Sunday, January 31, 2010

Giorno della memoria 2010 - Remembrance Day in Venice

(Venice, Italy) Massimo Cacciari was the mayor when I first arrived in Venice back in 1998. In fact, I met him shortly after my arrival, although I didn't know who he was. 

I had been invited to the Palazzo Ducale for a ceremony for Il Gonfalone di San Marco, that blue book you see below, and he was one of the speakers. At that time, I didn't understand a word of Italian, but I could tell by his energy that Cacciari was a great speaker.

Afterwards, I went up to Cacciari and asked if he knew Franco Filippi, the publisher of the book, to whom I was supposed to introduce myself. He sort of smiled and said that Filippi had been there, but appeared to have left. I didn't realize I had just spoken to the Mayor of Venice!

Cacciari became the mayor again five years ago. In two months he will finish his second term, so it is sort of like Daddy is leaving. I don't always agree with his policies, but I do respect his heart, especially after having been immersed in the goings-on around this town. (Cacciari is a philosopher; you can see him around the city; he rides the vaporetto just like everyone else.) 

Venice is so small, and there is so much power concentrated in a tiny area, it is a wonder that he can still manage to weave a kind of magic fabric over the Venetians to try to keep them safe. 

Il gonfalone di San Marco. 
Analisi storico-araldica dello stemma, gonfalone, sigillo e bandiera della città di Venezia

This morning, Massimo Cacciari, together with Vittorio Levis, president of the Jewish Community of Venice, spoke about the Holocaust, and why it was important to remember it. Cacciari spoke very strongly, and said several things that struck me -- made me weep, to be honest. 

He said that what we must accept and understand is that the Holocaust was a rational design.
That it was a rational, thought-out, political project, years in the planning. That the complicity of France, Italy and England allowed it to happen. He said that the concept of "Ama il prossimo tuo" or "Love Thy Neighbor" had been taken and completely inverted. 

The Holocaust can seem far away, as part of another era, another century, long, long ago, especially to those who were not born. In reality, there are many people who are still alive who can remember the Holocaust because it happened only 70 years ago! Think: just a short time ago, the Nazis were exterminating an entire segment of the population right in front of everyone's eyes and nobody did anything to stop it! 


After the speeches, we watched a performance of Salonicco43. It was the second time I had seen this piece performed. I wrote about it before near the end of A Sea of Angels back on December 8, 2008. 

Click to read it:
http://venetiancat.blogspot.com/2008/12/sea-of-angels-un-mare-di-angeli.html

Thessaloniki, also called the ‘Jerusalem of the Balkans’ or the “mother of Israel, counted a population of 100,000 in 1939, 50,000 Jews, many of Italian origin and nationality, present in all the different social classes and perfectly integrated with the Greek population. Historian Albertos Nar remembers it as “the largest and most prosperous Sephardite Jewish community in Europe, and one of the most important in the world”. Of the 32 synagogues in the city, fourteen of which were built by people from Sicily, Calabria, Puglia, all that remains are faded old photographs…

During the terrible months of 1943, the Italian consul in Thessaloniki was Guelfo Zamboni, a Fascist functionary of the Ministry of Foreign Affairs who, in the face of the inhumanity of the Holocaust, began a personal, heroic battle to try and save as many lives as possible by providing forged Italian identity cards that would allow their possessors to reach Athens and save their lives.


His tenaciousness, his courage, his perseverance saved more than 500 Jews from Nazi barbarity, men, women, children who became the protagonists of our cultural project, and who transformed our Zamboni into a new Italian Schindler. In 1992 he was given the title of “righteous among the nations”.

Cold, hard statistics from Wikipedia:

Jewish Population of Thessaloniki[23]
Year Total Population Jewish Population Jewish Percentage Source
1842 70,000 36,000 51% Jakob Philipp Fallmerayer
1870 90,000 50,000 56% Greek schoolbook (G.K. Moraitopoulos, 1882)
1882/84 85,000 48,000 56% Ottoman government census
1902 126,000 62,000 49% Ottoman government census
1913 157,889 61,439 39% Greek government census
1917 271,157 52,000 19% J. Nehama, Histoire des Israélites de Salonique, t. VI-VII, Thessalonique 1978, p. 765 (via Greek Wikipedia): the population was inflated because of refugees from the First World War
1943
50,000

2000 363,987[22] 1,000 0.27% (post-Holocaust)

I apologize for the brevity of this blog post, but unfortunately the Querini Stampali has changed its rules about Internet access, and have installed a two-hour limit.

Ciao from Venice,
Cat
Venetian Cat - The Venice Blog

Saturday, January 2, 2010

Love 2010 in Venice - The New Year

(Venice, Italy) On New Year's Eve, I found myself on the lower level of the stage in the middle of Piazza San Marco surrounded by 35,000 people who were knee-deep in acqua alta. (That image you see is from last year's festival, but I could not find a photo from 2010.) At midnight, everyone hugged each other and kissed, and it was lovely.

Now, I have been in Piazza San Marco before on New Year's Eve, and was truly frightened by the crowd. This year, however, it felt like Love 2010.

We were immersed in the lagoon, up to our knees -- it is only possible to ring in the New Year like that in Venice, caressed by the gentle waves. 

I have always believed that Venice would defend herself against her enemies, and New Year's Eve proved my theory correct. The lapping water discouraged violence and rowdiness, wrapped us in her arms and kissed us! --  Yes! Venice (Venus) herself, together with her husband, the Sea (Neptune), made a special appearance in Piazza San Marco on New Year's Eve and everyone was happy! We kissed each other under the full moon and drank Bellinis from the Canella family. We waved old-fashioned sparklers and danced. It was magical, and I hope it is a sign that all the bad guys are finally getting washed out of Venice. Venice herself is washing them away!

Other magical things have happened this holiday season that makes me think the future might brighten: on December 23rd there was a stupendous, free concert at the Church of Santa Maria Formosa -- Handel's Messiah, with such an interesting list of sponsors that I will feature them here:  
 
Nell'ambito delle celebrazioni del duecentocinquantesimo anniversario della morte di Georg Friedrich Händel (1685-1759), l'Associazione Musicale Orologio e l'Associazione culturale Tiepolo in collaborazione con la Fondazione Ugo e Olga Levi, la Fondazione Teatro La Fenice, Chorus Associazione per le Chiese del Patriarcato di Venezia e l'Associazione culturale Cultura Venezia Futura hanno organizzato la prima esecuzione in Veneto dell'Oratorio Messiah nella sua versione originale, con strumenti antichi e cantanti internazionali

I was weeping throughout much of the performance, it was so beautiful... it was spiritual... the music melted my heart, which I feared had frozen solid from all the abuse it had suffered in 2008 and 2009. The cold water from my heart poured out through my eyes, hot and hopeful. Listening to those human voices used as musical instruments... it was as if God had sent the angels down to Venice from heaven.




On Christmas Eve, I went to Midnight Mass, and, again, we had very high water, the highest it had been for a long time. But the Basilica was warm and full with people; it was amazingly dry inside, and our Patriarch was in good form. Afterward the service I was fortunate enough to pray in front of the Pala D'Oro! If you are a regular reader of this blog, you know how much I love to do that!

Click here to read more: Mary-ascends-to-heaven-and-Pala-D'oro

Happy New Year and Ciao from Venice,
Cat

Venetian Cat - The Venice Blog

Thursday, December 31, 2009

Happy New Year! Auguri di Buon Anno!


(Venice, Italy) Cat wishes you all a safe, joyous and productive 2010!

Ciao from Venice,
Cat
http://venetiancat.blogspot.com

Tuesday, December 8, 2009

The Madonna of the Sun


THE MADONNA OF THE SUN

(from 8 dicembre 2006)


Today, December 8th, is the birthday of my protagonist, Harley Columba. It is also the day that John Lennon was assassinated. When I was creating Harley, I wanted her to have a deep connection to John Lennon, so she was born in the same hospital where John Lennon died.

December 8th is also a holiday here in Italy, the Feast of the Immaculate Conception. This is the day Mary, the mother of Jesus, was conceived.




One wonders how that came about... since most Christian holidays turn out to have more ancient meanings.

It turns out that December 8th is also Bodhi Day, the day the Buddha became enlightened.




It is the Festival of Neith, the Egyptian goddess who gave birth to Ra, the Sun god; it is celebrated by the Feast of Lamps. Neith, in turn, transforms into Isis, the "woman clothed with the sun," wife and sister of Osiris and mother of Horus.



It is the day that Amaterasu, the Japanese Goddess of the Sun, was born.




On December 8, 1941, the United States declared war on Japan. The Japanese royal family is descended from the Sun Goddess.



***

On December 8, 2009, Cat Bauer woke up inside her apartment on the Grand Canal. 

Ciao from Venice,
Cat

Venetian Cat - The Venice Blog

Saturday, November 21, 2009

La Biennale, the Entity

Kazuyo Sejima
(Venice, Italy) The Art Sector of La Biennale concludes tomorrow, which gives me the opportunity to write about La Biennale, the Entity. 

That photo is of Kazuyo Sejima, the first female Director of the Architecture Sector, who will curate the 12th International Architecture Exhibition on August 29 to November 21, 2010. Born in Ibaraki, Japan in 1956, Kazuyo Sejima is a leading exponent of contemporary architecture.

A quick recap: La Biennale is divided into six different sectors: Art, Architecture, Cinema, Dance, Music and Theatre. The only thing that is missing, in my view, is Literature, and then we would have a perfect seven:) I remember the first year of the Los Angeles Times Festival of Books. No one was sure if the public would attend a book festival, but they came in masses, standing in line for hours to catch certain events. 

The Art and Architecture Sectors of La Biennale alternate every year. This year we had Art -- from which, in all honesty, we do need an entire year to recover -- so, in 2010, we will have Architecture. I never used to attend Architecture, but after last year, I thought the architects had surpassed the artists in their offerings -- in fact, I felt the architects were becoming the artists -- so I am looking forward to 2010. 

Back in March, the theme of the Dance Sector this year was Degree Zero; that is where we started: at zero with Director Ismael Ivo. It has been like lifting off a spaceship, but I think we are finally off into outer space. One of my favorite sayings is: If the foundation is rotten, the structure will collapse. If the foundation is solid, the structure can reach to the heavens. Ismael Ivo is a real human being, and the core he is creating has a jewel at its center. Degree Zeros' focus is on the creation of a national center dedicated to contemporary dance training. So, all you dancers, get ready to move to Venice!

During the film festival, on September 9th, I had the great opportunity to attend the inaugural conference at La Biennale's newly restored headquarters, Ca' Giustinian, a magnificient palazzo on the Grand Canal. The Council of Europe re-christened the ancient rooms of the palace with their conference on domestic violence against women. This is from Wikipedia:

The Council of Europe (French: Conseil de l'Europe) is the oldest international organisation working towards European integration, having been founded in 1949. It has a particular emphasis on legal standards, human rights, democratic development, the rule of law and cultural co-operation. It has 47 member states with some 800 million citizens.

The most famous conventional bodies of the Council of Europe are the European Court of Human Rights, which enforces the European Convention on Human Rights, and the European Pharmacopoeia Commission, which sets the quality standards for pharmaceutical products in Europe. The Council of Europe's work has resulted in standards, charters and conventions to facilitate cooperation between European countries and further integration.

To read the complete article, please click here: Council of Europe

After the conference, we had cocktails and hors d'œuvre on the terrace, which has an stupendous view of the Grand Canal and the lagoon, the triangle of the Dogana far below. I even had a chance to speak with Google Folks, who were there because they were sponsoring a Domestic Violence Awareness Contest in October. Unfortunately, due to my own domestic distractions, I did not announce it in time, but you can still see the results here: I Beat You I told the Google Folks that I would not exist if it were not for Google, and that I gave them my deepest appreciation. Yay, Google! Ca' Giustinian is open to the public; you can even have lunch on the ground floor terrace between the Bauer Palazzo and the Monaco.

At the final press conference of the film festival, the President, Paolo Baratta said that the Mostra del Cinema was part of a huge stimulation plan for the island of Lido itself, and that the film festival needed to prove it was a very vibrant organization in order to exist. It is difficult for me to imagine that someone could seriously ask the question: What use are international festivals? but, after everything I've experienced lately, I am well aware that this point of view exists.

Paolo Baratta said to look at the Venice Film Festival in terms of a publishing company, and that is a concept I can understand very well. Every publishing house is different -- and that is an important word: house. A publisher feels like a house; at some places you feel warm and at home, and at others you can't wait to leave. Also, in the world of publishing, things take Time. If I finish writing a book tomorrow, you will not read it until some time in the future -- not like a blog:)

Paolo Baratta said that the Venice film festival hopes to bring films up to the surface which would otherwise sink. Publishers are remembered for this. Great publishers never look at the fashion of the time, but look at the long view. A good publishing house brings up new talent. We must build our selections so they are recognizable as a selection of the Venice Film Festival.

When he said those words, I got goosebumps. That kind of thinking is why I respect Paolo Baratta so much, and the quality of films that the Director, Marco Mueller (who is very clever) uncovers always excite me.

The Music Sector, directed by Luca Francesconi, concluded on October 3rd, with an amazing night down at the Arsenale inside Teatro alle Tese. There were stages scattered all over the inside, high on ladders and down on the ground, with wild lighting and video projection. It went on for hours, and you could wander in and out, drinking excellent red wine from the Loredan Gasparini winery -- they even gave us food! The highlight, for me, was when 94-year-old David Honeyboy Edwards played the blues. I had to run backstage like a groupie and kiss him! I could not resist! From Wikipedia:

David "Honeyboy" Edwards (born June 28, 1915, Shaw, Mississippi, United States[1]) is a Grammy Award-winning Delta blues guitarist and singer from the American South. As of October 2009, Honeyboy Edwards, at age 94, and his close friend, Pinetop Perkins (age 96) are the oldest and arguably, the last Delta blues players still touring the United States remaining from the last century. 

To read the entire article, click here: HONEYBOY

Finally, on November 4, 5 and 6, the admirable Maurizio Scapparo, Director of the Theatre Sector, closed the theme of Mediterraneo - 40 with Polvere di Baghdad, a production inspired by 1001 Nights, and starring another one of the good guys, Massimo Ranieri.

La Biennale feels like a warm house filled with the most fascinating people on the planet. It is a place to create and experiment, where it is okay to do things differently than the norm, yet still have commercial appeal. There are some hits and some misses, some great successes and some fantastic failures. But there is freedom, and there is creativity, and there is fun and happiness and joy!

Ciao from Venezia,
Cat Bauer

Tuesday, October 6, 2009

Please Stand By... (Rethink Afghanistan - The Cost of War)




(Venice, Italy) Here's something to watch while you're waiting. As I said on Facebook, the war in Afghanistan was not a blip on my radar until I was illegally evicted from my apartment and dropped right down the rabbit hole.

More soon...

Ciao from Venice, Italy,
Catherine "Cat" Bauer

Venetian Cat - Venice Blog
http://venetiancat.blogspot.com

Wednesday, September 16, 2009

Tom Ford - A Single Man of Substance

(Venice, Italy) "Fashion design is a wonderful thing, but it is fleeting," said Tom Ford, who is credited with reviving the fashion houses of Gucci and Yves Saint Laurent, during the press conference for A Single Man, his riveting directorial debut.

I always admire people who have the guts and depth of character to metamorphize after a receiving a personal shock -- in fact, I write about jumping from one stream to another in my novels -- and it appears that after a suicide in his family, Tom Ford has done exactly that and made the leap from style to substance.

From the press kit:

"Ford put an autobiographical imprint on A SINGLE MAN. The suicide that George constructs in the film is a replica of a suicide in Ford's family. More importantly, Ford went though his own difficult juncture, like George, a few years ago. "There is much of me in my version of George. A kind of spiritual crisis at mid life comes to many people. I achieved much in the material world at a very early age: financial security, fame, professional success, more material possessions than I knew what to do with. I had a full personal life, a wonderful life partner of 23 years, two great dogs, and lots of friends but somehow lost my way a bit. As a fashion designer, one spends one's life living in the future designing collections several years ahead of when they will actually be in stores. Our culture encourages a belief that all of our problems can be solved with material things. I had completely neglected the spiritual side of my life."

At the press conference, Ford spoke about the brief adrenaline rush when a model first appears on the runway -- flash, flash, flash -- and then after six months the clothes end up in the back of the closet. He said that most people come to the point in their life where they realize that maybe everything they had been working toward isn't ultimately making them happy.

Colin Firth spoke about how fortunate he was to have this role -- in fact, he later won the Volpi Cup for Best Actor (I predict he will be nominated for an Academy Award, he is so brilliant). Plus, he speaks fluent Italian! And any movie with Julianne Moore (who was my neighbor for a time on West 11th Street in New York City) will always get my attention because I respect her work so much.

Like Lebanon (see http://venetiancat.blogspot.com/2009/09/and-winner-of-66th-venice-international.html), I attended the press conference for A Single Man before I actually saw the film. In fact, I was so impressed by Tom Ford, Colin Firth and Julianne Moore that I got up early (remember I have no home and am living all over the place, lugging what little clothes I have in a backpack, together with my legal documents slung over one arm and all the press materials over the other arm -- right now I am writing this blog in the library as my computer is still locked in my apartment) and went to the last screening at 8:15 in the morning on the last day of the film festival at the farthest away theater, the PalaBiennale. So, I made a great effort to see the movie, and I was rewarded by experiencing a poignant, moving love story -- an amazing directorial debut.

Even though the characters are gay, Tom Ford insisted A Single Man was not a gay film, and I agree. It is a film about a great love, an adaptation of the novel by Christopher Isherwood. The film takes place all in one day (I can relate to that, too, as Harley's Ninth is set all in one day -- it's a difficult structure to work with), and is set in Los Angeles in 1962 during the height of the Cuban missile crisis.

From the production notes:

It is 1962, and nuclear warfare looms imminently. Fear pervades the world. Societal values are represented in over-simplistic black and white terms, but the complexities of human relationships remain just as convoluted as they are today.

Those of us who grew up during that time period will remember how obsessed everyone was with building bomb shelters and stock piling canned goods. I remember air raid drills instead of fire drills when the entire school trooped downstairs into the hallway, crouched against the wall and tucked our little heads between our legs -- as if that was going to save us from a nuclear bomb!

Harvey Weinstein has already snatched up the rights to A Single Man for 2.5 million dollars, and I think he got it cheap:) Another prediction: people who thought they would never accept that two men could love each other as deeply as a heterosexual couple (and I am one of them) might just change their minds.

Here is an excerpt from the press conference:



Ciao from Venice,
Cat

Venetian Cat - The Venice Blog
http://venetiancat.blogspot.com

Tuesday, September 15, 2009

And the Winner of the 66th Venice International Film Festival is: LEBANON

Samuel Maoz, Director of Lebanon (ASAC)

(Venice, Italy) "On June 6, 1982, at 6:15 AM, I killed a man..."

Thus begins Samuel Maoz's Director's Statement for the Israeli film, Lebanon, winner of the Leone d'Oro, or Golden Lion, the top prize of the Venice International Film Festival, il Mostra Internazionale d'Arte Cinematografica di Venezia -- the oldest film festival in the world.

I went to the press conference on September 8th before I saw the movie -- usually, it's the other way around -- and was impressed by Maoz's directness and raw honesty when answering questions.

After Roderick Conway Morris told me he thought Lebanon could win the Golden Lion (click here to read Rod's review in the New York Times), I made an effort to attend the next screening, which happened to be at the Sala Grande. That meant that I watched the film together with the filmmakers -- the director, actors, production people, etc. -- and was present at the end of the movie when the entire audience stood up and applauded Samuel Maoz and his companions.

We applauded and applauded and applauded; I was weeping a bit; it was really one of the few times I participated in a standing ovation with all my heart, not just out of politeness. We recognized courage and we applauded it. Maoz had performed an act of alchemy, transforming the trauma he had experienced into a work of art.

More from the Director's Statement, in Maoz's own words, which describes the writing process so eloquently:

Director's Statement

"Twenty-five years after that miserable morning that opened the Lebanon War, I wrote the script for the film Lebanon. I had had some previous experience with the content, but whenever I began writing, the smell of charred human flesh returned to my nostrils and I could not continue. I knew that the smell would evoke indistinct scenes that I had buried deep within my mind. After years of passive trauma and violent anger attacks, I learned to identify the ominous moment and escape it in time. Better to live in denial than not to live at all.

The year 2006 was particularly difficult. Five years had passed since my last project and I felt that I was burned out. Here and there, I produced a short commercial or promo film, but other than that, nothing. Once again, I suffered financial pressure, passivity and a maddening lack of responsibility. Once someone asked me: "What about post battle trauma? Do you experience nightmares when you remember the war?" I wish it were as simple as that, I thought to myself.

When a person feels he has nothing to lose, he takes chances. That's how I felt in early 2007 when I started to write the script for Lebanon. I had hit rock bottom and decided to go all the way. This time, I would not run away from the smell that came first, as usual, but would let it take me to the blurry scenes. I would put them in focus, dive right in and cope with it all!

Suddenly, I felt an uplift, a weird sense of euphoria. I'm not lost yet! I've still got fighting spirit. I went to bed early, got up in the morning and started to write. I was careful. I didn't tackle the topic directly but rather wrote around it. An introduction, feelers ... I waited for the smell but it did not arrive. I found myself exerting gradual efforts to restore it to my memory, but it was not there any more. The scenes were gone as well. All that remained was a dim progression of difficult, horrendous and particularly distant events.

After about a week, I realized that I had become emotionally detached. The boy of my memory was no longer myself. I felt pain for him, but it was a dull pain, the pain of a scriptwriter attached to a character he writes about. It did not matter to me whether I had been cured or was simply breaking a world record for denial. I was flooded with adrenalin and felt like a quivering missile on the launching pad a moment before liftoff. I had spit out the first draft within three weeks."


This is Cat
: Lebanon is Samuel Maoz's first feature film. The technique he uses as a director is unique, submerging us in the claustrophobia of an army tank, its periscope our only view of the outside world. He is such a beautiful writer, let's listen to him describe his process, again, in his own words:

Shooting Lebanon

"I wrote Lebanon straight from my gut. No intellectual cognition charted my path. My memory of the events themselves had become dim and blurred. Scripting conventions such as introductions, character backgrounds and dramatic structure did not concern me. What remained fresh and bleeding was the emotional memory. I wrote what I felt.

I wanted to talk about emotional wounds, to tell the story of a slaughtered soul, a story that was not to be found in the body of the plot but derived from deep within it. How the hell could I put that on film? I realized I would have to shatter some basic principles and bend several rigid cinematic fixtures, creating a total experience instead of building a plot.


The decision to make an experiential movie gave rise to the cinematic concept. My basic principle called for the presentation of a personal, subjective point of view. The audience would not watch the plot unfolding before it but experience it together with the actors. Viewers would not be given any additional information, but would remain stuck with the cast inside the tank, having the same limited view of the war and hearing it only as the actors heard it. We would try to make sure that they could smell it and taste it as well, using the visuals and sound track not only to tell a story but to impart an experience. I realized that I would have to create a total experience to achieve complete emotional comprehension."

Cat again: So... we spent the entire movie inside the tank with the boys, a wrenching experience. We watched the film in Hebrew with Italian and English subtitles. Here is the trailer, which is in Hebrew. If the clip doesn't play, here is the link to YouTube, with also has English subtitles: Lebanon.



Ciao from Venice,
Cat
Venetian Cat - The Venice Blog

Saturday, September 12, 2009

Can Sly Stallone Save Our World?

(Venice, Italy) I just came from Sylvester Stallone's press conference where a journalist from Buenos Aires asked him:

"You are a hero. Are you able to save our world?"

And I thought -- there's the answer! Where is Rambo? Where are all the real-life heroes???? All we have these days are video games and celluloid heroes. Sure, Sly and Arnold and Bruce will be together on screen for The Expendables next year, but we need real help right here right now!

Sly took a beat and then laughed after he heard the question. He said, "No, it's going to take more than someone like me to save the world." He said that a hero is someone who conquers his fear and tries to do the deed, even if he dies. That you give your life for something greater than yourself.

Sly is here because he is receiving the Jaeger-Lecoultre Glory to the Filmmaker Award, which he said is a privilege and has given him a new vitality. He's also showing a trailer of The Expendables and screening the Director's Cut of Rambo.

Someone said that Mickey Rourke (who is also in The Expendables) said last year when he was here in Venice that he "owed" Stallone, and Sly said, "Everybody owes somebody something. He doesn't owe me anything. In Hollywood, the definition of a friend is someone who stabs you in the chest, not in the back." He said he and Bruce and Arnold have known each other for twenty-five years and that they have a long history together.

A question was asked about how he felt about sequels, and he said that if it weren't for Rambo and Rocky he would not be here today. Rocky and Rambo are part of the collective image. A male journalist said he used to pretend he was Rambo when he was a boy. Sly said that he used to pretend he was Robin Hood. He said that young males need a masculine image and need to do heroic deeds.

I agree. Men are different than women, and, by nature, men need to do heroic deeds. So, here is a question for the guys: WHY AREN'T MEN, AS A GROUP, RISKING THEIR LIVES TO STOP THE FORCES OF EVIL FROM TAKING OVER OUR PLANET? Why does this sweet journalist from Buenes Aires ask in all earnestness if Sylvester Stallone can save our world? Right now, the only male I see who is risking his life to get a message across is Michael Moore, and, to me, he gets away with it because he is overweight. What has happened to all the men? I see women becoming more aggressive to make up for this imbalance, and I think it is not the right way to go.

Anyway, Sly believes that the days of the big budget blockbusters are numbered, and that young independent filmmakers like Scorsese, de Palma, Lucas, Coppola, etc. will make a comeback. He said that if a movie costs 200-300 million dollars to make and it doesn't work, the studio is gone.

Like me, Sly believes that it is the Divine Comedy, NOT the Divine Tragedy, only he quoted Shakespeare, not Dante, but I didn't write down the quote. Then he said, "If I didn't have a sense of humor, I would have jumped off a building long ago."

So, Dear Men, we beg you to please find your sense of humor once again, gather up your Jedi swords and save our Dear World from the forces of Darkness and Evil before it's too late!!!


Ciao from the 66th International Venice Film Festival,
Cat

Venetian Cat - The Venice Blog
http://venetiancat.blogspot.com