louise on the left (coast)

The first time I saw Kubrick's gorgeous film, Barry Lyndon when I was an impressionable fourteen. And so it should not be too surprising to learn that it profoundly changed the way I thought about all film and theater. I had not realized how much music contributes to bringing something to life. In the case of this film, the music IS it's life. I can't imagine this film without it's soundtrack. The only other filmmaker who has this kind of understanding of how intwined the two mediums are is Martin Scorsese. However, seeing Kubrick's Barry Lyndon for the first time was also the moment I saw that something visual could be experienced also as classical music. So much so, that it could quite possibly, become upstaged by it's soundtrack. In any case, lately I have been thinking about film experiences that changed me, and I think this one film may have been contributed to my falling madly in love all things classical. (That, and all those Metropolitan Opera

Best moment from the Golden Globes: The Cecil B. Demille award being given to Martin Scorsese last night. I have to say, this was the one moment that ended up staying with me. I mean, consider you have (film titan) Scorsese quoting (literary great) Faulkner. ( go to clip at minute 2:25 ) I f you watch nothing else from the Golden Globes, you have to see this because it's so rich with inspiration. (And it sort-of makes up for Avatar winning best picture.) I've been mulling this quote over all day. To a rainy, southern-Californian, subconscious soundtrack to "Taxi Driver." "The past is never dead. It's not even past." So simple. So liberating. You know, after years of trying to get by in a world propelled by decades of "Oprah" self-help bullshit, I just can't get past how liberating it is to hear someone of substance say this. So, thank you, Scorsese. And Faulkner. And Cecil B. DeMille, and every great artist for bringing us the pric