| For Ah Ma (1915-2009) |
[Jun. 8th, 2009|03:25 am] |
One of my earliest memories was me in a cradle and you gently patting my bum. I was still small enough to fit in a cradle and how enough to remember. In kindergarten, you taught me how to count by playing poker cards with you and Ah Gong. Then, I remembered the big paper house we burnt away at Ah Gong's funeral. Then, I remembered how long you have been without Ah Gong.
Mum said you went in peace. I think you'll be happy to be reunited again with Ah Gong. I can imagine you bickering lovingly with him again over little things in life.
Thank you for taking care of me. Thank you for waiting for me to be back. I will miss you too. |
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| (no subject) |
[Apr. 15th, 2009|08:44 am] |
I do not love you as if you were salt-rose, or topaz,
or the arrow of carnations the fire shoots off.
I love you as certain dark things are to be loved,
in secret, between the shadow and the soul.
I love you as the plant that never blooms
but carries in itself the light of hidden flowers;
thanks to your love a certain solid fragrance,
risen from the earth, lives darkly in my body.
I love you without knowing how, or when, or from where.
I love you straightforwardly, without complexities or pride;
so I love you because I know no other way
than this: where I does not exist, nor you,
so close that your hand on my chest is my hand,
so close that your eyes close as I fall asleep.
- Neruda |
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| Why I love Almodovar |
[Feb. 26th, 2009|11:40 pm] |
"The most difficult thing about Volver has been writing its synopsis. My films are becoming more and more difficult to tell and summarize in a few lines. Fortunately, this difficulty has not been reflected in the work of the actors, or of the crew. The shooting of Volver went like clockwork. I guess I enjoyed it more because the last shoot (Bad Education) was absolute hell. I had forgotten what it was like to shoot without having the feeling of being permanently on the edge of the abyss. This doesn’t mean that Volver is better than my previous film, (in fact, I’m very proud of having made Bad Education), just that this time I suffered less. In fact, I didn’t suffer at all. In any case, Bad Education confirmed something essential for me (which I had discovered already, in Matador and Live Flesh): you can’t throw in the towel. Even if you’re convinced that your work is a disaster, you have to keep fighting for every shot, every repetition, every look, every silence, every tear. You mustn’t lose an iota of enthusiasm even if you’re in despair. The passing of time gives you another perspective and at times things weren’t as bad as you thought." - Almodovar
I find it difficult to separate the filmmaker from the film. Or the film from the filmmaker. |
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