. That'll be weird. It's old and kind of gloomy, but I think that'll be alright, and the location is fantastic, yeah. I'll miss the 10th arr., which I really love, for sure, but the new place is even more central, which is good. I'm sorry you haven't been very happy. What's up, or, rather down? If you want to say? Maybe this weekend will be magical? I'm good. We're almost finished with the film's sound mix. We got the official rejection from Cannes, but that wasn't a surprise. We're submitting to four other festivals this week. And I'm working away the scenario for our next film. And I'm about to go to Germany again to do what I think will be the final work on Gisele's new theater piece. I mean final in terms of getting the piece's text cemented and the shape/direction finished so the performers can start rehearsing the thing itself. Really, I hope you have a big, surprising flood of happiness this weekend. Love, me. ** Sypha, Hi. Yeah, at that length, I would have guessed. Got your post! Thank you! I'll launch it next Saturday. Thank you! Have a great, great weekend! ** Okay. Head back up into the cinema now, please, and glue your faces to the center of its frame, and let loose. See you on Monday.
Posted by Dennis Cooper at 7:26 AM
Friday, April 17, 2015
p.s. Hey. I have to move quickly-ish again today as I'm due @ film work shortly, sorry. But I have tomorrow off, so I'll be more talkative and attentive then, I think. ** Armando, Hi, man! No, I haven't read your texts yet, I'm very sorry. I'm in the midst of daily day-to-night film work and, until today, also intensive new apartment searching, and I've been without time elsewhere, but I'll be able to read them soon. Oh, right now talking would be pretty tough, but once I've finished he film work and moved my stuff to the new place, that could work. I do want to see the new Larry Clark film even though I'm not a huge fan of his films other than the two films Harmony Korine wrote. But, yeah, I always end up seeing them. I've heard not such good things about the new one, but it being set in Paris is inherently intriguing, so yeah. Really good to see you! ** David Ehrenstein, Nice vid share, sir. Oh, wow, you wrote about your wedding! Awesome! Everyone as I think you might know, the honorable David Ehrenstein got legally hitched recently to his longtime love, the writer Bill Reed, and now Mr. E. has written about that experience and its implications and so on, and we can read it. That's right, read it! Us! Go do that for a million reasons. The piece is called 'I Am a Wedding (In Camera)', and it's here. ** Zach. Hi. Moving sucks, but the purging I need to do should be interesting. Not the gruntwork of the purging itself, ugh, but the lightening. You're going to UPenn. That's cool. I don't know a ton about the school, but I have a good vibe about it. And their online resource of streamable readings is great, of course. Let me see if I can find you some advice. Everyone, here's d.l. Zach. He'd love some advice about something. Can you advise him? Zach: 'I have been working on a couple things, I finished my Masters and now I am headed to UPenn to do my PhD (speaking of moving, I have to figure out a move from NYC to Philly, if anyone has any advice).' Excited for the launch of the magazine! Cal Graves, superstar. I know Michael Hurley, yeah. Really curious, interesting, unique stuff. Huh. I haven't listened to him in ages. Now I will. Yeah, he's really good. Best to you! ** Sypha, Hi. Jesus, your brother writes long books. I can't do that whatsoever, and I have a hard time reading hem, but I admire the heck out of writers who can do that. How is it? Very, very happy to host that post, man, so, yeah, whenever you're ready. Thank you! ** Sickly, Hi! Really? My best guess would be that we're all being duped, but the question is whether it's him mindfucking us or some random image thief. ** Thomas Moronic, Hi, T. Oh, not sure about the novel. I mean I haven't worked on it even given it a good, close look in a long time, even though I've never stopped thinking about it and developing it in my head. It was something, and I think it'll still be that thing, but I have new ideas about how to implement its thingness that I'm anxious to try out. I think the time away has likely been very helpful, yeah. I'm pretty sure. ** Chris Dankland, Thank you again so much, Chris! It was a hit! Yeah, I'm fascinated by country music lyrics. I think they're very underrated as a rule. They can be so clever in this way that's simultaneously really dumb and daring/ sophisticated on a technical level. Writing the film was pretty different than writing for Gisele. Other than in a couple of cases -- the new, in-progress piece and 'Kindertotenlieder' -- I don't write scripts per say. Mostly I work with Gisele on the imagery/texts simultaneously, so there are just texts written to fill in certain spots or to elaborate on or challenge her visual imagery, so the 'scripts' don't make any sense as a whole on their own. The film was written in advance, although it got changed, like, a hundred times along the way. When there's not talking, there was a kind of generalized outlay of what I thought the context and action would be which Zac had total freedom to alter or improvise off of as he saw fit. Once the film is out and about, it might be interesting to publish or post the script to show how it was made and how the film differs from the script/skeleton. My French publisher wants to publish my Gisele scripts as a book, but I'm not sure they would work on their own. We're talking about maybe doing a book combining the texts and relevant images from the theater pieces. That might work? Are you interested in writing for film or theater? They're pretty interesting forms to work in. I recommend it. Thanks a ton again, and hugs to you! ** Chilly Jay Chill, Hey. Welcome back! I can't imagine how intense AWP must have been. Even in the pix people have been posting on FB and elsewhere, it looks overwhelming. I know Open Letter and Song Cave a little, but I'll set my sights on getting to know them better. 'In C' played by a jazz bass/saxophone combo is a fascinating idea. Is it recorded anywhere or videoed? The Grant Hart story is spooky. Yeah, we're getting tech help and supervising the work closely. The sound mix guy is fantastic. The film sounds really incredible now. Sound is really important in the film. It's complex and detailed. Next we have to have the color fine-tuned and get the special effects right. We'll supervise the first, but I think the latter will need to be farmed out. Frank Stanford ... Do I know his stuff? Sounds familiar, but I might be thinking of another poet: Ann Stanford. You like? ** _Black_Acrylic, Hi, Ben. I signed the lease, so the new place is mine, and now the hell of moving there begins or it will in the next few days. ** Magick mike, Hi, Mike. Oh, shit, ... Thank you for the last minute hard deadline. By tonight California time. Okay, I'll send something by the time I hit the sack Paris time. It might be kind of a straightforward thing. Anyway, yeah, apologies for the slowness due to my mega-distractions of late, and thank you again for the hard and fast time frame. ** Steevee, Hi. Curious sounding, that film. My eyes are peeled. Thank you. ** Misanthrope, Hi. Weird, yes. Wow, that pot guy is still hiding successfully or dead or whatever? That's impressive. I mean, in these pot-schmot days of now, having even that much pot wouldn't be such a huge deal, would it? ** Alistair McCartney, Hi, Alistair! Hi, buddy! I did score the apartment, whew. I've got the keys jangling in my pocket. Ugh about the cold. Spring colds are cruel. No, I haven't seen that Gael Morel film. I definitely will, scribble, scribble. Really lovely to see you! Give my love to Tim too. ** Okay. I did a gif thing today. Like the last one I did, 'Breakfast', this one isn't a short fiction or a poem or anything fancy. It's just a gif thing. A thematic gif thing. Hope it pleases. See you tomorrow.
Posted by Dennis Cooper at 7:57 AM