tvCabo: God bless !

"I believe that a united Ireland is right and just"

«He had his own reservations about Hunger, all the same - partly because he had to lose 14kg to play a man who took 66 days without food to die; partly because of taking on the role of Sands, an intimidating prospect for any Irishman. "You don't want to do that if you think it's not going to be a good film, or it's not going to tell a story in the right way, or do justice to the amount of effort and time and work you put into it. But once I met Steve and Enda [Walsh, the playwright who co-wrote the script], I was like, I have to do this, I have to work on this."

Fassbender was four when Sands died in May 1981. His father Josef, a chef, is German; his mother, Adele, is from Larne, near Belfast. The family moved from Heidelberg, where Michael was born, to Killarney when he was two. Having grown up at the opposite end of Ireland at around the same time, I mention that I don't remember the details of the hunger strikes and their aftermath, but have very clear, visceral memories of the tension that hung in the air.

"That's what I remember. That's exactly it. I remember the tension. This Bobby Sands character, I knew there was a big commotion about this guy, and the struggle in Northern Ireland. Because my mum's from the north, all my holidays were in the north - we never went abroad. What I remember is the difference between the south and the north, crossing the border. Soldiers with guns. Watchtowers, helicopters. But I didn't really know ... we never really discussed politics at home." 

(...)

"I just knew that I had to do it. I knew all the stuff we had filmed before that was pretty ... special, and I didn't want the last part of the film to break the illusion. I knew I had to get superthin." He is careful not to claim anything so crass as an insight into Bobby Sands' mind, though I mention that the lowest weight Fassbender reached, 58kg, is the weight at which, in my edition of Sands' diaries, the Republican made his last entry. "Wow. I didn't know that. I didn't know he stopped at 58. Shit."»

'The Guardian', Outubro de 2008

a camisola não engana

A Júnior saúda o Capitão.

Jokerpot !

Repost from #toddphillips1:
Camera test (w/ sound). Joker. pic.twitter.com/R9W2QqKwNS

— Warner Bros. Pictures (@wbpictures) 21 de setembro de 2018

American Epic - III

American Epic - II

American Epic - I

Zoo2

Houve um tempo em que os U2 contavam. Na nossa Europa que estava toda a mudar e que o fazia todos os dias.
Tem 25 anos.

SpikKklansman

in their face

«Le Herald Sun republie la caricature de Serena Williams pour dénoncer le "politiquement correct".»

Liberdade de expressão não é só para os cartoons do Maomé.

tudo menos serena

[Mark Knight]

Depois do árbitro, agora é a vez do cartoon. 
Racista e sexista seria não escrever ou desenhar sobre o tema. Como racista e sexista teria sido desculpar o comportamento de Serena Williams em campo quando tinha acabado de partir uma raquete e chamado o árbitro de mentiroso e ladrão. 
Leiam Navratilova.

Keane by Roy

«Gary Neville  had come to see me just after the warm-up; it was an evening kick-off. We'd just come back into the dressing room. Gary told me that some of the Arsenal players had said something to him in the tunnel, that they weren't going to take any nonsense - they'd be waiting for him.
(...)
But I didn't pay much attention to what Gary said.
'Whatever, Gary.'
I was getting into the zone myself. I was concentrating on my job, getting ready to go out on to the pitch. I wasn't one for shouting and roaring in the dressing room. I'd be geeing myself up, in a calm way. The last thing I wanted was Gary in my earhole, going, 'They've been shouting at me in the tunnel.'
My attitude was, 'Fuckin' deal with it. You're not eleven.'
But he'd planted a seed in my head, warning me.
I was always one of the first out to the tunnel. As captain, I'd be leading the team out. The Highbury tunnel was a strange one, like a little alleyway. Very tight. It was hard to avoid contact with people, even if you were trying to. There was always a lot of tension there. And night matches always created more tension anyway.
I'd forgotten my captain's armband - simple as that. So I turned to go back to the dressing room.
'Go down, lads, I'll be with you in a minute; I forgot my armband.'
And I went back, past our own players. Albert, the kit man, had the armband and was putting it on me.
'All the best, Roy.'
As I walked to the front I heard something going on at the top of the tunnel. All I could see was a few fingers, pointing at Gary.
I lost it.
Five seconds earlier, I'd been perfectly calm, in the zone, ready for the match. But, because of what Gary had said to me, I just went, 'The fuckers - they are waiting for him.'
I'd thought they might have booted him out in the pitch. But in the tunnel? I just thought, 'The fuckers.' They are trying to bully him. They were a big team and, in the tunnel, they were even bigger.
So I said to myself, 'All right. Let's go.'
I went down there. I'd lost it, but I wasn't zoning out; I wasn't forgetting about the game.
I said, 'We'll see you out there.'
I just felt they were bullying Gary. I don't think it was intimidation; it was bullying. There's a difference. If Patrick Vieira had come up to me and said, 'I'm going to have you', that would have been intimidation. It would have been a clash between equal personalities. But Gary was quiet - I think they were going for one of the weaker players of the team. (...) In football, intimidation is legitimate but bullying isn't. I never went looking for a full-back who'd never done anything to me. I'd look for people who were in my position or were physically important for their team. I'd always thought 'They can give it back to me.' I never went for a tricky winger or a small full-back.
'I'll see you out there.'
I meant it. I love the game of football. We'd sort it out on the pitch - no hiding places.»

sempre a dar bronca

Kaleem Aftab: You've used present-day documentary footage to emphasise action in a fictional feature film before - the Rodney King beating at the start of Malcolm X, for example. What is the power of mixing modern documentary footage into period fiction?
Spike Lee: (…) I was in Martha's Vineyard last August 11th and 12th when that debacle happened in Charlottesville. We did not go into production on BlacKkKlansman until the fall, and I was really moved watching what was happening on TV, on CNN, and really it was David Duke, the alt-right, neo-Nazis and the Klan that wrote the ending for BlacKkKlansman that was not the original ending. Those motherfuckers wrote the ending at the expense of the life of Heather D. Heyer [killed when a car was driven into a crowd of counter-protesters]. Once that happened in August, I always knew I had my ending. I just didn't write it.

Boogie Reynolds

(1936 - 2018)

Acid Age

Almanaque

127 suculentas páginas de celebração à 1ª Emenda. 

Que bonito.

Genocídio

14

e mal sabiam eles que o '1972' do Josh Rouse gravado num cd pelo outro mano amigo, que agora vive longe, e que o deixou na prateleira com beijos escritos para antes de partirem, iria ficar para sempre.