The Middle East - Blood
Quentin Tarantino On the Release of 'Kill Bill: The Whole Bloody Affair'
Tarantino was recently asked about "The Whole Bloody Affair," and offered some hope that audiences may still get a chance to see Uma Thurman's The Bride wreak havoc on screen in one, long epic. Here's what he had to say about the project:
What's going on with that is originally back when Kill Bill was going to be one movie, I wrote an even longer anime sequence. So you see in the movie [O-Ren] kill her boss but then there was that long hair guy... The big sequence was her fighting that guy. I.G. [The Japanese Anime Studio] who did Ghost in the Shell said we can't do that and finish it in time for your thing. And [plus] you can't have a thirty-minute piece in your movie. I said okay. It was my favorite part but it was the part you could drop. So we dropped it and then later when I.G. heard we were talking about doing Kill Bill: The Whole Bloody Affair - they still had the script so without even being commissioned, they just did it and paid for it themselves. It's really terrific. Anyway, The Weinstein Company and myself were talking about actually coming out with it sometime, not before the year is out, but within the next year with limited theatrical engagement as well.
Do not fall in love with people like me
we will take you to
museums and parks
and monuments
and kiss you in every beautiful
place so that you can
never go back to them
without tasting us
like blood in your mouth
Gabriel Gadfly
Guinevere Van Seenus by Txema Yeste for Numéro China #31 August 2013
Kiss me, kill me...
Rhythm 10, 1973
In her first performance Abramović explored elements of ritual and gesture. Making use of twenty knives and two tape recorders, the artist played the Russian game in which rhythmic knife jabs are aimed between the splayed fingers of her hand. Each time she cut herself, she would pick up a new knife from the row of twenty she had set up, and record the operation.
After cutting herself twenty times, she replayed the tape, listened to the sounds, and tried to repeat the same movements, attempting to replicate the mistakes, merging past and present. She set out to explore the physical and mental limitations of the body – the pain and the sounds of the stabbing, the double sounds from the history and from the replication. With this piece, Abramović began to consider the state of consciousness of the performer. “Once you enter into the performance state you can push your body to do things you absolutely could never normally do.
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People say your work always has a nihilistic undertone to everything, but I find it’s not that the characters don’t care rather that they just don’t like the world they’re in and are forced to make a choice.
There’s a quality to it I never really point out—it’s the quality of play. The idea of kind of making a game out of these things and playing them in a different way, not just accepting the game that you’re given by the culture but inventing your own. Something I always said about Fight Club: it is basically a game that people have invented and it’s fun. It’s not any kind of personal quest; it’s just a fun thing to do for a couple hours a week. Invisible Monsters was a book I had written just to have a really good time and it’s that quality of play that I always want to be present in everything I write.
I think you get a sense of that play because even in the darkest moments there’s so much comedy and humor. But it’s not in a way that’s just there to alleviate something; it’s just looking at life from a different perspective. So often when we generate comedy, we do it by presenting something very dramatic and to have one character not react appropriately—to react in a way that obscures the drama and that creates a laugh.
Did you think that the film adaptation of Fight Club was able to convey that sense of play? Yes, very much. The film carried that sense of play. It’s always hard in the third act to switch from that comic sense and have a character suddenly engage with the drama and be upset that the game has gone a little too far. It’s that turn that’s always the trickiest to do.
Source: Blackbook
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coketalk
The Middle East - Blood
Sleigh Bells - Reign of Terror Album Cover
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Justin Bieber for Complex Magazine's 10 Year Anniversary Issue