Limitless Cinema: 04/01/2010

Thursday, April 29, 2010

so welcome to the world,
yeah...all you late-comers,
just step onboard
i'm happy, glad you came
so welcome home again!

sometimes i feel we must be going mad
hello peter, hello paul
saints and sinners, welcome all
tommy cannon and bobby ball
hello, hello, hello, hello

consider, if you will
this great big question, unanswered still
oh, can you spot the difference
that lies between
the colour blue and the colour green?
sometimes i feel we must be going mad

little richard, little nell
willy wonka and william tell
salman rushdie and kym mazelle
hello, hello, hello, hello...

so welcome to the team
oh, have you worked it out yet?
yeah - the riddle, i mean
what's the answer?
it's plain to see - blue is blue and it always will be
sometimes i feel that the whole world's going mad

mork and mindy, brian hayes
barry humphries and paris grey
little neepsie, chris and do
hello, hello, hello, hello...

billy corkhill, vince hilaire
freddie flintstone, fred astaire
desmond tutu, steve and claire
hello, hello, hello, hello...

charlie parker, charlie brown
leslie crowther, come on down
mary wilson, di and flo
hello, hello, hello, hello...

sir bufton tufton, jean paul sartre
zippy, bungle, jeffrey archer
andre previn and the lso
hello, hello, hello, hello...hello!

Wednesday, April 28, 2010

FAVORITE OLD SONGS 52: SUEÑO LATINO (1989) – Sueño Latino

http://www.youtube.com/watch?v=9PxJNkoeWi8

Tuesday, April 27, 2010

FAVORITE OLD SONGS 51: GRAND PIANO -- MIXMASTER

http://www.youtube.com/watch?v=yxe8iZeKPxI

Monday, April 26, 2010

AGERU (2010, Tossapol Boonsinsukh)

Tossapol directed this music video and wrote the lyrics of this Japanese song. According to him, the lyrics say "Rain falls. Birds fly. I give you flowers. Sky sleeps. The moon swims. I give you my heart."

You can watch this music video here:
http://www.youtube.com/watch?v=gkrgi1wrJMg

Friday, April 23, 2010

FAVORITE OLD SONGS 50: DEEP IN VOGUE -- MALCOLM MCLAREN

http://www.youtube.com/watch?v=PVLFLLKIgzg

SOME PEOPLE WANT THAI PEOPLE TO KILL EACH OTHER. WILL WE FALL INTO THEIR TRAPS?

--One of my most favorite films I saw last year is S21: KHMER ROUGE KILLING MACHINE (2003, Rithy Panh, documentary, A+++++++++++++++), which deals with the civil war in Cambodia. Vann Nath, a painter who survived the civil war, gave an interview in this film. I think his paintings are very interesting. And I hope Thailand will not experience civil war like Cambodia, Rwanda, or Yugoslavia.

Maybe some people want us to kill each other. Will we fall into their traps?

You can watch S21: KHMER ROUGE KILLING MACHINE in the link below:
http://www.youtube.com/watch?v=QxcmefhMLLo

http://farm5.static.flickr.com/4045/4545327490_fdd168a509_o.jpg
http://farm5.static.flickr.com/4015/4545327488_b5ffe0e3fa_o.jpg
http://farm5.static.flickr.com/4035/4545327486_c2f51c6629_o.jpg
http://farm5.static.flickr.com/4041/4545327480_c1ed1a4348_o.jpg
http://farm5.static.flickr.com/4046/4545327476_2545c78193_o.jpg

--Two recommended films for Thailand: ROSEWOOD (1997, John Singleton) in which the massacre occurred just because of "a rumor", and FINAL SOLUTION (2004, Rakesh Sharma), in which the massacre occurred partly because the politicians incited hatred among their peoples. I hope the events in these two films will not be repeated in Thailand.

You can watch FINAL SOLUTION here:
http://video.google.com/videoplay?docid=3829364588351777769#

--Favorite quote from THE WAR (1994, Jon Avnet):"War is like a big machine that no one really knows how to run and when it gets out of control it ends up destroying the things you thought you were fighting for, and a lot of other things you kinda forgot you had. "

Wednesday, April 21, 2010

CELINE AND JULIE GO DANCING 17: MUTATION -- JONA

http://www.youtube.com/watch?v=dvucqyfG-V4

FAVORITE OLD SONGS 49: YOU'RE WALKING -- ELECTRIBE 101

http://www.youtube.com/watch?v=K_6-8lilkc8

Tuesday, April 20, 2010

POLL 77: WEST GERMAN FILMS IN THE 1970'S

POLL 77: WEST GERMAN FILMS IN THE 1970'S

My poll 77 is inspired by the death of Werner Schroeter, who made THE DEATH OF MARIA MALIBRAN (1972), which is one of my most favorite films of all time. I wrote a comment on this film here:
http://www.imdb.com/title/tt0067861/usercomments

I love many German films made during the 1970's and early 1980's, but I'm not sure if some of them belong to the New German Cinema or not. I think that Werner Herzog, Danièle Huillet, Alexander Kluge, Helma Sanders-Brahms, Volker Schlöndorff, Werner Schroeter, Jean-Marie Straub, Hans-Jürgen Syberberg, Margarethe von Trotta, and Wim Wenders belong to the New German Cinema, because some books about the New German Cinema talk about these directors. But I'm not sure if Harun Farocki, Thomas Brasch, and Peter Stein belong to this group or not. Since I'm not sure about the definition of the New German Cinema, I decided not to make a poll about the New German Cinema. I decided to make a poll about West German films during the 1970's instead, because it is much easier for me to decide if any films belong to this country and this period or not. This poll also includes some films which may not belong to the New German Cinema, such as the film of Wolfgang Staudte.

I WORSHIP THESE WEST GERMAN FILMS WHICH WERE MADE DURING THE 1970'S. WHICH ONES DO YOU LIKE?

1.THE ALL-ROUND REDUCED PERSONALITY: REDUPERS (1978, Helke Sander)

2.DAS ANDECHSER GEFÜHL (1974, Herbert Achternbusch)

3.BREMEN FREEDOM (1972, Rainer Werner Fassbinder)

4.CALM PREVAILS OVER THE COUNTRY (1976, Peter Lilienthal)

5.THE DEATH OF MARIA MALIBRAN (1972, Werner Schroeter)

6.HITLER: A FILM FROM GERMANY (1977, Hans-Jürgen Syberberg)

7.KINGS OF THE ROAD (1976, Wim Wenders)

8.LAND OF SILENCE AND DARKNESS (1971, Werner Herzog)

9.THE LEFT-HANDED WOMAN (1977, Peter Handke)

10.MADAME X: AN ABSOLUTE RULER (1978, Ulrike Ottinger)

11.MATHIAS KNEISSL (1970, Reinhard Hauff)

12.MOSES AND AARON (1975, Jean-Marie Straub + Danièle Huillet)

13.NIGHTSHADE (1972, Niklaus Schilling)

14.THE PATRIOTIC WOMAN (1979, Alexander Kluge)

15.THE SECOND AWAKENING OF CHRISTA KLAGES (1977, Margarethe von Trotta)

16.SOCCER AS NEVER BEFORE (1971, Hellmuth Costard)

17.THE SUDDEN WEALTH OF THE POOR PEOPLE OF KOMBACH (1971, Volker Schlöndorff)

18.TWO FRIENDS KILL BY POISON (1978, Axel Corti)

19.YESTERDAY'S TOMORROW (1978, Wolfgang Staudte)

20.ZERO HOUR (1977, Edgar Reitz)

You can cast multiple votes.

KREUZUNG, THE STORK, AND WE LIVED IN GRASS ARE THE WINNERS

My poll 76 ended with two votes. Thanks very much to the person who voted in it. Here is the result:

I LIKE THESE GERMAN ANIMATIONS WHICH ARE AVAILABLE IN YOUTUBE. WHICH ONES DO YOU LIKE?

1.KREUZUNG (1991, Raimund Krumme)
+THE STORK (2002, Klaus Morschheuser)
+WE LIVED IN GRASS (1995, Andreas Hykade)

Each of them got 2 votes, or 100 %.

4.DER CONNY IHR PONY (2008, Robert Pohle)
+THE FAKE PLAYER (1997, Mariolla Brillowska)
+THE FLOOD (1986, Lutz Dammbeck)
+KONTRASTE (1982, Sieglinde Hamacher)
+THE PATCHWORK QUEEN (2001, Lars Henkel)
+QUEST (1996, Tyron Montgomery + Thomas Stellmach)
+RHYTHMUS 21 (1921, Hans Richter)
+RUBICON (1997, Gil Alkabetz)

Each of them got 1 vote, or 50 %.

12.BALANCE (1989-1990, Christoph Lauenstein + Wolfgang Lauenstein)
+CANARY BEAT (2006, Jürgen Haas)
+ENT – ODER WEDER (RACHE 1) (1965, Bruno J. Böttge)
+FORGET (2009, Michael Fragstein)
+HÄNSEL AND GRETEL (1955, Lotte Reiniger)
+DAS MONUMENT (1989, Lutz Stützner + Klaus Georgi)
+ONE MINUTE FLY (2008, Michael Reichert)
+RANDOM INSPECTION (2008, Florian Stanger)
+SYMPHONIE DIAGONALE (1924, Viking Eggeling)

Each of them got 0 vote.

As for non-German animations online, I like these ones:

1.THE BRIEF LIFESPAN OF FIRE: ACT 2 SCENE 2: SURING AND THE KUK-OK (1995, Auraeus Solito, Philippines)
http://www.vimeo.com/8648365

2.BUTTERFLY (2002, Glenn Marshall)
http://www.vimeo.com/1677757

3.CYCLES (2010, Cyriak)
http://www.youtube.com/watch?v=-0Xa4bHcJu8

4.ELEVATOR (2009, Hwang Na-young, Lee Gyeong-ji, Yoon In-hwa, South Korea)
http://www.youtube.com/watch?v=kQWwTXOYfrA

5.FETCH (2001, Nina Paley, USA)
http://www.youtube.com/watch?v=Hbla1JXVwaU

6.FREE RADICALS (1958, Len Lye)
http://www.youtube.com/watch?v=sGyVYDseGc4

7.THE HANGMAN (1964, Les Goldman, Paul Julian)
http://www.youtube.com/watch?v=_ZSS3yxpnFU

8.A KISS FROM A KITTY (2009, Hwang Hye-jo, Kim Huee-hoon, Hwang Ji-hye, South Korea)
http://www.youtube.com/watch?v=81FADg3fDJI

9.LONGAN-EYED PRINCESS (2009, Chanokporn Chutikamoltham, Thailand)
http://www.youtube.com/watch?v=wb6qgrp_X-s

10.MONSIEUR COK (2008, Franck Dion, France)
http://www.youtube.com/watch?v=vcju4sFokxs

11.NOTEBOOK (2008, Evelien Lohbeck, Netherlands)
http://www.youtube.com/watch?v=papFCzTzuxA

12.RABBIT PUNCH (2008, Kristian Andrews, UK)
http://www.youtube.com/watch?v=TP7JY9uTOhI

13.THE ROYAL NIGHTMARE (2008, Alex Budovsky, USA)
http://www.youtube.com/watch?v=e1vHK7x_tMk

14.SINK (2009, Pittaya Werasakwong, Thailand)
http://www.youtube.com/watch?v=4aWniys6UPA

15.SIX DAYS GOODBYE POEMS OF OPHELIA (2009, Jo Wonder)
http://www.youtube.com/watch?v=Mm2FlLqAeqE

16.SLIM PICKINGS (1998, Anthony Lucas, Australia)
http://www.youtube.com/watch?v=XnbfA3-UBGk

17.SYNCHROMY (1971, Norman McLaren)
http://www.youtube.com/watch?v=Jqz_tx1-xd4&feature=related

18.THE TOOTH (2004, Nathan Stone, Australia)
http://www.youtube.com/watch?v=yXd4Q_Ei1fA

19.TWO DREAMS (Anders Jedenfors + Jamie Stone, Scotland)
http://www.youtube.com/watch?v=ymuucd6P2H8

20.VIDEOGIOCO (2009, Donato Sansone, Italy)
http://www.youtube.com/watch?v=1iIOmubk5sA

KICK-ASS (2010, Matthew Vaughn, A+++++)

ELECTRA MY LOVE (1974, Miklós Jancsó, A++++++++++)

KICK-ASS (2010, Matthew Vaughn, A+++++)

THE RED SWEATER (1979, Michel Drach, A+++++)

THE FLOOD (1986, Lutz Dammbeck, A+)

FROZEN (2010, Adam Green, A+)

KONTRASTE (1982, Sieglinde Hamacher, A+)

CHLOE (2009, Atom Egoyan, A+)

SHUTTER ISLAND (2010, Martin Scorsese, A+)

THE PRINCESS AND THE FROG (2009, Ron Clements + John Musker, A+)

LEGION (2010, Scott Stewart, A+)

SECRET SUNDAY (2010, Saranyu Jiralak, A+/A)

PETITES VACANCES A KNOKKE-LE-ZOUT (2009, Yves Matthey, A)

HÄNSEL AND GRETEL (1955, Lotte Reiniger, A)

CANARY BEAT (2006, Jürgen Haas, A),

THE GROCER'S SON (2007, Eric Guirado, A)

CELINE AND JULIE GO DANCING 16: THE RIVERBED -- BABY FORD & ZIP

http://www.youtube.com/watch?v=UIs9X9vmsFM

CELINE AND JULIE GO DANCING 15: COTCOT -- MASOMENOS

http://www.youtube.com/watch?v=cE_6zQz4K60

FAVORITE OLD SONGS 48: THIS IS YOUR LIFE -- BANDERAS

http://www.youtube.com/watch?v=-rcLLa5mPvU

Monday, April 19, 2010

FAVORITE OLD SONGS 47: REMEMBER THE DAY -- INNOCENCE

http://www.youtube.com/watch?v=_ktPgA0ANpQ

Sunday, April 18, 2010

AN INTERVIEW WITH WERNER SCHROETER IN KULTURCHRONIK MAGAZINE

The death of Werner Schroeter saddens me and my friends very much, so I think posting this interview might be useful for Schroeter's fans. The interview below is copied from the free magazine Kulturchronik (6-1998):

IMAGINATION IS RESISTANCE

At an early stage he summarized his love of film and opera in a 1968 CALLAS PORTRAIT. That was followed by such experimental films as EIKA KATAPPA, THE DEATH OF MARIA MALIBRAN, REGNO DI NAPOLI, PALERMO OR WOLFSBURG, DAYS OF THE IDIOTS, and MALINA after Ingeborg Bachmann. In the eighties and nineties Werner Schroeter devoted more attention to theatre and opera. Heinz-Norbert Jocks talked to him on behalf of the Frankfurter Rundschau.

Frankfurter Rundschau: You like the philosophy of Michael Foucault, don't you?

Werner Schroeter: Yes, I find him highly intelligent, and one could devote a life just to his work. Around 1973 when two of my films were shown in France, THE DEATH OF MARIA MALIBRAN and WILLOW SPRING, about which Foucault wrote an article in a film magazine, I came across his books for the first time and his definition of the vital differences between love and suffering particularly pleased me. I read him and was impressed by how close he came to my feelings on the philosophical level.

FR: What role does France play for you?

WS: After initial difficulties I find interesting the contrast between life and art and the way in which the French live.

FR: You also love Italy and Mexico City.

WS: Yes, I was always attracted by the harsh contrast, here the North and there the South. I yearned for Italy because it was there that I first really fell in love. Then came the passion for opera. Verdi's BALLO IN MASCHERA constitutes an opposite to Wagner's TRISTAN which consists of an abundance of subtleties and superimpositions. The one is as beautiful as the other, but during my youth I felt much more attracted to this linear Latin music.

FR: And Mexico City?

WS: There I felt very much at ease. Such wellbeing is important for my creativity since I'm not a masochist in that respect. It was the people there who filled me with life. I once said on Mexican television that I feel myself to be a European. From Mexico City Paris is just around a corner but Los Angeles is a whole world away. I think Mexicans wonderful with their clear-cut passion and sensuous lives, coupled with Prussian discipline.

FR: You make no secret of your homosexuality. Do you comprehend your gayness as a chance to make less conventional art?

WS: Certainly that is one advantage, provided that one has the necessary personal constitution and has the wish and the will for such expression. The unconventional way is certainly more fruitful than what is already laid down. Baudelaire already asked, why do something in a straight line if you can do it crookedly. More happens. That's obvious since one must be ready for much more resistance. One also operates out of much greater internal friction. That's certainly the case with all outsiders. However for someone who cannot really express themselves or has no chance of putting it to creative use, that can certainly be a great problem because he allows himself to be intimidated. But I certainly don't feel myself to be an outsider since I'm always integrated in more extended social contexts.

FR: Did you experience something like a coming out?

WS: Homosexuality was never a concern in my family, and there was a time when I alternated girl and boy friends, whereby the erotic ties with the boys were greater than with the girls – and I also slept with them. My father, who liked most of my friends both male and female, was convinced by the human rather than the sexual qualities. That was quite normal. I turned up with a boy friend and that was that. On this level I couldn't be forbidden anything. I was calm and gentle and quiet but had a certain strength involving a kind of non-violent authority. In addition my mother was a loveable and loving woman, full of faults like everyone else. She struggled greatly for her children's love. My father was an exceptionally liberal man whose tolerance seemed almost indifference when I was a child. Only years later did I discover that this was his form of social acceptance. As far as influence and behaviour are concerned, I believe that we are much more influenced by the family than by whether we are gay or not.

FR: You had a special relationship with your grandmother, didn’t you?

WS: My Polish grandmother was a dynamo of imagination who shared her fantastic world. In 1951, shortly after the war when I was five, we lived in a rapidly developed workers settlement outside Bielefeld. Everything I could see outside was so alien to my sensibility that my grandmother and her dreams became my world. She, who had neither experienced repression nor practiced it, translated everything into fantasy. I still remember very well how she once suddenly transformed the rails used by Bielefeld’s trams into an Indian trail. A chair became a palace and a flower pot a jungle. This freedom in dealing with things captivated me, and there was a place for us in strange daydream reality. I remember a highly comical story. My grandmother, at sixty an astonishingly beautiful and slender woman, had lost everything in the East during the first and second world wars except for her beautiful silk dresses from the twenties and thirties. These she wore in 1950 in the Bielefeld workers settlement, walking around in stately fashion with her shopping basket, and on top of that with bleached hair. What she wore looked really good on her body, so whistling boys followed her while I held her hand. She smiled at me and said: “Now watch this”. She suddenly turned around and declared: “ Well boys, a girl’s school from the back and a museum from the front”.

For her a sense of reality was completely present in a vital irony. With her fantastic dreamworld she prepared us for a life of resistance. After all imagination is resistance and the only thing that can turn upside down the unbearability of reality. Without it there would be no revolution, which involves not only mass dynamics but also the development of fantasy regarding something so as to surmount it. With her kind of flight from the world my grandmother created a new reality which could take place everywhere. That is certainly the source of my freedom vis-à-vis what people nowadays call realistic depiction or naturalism. For me it goes without saying that with determination and imagination mountains –imaginary ones of course—can be moved.

FR: What themes initially attracted you as a maker of films and theatre?

WS: Initially the mystery of woman in society and my great closeness to women on the level of friendship. During my short marriage I also sussed out the identificatory aspect. I am interested in women in art as sensitive beings, even a membrane, since women have a great talent for self-mastery. Then something shifted and a larger context was established. But my first theatre productions are linked with women's names: EMILIA GALOTTI, SALOME, MISS JULIE, KÄTCHEN VON HEILBRONN, and MISS SARA SAMPSON. I only broke that sequence with Wagner's LOHENGRIN. Alongside my wish to present more love stories between men, I would like to put on a play about paederasty although I am not a paederast. A theme that is wrongly hackneyed.

FR: Your productions seem wonderfully connected with your vital force and that of the actors involved. They work on the basis of improvisation, demanding that the actor relies on him or herself.

WS: That's impossible without the intuition. Theatre is community work where I am the originator and director of the performance. The actor must provide at least as much creativity as me. In order to get things moving I come with a very strict concept even though I know from experience that it will be thrown overboard after some days of rehearsal. So I gradually give up this concept because what is involved in the encounter with the actors leads it to pale into insignificance. But things don't work completely without a concept. You must allow yourself the freedom to abandon what you thought up. Only then does there come into being something that is more vital than the preconceived idea. Basically I offer my ideas as motivation. However at the end of this process the original basic idea is redeemed in a more beautiful, advanced, and essential form than it would have been in working according to routine. I must accept the play I have chosen with all its weaknesses and other characteristics. What matters is to find a way of doing justice to it.

FR: Underlying what you do is curiosity about something completely other.

WS: Yes, since I know anyway what I want. If I were only to force my will onto another person and press him into my form, allowing everything to cool down, it would be completely dead. Only a few forms of theatre really touch me. For instance the theatre made by Tadeusz Kantor, who unfortunately died some years ago. This man, who worked on productions for two years, certainly utilized a similar work process. Only he went much farther than me. He worked until an organic experience had occurred between the actors.

END

As for an interview with Werner Schroeter by Daniel Schmid, you can read it in Thai here:
http://twilightvirus.blogspot.com/2007/12/werner-schroeter-1-filmvirus-special.html
http://twilightvirus.blogspot.com/2007/12/werner-schroeter-2.html

FOND MEMORIES OF OLD SHOES

I decided to throw away five pairs of my old shoes because my room has no space left. I feel so sad. I picked up these shoes from a place near a trash can fifteen years ago. They are much too small for my feet, but I could stand on them and pretended to wear them when my friends visited me. These shoes contain a lot of good memories for me. My most favorite pairs of shoes are the ones with glass heels.

Before I threw them away, I tried to stand on one of the shoes again. But the heel suddenly broke. I think it is because I have gained 20 kilograms of weight during the past 15 years.

http://farm5.static.flickr.com/4046/4529974842_25d5699976_o.jpg
http://farm5.static.flickr.com/4023/4529974840_d4bca93cfc_o.jpg
http://farm5.static.flickr.com/4069/4529974838_2787be680d_o.jpg
http://farm5.static.flickr.com/4067/4529974828_ee0410c6f5_o.jpg
http://farm5.static.flickr.com/4072/4529974832_c98e0fe823_o.jpg
http://farm5.static.flickr.com/4027/4529974830_8bd2929752_o.jpg
http://farm5.static.flickr.com/4020/4529344281_0604a2b20b_o.jpg

CELINE AND JULIE GO DANCING 14: LOLLYPOP (ANDY GEORGE EDIT) -- CROKERS

http://www.youtube.com/watch?v=CwQAYpvL9xU&feature=related

FAVORITE OLD SONGS 46: TILL WE MEET AGAIN (1991) -- INNER CITY

http://www.youtube.com/watch?v=3tvn-qOgkHE

Saturday, April 17, 2010

FAVORITE LANDMINE SCENES

This is my comment in Tete Cinema's blog:
http://tetecinema.wordpress.com/2010/04/16/les-herbes-folles/

I think WEB OF DECEPTION is one of my most favorite films of all time. I haven't seen I'M NOT A PROSTITUTE, but it sounds interesting. I like one scene in JE VEUX VOIR very much. It's the scene in which the car is stuck among landmines. The scene feels so real. If the scene was real, I imagine Catherine Deneuve would have felt scared shitless to be in that scene. She would have thought, "How I was so wrong to accept to be in this film! Now I'm going to die because I decided to star in this film." I think the blurred lines between truth and fiction in this film is the reason why I feel this scene is very exciting. It allows me to imagine that the real Catherine Deneuve was in peril, not just "a fictional character" was in peril. There are some landmine scenes I like in other films, such as the ones in WEDDING IN GALILEE (1987, Michel Khleifi, A+), and in one episode in the TV series SUKEBAN DEKA 2, in which the heroine has to use both her steel mask and her yoyo to rescue a little baby among landmines while fighting the villain who uses boomerang as a weapon at the same time. The landmine scenes in these two works are very exciting, but because I know these scenes are fictional, these scenes don't scare me as much as the landmine scene in JE VEUX VOIR.

FAVORITE OLD SONGS 45: THE ONE AND ONLY -- CHESNEY HAWKES

http://www.youtube.com/watch?v=Y_r0oQE5jEU

CELINE AND JULIE GO DANCING 13: ON THE GRIND (JAK Z MIX) -- JAYMO

http://www.youtube.com/watch?v=Lvd-iOqXwQ4

Friday, April 16, 2010

FAVORITE OLD SONGS 44: SPEAK TO ME -- MICHAEL FRANKS

http://www.youtube.com/watch?v=_aKM3LvKDAM

FAVORITE SONGS 8: DIMINISHING RETURNS -- ALI LOVE

http://www.youtube.com/watch?v=V-x1rawJ-Eo

Thursday, April 15, 2010

CELINE AND JULIE GO DANCING 12: HAMKA -- LAUHAUS

http://www.youtube.com/watch?v=gyKGCDWnpdM

FAVORITE SONGS 7: OH! -- WE HAVE BAND

http://www.youtube.com/watch?v=LCet7l4-VgU

FAVORITE OLD SONGS 43: HOW MUCH IS ENOUGH -- THE FIXX

http://www.youtube.com/watch?v=JGHmhjzolTM

FAVORITE OLD SONGS 42: THE HARDER I TRY -- BROTHER BEYOND

http://www.youtube.com/watch?v=mTs2Z3jYzq4

Tuesday, April 13, 2010

POLL 76: GERMAN ANIMATIONS IN YOUTUBE

POLL 76: GERMAN ANIMATIONS IN YOUTUBE

My poll 76 is inspired by the German Animation and Short Film Festival held by the Thai Film Foundation in Bangkok in January this year. I like this festival very much. It showed us some masterpieces such as THE INVISIBLE FRAME (2009, Cynthia Beatt, A+++++), and also showed us many great German animations.

After the festival, I found out that some animations shown in the festival can also be watched in Youtube. So I decided to gather the links to these animations and post them here. I also include the links to some German animations which were not shown in the festival.

Truthfully, animations are not my kind of films, especially animations for children. But some animations, especially German animations, can make me feel very excited.

I LIKE THESE GERMAN ANIMATIONS WHICH ARE AVAILABLE IN YOUTUBE. WHICH ONES DO YOU LIKE?

1.BALANCE (1989-1990, Christoph Lauenstein + Wolfgang Lauenstein)
http://www.youtube.com/watch?v=91bNp7HJolE

2.CANARY BEAT (2006, Jürgen Haas)
http://www.youtube.com/watch?v=kPW7HZrBDsQ

3.DER CONNY IHR PONY (2008, Robert Pohle)
http://www.youtube.com/watch?v=I-msySE1pK4

4.ENT – ODER WEDER (RACHE 1) (1965, Bruno J. Böttge)
http://www.youtube.com/watch?v=3bX27D5uqaI

5.THE FAKE PLAYER (1997, Mariolla Brillowska)
http://www.youtube.com/watch?v=0gglLmuRVkk

6.THE FLOOD (1986, Lutz Dammbeck)
http://www.youtube.com/watch?v=7shnejA6Ans

7.FORGET (2009, Michael Fragstein)
http://www.youtube.com/watch?v=fQQguxG0n-0

8.HÄNSEL AND GRETEL (1955, Lotte Reiniger)
http://www.youtube.com/watch?v=KxkIGXVwZTM

9.KONTRASTE (1982, Sieglinde Hamacher)
http://www.youtube.com/watch?v=5vlFoQFC-mI

10.KREUZUNG (1991, Raimund Krumme)
http://www.youtube.com/watch?v=CbtK7Yol-jc

11.DAS MONUMENT (1989, Lutz Stützner + Klaus Georgi)
http://www.youtube.com/watch?v=z5ftnfwSr-k

12.ONE MINUTE FLY (2008, Michael Reichert)
http://www.youtube.com/watch?v=p2NRs3-HeoQ

13.THE PATCHWORK QUEEN (2001, Lars Henkel)
http://www.youtube.com/watch?v=vYepHJK76HA

14.QUEST (1996, Tyron Montgomery + Thomas Stellmach)
http://www.youtube.com/watch?v=uTyev6OaThg

15.RANDOM INSPECTION (2008, Florian Stanger)
http://www.youtube.com/watch?v=eYI0bqmVMUw

16.RHYTHMUS 21 (1921, Hans Richter)
http://www.youtube.com/watch?v=uhv2KpQGMqY

17.RUBICON (1997, Gil Alkabetz)
http://www.youtube.com/watch?v=t3mQn0n7JpI

18.THE STORK (2002, Klaus Morschheuser)
http://www.youtube.com/watch?v=yXUBnShVTdY

19.SYMPHONIE DIAGONALE (1924, Viking Eggeling)
http://www.youtube.com/watch?v=MtBjFv46XLQ

20.WE LIVED IN GRASS (1995, Andreas Hykade)
http://www.youtube.com/watch?v=nRmq7fPsZ3s
http://www.youtube.com/watch?v=fs8d_4t1leM

You can cast multiple votes.

Related poll – POLL 69: ANIMATION MUSIC VIDEOS
http://celinejulie.blogspot.com/2009/11/poll-69-animation-music-videos.html

Nanoguy gave grades to some German animations shown in the festival in the link below:
http://nanoguy.exteen.com/20100104/year-2010

GUO XIAODONG IS THE WINNER OF POLL 75

My poll 75 ended with 11 votes. Wow! Thanks very much to everyone who participated in it. Here is the result:

I THINK THESE CHINESE-SPEAKING ACTORS ARE VERY HANDSOME. WHICH ONES DO YOU LIKE?

1.Guo Xiaodong – SUMMER PALACE (2006, Lou Ye)
He got 4 votes, or 36 %.

2.Fan Chih-Wei – THE BEST OF TIMES (2001, Chang Tso-chi)
+Huang Xiaoming – THE BANQUET (2006, Feng Xiaogang)
+Nicky Wu – THE LOVERS (1994, Tsui Hark)

Each of them got 3 votes, or 27 %.

5.Aaron Kwok – MURDERER (2009, Chow Hin Yeung Roy)
+Joseph Chang – ETERNAL SUMMER (2006, Leste Chen)
+Michael Wong – WONDER WOMEN (1987, Gan Kwok-leung)
+Nicholas Tse – BODYGUARDS AND ASSASSINS (2009, Teddy Chan)
+Shawn Yue – INVISIBLE TARGET (2007, Benny Chan)
+Takeshi Kaneshiro – CHUNGKING EXPRESS (1994, Wong Kar Wai)
+Van Fan – CAPE NO. 7 (2008, Wei Te-sheng)

Each of them got 2 votes, or 18 %.

12.Chang Chen – THE GO MASTER (2006, Tian Zhuangzhuang)
+Louis Koo -- SEALED WITH A KISS (1997, Chiu Sung Kee)
+Ray Lui (Lui Leung-wai) – DHARMA – FOUNDER OF SHAOLIN (1986, TV series)
+Raymond Wong – WU YEN (2001, Johnnie To + Wai Ka-fai)
+Shao Bing – SPICY LOVE SOUP (1997, Zhang Yang)
+Wang Po-chieh – BODYGUARDS AND ASSASSINS (2009, Teddy Chan)

Each of them got 1 vote, or 9 %.

18.Chen Kun – PAINTED SKIN (2008, Gordon Chan)
+Lu Yi – SEVEN SWORDS (2005, Tsui Hark)
+Ren Quan – CONFUCIUS (2010, Hu Mei)

Each of them got 0 vote.

--I'm glad Guo Xiaodong got the most votes. He's both handsome and talented. He shows a lot of talent in SUMMER PALACE, and is very handsome in AN EMPRESS AND THE WARRIORS (2008, Ching Siu-tung, A-). Unfortunately, his role in TRUE LEGEND (2010, Yuen Woo-ping, C+) is so bad that he has no real opportunity to show his talent and his sex appeal.

--As for handsome Thai actors, I like these ones:

1.Anuwat Saejao อนุวัฒน์ แซ่เจ๊า – FIREBALL (2009, Tanakorn Pongsuwan, A+)
http://farm5.static.flickr.com/4027/4517866124_0e49cda20d_o.jpg

2.Athiwat Lumgool อธิวัฒน์ ลำกูล-- BORING LOVE (2009, Sarawut Intaraprom, A-)
http://farm5.static.flickr.com/4046/4517866130_aa1d599de2_o.jpg

3.Chantawit Thanasewee – COMING SOON (2008, Sopon Sakdapisit, A-)
http://farm4.static.flickr.com/3565/3326070116_91fb913cda_o.jpg

4.Chatsoron Tanootipyagool – WHO ARE YOU (2010, Pakphum Wongjinda, A+)
http://farm5.static.flickr.com/4005/4517866142_a1f140e7c7_o.jpg

5.Erawat Ruengwoot เอราวัติ เรืองวุฒิ – SHADOW OF THE NAGA (2010, Pawat Panangkasiri, A-/B+)
http://farm4.static.flickr.com/3096/3173527701_2fc6e8e0d0_o.jpg

6.Jaral Ngarmdee – BANG RAJAN (2000, Thanit Jitnukul, B)
http://farm5.static.flickr.com/4022/4517866146_e63f9f6a53_o.jpg

7.Jongjate Watcharanun – KING NARESUAN 2 (2007, Chatreechalerm Yukol, A)
http://farm5.static.flickr.com/4037/4517866148_be58af29d0_o.jpg

8.Kanawat Jantaralawon – WITH LOVE (2010, Saijai Pimtong, C+)
http://farm3.static.flickr.com/2752/4517866152_e8bd85c86a_o.jpg

9.Nattapol Nilapoom ณัฐพล นิลภูมิ – BORING LOVE (2009, Sarawut Intaraprom, A-)
http://farm3.static.flickr.com/2470/4517869740_cedb6a1938_o.jpg

10.Noppon Pitucklopanich นพพล พิทักษ์โล่พานิช – GHOST IN LAW (2008, Thanit Jitnukul, Seree Pongnithi, A)
http://farm3.static.flickr.com/2364/2299837891_f5b822fd3c_o.jpg

11.Pagorn Chatborirak – 4 ROMANCES (2008, Bandit Tongdee, B+)
http://farm4.static.flickr.com/3147/2848199436_05d1c58914_o.jpg

12.Pichet Gonggarn – TO SIR WITH LOVE (2010, Surasee Patham, A+)
http://farm3.static.flickr.com/2734/4517869742_0b97c8b13c_o.jpg

13.Pootarit Prombundal ภูธฤทธิ์ พรหมบันดาล -- FIREBALL (2009, Tanakorn Pongsuwan, A+)
http://farm4.static.flickr.com/3346/3269505302_07ea5090f0_o.jpg

14.Satawat Sethakarn – DIE A VIOLENT DEATH (2010, Manussa Vorasingha, A)
http://farm5.static.flickr.com/4021/4517869744_23628a9be0_o.jpg

15.Siripol Sirininatkul ศิริพล ศิรินินาทกุล -- THE GIG (2006, Tharatorn Siripunwaraporn, A-)
http://farm3.static.flickr.com/2797/4517869748_d478ee74f2_o.jpg

16.Sirut Witayathavornvongs – 32 DEC (2009, Rergchai Puongpetch, A+)
http://farm3.static.flickr.com/2702/4307774579_e3162050ea_o.jpg

17.Tawan Saetang – THE EXTURN (2004, Sompop Wechapipat, A-)
http://farm5.static.flickr.com/4056/4517869752_3605af15a2_o.jpg

18.Teeradech Wongpuapun – BANGKOK TRAFFIC LOVE STORY (2009, Adisorn Treesirikasem, A)
http://farm3.static.flickr.com/2280/4517869738_9f6d14531b_o.jpg

19.Touchtorn Wongwanich ทัชธร วงศ์วานิช – PAI IN LOVE (B+)
http://farm3.static.flickr.com/2732/4517237675_15f32cde91_o.jpg

20.Warapat Petchsatit วราภัทร เพชรสถิตย์ – JOLLY RANGERS (2010, Bumrue Ponginsee, A-)
http://farm5.static.flickr.com/4061/4517237681_80406d866b_o.jpg

Thanks to Black Forest for inspiring me to make this list.
http://www.blackforests.blogspot.com/

FAVORITE SONGS 6: HOLIDAYS -- GONJASUFI

http://www.youtube.com/watch?v=4nq4rLem8Xs

CELINE AND JULIE GO DANCING 11: DON'T SEE THE POINT -- ALEX SMOKE

http://www.youtube.com/watch?v=2gsecVybRKU

CELINE AND JULIE GO DANCING 10: REVERENCE -- THE TIMEWRITER

http://www.youtube.com/watch?v=Nek1reDIVG0

FAVORITE OLD SONGS 41: GHETTO HEAVEN -- FAMILY STAND

http://www.youtube.com/watch?v=AoIaDkJfBRY&a=dNYhIRSIiuM&playnext_from=ML

FAVORITE OLD SONGS 40: SOMETHIN' -- LALAH HATHAWAY

http://www.youtube.com/watch?v=cJYh0wfHDf8

FAVORITE OLD SONGS 39: IT'S TOO LATE (1991) -- QUARTZ FEATURING DINA CARROLL

http://www.youtube.com/watch?v=YSwekflTlVQ

ELECTRA, MY LOVE (1974, Miklós Jancsó, A++++++++++++++++++++++++++++++)

ELECTRA, MY LOVE (1974, Miklós Jancsó, A++++++++++++++++++++++++++++++)

Favorite works adapted from Greek mythology:

1.ELECTRA, MY LOVE (1974, Miklós Jancsó)

2.A THREAD IN THE DARK (2005, Panida Thapanangkun, A+++++)
This is a Thai stage play about Ariadne. The play is dedicated to Supinya Klangnarong for her fight against the Shin Corporation.
http://en.wikipedia.org/wiki/Supinya_Klangnarong

3.ORPHEUS (1950, Jean Cocteau, A+++++)

4.SUCH IS LIFE (2000, Arturo Ripstein, A+)
This Mexican film is adapted from the story of Medea.

5.ANTIGONE (2006, Sineenadh Keitprapai, Thai stage play, A+)

--------------------------------

Favorite quote from ELECTRA, MY LOVE:

I, Electra, am speaking
Truth speaks and the law
Cursed be every tyrant
And blessed be every man who resists tyranny
Blessed be every man whom a tyrant destroys

I, Electra, who doesn't forget
While one person lives who doesn't forget
No one can forget

You have no power over me
Because Electra tortured is Electra
Electra dead is Electra
You have no power over me
Because I am justice

Though I know I can't kill you, I wait and don't forget
Every man you killed lives on in me

Once upon a time there lived in the faraway orient a wonderful bird. Brighter than the sun, more dazzling than the rainbow, lovelier than a jewel, for it was born of man's eternal dreams. Its father was liberty, its mother happiness. Wherever the bird flew, the heavy clouds parted, the sun shone, rainbows glistened in the sky, suffering abated, the oppressed stood tall, the weary gained strength, the poor grew angry. On it flew, westward, and people's faith grew stronger. Their strength increased.

And once landowners and factory workers cease to be, and there is neither bourgeois nor proletarian, rich or poor, oppressor or oppressed. Once there is not too much food for some, and not enough for others, when all may partake equally on the basket of plenty, when all shall sit as equals at justice's table, when the spirit shall shine in every window, then, and only then shall man live a life worthy of him, one of liberty, joy, peace. Yet the firebird shall still fly here above us, and still perish every day, to be reborn even more wondrous the day after. Blessed be your name, revolution.

LE PROCÈS DE BOBIGNY (2006, François Luciani, A+++++)

LE PROCÈS DE BOBIGNY (2006, François Luciani, A+++++),

AGORA (2009, Alejandro Amenábar, A+++++),

JOURNAL A QUATRE MAINS (2009, Philippe Miquel, A+),

RÊVE DE CHINE (2008, François Yang, A+),

AU NOM DU FILS (2003, Philippe Jamain, A+),

SOUPÇON EN EQUATEUR: UN SUISSE EN ENFER (2008, Raymond Vouillamoz, A+),

THIS IS MY REALM: ITINERARY OF AN ART THIEF (2006, Daniel Schweizer, A+),

UN HOMME D'HONNEUR (2009, Laurent Heynemann, A+)

NICOLAS LE FLOCH (2009, Nicolas Picard-Dreyfuss, A+/A),

OSCAR ET LA DAME ROSE (2006, Christophe Lidon, A),

VILLA JASMIN (2009, Férid Boughedir, A/A-),

A WOMAN, A GUN, AND A NOODLE SHOP (2010, Zhang Yimou, B+)

--Favorite quote from LE PROCÈS DE BOBIGNY:

Lawyer (Anouk Grinberg) advises to her client (Sandrine Bonnaire): "You uphold your actions and blame the law. You deny any wrongdoing and say you're the victim of a criminal law. THE LAW MUST BE ACCUSED. And the case turned into a public event. We need to rally public opinion to our side. Historically, it's the only way to achieve progress. A groundswell of public sympathy ties the judge's hands."

A doctor testifies in the court: "There is the law of God and the law of Man, and certain actions can only be decided in that private place we call our conscience."

--I worship the content in AGORA, but I think the film is too emotionally manipulative. I wish the film was as emotionally restrained as SOPHIE SCHOLL: THE FINAL DAYS (2005, Marc Rothemund, A++++++++++).

--Favorite quote from AGORA:
Hypatia: " Synesius, you don't question what you believe, or cannot. I must. "

--Favorite quotes from SOPHIE SCHOLL: THE FINAL DAYS:

Robert Scholl: THERE IS A HIGHER JUSTICE!

Hans Scholl: YOU MAY HANG US TODAY, BUT YOU WILL BE HANGED TOMORROW.

"THE NAMES OF THE GREAT AROUSE NO FEAR AMONG US BELOW"

FILM WISH LIST: CORNEILLE-BRECHT (2009, Jean-Marie Straub + Cornelia Geiser, 80 min). This film deals partly with THE TRIAL OF LUCULLUS, written by Bertolt Brecht, which deals with the afterlife trial of a general who describes himself as a benevolent tyrant (Think of George W. Bush). The jury consists of a farmer, a teacher, a fishwife, a baker, and a courtesan. They are the ones who will decide if the general will go to heaven or hell.
http://www.viennale.at/en/programm/filme/3285.shtml

THE JUDGE:

"Unfortunate man! The names of the great
Arouse no fear among us below.
Here
They can no longer threaten. Their utterances
Pass for lies. Their deeds
Are not recorded. And their glory
Is to us like smoke, a sign
That a fire has raged.
Shade, your bearing indicates
That enterprises of some scope
Are associated with your name.
Those enterprises
Are not known here."

The words above are from the following blog:
http://www.greeklish.org/blog/books

Saturday, April 10, 2010

CELINE AND JULIE GO DANCING 9: HYDROPINE -- GEIOM

http://www.youtube.com/watch?v=Qq83ORGzwI4

FAVORITE OLD SONGS 38: SAVE SOME LOVE -- KEEDY

http://www.youtube.com/watch?v=fduHpswKpAg

FAVORITE LYRICS 1: NIHILIST ASSAULT GROUP -- STEREOLAB

" What's morals after all
Set of rules from above
Moral panic calls for more censorship
While annihilating le perdure sens critique
Critique, moral panic calls for more censorship
Morals are for the Blind, not the critical mind
Morals which don't even tackle the real issues
Moral Which seek intervention and control
Morals which don't even tackle the real problems
Morals that just seek control over our lives "

from the song NIHILIST ASSAULT GROUP (1994) by Stereolab

Friday, April 09, 2010

FAVORITE OLD SONGS 37: WHAT'S IT GONNA BE -- JELLYBEAN FEATURING NIKI HARIS

http://www.youtube.com/watch?v=YJjPa9pdVcQ

CELINE AND JULIE GO DANCING 8: ODESSA -- CARIBOU

http://www.youtube.com/watch?v=aiSa7THgxrI

Thursday, April 08, 2010

BEASTLY BOYZ

This is my comment in Screenout Webboard:
http://zaa.xq28.org/viewtopic.php?f=5&t=79&start=925

ตอบคุณ black forest

เมื่อกี้ได้ลองเข้าไปดูคลิปจากหนังเรื่อง BEASTLY BOYZ แล้ว หนังเรื่องนี้ใช้ประโยชน์จากเรือนร่างของดาราชายได้อย่างคุ้มค่ามากค่ะ
http://www.youtube.com/watch?v=MpgJfeNCEF4

ตอบน้อง ZM

พี่ก็ไม่ค่อยชอบ PERCY JACKSON & THE OLYMPIANS: THE LIGHTNING THIEF (B-) เหมือนกัน และพี่ก็ไม่รู้สึกชอบ Logan Lerman ในหนังเรื่องนี้เลยด้วย แต่พอพี่ได้เห็นเขาแสดงใน MY ONE AND ONLY (2009, Richard Loncraine, A+) พี่ก็รู้สึกชอบเขาอย่างมากๆในทันที พี่ก็เลยคิดว่าบางทีพี่อาจจะไม่ได้ชอบหน้าตาของ Logan Lerman มากนักก็ได้ แต่พี่ชอบตัวละครที่เขาแสดงใน MY ONE AND ONLY มากกว่า โดยในเรื่องนี้เขารับบทเป็นน้องชายที่มีพี่ชายเป็นเกย์ แต่หนังไม่ได้เน้นไปที่ประเด็นเรื่องพี่ชายเท่าไหร่นัก หนังเน้นไปที่ประเด็นเรื่องการหาผัวใหม่ของตัวละครแม่มากกว่า

เมื่อกี้เพิ่งลองเช็คประวัติของ Logan Lerman ดู ปรากฏว่าพี่เคยดูหนังของเขามาแล้วทั้งหมด 7 เรื่อง ซึ่งรวมถึงเรื่อง THE PATRIOT (2000, Roland Emmerich, B), RIDING IN CARS WITH BOYS (2001, Penny Marshall, B+), THE BUTTERFLY EFFECT (2004, Eric Bress + J. Mackye Gruber, A+), THE NUMBER 23 (2007, Joel Schumacher, A-) และ GAMER (2009, Mark Neveldine + Brian Taylor, B) แต่พี่แทบไม่เคยสะดุดตาเขาเลยในหนัง 5 เรื่องนี้ เขาอาจจะดูหล่อบ้างเล็กน้อยใน GAMER แต่เขาก็ไม่ใช่ผู้ชายหล่อล่ำในแบบที่ตรงสเปคพี่สักเท่าไหร่

ส่วนดาราเด็กชายอีกคนที่คิดว่าโตขึ้นอาจจะหล่อก็คือ Alexander Ludwig จาก RACE TO WITCH MOUNTAIN (2009, Andy Fickman, B-) เขาเกิดปี 1992 เหมือน Logan Lerman จ้ะ

CELINE AND JULIE GO DANCING 7: SIMULACRUM -- IKONIKA

http://www.youtube.com/watch?v=3RX-cqQXkP8

CELINE AND JULIE GO DANCING 6: WENDY NOT WALTER -- PRINS THOMAS

http://www.youtube.com/watch?v=YEZyHkc4pk8

FAVORITE OLD SONGS 36: TEMPLE OF LOVE -- HARRIET

http://www.youtube.com/watch?v=3ldo8JyjIy0

Wednesday, April 07, 2010

FAVORITE OLD SONGS 35: SOMETHING IN MY HEART -- MICHEL'LE

http://www.youtube.com/watch?v=gSTzQFQwE0A

THE PINOCHET CASE (2001, Patricio Guzmán, A+++++)

This is my comment in Girish Shambu's blog:
http://www.girishshambu.com/blog/2010/04/small-striking-moments.html

My favorite small, striking moment is in THE PINOCHET CASE (2001, Patricio Guzmán). It's the scene in which we see rocks falling down from a mountain. This scene occurs after the viewers have heard a lot of things about the cruelty of Pinochet. This rock-falling scene made me cry and I don't know why. I don't think Guzmán intends to make the audience weep with this scene. I also don't understand the importance and the meaning of this scene. This scene is not obviously connected to the story. It doesn't give any information about Pinochet at all. If the scene is excluded from the film, all the "content" in the film is still intact. This scene may have some symbolic meanings, but I don't understand it at all. However, it is this small, insignificant scene which (unintentionally) made me cry and makes me love this film very much. I'm not sure why I cried, but I think it may be because while I was listening to the various testimonies about the horror in Chile in the other scenes, I had to "think", rather than "feel". But while I was watching rocks falling down from a mountain, I didn't have to "think". My mind or my brain could rest. That's why all the sad feelings I had accumulated from the previous scenes rose up inside me and made me break down in tears.

This deviation from the storytelling in THE PINOCHET CASE unintentionally makes me think about the can-kicking scene in CLOSE-UP (1990, Abbas Kiarostami), though I think both scenes function very differently, or touch my feelings in very different spots.

Tuesday, April 06, 2010

BANG RAJAN 2 (2010, Thanit Jitnukul, A+/A)

I like it very much that the film ends with the sentence, "Do you know why villagers have become strong? They've become strong, because you oppress them. And if you still keep on oppressing them, there will be Bang Rajan 3, 4, and so on."

I think choosing to end the film with this sentence is one of the most important reasons why I like this film very much. I would have given this film only A-, if the film ends with the sentence, "We are Thais, so we must unite," or something like that.

I also like one dilemma in this film very much. In this film, the poor villagers have to decide whether to allow other people who flee from the war to live in the same village. The food is very scarce at that time. If the villagers accept the newcomers, there may not be enough food. If the villagers don't accept the newcomers, the newcomers will suffer a lot. I think this dilemma is very difficult.

Photos from BANG RAJAN 2:
http://farm3.static.flickr.com/2687/4496139267_6ea65a7f7b_o.jpg
http://farm5.static.flickr.com/4021/4496139263_31e918a760_o.jpg
http://farm5.static.flickr.com/4045/4496139257_59e92d14a3_o.jpg
http://farm5.static.flickr.com/4022/4496139253_ee75686045_o.jpg

Nayos Saotongyoon, an actor in BANG RAJAN 2:
http://farm3.static.flickr.com/2725/4496139269_248930ebd5_o.jpg

This is my comment in Filmsick's Facebook:

ดีใจมากจ้ะที่ชอบหนังเรื่องนี้ เราชอบมากที่หนังจบลงด้วยประโยคนั้น แทนที่จะจบลงด้วยประโยคแบบว่า "เราเป็นคนไทย เราต้องสามัคคีกัน" ซึ่งจะทำให้เราลดเกรดหนังเรื่องนี้ลงในทันที

อีกสิ่งหนึ่งที่เราชอบมากคือประเด็นที่ว่าเราจะยอมรับคนใหม่ๆที่อพยพเข้ามามาอยู่ในหมู่บ้านได้หรือไม่ เพราะการรับคนใหม่ๆเข้ามา อาจจะทำให้อาหารในหมู่บ้านมีไม่พอกิน แต่ถ้าไม่รับคนใหม่ๆเข้ามา เราก็จะรู้สึกเลวร้ายกับตัวเองที่เป็นคนใจดำ เราคิดว่าประเด็นนี้มันเป็นปัญหาที่ตัดสินใจได้ยากดี