November 2011
32 posts
ghandi/food is my otp
It’s a tough ship to have
Wait come back I have an opinion where are you going
day: for the leaping greenly spirits of trees
and a blue dream of sky;and for everything
which is natural which is infinite which is yes
(i who have died am alive again today,
and this is the sun’s birthday;this is the birth
day of life and love and wings;and of the gay
great happening ilimitably earth)
how should tasting touching hearing seeing
breathing any - lifted from the no
of all nothing - human merely being
doubt unimaginable You?
(now the ears of my ears awake and
now the eyes of my eyes are opened)” —e.e. cummings (via fishingboatproceeds)
the-only-consulting-detective:
OMFG hahahaha, ah benedict i will always love you :’)
LAUREN
THIS IS BENEDICT CUMBERBATCH IMITATING A SASSY SOUTHERN WOMAN
LAUREN
Rano Pano by Mogwai
from Hardcore Will Never Die, But You Will (2011)
quick you guys print out all the homosexual fanfiction you can before the internet is censored
THERE’S NOT ENOUGH TIME!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
My Way - Frank Sinatra
I like everybody
Free Coffee - Ben Folds
Ennio Morricone - The Ecstasy Of Gold (via The Good, the Bad, & the Ugly: Original Motion Picture Soundtrack)
“’How does a film-maker make sure his music is heard? Let me give you an example. If someone has not been invited to a party, but wants to go, what does he do?’ [Ennio] Morricone acts out some noisy Italian bonhomie: ‘Hello everybody, hello.’
He pauses.
‘He doesn’t do this. He knocks at the door, asks for permission to come in, enters the house and then starts meeting people. The music in a film must enter politely, very slowly. The composer does not have to write music at the actual moment a character enters a room - it might be too much. So there is this slow, delicate entry, with a simple sound that allows the film-maker to lower the other, naturalistic sounds.
The human ear can distinguish no more than two sounds of different quality at the same time. Some very nice music doesn’t work because of that: if it is too strong, it can become an element that disturbs the film, rather than giving something to it. Yet in some cases the music must be very, very strong, when it is necessary to give a particular dynamic to the storytelling course of the film, rather than, say, a person’s feelings.”
-excerpted from Morricone profile “Screen Saver”, The Guardian (via)
