lundi 18 mai 2009
25th Hour, Spike Lee, Monty Brogan monologue
Fuck me? Fuck you! Fuck you and this whole city and everyone in it.
Fuck the panhandlers, grubbing for money, and smiling at me behind my back.
Fuck squeegee men dirtying up the clean windshield of my car. Get a fucking job!
Fuck the Sikhs and the Pakistanis bombing down the avenues in decrepit cabs, curry steaming out their pores and stinking up my day. Terrorists in fucking training. Slow the fuck down!
Fuck the Chelsea boys with their waxed chests and pumped up biceps. Going down on each other in my parks and on my piers, jingling their dicks on my Channel 35.
Fuck the Korean grocers with their pyramids of overpriced fruit and their tulips and roses wrapped in plastic. Ten years in the country, still no speaky English?
Fuck the Russians in Brighton Beach. Mobster thugs sitting in cafés, sipping tea in little glasses, sugar cubes between their teeth. Wheelin’ and dealin’ and schemin’. Go back where you fucking came from!
Fuck the black-hatted Chassidim, strolling up and down 47th street in their dirty gabardine with their dandruff. Selling South African apartheid diamonds!
Fuck the Wall Street brokers. Self-styled masters of the universe. Michael Douglas, Gordon Gecko wannabe mother fuckers, figuring out new ways to rob hard working people blind. Send those Enron assholes to jail for fucking life! You think Bush and Cheney didn’t know about that shit? Give me a fucking break! Tyco! Imclone! Adelphia! Worldcom!
Fuck the Puerto Ricans. 20 to a car, swelling up the welfare rolls, worst fuckin’ parade in the city. And don’t even get me started on the Dom-in-i-cans, because they make the Puerto Ricans look good.
Fuck the Bensonhurst Italians with their pomaded hair, their nylon warm-up suits, and their St. Anthony medallions. Swinging their, Jason Giambi, Louisville slugger, baseball bats, trying to audition for the Sopranos.
Fuck the Upper East Side wives with their Hermés scarves and their fifty-dollar Balducci artichokes. Overfed faces getting pulled and lifted and stretched, all taut and shiny. You’re not fooling anybody, sweetheart!
Fuck the uptown brothers. They never pass the ball, they don’t want to play defense, they take fives steps on every lay-up to the hoop. And then they want to turn around and blame everything on the white man. Slavery ended one hundred and thirty seven years ago. Move the fuck on!
Fuck the corrupt cops with their anus violating plungers and their 41 shots, standing behind a blue wall of silence. You betray our trust!
Fuck the priests who put their hands down some innocent child’s pants. Fuck the church that protects them, delivering us into evil. And while you’re at it, fuck JC! He got off easy! A day on the cross, a weekend in hell, and all the hallelujahs of the legioned angels for eternity! Try seven years in fuckin Otisville, Jay!
Fuck Osama Bin Laden, Alqueda, and backward-ass, cave-dwelling, fundamentalist assholes everywhere. On the names of innocent thousands murdered, I pray you spend the rest of eternity with your seventy-two whores roasting in a jet-fueled fire in hell. You towel headed camel jockeys can kiss my royal, Irish ass!
Fuck Jacob Elinski, whining malcontent.
Fuck Francis Xavier Slaughtery, my best friend, judging me while he stares at my girlfriend’s ass.
Fuck Naturel Rivera. I gave her my trust and she stabbed me in the back. Sold me up the river. Fucking bitch.
Fuck my father with his endless grief, standing behind that bar. Sipping on club soda, selling whiskey to firemen and cheering the Bronx Bombers.
Fuck this whole city and everyone in it. From the row houses of Astoria to the penthouses on Park Avenue. From the projects in the Bronx to the lofts in Soho. From the tenements in Alphabet City to the brownstones in Park slope to the split levels in Staten Island. Let an earthquake crumble it. Let the fires rage. Let it burn to fuckin ash then let the waters rise and submerge this whole, rat-infested place.
vendredi 23 janvier 2009
TRANSCRIPTIONS
David Cronenberg and the Cinema of the Extreme
David Cronenberg : « I think film should be seductive and, and involving and intriguing »
Prfsr : « I think that masses doses videodrome signal will automatically create a new outgrowth of the human brain. Wich will produce and control hallucination, to the point that it will change human reality »
D.C. : « And so, it is much a suprise to me as maybe to other people that some of my films are considered to be very assertive and very confrontational »
Prof : « After all there is nothing real outside our perception of reality, is there. You can see that, don't you ? »
D.C. : « My imagerie is really very much like the use of metaphor and litterature. It's a way of comparing things and suggesting possibilities that might not otherwised have been imagined? »
Alex Cox : « What Cronenberg does, and what Georges Romero in his bests films does, is he creates a world which … you think you know that work cause you've seen in horror film before. So the genious is to create a new world you haven't seen before. That's like a dream because in a dream you can go into a place that you think it's familiar, and all of a sudden »
D.C. : « That's one think to have someone pushed of a subway platform and you can imagine what will happen. You don't have to show that »
« Videodrome is death. »
D.C. : « But when you're creating absolutly new unimagined imagerie, you have to show. There is really no other choice, it's really, it's a very functional thing »
Alex Cox : « You don't know what's gonna happen, and that's the most surprising thing is you don t know how it's gonna end. And that's very rare because normally films are predictable, you do know how it's gonna end. So it's very surprising, and it become like a dream too because in a dream you never know how you dream is gonna (...) out »
« ...Boy, ...boy »
D.C. : « We wanna beggin to think about making a movie. I've done underground films (...) was doing a movie, they would have an audience (...) was eating pop-corns, that was the difference. It was a completelly natural thing for me to go to psychosis horror form. »
« ... believe man is an animal, that thinks to much, to much brain and other guts. It was (...) came up (...) Here, a combination of aphrodisiac (...) disease (...) hopefully in (...) world (...) one beautyfull mind this... orgy ... crazy
D.C. : « It seems like a brilliant career strategy (...) because it was one of the few places that you could make a low budget film and have been successfull and have be noticed »
D.C. : « All the other (genre)... taken by hollywood. At that time no hollywood studio would make a horror film. Maybe the all man was Gregory (Pack) ,you know maybe. But something like Shivers, never. »
Georges Romero : «I was growing up with horror film, that was the (…) and then (…) stop short of the punchline if you will »
D.C. : « Most horror films at the time were basically costumed dramas if you didn't have a vampire you certainly had capes you know with a...mechanic things and you had castles if you could afford them. But for me, it was never question, it was gonna be modern, it was gonna be a contemporary thing »
George Romero : « It's really part of the job of the (...) to (...) your cage and create an environment that is not the environment that you're in, it's not the world, it's meant to cheat that world out. Particulary for using (...) form crisis (...) »
- « What are they doing ? Why they come here ? »
- « (...) memory, what i use to do. »
Naked Lunch
« When I started writing Naked Lunch people (laugh of their) opinions. Disgusting they said, pornographic, unamerican, trash, unpublishable. Well, it came out in ninety-fifty-nine and it found an audience. Town meetings, book burnings, and an inquiry by the States Supreme Court. The book made quite a little impression. Now thirty years later Hollywood, in his infinite wisdom, has turned it into a movie. Thirty feet tall, in living color. Cover your eyes America, run for your lives » « You (...) » «You just gonna have to leave town. » « Tourist class i'm afraid. » « ...you finish, you're doing weird stuff. » « I thought I was too, but I guess I'm not. »
Viggo Mortensen's Naked Fight Scene
« In the case of V.Mortensen he look so slavic. I guess that's why... »
« Well, that's what I thought when I was doing History of Violence, where do these chick bomb come from.You know because that's not necessary Danish but also that's getting closer to Russia when you're in Danmark. And so, when I read the role of Nikolai, this so perfect for Viggo, you know. I didn't know that he wanna do it but I thought that he had to do it »
« Well, I could see why he might have some misgiving ... about doing this. It is a very physical rôle ... difficult rôle ... have a scene that many people have talk about,.. an incredibly violent battle scene that must taking of ... »
« Well, You know, it's, yeah, Viggo does the fight scene, Viggo plays completely naked and he was just (...) but was relatively simple discussion that we had. He said as we started to work the choreography for he scene, he said ... I'm gonna have to play this naked and i said great that was sort of it »
« He made that decision ? »
« Yeah, you know it was written. You know the guys are in the steam bath and two bad guys come in with knifes and there's a fight »
« It would have been hard to do all thing in a tall anyway ? »
« ...it would have been quite so. And basically would have been a betrayal of the level of reality that we had established before... On the other hand, you know it really was based on the trust that Viggo and I established working History of violence .I show my actors everything I have monitor everywhere for the crew to look at. Everybody know what's going on. Not all directors do that »
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