Fui lavar a cara, nem sei bem o que pensar, não estava mesmo à espera disto, não que fosse algo de sustentável por muito tempo, mas sei lá, não tava à espera disto... agora... foi repentino... parecia que estava a correr melhor, melhor até do que pensava (pelos vistos pensei mal, tirei conclusões onde estavam intenções). Sempre te tinha dito que não te queria ouvir dizer "Perdoa-me", ironicamente não-to ouvi dizer. Mas custa sempre ver um pedido de desculpas quando tu (eu) não estás a par do que se passou, não conheces, não sabes, não estavas lá (nunca estou... quem dera... talvez assim... enfim...). Dizes que queres esperar por mim (e por ti? Ou sou só eu a puxar para cima?), mas não to posso pedir assim, não ouso tal coisa... não posso ser egoista a esse ponto, sabes tão bem como eu que estas coisas não acontecem por acaso, não há acidentes emocionais (tento ser sempre o mais racional possivel, pareço uma criança de 10 anos que pensa que sabe tudo e está pronta para ser adulta). Simplesmente não te peço para esperar porque não sei até quando terias (teriamos) que esperar, e não gosto de ver pessoas a sofrer por não terem ninguem.. em última análise quero a tua felicidade, seja como for, se tiver que ser longe de mim (como tem sido até hoje) que assim seja... enough said... see you tomorow (ver, que verbo estranho)
Parafraseando uma amiga nossa "didn't know our love was so small couldn't stand at all..."
Friday, September 13, 2002
PRODUCTION NOTES:
Despite the recent visibility of Dogme filmmaking, popularized by Danish filmmakers Lars Von Trier and Thomas Vintenberg, only a handful of American production companies have seriously worked in the genuine Dogma style and format. The tenets of Dogme95 prohibit artificial lighting, and require hand-held cameras, shooting on location without propping or set dressing and production sound never produced apart from the images or vice versa. Producing partners Kimberly O'Hara and Eric M. Klein of O'Hara/Klein had been drawn to the works of these filmmakers, and could appreciate the artistic freedom and emphasis on story afforded by the process.
Rather than searching for a "dogme script", the resourceful duo created a premise and cast of characters and set about putting together a script, with O'Hara as the main writer. The rough draft of REUNION, including seven different storylines for the principal cast, came together in a matter of weeks.
As the setting for the film, O'Hara and Klein selected the eve of a high school reunion in a small town, in which a group of friends reassemble having graduated 20 years earlier. The film is set in -- and was actually shot in 12 days -- in Ojai, California, 80 miles north of Los Angeles. The emotionally potent yet familiar backdrop of a reunion was appealing in both its universality as well as its ability to call up the long-buried feelings one encounters in adolescence. Moreover, after the passage of 20 years, there is more to reflect on and potentially more contrast to one's teenage years, thus making this reflection all the more profound.
Interestingly enough, the producers set about casting the film prior to signing first-time director Leif Tilden, assuming it would take quite some time to assemble the line-up for this story. Eventually as with any ensemble cast, the challenge for the producers and the director became finding actors that could hold their own in the midst of a series of vignettes; each character's story line and on-screen presence had to be compelling enough to command some focus and yet be integrated into the overall ensemble and balance of the entire film.
Though the screenwriting itself provides for much of the balance through its interwoven subplots and related characters, each of the actors who were cast worked tirelessly on creating the character from the inside. The result is an engaging mosaic of personalities that any producer would be proud to feature in a film.
Among the talented ensemble are Billy Wirth, Jennifer Rubin, Corey Glover, Marlene Forte, Rainer Judd, Andres Faucher and Dwier Brown. Most of the actors were new to Dogma filmmaking, though several had worked in a digital camera format. The cast was, however, unanimous in touting the script as both original in style and yet universal in its content.
Although each of the characters' stories unfolds as we meet them, the film is "bookended" in opening and closing scenes by a welcoming speech Margaret (Marlene Forte) practices for the Nordhoff High 1981 reunion, of which she is in charge. However, all the visible action of the film takes place in the day preceding the reunion, thus highlighting the individuals and the journeys that have led them to this juncture two decades after their high school glory days.
Similarly, the character of Margaret, once the high school slut and now the town mayor, serves as an anchor of the ensemble as she has always been a ringleader, ready to get the group together. Twenty years after graduation, it is still she who is planning the party, not unlike the pool hopping she spearheaded when they were teenagers. In the interim, it is Margaret who has kept tabs on everyone, especially the other "townies" like Mindy (Rainer Judd) and J.C. (Andres Faucher) who have remained in Ojai like herself. "The reunion, for Margaret, is more than a party; it's a chance to show off and to let people see she's in control," explains Forte. "Yet the funny thing is, underneath the designer suits and her important title, Margaret has this nagging sense that she's not in control of everything, especially her emotional life." Resigned for years to a marriage-of-convenience with another politician, Margaret has allowed herself to compromise emotionally in order to advance socially and professionally.
Still, it is this juxtaposition of outward appearances with inner, emotional reality, that makes for the interesting contrast in each of the characters as they arrive back home for this milestone. Perhaps one of the most striking contrasts is embodied in the character of Patrick (Dwier Brown). His arrival back home coincides with a larger, more significant event in his life: the decision to resign as lieutenant colonel from the army, in which he has served for 20 years.
Despite his strict upbringing and following his father's example in enlisting in the army to begin with, Patrick is now confronting a crisis of conviction in his life. After years of submerging his true feelings, he has seen through the hypocrisy and intolerance of the armed services in dealing with who he really is: a gay man. Thus he has come back to Ojai ready to retire both his uniform as well as his complicity in "don't ask, don't tell." The only question remaining is what will he do with the rest of his life?
"Even though it's a little confusing and scary, Patrick is enjoying the feeling of his life being up in the air," says Brown. "He's at an impasse; up until now he's been good at swallowing his pride and following orders. He realizes he's been living out others' wishes and must get in touch with his own goals and dreams."
In Brown's view, accessing this material emotionally is somewhat simplified by the Dogma approach, which narrows the gap between the actors' creative process of readying for a scene, and the traditional, laborious technical requirements of setting lights and shooting that scene. "You're just much more in control creatively because there's no endless coverage of the same scene. I mean, instead of `stand here and hit your mark there,' the director actually says things like, `stand where you want, we'll follow you,'" explains Brown.
Forte concurs with this appreciation of the Dogma style and adds that it is "quite voyeuristic." "There's a shift toward watching the action unravel -- rather than planning its unraveling -- that is much more engaging. It's less predictable, and people love that. It's why we watch accidents; it's that tendency human beings have to 'peek' at life," asserts Forte.
This de-emphasis on the technical, behind-the-scenes departments in filmmaking was very freeing for the producers as well, who previously had to handle all these responsibilities under the scourge of an independent budget. "In doing a Dogme film, we were able to get away from the (usual) constraints of indie films, where the main focus of the producers' time is dealing with lighting, costumers, make-up artists, etc. and all that, on no budget. This time around we were able to shoot the film with a strong focus on story and performance," explains O'Hara.
Director Tilden echoes this praise for an emphasis on story and performance, and in the authentic Dogma style, allows himself to become more of a facilitator to the actors in drawing out their performances, referring to himself as "a guide." Not surprisingly, a survey of the actors' takes on Tilden reveals him as "very open; collaborative; very free; fun; fun-loving; light-hearted; passionate; very energetic."
Billy Wirth, who portrays Brad, explains that Tilden is "very connected with all the cast and crew. He's open and encourages discussion about character and story. And he's playful, too." One night we all got together after wrapping for the day and put a cow (actually a prop cow) in his room as a practical joke. Now how many directors would stand for that?"
Rainer Judd, who plays Mindy, the bright yet child-like woman who opted for the security of marriage to a plastic surgeon and continuing life in the town where she grew up, describes how she came to appreciate this element of Dogma filmmaking during the shooting of the film. "At first I found it annoying," she laughs, "I'd think, `I don't have time to deal with this shopping for my character and doing my own make-up. Can't somebody help me?!' And then I thought about the times that I'd be getting into character and I'd have this flurry of activity around me with the hair and make-up people and two hours later I'd think, `my character wouldn't look this way!' Then on this film I realized that although those things might seem superficial, I was having to go deeper into who this character was, inside and out, and when I noticed at the end of one day the nails were chipping and I thought, `This is perfect for Mindy right now.'"
Indeed, as with the other characters, Mindy's depth comes from who she is beneath the surface and the carefully-groomed exterior she strives to maintain -- until her world falls apart when her divorce from her husband of 19 years is finalized. Although the Dogma approach does not allow for flash-backs as to what happened in her life, we gain ample insight into Mindy's, and the others', lives not only through their conversation but through their interactions with each other.
In order to fully express what happens between these characters during this one night out of their lives, the actors and filmmakers created elaborate personal histories for each of the characters. In these, not only their relationships as younger people but their relationships to family members and friends not even seen in the film became key to understanding the dynamics presently at play.
Rainer Judd explains that for example, Margaret and Mindy have always been close, with Margaret being something of a lightning rod for Mindy. A beautiful, dynamic Latina whose naturally extroverted personality establishes her as the social hub, Margaret represents many of the things Mindy aspires to. "Margaret knows how to `get dressed.' Mindy may look like she can get dressed, but it's really Margaret who's behind Mindy getting dressed. Mindy's the kind of girl who gets good grades, is sensible, but doesn't really know what to do. She may be smart, but Margaret is the go-getter. Together they were a popular duo, with Margaret always having a group of friends over ." This sets the tone for the women's friendship later in life and how each of them balances the other.
Similarly, Rainer explains the back-story behind her relationship to J.C., who runs Boccali's, the local pizza parlor where the friends congregate the night before the reunion. J.C., played by Andres Faucher, has been marked forever by the loss of his much-beloved older brother Brian, a person whom he "lived through, down to taking over at the pizza parlor where he used to work." Because Mindy and Brian were close, his little brother J.C. is important to her. In fact, the two of them, J.C. and Mindy, grow closer because of their mutual grief over his loss, with a less-healthy bonding emerging from their similar problems with alcohol and cocaine.
This attention to character development and interpersonal dynamics contributes immeasurably to the performances and the actors' investment in their characters. For Billy Wirth, who plays Brad, the archetypal high school Golden Boy-turned-slacker, the exercise of embellishing his character involved sending him to therapy whereupon he realizes the emotional virtue in attending the reunion. When he arrives back in Ojai to encounter his friends after all these years, he feels the trepidation of their potential judgment of him in sizing up his life. The moniker of "Most likely to succeed" has been supplanted with most likely to underachieve and shift out-of-focus. Now a bus driver in San Francisco, Brad is humbled at the prospect of confronting his former buddies who seem on the surface to have made something of their lives.
As fate would have it, the first person he encounters is a woman who claims to have graduated with him, but whom he does not recognize. The two proceed to share an intimate preview of the "memory lane" the group will later share. Unbeknownst to Brad, the mysterious woman is none other than "Weenie Jeanie" (Jennifer Rubin), the class nerd and loner, who has now emerged from the cocoon of young adulthood as a captivating and confident woman.
Without a doubt, the backbone of the script is its skillful crystallization of each of these types from our collective memory of what high school was for us. And in some cases, the actors related directly to some of the characters. A few of the female cast members related to Jeanie, noting that they had not fully developed their social graces or personal style prior to graduation. Comments Jennifer Rubin, "Maybe I was a bit of a loser; I didn't go to the school dances, even though I wanted those things."
Reunion's crew shot 372 set-ups on 39 sets in 18 locations with 22 actors in 12 days. Naturally, covering this much emotional terrain in 12 days was nothing short of Herculean, although Producer Eric Klein asserts that the digital format saved the day more than once: "We were able to just shoot and shoot and shoot. We would not have been able to pick up and move through 39 sets in less than 2 weeks if we had not been that mobile."
The Producers opted to use Canon XL1 cameras (NTSC) for the shoot, and were very pleased with the outcome. Canon USA donated one of the cameras. For a prosumer camera, the Canon XL1 gave Reunion(dogme #17) outstanding resolution, and no apparant artifacting when the output to 35mm film was performed at Fotokem Film and Video Lab in Burbank, California. "We could not have shot the movie the way we did with 16mm or 35mm cameras, considering we could just roll tape uninterrupted for an hour on video. Film cameras require mag changes every ten minutes,'"said Producer Klein. "On another note, although we recorded DAT sound on set, the sound recorded in the cameras was excellent as long as it was monitored."
With respect to most of the tenets of the Dogme school, REUNION would then seem to be a faithful rendering of this filmmaking style. On some points, however, director Tilden deviates from the mind set of the founders. Part of Rule #10, which states, "A director must refrain from personal taste," presents a philosophical challenge to Tilden, who believes everything one does is personal. He also points out that without the banner of "Dogme Filmmaking," many directors such as indie legend John Cassavetes have been making Dogma-style films for years.
Certainly, for cast and crew alike the Dogme approach became not only a style but an environment in which to dwell creatively and figuratively in the telling of a story, a landscape stripped bare of distracting artifice and camouflage, where their individual tales are unspooled. As a reunion, this is a story of "coming home," of "who you were then is who you are now," a truth which rings familiar for most, regardless of where life takes us. END
Despite the recent visibility of Dogme filmmaking, popularized by Danish filmmakers Lars Von Trier and Thomas Vintenberg, only a handful of American production companies have seriously worked in the genuine Dogma style and format. The tenets of Dogme95 prohibit artificial lighting, and require hand-held cameras, shooting on location without propping or set dressing and production sound never produced apart from the images or vice versa. Producing partners Kimberly O'Hara and Eric M. Klein of O'Hara/Klein had been drawn to the works of these filmmakers, and could appreciate the artistic freedom and emphasis on story afforded by the process.
Rather than searching for a "dogme script", the resourceful duo created a premise and cast of characters and set about putting together a script, with O'Hara as the main writer. The rough draft of REUNION, including seven different storylines for the principal cast, came together in a matter of weeks.
As the setting for the film, O'Hara and Klein selected the eve of a high school reunion in a small town, in which a group of friends reassemble having graduated 20 years earlier. The film is set in -- and was actually shot in 12 days -- in Ojai, California, 80 miles north of Los Angeles. The emotionally potent yet familiar backdrop of a reunion was appealing in both its universality as well as its ability to call up the long-buried feelings one encounters in adolescence. Moreover, after the passage of 20 years, there is more to reflect on and potentially more contrast to one's teenage years, thus making this reflection all the more profound.
Interestingly enough, the producers set about casting the film prior to signing first-time director Leif Tilden, assuming it would take quite some time to assemble the line-up for this story. Eventually as with any ensemble cast, the challenge for the producers and the director became finding actors that could hold their own in the midst of a series of vignettes; each character's story line and on-screen presence had to be compelling enough to command some focus and yet be integrated into the overall ensemble and balance of the entire film.
Though the screenwriting itself provides for much of the balance through its interwoven subplots and related characters, each of the actors who were cast worked tirelessly on creating the character from the inside. The result is an engaging mosaic of personalities that any producer would be proud to feature in a film.
Among the talented ensemble are Billy Wirth, Jennifer Rubin, Corey Glover, Marlene Forte, Rainer Judd, Andres Faucher and Dwier Brown. Most of the actors were new to Dogma filmmaking, though several had worked in a digital camera format. The cast was, however, unanimous in touting the script as both original in style and yet universal in its content.
Although each of the characters' stories unfolds as we meet them, the film is "bookended" in opening and closing scenes by a welcoming speech Margaret (Marlene Forte) practices for the Nordhoff High 1981 reunion, of which she is in charge. However, all the visible action of the film takes place in the day preceding the reunion, thus highlighting the individuals and the journeys that have led them to this juncture two decades after their high school glory days.
Similarly, the character of Margaret, once the high school slut and now the town mayor, serves as an anchor of the ensemble as she has always been a ringleader, ready to get the group together. Twenty years after graduation, it is still she who is planning the party, not unlike the pool hopping she spearheaded when they were teenagers. In the interim, it is Margaret who has kept tabs on everyone, especially the other "townies" like Mindy (Rainer Judd) and J.C. (Andres Faucher) who have remained in Ojai like herself. "The reunion, for Margaret, is more than a party; it's a chance to show off and to let people see she's in control," explains Forte. "Yet the funny thing is, underneath the designer suits and her important title, Margaret has this nagging sense that she's not in control of everything, especially her emotional life." Resigned for years to a marriage-of-convenience with another politician, Margaret has allowed herself to compromise emotionally in order to advance socially and professionally.
Still, it is this juxtaposition of outward appearances with inner, emotional reality, that makes for the interesting contrast in each of the characters as they arrive back home for this milestone. Perhaps one of the most striking contrasts is embodied in the character of Patrick (Dwier Brown). His arrival back home coincides with a larger, more significant event in his life: the decision to resign as lieutenant colonel from the army, in which he has served for 20 years.
Despite his strict upbringing and following his father's example in enlisting in the army to begin with, Patrick is now confronting a crisis of conviction in his life. After years of submerging his true feelings, he has seen through the hypocrisy and intolerance of the armed services in dealing with who he really is: a gay man. Thus he has come back to Ojai ready to retire both his uniform as well as his complicity in "don't ask, don't tell." The only question remaining is what will he do with the rest of his life?
"Even though it's a little confusing and scary, Patrick is enjoying the feeling of his life being up in the air," says Brown. "He's at an impasse; up until now he's been good at swallowing his pride and following orders. He realizes he's been living out others' wishes and must get in touch with his own goals and dreams."
In Brown's view, accessing this material emotionally is somewhat simplified by the Dogma approach, which narrows the gap between the actors' creative process of readying for a scene, and the traditional, laborious technical requirements of setting lights and shooting that scene. "You're just much more in control creatively because there's no endless coverage of the same scene. I mean, instead of `stand here and hit your mark there,' the director actually says things like, `stand where you want, we'll follow you,'" explains Brown.
Forte concurs with this appreciation of the Dogma style and adds that it is "quite voyeuristic." "There's a shift toward watching the action unravel -- rather than planning its unraveling -- that is much more engaging. It's less predictable, and people love that. It's why we watch accidents; it's that tendency human beings have to 'peek' at life," asserts Forte.
This de-emphasis on the technical, behind-the-scenes departments in filmmaking was very freeing for the producers as well, who previously had to handle all these responsibilities under the scourge of an independent budget. "In doing a Dogme film, we were able to get away from the (usual) constraints of indie films, where the main focus of the producers' time is dealing with lighting, costumers, make-up artists, etc. and all that, on no budget. This time around we were able to shoot the film with a strong focus on story and performance," explains O'Hara.
Director Tilden echoes this praise for an emphasis on story and performance, and in the authentic Dogma style, allows himself to become more of a facilitator to the actors in drawing out their performances, referring to himself as "a guide." Not surprisingly, a survey of the actors' takes on Tilden reveals him as "very open; collaborative; very free; fun; fun-loving; light-hearted; passionate; very energetic."
Billy Wirth, who portrays Brad, explains that Tilden is "very connected with all the cast and crew. He's open and encourages discussion about character and story. And he's playful, too." One night we all got together after wrapping for the day and put a cow (actually a prop cow) in his room as a practical joke. Now how many directors would stand for that?"
Rainer Judd, who plays Mindy, the bright yet child-like woman who opted for the security of marriage to a plastic surgeon and continuing life in the town where she grew up, describes how she came to appreciate this element of Dogma filmmaking during the shooting of the film. "At first I found it annoying," she laughs, "I'd think, `I don't have time to deal with this shopping for my character and doing my own make-up. Can't somebody help me?!' And then I thought about the times that I'd be getting into character and I'd have this flurry of activity around me with the hair and make-up people and two hours later I'd think, `my character wouldn't look this way!' Then on this film I realized that although those things might seem superficial, I was having to go deeper into who this character was, inside and out, and when I noticed at the end of one day the nails were chipping and I thought, `This is perfect for Mindy right now.'"
Indeed, as with the other characters, Mindy's depth comes from who she is beneath the surface and the carefully-groomed exterior she strives to maintain -- until her world falls apart when her divorce from her husband of 19 years is finalized. Although the Dogma approach does not allow for flash-backs as to what happened in her life, we gain ample insight into Mindy's, and the others', lives not only through their conversation but through their interactions with each other.
In order to fully express what happens between these characters during this one night out of their lives, the actors and filmmakers created elaborate personal histories for each of the characters. In these, not only their relationships as younger people but their relationships to family members and friends not even seen in the film became key to understanding the dynamics presently at play.
Rainer Judd explains that for example, Margaret and Mindy have always been close, with Margaret being something of a lightning rod for Mindy. A beautiful, dynamic Latina whose naturally extroverted personality establishes her as the social hub, Margaret represents many of the things Mindy aspires to. "Margaret knows how to `get dressed.' Mindy may look like she can get dressed, but it's really Margaret who's behind Mindy getting dressed. Mindy's the kind of girl who gets good grades, is sensible, but doesn't really know what to do. She may be smart, but Margaret is the go-getter. Together they were a popular duo, with Margaret always having a group of friends over ." This sets the tone for the women's friendship later in life and how each of them balances the other.
Similarly, Rainer explains the back-story behind her relationship to J.C., who runs Boccali's, the local pizza parlor where the friends congregate the night before the reunion. J.C., played by Andres Faucher, has been marked forever by the loss of his much-beloved older brother Brian, a person whom he "lived through, down to taking over at the pizza parlor where he used to work." Because Mindy and Brian were close, his little brother J.C. is important to her. In fact, the two of them, J.C. and Mindy, grow closer because of their mutual grief over his loss, with a less-healthy bonding emerging from their similar problems with alcohol and cocaine.
This attention to character development and interpersonal dynamics contributes immeasurably to the performances and the actors' investment in their characters. For Billy Wirth, who plays Brad, the archetypal high school Golden Boy-turned-slacker, the exercise of embellishing his character involved sending him to therapy whereupon he realizes the emotional virtue in attending the reunion. When he arrives back in Ojai to encounter his friends after all these years, he feels the trepidation of their potential judgment of him in sizing up his life. The moniker of "Most likely to succeed" has been supplanted with most likely to underachieve and shift out-of-focus. Now a bus driver in San Francisco, Brad is humbled at the prospect of confronting his former buddies who seem on the surface to have made something of their lives.
As fate would have it, the first person he encounters is a woman who claims to have graduated with him, but whom he does not recognize. The two proceed to share an intimate preview of the "memory lane" the group will later share. Unbeknownst to Brad, the mysterious woman is none other than "Weenie Jeanie" (Jennifer Rubin), the class nerd and loner, who has now emerged from the cocoon of young adulthood as a captivating and confident woman.
Without a doubt, the backbone of the script is its skillful crystallization of each of these types from our collective memory of what high school was for us. And in some cases, the actors related directly to some of the characters. A few of the female cast members related to Jeanie, noting that they had not fully developed their social graces or personal style prior to graduation. Comments Jennifer Rubin, "Maybe I was a bit of a loser; I didn't go to the school dances, even though I wanted those things."
Reunion's crew shot 372 set-ups on 39 sets in 18 locations with 22 actors in 12 days. Naturally, covering this much emotional terrain in 12 days was nothing short of Herculean, although Producer Eric Klein asserts that the digital format saved the day more than once: "We were able to just shoot and shoot and shoot. We would not have been able to pick up and move through 39 sets in less than 2 weeks if we had not been that mobile."
The Producers opted to use Canon XL1 cameras (NTSC) for the shoot, and were very pleased with the outcome. Canon USA donated one of the cameras. For a prosumer camera, the Canon XL1 gave Reunion(dogme #17) outstanding resolution, and no apparant artifacting when the output to 35mm film was performed at Fotokem Film and Video Lab in Burbank, California. "We could not have shot the movie the way we did with 16mm or 35mm cameras, considering we could just roll tape uninterrupted for an hour on video. Film cameras require mag changes every ten minutes,'"said Producer Klein. "On another note, although we recorded DAT sound on set, the sound recorded in the cameras was excellent as long as it was monitored."
With respect to most of the tenets of the Dogme school, REUNION would then seem to be a faithful rendering of this filmmaking style. On some points, however, director Tilden deviates from the mind set of the founders. Part of Rule #10, which states, "A director must refrain from personal taste," presents a philosophical challenge to Tilden, who believes everything one does is personal. He also points out that without the banner of "Dogme Filmmaking," many directors such as indie legend John Cassavetes have been making Dogma-style films for years.
Certainly, for cast and crew alike the Dogme approach became not only a style but an environment in which to dwell creatively and figuratively in the telling of a story, a landscape stripped bare of distracting artifice and camouflage, where their individual tales are unspooled. As a reunion, this is a story of "coming home," of "who you were then is who you are now," a truth which rings familiar for most, regardless of where life takes us. END
Wednesday, September 11, 2002
Após uma decisão de ultima hora de não passar por casa e ir directamente para o cinema, deparo-me com o pior cenário esperado: faltavam duas horas para a próxima sessão e tinha perdido a anterior por 15 mins. Resultado: vaguear pela zona. Zona essa que corresponde às imediações do cinema King em Lisboa, ou seja passeei pela Av. de Roma até chegar ao cinema Londres e regressei, p'lo caminho foram 2 horas a olhar para o relógio de 5 em 5 segundos (minto minutos). Quem conhece a zona sabe que o trajecto se faz em 15 mins e em 15 mins se despacha tão trivial passeio, porém passei o tempo a ver um expositor da REFER* sobre o projecto da travessia do Tejo, o chamado projecto Norte-Sul que irá permitir em 2004 (será?) ir do Porto até Faro de pendular. Ora é sabido que nas obras feitas tem havido populares discontentes, sobretudo nas obras dentro da cidade de Lisboa (zona do Areeiro), e por isso mesmo estava ali colocado este expositor com um Engº sempre disposto a tirar duvidas técnicas e uma menina para tirar duvidas menos técnicas aos populares... que de vez em quando olhavam para os desenhos e para as maquetas e reclamavam pela duração das obras, com o desaparecimento de lugares de estacionamento, entre outras... eu apenas questionei o Engº sobre outras obras, perguntas que ele não me soube responder.
Depois foi vaguear até à livraria mais proxima, a Bertrand, onde folheei alguns livros e tomei umas decisões, ler os livros do Nick Hornby, o homem escreve com uma proximidade que assusta... é o autor do livro que deu origem ao meu filme favorito (não tenho nenhum filme favorito) High Fidelity, escreveu também o About a Boy (filme que conto ver em breve). Pelo que folheei, gostei imenso, apenas queria ler a versão inglesa... não sei onde encontrar..
Passadas as duas horas (com mais uma ida à livraria Barata onde procurei em vão um livro de Miguel Esteves Cardoso que me cativou nas férias) pus-me a caminho do cinema King onde iria assistir ao divertido "Italiano para principiantes" um filme dinamarques cheio de bom humor e com uma boa história e argumento, convenceu-me (depois tenho que fazer uma critica para por na pagina da Triade Nuclear)...
Uma ultima nota para o meu balão de oxigénio... sem ele n teria resistido as 2 horas... as pilhas do meu leitor de cd's... ja me falharam tantas vezes... hoje foram simpáticas...
* Sou um apaixonado por comboios...
Este post devia ter ido para o ar segunda feira dia 9
Depois foi vaguear até à livraria mais proxima, a Bertrand, onde folheei alguns livros e tomei umas decisões, ler os livros do Nick Hornby, o homem escreve com uma proximidade que assusta... é o autor do livro que deu origem ao meu filme favorito (não tenho nenhum filme favorito) High Fidelity, escreveu também o About a Boy (filme que conto ver em breve). Pelo que folheei, gostei imenso, apenas queria ler a versão inglesa... não sei onde encontrar..
Passadas as duas horas (com mais uma ida à livraria Barata onde procurei em vão um livro de Miguel Esteves Cardoso que me cativou nas férias) pus-me a caminho do cinema King onde iria assistir ao divertido "Italiano para principiantes" um filme dinamarques cheio de bom humor e com uma boa história e argumento, convenceu-me (depois tenho que fazer uma critica para por na pagina da Triade Nuclear)...
Uma ultima nota para o meu balão de oxigénio... sem ele n teria resistido as 2 horas... as pilhas do meu leitor de cd's... ja me falharam tantas vezes... hoje foram simpáticas...
* Sou um apaixonado por comboios...
Este post devia ter ido para o ar segunda feira dia 9
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