Archived entries for

A random sketch

And there is a random sketch from my hard drive. A new film? Haha, may be yes, may be not…

Japanese animation cover

Yep, this is the cover that I’ve designed for the upcoming Chris Robinson book. The illustration is from Koji Yamamura’s “Franz Kafka’s country doctor”. Just for the record – I didn’t read the book yet, but it sounds very promissing (yeah, there is even Haruki Murakami in it, and no Godzilas! What about the falling sprouts though…

Lipsett diaries

I thought it was clear, but this is the place to say it again. Lipsett diaries site is not a personal blog. It is a fictional blog. It is written by 3 persons. Two are clear, the third doesn’t want to be revealed. It is an IMAGINATIVE portrait of Arthur Lipsett. The postings there have to be seen only as fictional and invented stories. There is no link to actual and real events or personages. It will be ceased at the time when the film is done.

Swiss graphic design

And to continue with the Swiss delights: One of my favorite graphic designers – Bruno Monguzzi will have a conference at Dawson college at 22 of September, 18 h. Be there or …Just for the record – his designs, and other Swiss designers as Josef Müller-Brockmann and Wolfgang Weingart influenced me enormously especially for creating Drux Flux! Also, he is a follower of Gestalt philosophy principles.

More about Bruno Monguzi

Drux Flux in Fantoche

Drux Flux wins Best Sound film in Fantoche International Animation Festival at Baden, Swiss. Big thanks to Olivier Calver, who helped me with this. And mostly, thanks to Alexander Mossolov about the music. The music was written in 1927. Here, I have to publish some short information about this genius, who is simply forgotten (just for the record, last night I watched on one of the channels for N-time one of Die Hard films -2 , I think. And there, it was a music score, 100 % like Mossolov “Iron Foundry” He was not credited at the end.

Alexander Vasilievich Mosolov (Russian: Александр Васильевич Мосолов, 29 July/11 August 1900, Kiev — 11 July 1973, Moscow), was a significant Russian avant-garde composer of the early Soviet era. The son of a lawyer (who died when he was five) and a singer at the Bolshoi Theatre, during the Revolutionary period in 1917-18 he worked in the office of the People’s Commissioner for State Control, where he had fleeting personal contact with Lenin. He then served with the Red Army on the Polish and Ukrainian fronts and was wounded and shell-shocked. From 1920 he worked as a pianist for silent films, and in 1922 entered the Moscow Conservatory to study under Reinhold Glière and Nikolai Miaskovsky, graduating in 1925. The same year as his graduation, he joined the Moscow branch of the Association of Contemporary Music. He became director of chamber music for the Association of Contemporary Music, and then worked as a radio music editor.

His works were often taken to embody the new brutalism and worship of the machine, and his most famous composition is the orchestral piece Iron Foundry (Zavod), a movement from a ballet entitled Steel (1927), which was performed all over the world. Later Mosolov fell foul of the musical politics of the USSR and after violent attacks on his reputation by Russian Association of Proletarian Musicians his works were pulled from publication and performance. In 1936 Mosolov was expelled from the Union of Soviet Composers for ‘public drunkenness’. Thanks to archival research, we now know that in 1932 he had written to Stalin complaining that through no fault of his own he had ‘become a kind of musical outlaw’ even though he was ‘a loyal Soviet man’. He was sent to Armenia, Kirghizia, Turkmenia and Daghestan to document folksong (and also to ‘compose a Turkmen Song about Stalin’) before being arrested in 1937 for ‘anti-Soviet propaganda’ and condemned to eight years in the labour camps. Owing to the intervention of his former teachers he was released in a matter of months and lived on in poor health, still composing and working with folk music but largely denied a hearing by the authorities. Shortly after his death his music began to be revived.

Lipsett voice

Now I can reveal it. Xavier Dolan plays Lipsett in the English and the French version of the film “Lipsett diaries”.
Actually, I even don’t know if I have to talk about Lipsett anymore, since the person that we (Chris, me, Xavier, Marc, Olivier) are trying to create is almost fictional, and it is based more on Psychological deconstruction, and Analise of his films. Needless to say, Xavier is simply an enfant-prodige…
But why Dolan? I didn’t look for documentary authenticity with Lipsett. I looked for the feeling, not for a simple voice. When Lipsett created his ground-breaking film “Very nice, very nice”, he was 20 – the same age as Xavier, when he created his film. He knows what an early lionization means…
He knows, and he feels what the film is about. We had conversations about the art, about Karel Appel subconscious paintings, about everything that a Young, successful artist has in mind, about Bergmann references (loosing studio time, haha). The recording was just in the meantime. Improvisations, and feelings.
Xavier didn’t play it….He was himself…
But mostly, the most important thing was that this recording made me feel good, after those turbulence weeks…. It was an inspiring day.
He also wrote the french version of Chris Robinson text – quite surprising translation, actually it will be a different film in French. But this is not a news.

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