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June 25 Farewell to Robert Altman: A Prairie Home CompanionRobert Altman的遗作，温馨得可以治愈任何忧伤，阵容强大的混搭型CAST，呈现了年龄层跨度极大的精彩群像。 无论是题材，剧情，类型，演出，R.A在他生命的最后一部作品中展示了一种超越他的招牌式黑色幽默的温馨，星光闪耀的阵容，却没有任何人光芒刺眼，即使林赛罗翰这样的叛逆少女和梅丽尔斯特里普这种演技女王在片中也显得浑然一体，将美国中西部的纯朴风情和率真民谣融入了这样一部纪念性的歌舞片和纪录片的混合体，在后网络时代向后收音机时代致以了最深沉的怀念和不舍。 这部关于一场Show的作品却并非只是一场Show。伟大的导演，伟大的作品，从来都是原汁原味，润物无声。最感人肺腑的怀旧，从来无需事先声张。 力荐！不过我想大多数人会睡着的，建议找一个夏日暴雨过后的慵懒却清新的黄昏来观赏。 PS:关于"A Prairie Home Companion" Garrison Keillor went to work for Minnesota Public Radio in 1969 on the 6 to 9 am morning program called A Prairie Home Companion—named after the Prairie Home cemetery in Moorhead, Minnesota. It was after he began work on an article for the New Yorker magazine about the Grand Ole Opry in Nashville that he developed an idea for a radio show with musical guests and commercials for imaginary products. And on July 6, 1974, Keillor hosted the first live broadcast of A Prairie Home Companion at the Janet Wallace Auditorium at Macalester College, Saint Paul. Producer Margaret Moos sold tickets for $1 for adults (50 cents for children), and the audience of 12 produced a total gate of something less than $8.
June 24 The Road Not TakenThe Road Not Taken Robert Frost Two roads diverged in a yellow wood "... 也许多少年后在某个地方 我将轻声叹息把往事回顾 一片树林里分出两条路 而我选了人迹更少的一条 从此决定了我一生的道路 ..." June 20 :: BLACK SNAKE MOAN ::B.S.M:
June 17 收工三点一刻，可以收工，木有宵夜，腰酸背痛。 work stuff暂时松一下，下周三再reload，还有一堆study stuff as pppppppppppppt 都懒得攻击BNU stuff了，只要上帝保佑月底之前任何BNU stuff都和我无关就ok 阿Gromit仔 please be with me! 阿Gromit仔囤积居奇! ps: fuckin JOIN stupid MS! June 15 priority is everything今天计划的工作没有做完 十二点刚过就决定放弃了 健康原因算不上充分的理由 心情原因也照例不能纳入理由的范围 理论上不可能有任何事阻止我去完成工作 无论工作本身有多傻逼 就如同不可能有任何事情阻止感冒的发生或口腔溃疡的康复 一连打了dozens of非常intensive的喷嚏 谁想我了？ 每次接到工作邀请都习惯于把承诺的完工时间定的很紧张 不给自己留余地就是给自己留下了最多的余地 可是今天这是怎么了？虽然是做出了产品框架只需要填充内容 反正是破例了 软体动物, do you know what's going on here? 接下来的五天的工作量和活动安排完全是地狱体验 当然也会survive啦 不过我也应该开始学习优先级设置了 活着 赖活着也罢 多少也是一项系统工程 priority is everything for survival 我的首要人生任务就素 消灭蚊子！ 然后 去天台吃火锅！ June 14 爱在此 乐在此午夜 地球 外面很凉 感冒很重 很远 更远 星星 很近 更近 回忆 全世界的雨落在全世界的草地上 全世界的聋子占据全世界的机场 能不能 就这样 一直 很 安静 偶尔 矫情 会不会 有利 健康 不仅 不老 而且 犹新 June 13 世界尽头刍议没头脑和不高兴
天生一对小伙伴
push me a little bit harder
say no to do me any favor
i get go but never
at world's stupid end
世界没有尽头
世界尽头就是小西天 June 12 牛逼；靠谱；不靠谱；二；傻逼。写给所有关注本空间和谐建设的朋友们：
“牛逼”是指专业性很强，常识性错误很少。
“靠谱”是指不犯专业性错误，少犯常识性错误。
“不靠谱”是指常犯专业性错误。
“二”是指常犯常识性错误。
“傻逼”是指不具备专业性，并一直犯常识性错误。
你们聊，我走先。 June 11 PURE YY有点绕，请绕行。 我从来都不是S.I.T北航店唯一一个一个人的一个人 但我从来都是S.I.T北航店唯一一个一直一个人的一个人 这说明，我粉peace。 好吧，我也可以这样认为。 June 10 a good script pilot"整个城市陷入狂乱的杀人游戏之中.车到处开,人都快死了.我们排了三条很长的队进行注射死亡,我去你家里,发现另外一个女生也去了.你爸妈在,我还问阿姨买的书桌多少钱.聊了几句之后那个女生说起了你感兴趣的话题,还说你们晚上去看电影,我推门就出去了,你追了过来,我不听解释.冲下楼,结果这个时候城里没有一辆汽车,我们只好不停地跑.跑到了注射死亡的地方.每个人都觉得这样死亡很快乐,有人还用保险来承担这个注射的费用.然后到我检查身体,正准备注射的时候......" to be continued 海岩，你在哪里？ no big deal[IF] If you can keep your head when all about you If you can dream--and not make dreams your master, If you can make one heap of all your winnings If you can talk with crowds and keep your virtue,
慈善i dont care coz i do care. June 09 i am not supermanlet go not going anywhere your song sing it to me man of steel woman of kleenex
June 07 言多必失“做人嘛，最重要的就是开心。”
这是港片里的经典配角们总会用一句万用台词
说这句话的角色往往在下一幕就莫名其妙死掉了
而那些受他们开导的苦闷男女则摇身一变成了不死鸟
这些充满乐天精神的配角们的使命就是拯救苦闷主角的混乱情商
虽然我觉得这种拯救是不可能的任务
但是这句台词和这个桥段的意义首先在于阐释了一个被忽视的真相
开心和不开心在更大的层面上源自主观情商而非客观遭遇
乐天派消融了苦闷 苦闷派放大了忧伤
乐天派配角的设定往往是低调而富有专业精神的人群
这样一个群体同时怀有感恩的心态和世俗的智慧
相比之下 苦闷派主角则天生自命不凡 命中注定会无事生非一番
这种不凡不在于苦闷派主角的心灵有多么B~U 其人生有多么密集
而在于有多么装逼 可是另一个被忽略的point是装逼的艺术在于浑然天成和坚持不懈
而这恰恰是与苦闷派的低劣情商形成了悖论
所以我们看到了更多的连逼都装不好的主角充斥视听
而那些可爱的配角们则光荣地死在了有金色棕榈树的沙滩上
桥段的情节设置也解释了两者的境遇
乐天派信运不信命 所以死得莫名其妙
苦闷派信命不信运 所以活得生不如死
开心和不开心不是硬币的两面 而是DVD的两片
做人嘛，最重要的不是开心，而是懂得如何接受不开心。
翻译: If you are too sensitive, you can not sense anything. June 04 PAPRIKA|A FILM BY SATOSHI KON很偶然EM到的
居然还Shooter到了简体字幕
看了十分钟就预感会是今年看到的最中意的动画作品
精彩绝伦 官方网站的设计更是无以伦比
SYNOPSIS
29 year old, Dr. Atsuko Chiba is an attractive but modest Japanese research psychotherapist whose work is on the cutting edge of her field. Her alter-ego is a stunning and fearless 18 year old “dream detective,” code named PAPRIKA, who can enter into people’s dreams and synchronize with their unconscious to help uncover the source of their anxiety or neurosis.
At Atsuko’s lab, a powerful new psychotherapy devise known as the “DC-MINI” has been invented by her brilliant colleague, Dr. Tokita, a nerdy genius who is rather too fond of his food. Although this state-of-art devise could revolutionize the world of psychotherapy, in the wrong hands the potential misuse of the devise could be devastating, allowing the user to completely annihilate the dreamer’s personality while they are asleep.
When one of the only four existing DC-MINI prototypes is stolen in the final stages of research, and simultaneously Dr. Tokita’s research assistant, Himuro, goes missing, Atsuko suspects it’s not a coincidence. Several of the remaining researchers at the lab start to go mad, dreaming while in their waking states, haunted by a Japanese doll which featured heavily in the dreams of one of Himuro’s schizophrenic patients. Atsuko now knows for certain that the DC MINI is being used to destroy people’s minds. She fears that not only will the government refuse to sanction the use of the machine for psychotherapy purposes when it becomes public, but whoever is manipulating the machines has a more evil purpose in mind.
SATOSHI KON
(director) Born on October 12, 1963 in Hokkaido, Satoshi Kon went to Musashino Art University and studied Visual Communication Design. While at the University, he made his debut as a comic artist at Young Magazine (published by Kodansha, Japan). His detailed illustration and composition became highly regarded, and he went on to work on Kaikisen (Regression Line) and World Apartment Horror. His work includes: Rojin Z, as a background artist; Run, Meros as a layout artist; Patlabor 2 as a background and layout artist, and Memories as a background and layout artist and screenwriter. His unique composition where everything within the frame is clearly defined and cleverly laid out attracted the industry’s attention. In 1998, he made his directorial debut with Perfect Blue which gained him international attention. 2002 saw the release of his second film Millennium Actress and in 2003, Tokyo Godfathers debuted. All of his feature films have been screened at the top international film festivals around the world. In 2004, he directed his first television series, Paranoia Agent. Paprika is his latest anime feature.
Filmography
Paprika (2006) Director / Screenplay Mousou Dairinin (Paranoia Agent) TV Series (2004)
Director / Story / Storyboard Artist Tokyo Godfathers (2003)
Director / Screenplay / Story / Character Design Sennen Joyu (Millennium Actress) (2001)
Director / Screenplay / Character Design Perfect Blue (1998)
Director / Character Design Memories (1995)
Screenplay (segment)/background & layout artist Patlabor 2 (1993)
Background & layout artist Run, Meros (1992)
Layout artist Rojin Z (1991) Background artist
World Apartment Horror (1991) Story MADHOUSE
(Animation Studio) With a reputation for producing high quality work, Madhouse has produced all three of Satoshi Kon’s films. Madhouse is known as one of the best production groups in the Japanese animation industry. In the past they have worked with the animation director Rintaro on such films as Harmagedon: Genma taisen, X, and METROPOLIS, and with director Yoshiaki Kawajiri on his films including: Supernatural Beast City, Jukei Ninpocho: The Ninja Scroll, and Vampire Hunter D: Bloodlust. They also worked on Kitaro Kosaka’s Nasu - The Summer of Andalucia, which screened at the Cannes International Film Festival in Director’s Fortnight. Recent Madhouse projects include: Tokyo Godfathers, Paranoia Agent, Paradise Kiss and Time Travel Girl. With their stylish direction and rich visual images, Madhouse is highly respected both in Japan and internationally.
Cast
Atsuko Chiba — Megumi Hayashibara
Seijiro Inui — Toru Emori Torataro Shima — Katsunosuke Hori Kosaku Tokita — Toru Furuya Toshimi Konakawa — Akio Ohtsuka Morio Osanai — Kouichi Yamadera HIM — Hideyuki Tanaka Japanese Doll — Satomi Kohrogi Hajime Himuro — Daisuke Sakaguchi Yasushi Tsumura — Mitsuo Iwata Nobue Kakimoto — Rikako Aikawa Reporter — Shinichiro Ohta Magician — Shinya Fukumatsu Waitress — Akiko Kawase Announcer — Kumiko Izumi Researcher — Anri Katsu Institute Member — Eiji Miyashita Pierrot — Kouzo Mito Special Appearance
Mr. Kuga — Yasutaka Tsutsui
Mr. Jinnai — Satoshi Kon Filmmakers Produced by “Paprika” Film Partners
MADHOUSE/Sony Pictures Entertainment (Japan) Inc. Developed by
Masao Maruyama Original Story written by
Yasutaka Tsutsui Screenplay by
Seishi Minakami/Satoshi Kon Character Design/Animation Director
Masashi Ando Art Director
Nobutaka Ike Color Design
Satoshi Hashimoto Director of photography
Michiya Kato Music by
Susumu Hirasawa Sound Director
Masafumi Mima Editing
Takeshi Seyama Co-Producer
Satoki Toyota Executive Producer
Jungo Maruta/Masao Takiyama Animation by
MADHOUSE, Inc. Director
Satoshi Kon From a story based on the Science Fiction novel by Yasutaka Tsutsui, the Japanese literary master
The original story, “Paprika,” was written by the great master of Japanese literature Yasutaka Tsutsui. Tsutsui’s futuristic novels are considered to be masterpieces of the Science Fiction genre. “Paprika” was first serialized in the Japanese woman’s magazine Marie Claire in 1991. Although it did not win an award, “Paprika” earned more popular votes than Tsutsui’s “Morning Gaspare,” which ultimately won the Japanese Science Fiction Award in 1993. As a result, “Paprika” became known as “the phantom winner of the Science Fiction Award.” It was also the last literary work that Tsutsui completed before he went on a his writing-strike to protest the excessive, self-imposed restraint of Japanese publishers.
The heroine of the story is a coolly intelligent psychotherapist with an amazing alter-ego called “Paprika,” a lively and attractive young girl who enters people’s dreams in order to understand their subconscious thoughts and help heal them. The dream girl “Paprika” is perhaps one of the most loved characters ever created by Tsutsui, along with Kazuko Yoshiyama in “Time Travel Girl” and the telepathic Nanase Hida in the “Nanase” trilogy.
Visualization of the impossible… Over the years, the extraordinary adventures of “Paprika,” have attracted a number of directors who wanted to adapt the story for the screen. It was thought that Tsutsui’s imaginative creation would be impossible to translate into visual images because of the whimsical nature of the dream sequences. Tsutsui himself, however, decided that Satoshi Kon, already renowned for his uniquely original animation, was the one director who could do justice to his creation.
Satoshi Kon was already a major Tsutsui fan! The two artists first started talking at the Anime magazine Animage in 1993. Tsutsui recalls: “I asked Kon to dramatize ‘Paprika’ for the screen after watching his feature “Millennium Actress” and seeing the highly creative level of animation that he was doing.”
Kon himself was already a great fan of the “Paprika” story and has been greatly influenced by Tsutsui. In fact, after the theatrical debut of his feature “Perfect Blue,” he decided he really wanted to animate “Paprika” for his next project. However, it wasn’t until 1993 that Tsutsui’s surprise offer made that dream a reality.
A homage to Tsutsui’s work Kon not only directed “Paprika” but he also adapted it for the screen from the original story. He took out many of the conceptual elements and the technical terms of psychoanalysis and created his own visual interpretation of that world. As a result, “Paprika” is a new form of animation for Kon, quite different from his trademark of creating detailed realism in his animation. His aim with this film was to create a world that would surprise the audience. Kon describes himself as a mad creator whose eccentric style creates a unique and surreal dreamlike world for the amazing adventures of Paprika. Tsutsui also speaks very highly of Kon’s work which he acknowledges is simpler than the original story. However, there are many elements of the world that Tsutsui created that Kon loves. For example the poetic rhyme and word games heard in the language spoken by those whose dreams are disrupted. This language is unique to Tsutsui’s work and Kon wanted to preserve that. “Paprika” is Kon’s homage to the master Yasutaka Tsutsui.
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