Deixando aí uma playlist pra vocês antes de ficar umas duas semaninhas mezzo fora do ar… Volto no início de junho.

Hora de dar jogar o holofote no lado trilheiro do diretor John Carpenter.

De volta ao Brasil, vamos lá.

Courtney Barnett – “Pickles From The Jar”
Stooges – “TV Eye”
Beatles – “Devil in Her Heart”
Black Angels – “Indigo Meadow”
Feelies – “The Boy With The Perpetual Nervousness”
Adriano Cintra – “Desagradável Aparelho”
Taylor Swift – “Blank Space”
Barbara Keith – “All Along The Watchtower (Rayko Edit)”
Caribou – “Our Love (Daphni Mix)”
John Carpenter – “Vortex”
Criolo – “Plano de Voo”
Cybass – “Crystal Blue”
Mark Ronson + Kevin Parker – “Daffodils”
Belle & Sebastian – “The Party Line”
George Benson – “Give Me the Night”

Taqui.

Os fãs de John Carpenter sabem que seu talento por trás das câmeras é reforçado por trilhas sonoras pesadas e sintéticas, de alma oitentista e coração eletrônico, compostas pelo próprio diretor. E essa sonoridade, meio retrô meio futurista, está em voga nessa segunda década do século, sendo apropriada por nomes tão diferentes quanto Kavinsky, Drokk e Chromatics. Pois a face compositora do mestre da ação e do horror finalmente irá ser tratada com toda a importância merecida quando for lançada, no início do ano que vem, a coletânea Lost Themes, que reúne músicas que ele compôs mas não usou em seus filmes, de onde saiu essa emocionante “Vortex”.

Esse Midnight Marauder recria pôsteres de filmes como se eles fossem relançamentos da Criterion. Tem muito mais remixes de cartazes aí embaixo e outros tantos lá no site original.

Impressionante.

Via Louder than War.

E cê tá brincando que nunca viu They Live!

É um clássico moderno! Olha essa cena, porra!

Fora aquela que talvez seja a melhor frase da história do cinema!

Deixe de chorumelas. Tome seu tempo e assista-o agora!

John Carpenter is a filmmaker who is unashamed to stay within the genres he loves (horror and science fiction) and who practices his trade like a master craftsman. His pictures always have a handmade quality—every cut, every move, every choice of framing and camera movement, not to mention every note of music (he composes his own scores) feels like it has been composed or placed by the filmmaker himself. His sense of composition (nearly all of his pictures are shot in ‘Scope) is quite exacting and precise, and his control of movement inside and outside the frame can be hair-raising. There are so many moments in his films that are absolutely startling—the murder of the little girl with the ice-cream cone in Assault on Precinct 13; the appearances of Michael Myers on the very edge of the frame in Halloween; the appearances of the creature in his truly terrifying remake of The Thing. And the mood of his pictures is so carefully crafted and sustained. I’m a great admirer of The Fog, the mood of it, the sense of mystery. But I also love They Live, in which an alien invasion of America is uncovered by people living on the ragged edge of society in Los Angeles. This movie was Carpenter’s commentary on what he saw as the excesses of the Reagan era, and the movie shares many qualities with pictures made during the Depression, such as Heroes for Sale and Wild Boys of the Road. It’s lyrical and tough at the same time, with a strong sense of community among the displaced people living in makeshift homes on the outskirts of L.A. (interestingly, the picture dovetails with Mel Brooks’ comedy Life Stinks, made a couple of years later), and the mood is unusually sad and bitter. The science-fiction element reveals itself as the story goes on: The “beautiful people” on TV and walking down Rodeo Drive are actually aliens, transmitting subliminal messages to the hypnotized masses, their true images visible through special glasses that are being handed out at a mission for the poor. I like the humor of the picture, the hilariously long fight scene between “Rowdy” Roddy Piper and Keith David, and the sense of outrage. They Live is one of the best films of a fine American director.

Daqui, mas vi aqui.

Semaninha puxada, essa passada. Mas taí o Vida Fodona:

Flight Facilities + Giselle – “Crave You”
Rapture – “Never Die Again”
Funkadelic – “Who Says a Funk Band Can’t Play Rock”
M83 – “Steve McQueen”
Olivia Tremor Control – “The Game You Play Is In Your Head, Parts 1, 2, & 3”
Fabio Goes – “Amor na Lanterna”
Dirty Beaches – “True Blue”
Pazes – “Limbo”
John Carpenter – “Escape from New York’s Main Title”
Talking Heads – “Psycho Killer”
Blue Mode – “Haute Blood”
Sina – “One I Love”
Devo – “Beautiful World”
Frankie Valli – “Who Loves You (Pilooski Edit)”
Wilco – “Art of Almost”

Come on in.

Filmes de um universo paralelo

Matrix dirigido por John Boorman (com Bruce Lee como Neo), Tron feito por Cronenberg, Inception de Samuel Fuller (com trilha de Sun Ra!), Tobe Hopper e John Carpenter juntos, 2011 de Kurosawa, Guerra nas Estrelas de Jodorowski, 1984 de Paul Verhoeven e Kill Bill com Marilyn Monroe e Russ Meyer. Esses são só algumas das pérolas (há dúzias) de filmes imaginários criados pelo site Hartter. Lá tem mais.