“ the least free people in our society had the most freedom witht heir own bodies, and their postures and their gait and their music”.

Part 1

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Part 2

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And for those who don’t know who George Carlin is.. then watch this

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There was but one interview, I found this while going through stuff on Barry Lyndon, a masterpiece about a distant past with a vision set before its time, that culminated in one for the ages. Among all the interviews and debates around Stanley Kubrick, this one perhaps gives a true picture of him to me. It in some ways asked questions that he didn’t expect but was somehow prepared for, almost as if he was waiting for them since long. That it was to promote a film (Full Metal Jacket) and the first thing Kubrick and Tim Cahill talk about is well about how the interview is going to shape up.

“I’m not going to be asked any conceptualizing questions, right?”

“All the books, most of the articles I read about you — it’s all conceptualizing.”

“Yeah, but not by me.”

“I thought I had to ask those kinds of questions.”

“No. Hell, no. That’s my . . . [He shudders.] It’s the thing I hate the worst.”

And you already have a glimpse of things to come.

My favourite bit of the interview is when Kubrick spells out :

Oh, God, no. I’m trying to be true to the material. You know, there’s another extraordinary accident. Cowboy is dying, and in the background there’s something that looks very much like the monolith in 2001. And it just happened to be there.

The whole area of combat was one complete area — it actually exists. One of the things I tried to do was give you a sense of where you were, where everything else was. Which, in war movies, is something you frequently don’t get. The terrain of small-unit action is really the story of the action. And this is something we tried to make beautifully clear: there’s a low wall, there’s the building space. And once you get in there, everything is exactly where it actually was. No cutting away, no cheating. So it came down to where the sniper would be and where the marines were. When Cowboy is shot, they carry him around the corner — to the very most logical shelter. And there, in the background, was this thing, this monolith. I’m sure some people will think that there was some calculated reference to 2001, but honestly, it was just there.

There’s an element of mirth, research, understanding of the craft of both people all built on a superficial tone of a coincidence. It just lifts the whole episode into a realm that’s different.

Read the entire piece here: http://www.visual-memory.co.uk/amk/doc/0077.html

And while at it, you might enjoy this fan video for the master.

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And as a while we’re at Stan Kube , an even older 1962 , Terry Southern Interview.

A thousand conversations

Dip into a hue

Spread together and hide

For you to look through

Poetry and paintings, distinct siblings they seem at times. A poem paints a picture with the words it carries while a sketch tells a thousand stories within the folds of its canvas.  ”Painting is silent poetry, and poetry painting that speaks,” said Simonides they say half a milieu before Christ. Yet much like a lot of other things in life visual art has always grabbed the larger attention of the masses and undeniably a lot more worthy of collection compared to their wordy brother.

So you won’t find no poem bought for one hundred of a million dollars, but paintings you do. Of course the artists, the ones whose hands and their hearts before that who gave birth to them don’t live long enough to see their art scale these peaks. The art though on the doth take them into folklore.

In the modern history of man, which is not so long ago as the ones we study in our text books though vitally long still, there have been 5 paintings that have fetched over a $100 million. That in today’s days of being haste patient works such as these derive such high value even if for the name they bore than the art they is a satisfying trend.

Then again, the fact that the paintings command a value more for the name tag than the value the art yearns to convey. Often the art hardly moves the heart of the one who brought it as a prized possession to his huge collection. At times the only value that he sees is numerical, that there is only one of this in the world and is his treasure. The colours, the texture, the sweat and the often beleaguered life of the painter that went into it is of no particular consequence. Connoisseur they sure will be, just to ensure they don’t fall into a collector’s honey trap, yet to be an admirer, an artist..these be stuff that money doesn’t know how to buy.

Consider words, that of a poet on the other hand. They strike a chord on the most untrained of minds. No hundred hues of colour mixed to spread on varied textures like fine art, yet art nevertheless. A single shred of paper can carry the burden of a civilization in its fold written in a single dark ink. And it echoes more colour though it carries as much candour as its visual sibling, echoes a lot more.

That be its failing perhaps, that it is a mass product much like the toys of today that line up in an assembly and then crowd stores even when it is not quite one? Or is its failing in the fact that a poem is delicate, like a flower. That it can be plucked from where it first grew and planted anew like a rose in a maiden’s hair and yet call out a similar sensation? Or is its failing the simple fact that everyone can speak its language while the artist’s painting is foreign?

Perhaps none.

Perhaps that words set together with as much pain and patience don’t command worldly acceptance as a material possession is not the word’s failing. Perhaps it is the value that an art commands within its frame is a reflection of mankind’s selfishness. The survival first instinct that makes him think only of his own self at moments of intrigue. Or perhaps it is that mark of men bound to noise in this noisy world. That eternal privy of mankind to own and possess everything  when none is his at all.

The 100 million dollars, fresh currency or cheque never reaches the hand that made it. And the art goes on like time till it shreds are torn apart by age much like the men who claimed its possession. When none did. It just momentarily binds them in all possible perspectives. The art that doesn’t flow beyond the frames that holds it. The art that doesn’t convey the story it has to tell. The art that will one day like a whore become faithful to another master.And all that it is worth is the name of the hand that drew it.

The poem though flows, it flows stronger and far more than mighty rivers. It flows through hearts, into open minds through the cold breezes of open fields. Unflinching and screaming in languages that even the mind that penned it first doesn’t know.  And the poem flows thus for ages till the poet is long forgotten and the only worth the poem holds is that of the story it sells. And a poem never dies, it flow as long as air flows into the warm blood of man.

A poem, its words will never be worth

a dollar forget a million

A poem, its words is worth

a billion lives

Rose a hand slim and green
Seeking peace to cool the burning flesh
Rose a gun quick and clean
Painted in red her shivering hand

The Story of Iran

And so goes the story of Iran, a fabled culture, a muddled country with people lost not knowing which way to turn. Perhaps it is its location right in between the lines that stop being east or west on the face of the earth. Iran doesn’t know where its loyalties lie, to the west from where its significance arose or tot he east whose treasures open at its gate. The story of Iran leaves us befuddled thus and it is yet to unfold completely.

Though Iran wasn’t always the piece of mess that it now seems to have made itself. The juxtaposition of two varied cultures has had a hue impact on Iran’s own culture and reflects variedly in its various art forms. From the beautiful scripts of Persian, to its music and fine arts to most importantly its architecture.

Iran before the revolt

And if in this political gimmickry that surrounds the nation from both within and outside of it one thing that must be saved is this Iranian art and the culture it portrayed.  And if anything can bring back democracy at least one that the world can trust is right it is the art and culture of the country.

Not that the revolution was wrong or right, I am not in a position to debate that. However, the Iran that the world knew had a vibrance and identity unique to its own. It had poise and it had confidence, and in world caught up on differences Iran gave a peek in to a world that would have been sans these nags. I had seen some pictures of the era before hijab and the beard and it seems an alien nation something vastly different from what we see today. And it looked like the two ladies sitting beside us.

The World Needs Iran

The beauty of Iran is in its people. It has always welcomed yet stayed stable all through these years. It is in fact one of the earliest civilizations and has in its fold the roots of various sub cultures now spread across the Indus and Roman civilizations. There is therefore a connect that Iran extends that a few countries can claim to the world.

Iran with its murals, its Ayatollahs, its poets, its pristine walls, its revolts and its resistance is an enigma that has to survive.  And to conclude this somewhat abstract short story on Iran, here’s wishing you a happy 2010 Iranian style!

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And like Rumi once said, and Sullivan once blogged

about to let go. There’s no avoiding pain,
or feeling exiled, or the taste of dust.

But also we have a green-winged longing
for the sweetness of the Friend.