“Music is a means capable of expressing dark dramatism and pure rapture, suffering and ecstasy, fiery and cold fury, melancholy and wild merriment – and the subtlest nuances and interplay of these feelings which words are powerless to express and which are unattainable in painting and sculpture.”
— The Power of Music, 1964
In the middle of the film’s initial release, to keep interest going, Ivan Reitman had a trailer run, which was basically the commercial the Ghostbusters’ use in the movie, but with the 555 number replaced with a 1-800 number, allowing people to call. They got a recorded message of Bill Murray and Dan Aykroyd saying something to the effect of “Hi. We’re out catching ghosts right now.” They got 1,000 calls per hour, 24 hours a day, for six weeks.
Le poète, on le sait, mêle le manque et l’excès, le but et le passé. D’où l’insolvabilité de son poème. Il est dans la malédiction, c’est-à-dire qu’il assume de perpétuels et renaissants périls, autant qu’il refuse, les yeux ouverts, ce que d’autres acceptent, les yeux fermés: le profit d’être poète. Il ne saurait exister de poème sans appréhension pas plus qu’il n’existe de poèmes sans provocation. Le poète passe par tous les degrés solitaires d’une gloire collective dont il est, de bonne guerre, exclu. C’est la condition pour sentir et dire juste.
Above: Diagram of a glass painting setup (Artist: E.G.Lutz, from his 1927 book The Motion Picture Cameraman)
Below: A behind-the-scenes photo showing a glass-shot setup for Slander the Woman (1923). This shot establishes the ice skaters on a frozen lake with the glass painting finishing off the mountains and lodge above their heads (via)
Federico Fellini and Giulietta Masina on the set of La Strada.
What’s cookin’ good lookin’?
This is the secret recipe that Giulietta Masina said was the “love potion” she fed her husband of 50 years, filmmaker Federico Fellini. He told Charlotte Chandler for her ghost autobiography, I, Fellini (1995), it was the one secret Giulietta never shared with him.
On the side, in a small pan, melt:
1 tablespoon butter
1 tablespoon olive oil
2 to 3 onions
2 cloves garlic
4 cups peeled tomatoes
Add the chopped onions and garlic to the oil when the oil is not boiling. It’s best to use extra virgin olive oil.
Use fresh tomatoes, if possible, or peeled canned tomatoes. Do not use tomato purée. Plunge fresh tomatoes into boiling water until the skins loosen, then peel, drain, chop, and crush.
Prepare the spaghetti pasta (for 4) by plunging it into boiling water until it’s al dente.
Pour the chopped garlic and onions into a larger pan, and add the chopped and crushed tomatoes.
With the tomato, the secret is to add:
1 teaspoon of sugar
1/2 a lemon’s juice
Sugar is the essential ingredient, and the lemon adds a subtle sweet and sour effect. According to Giulietta, it brings out the flavor of the tomatoes.
A dash of paprika
Fresh, aged Parmesan cheese
Giulietta always put on an apron because the sauce can “jump up” on your blouse. She was so happy to be cooking spaghetti after having been in hotel rooms. She said he (Fellini) could never leave her because he could never leave her spaghetti.