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Tuesday, 26 August 2014

Kate Moss, Champagne, breast.

Courtesy of Google

Deliberately taken from Rue89 who themselves referred to The Drink Business.

Last time I had an opportunity to drink some Champagne was in a Dalston bunker for James Batley’s Kneel Through The Dark film screening. For some uncoordinated reasons, I kicked my glass as soon as I placed it in between drops of rain on the un-flat floor... and never managed to know whether it was a Veuve Clicquot or a Moët & Chandon. I wouldn’t drink less than that. Smoking opium along is a must. I had morning sessions when mornings were just a prolongation of a day...
So, la Kate has had her left breast cast for us mortal commons people to enjoy our lips on a glass!

As a semi expert (well, am French and know my Champagne from my Crémant), I wouldn’t drink Champagne in a Kate coupe coz the bubbles evaporate quickly. Le Monde scientific blogger can’t agree more with me on that one. I say, if you really need to drink in a coupe bustier, pop an olive and fill it with Martini! – Talking Martini reminds me of Shane MacGowan at a Nick Cave gig in Shepherd’s Bush. He jumped on the bar counter and borrowed a bottle... he didn’t bother with a glass though, straight from the neck!
Le Figaro applauds my paternal family from Cristal d’Arques – I have disinherited myself from my family... I can’t stand their “design” – for its design... I say, you really need to be thirsty to drink in those shite pretentious glasses.
Libération sort of says it’s a Freudian / Oedipal issue: Sigmund great granddaughter Jane McAdam Freud titillated la Moss’s breasts.
Mediapart that has great flair, taped la Moss chatting with her agent who got 10% of her £500 000 deal. I mean... who would get out of bed for less!
Valeurs actuelles (never heard of that duck) is outraged that the beasty breast is not only from across the pond from the cheesy country but also happens to be impregnated with cocaine... What a chalice!
Slate.fr, surely some bloodthirsty feminists, says it can’t be a perfect reproduction... when Vice.fr talk about Doherty’s dick!
Babylondonorbital says “get a long dick, mould it and that’s it!” Proper cup.





Tuesday, 19 August 2014

20,000 Jours sur Terre de Iain Forsyth & Jane Pollard avec Nick Cave. Sur les écrans de France le 24 decembre 2014



English version, click here

20,000 Days on Earth
Mis en scène par Iain Forsyth & Jane Pollard     
Ecrit par Iain Forsyth, Jane Pollard et Nick Cave
Avec : Nick Cave, Susie Bick, Warren Ellis, Blixa Bargeld, Ray Winstone, Kylie Minogue Arthur Cave, Kirk Lake, Darian Leader, Lizzie Phillips
97 min 
Documentaire | Music
2014
Cert = 15

Une journée de voyage  fictionnelle dans la vie d’un homme qui se trouve être Nick Cave. Un conte délicieusement délirant qui navigue entre réalité et fantaisie. Un artiste mythique de la scène rock partageant ses instants rares de l’homme privé qu’il est. 20000 Jours sur Terre se situe entre le cinéma vérité à la Jean Rouch et le faux-cinéma vérité à la Charles Atlas pour Hail The New Puritain… une extension du documentaire où tout est dit dans le non-dit !
Un élégant hommage qui mélange un décor de fiction tout en révélant de vrais moments intimes de créativité. Ce documentaire « fiction » n’est ni un dupliqué de Dans La Peau De John Malkovitch, ni un Nick Cave transformé en rat de labo pour Secret Story ! Ni le refrain de This Is Not A Love Song. Plutôt un aperçu d’un homme relativement ordinaire dont les mutations musicales constantes n’ont pas fait de lui un suiveur de tendances… mais quelqu’un qui continue de pousser le ciel très haut. Il s’agit effectivement d’un journée pendant l’enregistrement de Push The Sky Away

Timecode
Des douzaines d’écrans où défilent à toute allure la vie de Nick Cave et ses influences, de sa naissance au jour 19999.

Only Lovers Left Alive
Sept heures du mat’. Le réveil sonne. Nick se lève et déambule dans une chambre blanche et spacieusement minimaliste. L’épaule pâle de Susie repose sur le duvet. C’est le 20000ème jour sur terre de Nick Cave… qu’il reflète dans le miroir de la salle-de-bain.
Au travers des ruelles de Brighton, il se rend dans sa Jaguar noire chez son psy Freudien Darian Leader. Nick révèle ses rapports drogues et Dieu ; ses émancipations sexuelles éloquentes; son père ; son travail perpétuellement en cours jusqu’au moment où le psy lui demande « Quelle est votre plus grande crainte ? »…

The Road
… « Perdre la mémoire » répond Nick. “La mémoire, c’est ce que nous sommes !» et il approfondit le sujet. Nick n’est pas un acteur. Il ne feint pas. Les metteurs en scène Iain Forsyth & Jane Pollard sont les guides de chaque prise mais les dialogues, ou monologues, sont improvisés. Et c’est là que Nick excelle... lorsqu’il est lui-même ! Il se livre véritablement à chaque question, chaque sujet. Parfois, la caméra accentue son monologue en fixant ses mains ou son regard.

Le Festin Nu
Une machine à écrire et deux index tapant les paroles d’une chanson ou ses mémoires, Nick se retrouve dans la peau d’un personnage « antique » au milieu d’un chaos sombre de son cabinet des curiosités… un contraste total avec sa chambre illuminée qui ouvre son 20000ème jour sur notre planète bleue.  
Retour dans la Jaguar noire, cette fois pour un déjeuner avec son ami de longue date et aussi collaborateur musical, Warren Ellis. Une « Mauvaise Graine » dont la maison est envahie par la nature sauvage. Malgré la présence de Nick dans chaque scène, il ne dirige pas forcément toutes les conversations. Alors que les deux compères s’apprêtent à festoyer autour de pâtes à l’anguille, Warren se souvient d’une anecdote avec Nina Simone lors du Meltdown Festival à Southbank animé par Nick Cave. Elle avait une maigre requête : du Champagne, de la cocaïne et des saucisses !



Holy Motors
De temps en temps, Nick se retrouve avec des passagers dans sa Jaguar. Sont-ils des fantômes du passé ? Sont-ils des amis « imaginaires » qu’il aimerait voir plus souvent ? Nick est-il leur chauffeur ou ses passagers représentent-ils des éléments de ses transformations ? Après un débat sur la difficulté d’être un acteur ou une rock star, Ray Winstone (qui participe à la vidéo Jubilee Street) finit par demander « Quel âge t’as ? »… « Parce que moi j’ai 56 ans » ; Blixa Bargeld, un ex Bad Seed qui a laissé les troubadours brutalement ; Kylie Minogue (Where The Wild Roses Grow on Murder Ballads) s’anime à propos d’un concert où elle est allée… Bien sûr, on préférerait voir P.J. Harvey, aussi invitée sur l'opus de Murder Ballads, mais on peut comprendre que sa présence ne contribuerait pas à révéler l’énigme Cave ! Le bref passage de Kylie démystifie à nouveau le coup médiatique de l’époque où on pouvait penser que la présence de Minogue sur l’album était une façon d’élargir l’audience de Nick Cave & The Bad Seeds. Sauf que Nick avait pris sa plume en 1996 pour demander à MTV de le retirer de leur liste « meilleur chanteur masculin » ! Nick voit en Kylie une personne au-delà de sa célébrité. Ce n’est pas à nous de juger ou de comprendre, mais plutôt d’accepter que deux Etre Humains, surfant sur des vagues musicales différentes, sont réunis ici dans un taxi Jarmuschéien pour une nuit sur terre !

David Bowie Is…
Nick Cave aura-t-il sa propre exposition à partir de ses archives à la V&A ? On ne peut que l’esperer puisqu’on se retrouve dans une cave remplie de posters, photos, collection pornographique, objets iconiques et… des cheveux. Là encore, très sérieusement, Nick explique en détail les objets et leur histoire.

Ma Sorcière Bien-aimée
Parmi les images qui défilent (au début et pendant cette séquence), on y voit Elizabeth Montgomery à plusieurs reprises.
Susie Bick avait posé pour la pochette de l’album Fantasmagoria des Damned. Elle a suivi une carrière de mannequin et a récemment posé pour la pochette de Push The Sky Away, dernier opus de Nick Cave. Lors d’un intense moment d’amour timide, Nick se souvient de sa rencontre avec sa femme alors que des images d’icones défilent en arrière plan comme si Susie représentaient ses femmes! Tel un fantôme, son visage apparaitra en reflet d’une fenêtre… Nick marchant dehors !

Tower of Song
(Reprise de Cohen par Cave pour les Inrockuptibles – I’m Your Fan)
Lors d’une scène antérieure où l’on voit les Bad Seeds s’affairés, on surprend Nick assis à son piano chantant de sa voix dorée et rentrant en transe. Pendant que le moment s’intensifie, il ressort de sa transe comme par magie pour diriger les Mauvaises Graines… Comme si un tel acte était possible… Un contrôle total !
Plus loin, Nick et ses Bad Seeds se produisent sur scène où un feu d’artifice d’images d’archive scénique s’entrecroisent avec les images actuelles. Telle une apothéose de la métamorphose de Nick Cave par le pouvoir de la musique et des mots où le temps n’existe plus… Nick est un autre, Nick change de peau pris dans un exercice d’exorcisme se dépossédant de lui-même dans un cataclysme cathartique… reprenant force grâce à l’énergie de son public. Une renaissance live de ses propres cendres…

Wings of Desire
… atterrissant sur une statue avec des ailes… si loin, si proche ! Qui sommes-nous sur cette terre ? Quel est notre rôle ? Contempler un monde passivement ? Prendre part et réagir ? Nick n’est qu’une créature parmi d’autres qui se reflète au pied de l’océan. Il n’est qu’une goutte dans l’océan, mais il pousse cet océan au loin…



De la même façon que l’on extrait l’essence des pétales de rose, Iain Forsyth & Jane Pollard ont capturé quelque formule secrète qui constitue Nick Cave tout en préservant son intimité : un homme qui n’est ni un mari parfait et ne prétend pas être un père parfait ; un être humain qui ne concurrence personne ; un artiste qui entretient sa muse et sa plume avec respect ; une histoire qui se révèle plus dans le non-dit que dans le discours ; un conte immaculé et intemporel d’une légende vivante fidèle à son art ayant subi des changements quelque part où la clepsydre a disparu dans son propre sable… et vogue le navire


20,000 Days on Earth sur les ecrans de France et de Belgique… quelque part en automne 2014




Friday, 1 August 2014

... but for now... it is ciao!

Nicked this pic on Pure Evil
It is in Shoreditch

The blog: started in March 2013 as a way to meet people... find work... hooked up with places and stuff I like... without saying who I was... big challenge! Not because I am a criminal on the run... just see if I can gather crowd... I always have!  I gather crowd, bring money up... to others but I never gain much... I didnt’ even tell my friends in order to play fair.

However, I am pleased that some people are using more London buses and have even travelled back to their countries by coach following my “bus promotion” on my posts. Of course, I am also very pleased that some people have visited galleries or watched films I advised. And quite happy to have received some kind words by those who are great writers or not so great actually. So, in that sense, I have managed to get people accept another of viewing without encouraging a number of “likes” on FB or twitter.

What is un-challengeable is the media furring-up or what I would call the media apartheid. As a blogger, I have on a very regular basis appeared or disappeared from some press lists...
Unfortunately, I have a great interest in Michael Clarke (or choreography of his kind). When I managed to get a press officer contact, I received this questionnaire below –



I am told that all art institutions send these questionnaires based on a blog figure. I find the questioning on numbers rather dubious, but what is quite unacceptable is the request made by the institution that actually expect us to act as marketing agent as well. As a blogger, I am, indirectly, expected to send my posts to my mailing list in order to increase the number of viewers and clickers. I would be very keen on knowing if Time Out or The Guardian bloggers are also expected to do so?
In regard of numbers, I was quite keen at the beginning of starting my blog, to mention my viewer’ numbers to press officers as I was told I was doing well... Well, I don’t really understand numbers and I don’t even believe in them in real life. Am total crap at it. If I have 20 viewers from Venezuela within five minutes, I don’t actually assume that 20 people in Venezuela are reading my prose at the same time. I just assume that a geezer or a geezeuse is suffering power cut... well, it is quite likely!

Now, in regard of numbers... here is a little adventure:
On 1 April 2013, I simply mentioned Rachid Taha new album as part of my Middle East post. His UK press officer, then kindly sends me his album. I had no idea at the time of writing that he was going to play at Barbican until a reader mentioned it to me. A quick look on Barbican site and a few tickets had been sold for his gig due 22 June. Three weeks prior to his gigs, I realised he was actually part of the Shubak fest. Not many tickets had been sold and I decide to re-run a post on him and Shubak 12 days before the gig (around 200 tickets to be sold). Two days after my post, the gig is almost sold out.
Looking around the webs, it looks like I was the only one who mentioned the gig, so quite confidently, I asked my contact @ Shubak to put me on the guest list. I’m told there are many free events I can enjoy + if I want a ticket, I have to dig it myself as they wouldn’t provide any press contacts. This is not how I know the media system, but my friend Hutchie had given me the music press dept contact @ Barbican and very confidently, I emailed the contact. No answer and... no answer... finally, I got in touch with Rachid Taha UK press officer who emailed my contact at Barbican and within 5 minutes, I had my press ticket.
Within the next two days following my post on Rachid Taha, I didn’t have a huge increase of viewers, less than 100. What I suspect, is that a few people who read my post didn’t send my post to their friends but send the Barbican link to them, so they could buy their ticket.

A warrior I am, but I am now tired of having to fight because I want to defend a film or an exhibition or a music act. The worse thing is fighting to get a press release and pictures once I have been invited to a show. Sometimes it is fighting to receive the booklet that goes with its screener... sometimes it is fighting because the new trend for film distributors is to send a film vimeo link, so I don’t have to mix with NUJ film critics in a private press screening cinema... that is most of the time empty!

I don’t want to stop the blog, but the amount of time I spend requesting for a press release or pictures is simply ridiculous. Press officers might complain they are very busy and have better things to do than dealing with bloggers – oh yes, they do say they prefer dealing with mainstreams – but this is not my recession. And if they actually like what I write, then it shouldn’t take them any time to send me the same info as anybody else. Mea culpa... I have been indecently retarded at downloading music, but now am a professional and I only download what I am sent and do not share any links! I am pretty sure it is traceable anyway.

Some press officers @ BFI Southbank have implied that my blog doesn’t impact on their season sales. Well, i don’t know how it is traceable but surely it takes time to get credibility. If they are capable to give tickets away to their friends – well, as an example, any DVD shop in Hackney manage to see free films in exchange of free rentals – so, why can’t have the same benefits? Do I stink? Apart from my posts on BFI DVD releases, I have mentioned BFI mediatheque on my Somerset House or V&A posts as references as well as a Punk exhibition where I listed BFI films at the mediatheque. Was I invited to their Punk season? I only realised when I picked up a booklet! If someone can ask them... because I did and have no answers (Hello Brian). I don’t want people to stop going to BFI. They are not the only ones to have this kind of discourse. In my regard, it is a huge disappointment because I started being a member in 1994 and have supported them up until now. If they can only rub shoulders with the rich and famous... well... I don’t have anything pertinent to say here! Maybe I need a break or maybe something has to change, but for now it is ciao!

20,000 Days On Earth by Iain Forsyth & Jane Pollard with Nick Cave. Opens in UK cinemas on 19 September


Version française, cliquez ici

20,000 Days on Earth
Directed by Iain Forsyth & Jane Pollard 
Writen by Iain Forsyth, Jane Pollard and Nick Cave
Cast: Nick Cave, Susie Bick, Warren Ellis, Blixa Bargeld, Ray Winstone, Kylie Minogue Arthur Cave, Kirk Lake, Darian Leader, Lizzie Phillips
97 min 
Documentary | Drama | Music
2014 (UK)
Cert = 15

A fictitious travelogue within 24 hours of a man’s life who happens to be Nick Cave. A deliciously delirious tale that navigates between reality and fantasia. A mythic rock artist who shares rare instants of the private man he is. 20000 Days On Earth locates between Jean Rouch’s cinéma vérité and Charles Atlas’s Hail The New Puritain’s film as a faux-cinéma vérité... an extension in docu making where everything is said in the non-said!
An elegant homage to a genre that blends fiction settings while revealing intimate moments of creativity. This is not a duplicate of Being John Malkovitch nor it is Nick Cave as a laboratory rat in Big Brother. This Is Not A Love Song either. A glimpse in the life of an ordinary man who has been in constant mutation without following the trends and who is still Push(ing) The Sky Away...

Timecode
Dozens of TV screens displaying Nick’s life and his influences from birth to day 19,999.

Only Lovers Left Alive
7am. Alarm clock goes off. Nick Cave gets up in a spacious white bedroom. We see Susie’s pale shoulder resting on the duvet. It’s his 20,000 days on earth and Nick reflects on himself in his bathroom’s mirror. He gets into his Jag and drives the streets of Brighton to visit his Freudian Psychoanalyst Darian Leader. Nick discusses drugs and god; sex; his father; work in progress until Leader asks “What’s your greatest fear?”...

The Road
... “To lose my memory” Nick answers “Memory is what we are” and deepens the subject. Nick Cave is no actor. Iain Forsyth & Jane Pollard gave guidelines for each take but dialogues are improvised and this is where Nick is good at... being himself. He does truly engage with any questions or any issues, reflects and doesn’t fake his answers. At times, the camera drifts on his hands as they reinforce his discourse.

Naked Lunch
A typewriter and two index fingers typing lyrics or mémoirs, Nick plays an “antique” character in the chaos of his cabinet des curiosités... a total contrast with the spacious white and minimalist bedroom opening his 20K day on our blue planet.
Back in his Jag, he drives this time to his close friend and long time collaborator Warren Ellis, a Bad Seed living in a house lost in wild nature. Although Nick is centre stage in all scenes, he is not necessarily the one who drives conversations. While the pair is about to feast around eels and pasta, Warren recalls an anecdote with Nina Simone who played Meltdown Festival curated by Nick Cave. She had a short request: champagne, cocaine and sausages!


Holy Motors
From time to time, Nick has passengers in his Jag. Are they ghosts of the past filling up his memory while he drives around Brighton? Are they “imaginary” friends that he wishes to see more often? Is Nick their chauffeur or are they elements of his transformations? After debating on being an actor versus being a rock star, Ray Winstone (Jubilee Street’s video) eventually asks “How old are you?”... “Because I’m 56”; Blixa Bargeld, an ex Bad Seed who left the troubadours abruptly; Kylie Minogue (Where The Wild Roses Grow on Murder Ballads) talks about a gig she went to... Of course, I (we?) wished to see P.J. Harvey who also collaborated on Murder Ballads. She would have been perhaps a far too obvious collaborator on the film... Not revealing much on Nick’s essence. Kylie’s cameo somehow demystifies the “media coup” of the time. Was Nick trying to break into a wider audience in 1996? His letter to MTV at the time showed that he couldn’t care less. This tiny sequence reveals that Nick is capable of seeing Kylie beyond her superstardom. Two human beings on different music waves re-united over a ride on a night on earth.

David Bowie Is...
Will Nick Cave have his own exhibition through his archive files at the V&A? We can only hope so as we end up in a cave full of photos and posters and his collection of porn, icons and... hair. As incongruous as it seems, once again, Nick gives an insight of his “collection”...

Bewitched
Susie Bick posed for The DamnedFantasmagoria album. She had a model career and posed again for Nick Cave’s Push The Sky Away album cover. On an intense moment of shy love, Nick remembers how he met his now wife Susie while juxtaposing a catwalk of female icons / heroines on a background TV screen as if Susie embraced all these roles at once. Like a ghost, her face will reflect on a window while Nick is walking outside.

Tower of Song
(Cover song of Cohen by Cave for les Inrockuptibles – I’m Your Fan)
An earlier scene of music recording explores the musicians playing while Nick sits and sings in his golden voice by his piano. As the song intensifies, the camera focuses on Nick powerful singing until, quite magically, he comes out of his trance and conducts his musicians... as if! In total control.
Later on, Nick Cave and The Bad Seeds are on stage while a feu d’artifice of gigs footage mixes up with the footage-to-be like an apotheosis of Nick’s metamorphosis through the power of music and lyrics... on stage, time doesn’t exist Nick says. He abandons himself, he forgets who he is and becomes someone else as if part of an exorcism exercise... dispossessing himself in a cathartic cataclysm to regain strength from his audience. A live rebirth from his own ashes!

Wings of Desire
... landing on a statue with wings... so far away, so close! Who are we on this earth? What’s our role? To contemplate a world passively? Being part of it and reacting to it? Nick is a creature among others who has landed some moons ago on earth... now reflecting at the foot of the ocean. Nick Cave is a drop in the ocean but he is pushing the ocean away.


Like extracting rose petals to produce a soft scent perfume, Iain Forsyth & Jane Pollard have captured some secret formulae of what constitutes Nick Cave while preserving his intimacy: a man who is not a perfect husband and who doesn’t pretend to be a perfect father; a human being who is not in competition with anybody on this earth; an artist who keeps a strong relationship with his muse and his plume; an immaculate and intemporal tale of a living legend who is faithful to his art through a multitude of phases in a place where the clepsydra has vanished in its own sand... and the ship sails...


2014: two essential cinematic experiences “sleep walking” on art and creativity footsteps... Only Lovers Left Alive equals 20,000 Days On Earth... for me anyway

20,000 Days on Earth opens in UK cinemas 19 September 2014