Image. MayDay2013 rally and march. SeattleWA.

Image. Opposition toWindows8.

Thoughts on memorising WorksOfArchimedes, translated byThomasLHeath.

1. Obtain twobooks from thesame publisher.
2. Separate each page from the book.
3. Cut the margin on everypage.
4. Cover the figures drawn byArchimedes.
5. Paste the pages on blanknotebook.
6. Understand the book in themostsuperficial sense of the word, and Determine the number of buildings needed.
7. Unknown.

Will transcribe TheRoom2003 and RikiOh1991.

IMDb. Forum. RikiOh.TheStoryOfRicky1991.

The Riki-Oh Drinking Game

by widowmaker10   (Wed Mar 1 2006 17:24:14)

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My friends and I pioneered the creation of the Riki-Oh drinking game; the rules are that you watch the movie with both English dubs and the English subtitles take a drink whenever the following happens:

1. The dubs and subtitles match (or when they don't match, for the suicidal).
2. Ricky punches something.
3. The assistant warden removes his eye.
4. Someone yells "Bastard!".
5. A gravestone is destroyed (*this one can be dangerous)

In addition, one has to finish their drink whenever
1. Ricky has a freak-out (screaming and whatnot).
2. Women jump off of buildings and land at impossible angles.
3. Any animal (like, say, a dog) gets it's sh*t ruined.

We're always looking for new rules, any ideas?

Interview. Soderbergh. InterviewMagazine. DaviTTSigerson. 27nov2008.

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Steven Soderbergh has completed a twopart spanishlanguageepic about the Marxist revolutionary and ["]alltime["]["]bestselling["]["]Tshirt["] personality, CheGuevara, starring Benicio-delToro in the title role. The first part, TheArgentine, depicts Guevara's struggle for victory in-theCubanRevolution; the second, Guerilla, hacks through the brush of his fatal last effort inBolivia. Together, they are a peculiar project and typical ofSoderbergh, who makes a habit of swerving-from his breakthrough Sex,LiesAndVideotape1989 to theOcean'sMovies, from ErinBrockovich2000 and Traffic2000 to experiments like Bubble2005 and TheGirlfriendExperience2009. Soderbergh has withstood proclamations of weirdness (Schizopolis1996), formalism (TheGoodGerman2006), and genius (SexLies1989, the-delTorosections ofTraffic2000; and, in my opinion, the first of Che2008). Now, he's taking heat for canonising a killer [The opinion of the writer revealed] and ideologue whose life raises many more questions than these movies care to address: The films barely mention the period when Guevara helped govern postrevolutionaryCuba and supervised politicalexecutions, they also omit exploration ofGuevara's reasons for pursuing a failed and deadly experiment in the jungles ofBolivia. But they do portray a complicated figure in modernHistory without sentimentality or special pleading, and allow us to make our own judgments. In an earlymorning conversation at his NYCoffice, I asked Soderbergh how he, a man who, like Guevara, is given to intense reflection and meticulous planning, gets such disparate results.

[Answer/Question]

1.     Were these CheGuevarafilms fun to make?/How could they be? [No.]

2.     I don't know. Because you really like foliage? [The fuck does this mean? The sentence  possibly means the questioner already expected an answer, which is a sign of fuckface.] There's a lot of that./I enjoyed being out there in the jungle. I think it's part of your job as a filmmaker to just take a camera and go somewhere. So I did enjoy being out in the elements like that. And I can understand how CheGuevara did, too. There was that guy who Che fought with in the Congo who said, "Che would rather face a bullet than Reality." I think that is one of the more accurate statements I've heard about him. One of the things that drew me toChe was that I wanted to make a movie that brought things down to his ability to sustain for such a long period of time the kind of outrage that we all feel occasionally. Being able to sustain that kind of outrage to the point of dying for an idea, in support of a group of people you've never met, is unusual. I find it sort of unfathomable in a way. And to do that twice, to basically construct a life for yourself only to walk away from it twice is also unusual to me. Che doesn't work the way a normal movie character works. He has no ["]arc["]. [Fuck arc whatever the fuck it is.] He's a ["]straight line["], and the tension comes from the external pressures that are trying to bend him in one direction or another, and how he deals with those. So it's kind of an inversion of the traditional movieprotagonist. And that, again, was interesting to me. But I was really just hoping we could give the audience a sense of what it was really like to be aroundChe. That's what it comes down to, What it was like to hang out with somebody who is that committed and that uncompromising. My impression, from talking to people who were around him, was that he was kind of a pain in the ass.

3.     Just to put my feelings on the table: I love the first movie, and I am fairlybaffled by the second one./Really? That's the opposite of most people.

4.     Did you have any films or models that were sort of talismans or inspirations for making these movies?/Well, normally, when I'm making a movie, I watch a whole group of films that I feel are in the same ["]ballpark["], and I'll watch them repeatedly, just to see how other filmmakers have solved certain problems. I didn't do that as much here because the problems that we were facing didn't really have to do with how I was going to shoot the film. They had to do with the script and the shape of the movie and the amount of time I had available to shoot on a given day. And those are not things that watching another film can really help you with.

5.     But do you think that ["]getting out of your head["] and into the jungle helped the work?/Absolutely. At a certain point, I definitely became impatient. I mean, we'd been dry-humping this project for seven years. So I wanted to get out there and get naked. It's not really in my nature, when it comes to work, to agonize over decisions in retrospect. I'm a big believer in working quickly, because I think it's harder-though not impossible-to be pretentious when you're moving really fast.

6.     At times, you've been accused of being too much of a formalist, but what you seem to revere is speed and instinct./The reason my career took such a leftturn at a certain point was because I realized I was in danger of becoming a formalist. But that wasn't the best representation of me, even as a person. It's easy to fall into that because it's a veryisolated position to occupy and it's easy to keep other elements, people and ideas, at a distance. So after directing TheUnderneath1995, which was an unhappy experience for me creatively because I felt going in that the film wasn't going to work, I realized, I've got to tear this thing down and start over again. I need to make a ["]secondfirstmovie["] that represents this other side of me that's been ["]chloroformed["]. And from that point forward, from Schizopolis1996 on, I made a veryconscious decision to get back to working the way I used to. The willingness to improvise had been eliminated, but I think you reach the best of all possible worlds when you've done enough homework to have the skills and knowledge of a formalist, and then you are forced to work really fast.

7.     What I like about the first Che movie is that it's a procedural, it's a work movie, like, Oh, so that's how eightyguys get off a leaky boat, go into the mountains, and change the world. [No one gives a fuck what you like.] But you said that people tend to prefer the second one to the first. [I don't give a fuck.] Why do you think that is?/I don't know. Maybe the linearity of it. There are certainly fewer moving parts to thesecondfilm. I think, for a lot of people, thesecondfilm is more emotional, at the end at least, and so it's more satisfying. That's just the general sense we've gotten when we've screened the films: People like the first film, but they really like the second one.

8.     In the second film, once we've left civilization we never return to it./No. And it's kind of a slowmotion AndThenThereWereNone1945.

9.     There was a point where I was rooting for a landmine, I have to tell you./Yeah?

10. Yeah, because with the second film, you know you're not going home until the last guy dies. Why did Che keep fighting inBolivia when he must have realized it wasn't working? [Soderbergh is not a historian or a philosopher. Fucking moron.]/Well, when you read Che's writing abouttheCongo, it's very selfcritical, he sort of ["]lays out["] [the reason] why the attempt to start a revolution there didn't work. There are some of the same elements involved as there were with what happened inBolivia. You also have to remember that it was whileChe was inCongo that FidelCastro read hisfarewellletter. This was a guy who couldn't go anywhere, there was no home to go to. I really feel like [that] he believed the choice was either to win or to die. He couldn't go toArgentina obviously. He couldn't go toCuba, it would have been too embarrassing because he'd renounced hiscitizenship and said he was never coming back. TheCIA had labeled him themostdangerous man alive. I think part of him must have known that it was going to come to what it did. I mean, in having these conversations with people who don't likeChe, I find myself having to explain one aspect of making any film that I think isn't necessarily clear to people. They say, You've made him look heroic. You've presented him in a certain way. [I discard them completely.] I have to do that if I am making a film about his experience. I am trying to recreate his experience, so, ["]by definition["], I am adopting his attitude. In essence, I am adopting the attitude of anybody I portray onscreen whether they're viewed as being a good character or a bad character. I can't have one foot in and one foot out. Che is just one of those figures who forces people to think about how they feel about certain lifeissues. The way that they ["]bounce off of him["] says as much about them as it does about him.

11. Well, I think what you did is make the movie of the T-shirt. [The fuck does this mean?]/Yeah exclamationpoint.

12. But I don't entirely buy the stuff about having to make a movie from the character's view.There are other viewpoints. You're the one selecting the material-you're presenting yourChe. And you ["]dig["] the guy./Yeah, but let's be clear: Politically, I think that MarxistLeninism [LeninistMarxism] doesn't work. I understand why Che was so drawn to it because it does superficially seem to address some core socialissues that he cared about. But I think that Che believed that you can change people and that you can somehow eliminate this aspect of them that results in things like Imperialism and hegemony. I don't believe that. I feel that we are hardwired to be competitive and to compare ourselves to other people and that what you have to do is create a system in which that energy is channeled in a direction where it does the least amount of damage. [Typical statement of liberalelitist.] But you are never, ever going to be able to eliminate that element from people in any significant way. You just can't. The result would be robots. Even if you could pull that off, would the cure be worth the medicine?

13. Going back to the paper of record, InterviewMagazine./I hope this is as good as my interview withDangerMouse[in-aug2008].

14. Well, I'm going to quote from your interview withDangerMouse, where you said the following: "I recently decided that I'm not an originator. I'm a synthesist." Is that what you really believe?/Yeah, totally.

15. Why?/Because it's true at least by my standards. If I can't watch a film like Persona1966 and realize, Oh, IngmarBergman is an originator and I'm a synthesist, then I don't know what I'm doing. Part of knowing what you're doing is understanding, Okay, I can't ["]drive the lane["] [?]. But I can ["]shoot from the outside["]. And that doesn't mean you shouldn't try to improve your abilities, but there are certain things pause. I mean, I can't jump onehundredmeterhighhurdles. No amount of training is going to solve that.

16. Well, not to get bogged down in the finer points of the definition, but Sex, Lies, and Videotape felt like a really original movie when it came out./I don't think it is one. I think it's my regurgitation of CarnalKnowledge1971.

17. You could say that BobDylan owes a lot toWoodyGuthrie, so Dylan is not an originator. But you'd be wrong./Dylan would be the first to admit he was standing on somebody else's shoulders. But he ["]pushed the ball["] so far down the field. The point is that he did something that I don't think the people on whose shoulders he stood could ever have imagined. That's why he's an originator. I don't think I've done anything that anybody who's influenced me would look at and say, Oh, my God, I never imagined somebody would make that. I'm talking about stuff that really just feels new. I mean, JeanLucGodard talks about seeingHiroshimaMonAmour1959, and going, "I literally didn't think that was possible. I didn't think you could do what he just did." It feels like there was this whole group of filmmakers who really did push the ball forward. And it's frustrating trying to figure out how to do that. You start running into this issue of what people will accept. Film is a very public art form. Is there a point at which you just become too abstract and oblique? Watching a movie inherently brings out in people a certain set of narrative demands that you can push to a certain point but you can't break or they'll just get angry. And that's frustrating to me because I've always had this sense that there's a new["]Language["] and a new["]Grammar["] that we haven't found yet.

18. Talk to me for a moment about the period afterSchizopolis, a film that felt very much like someone pushing theresetbutton./That was a fertile period. I felt like, at least conceptually, I'd gotten myself out of ["]funk["]. I had a reallygood experience onOutOfSight1998. And I had a lot of energy. I had a lot of ideas about narrative that I didn't get to explore, and I was trying to think of ways to explore them. Then with TheLimey1999. What was great aboutTheLimey was that the time it took from the moment of meeting to discuss the movie to me delivering the finished film was ninemonths. The good news was, That fed in me a desire to then do something very["]normal["], and it was during that period of makingTheLimey that I committed to doingErinBrockovich, which was a project I had turned down [rejected] duringOutOfSight. And then I went right into Traffic2000 and Ocean'sEleven2001, which was a good ["]run["]. Then I went through a run of doing stuff that was not as well liked, but for me, really important, FullFrontal2002, Solaris2002, theKStreet2003, Ocean'sTwelve2004, Eros2004, Bubble2006, TheGoodGerman2008. The reason that I can jump out of bed every morning and stay happy is that, even if you take the list of movies that people don't like, that didn't work either critically or commercially or whatever, even if you just showed me that list, I'd go [say], That's not a bad list.

19. Which brings us to TheGirlfriendExperience, the Bubblestyle callgirlmovie you're starting to shoot./It's about control. I had someone the other day, a woman journalist, say, Oh, God, here we go, a guy making a prostitutemovie. Why are men so interested in this subject?" And I said, "Well, I can understand why that would be your initial reaction, but I'm making a movie about someone who feels as though she is in absolute control of the way that her life works and, over the course of aweek, comes to realize that's not true." It's a subject I've been totally interested in since the beginning of my career. This is just a milieu that I've never explored before.

20. Have you cast it?/Yeah. SashaGrey is playing the girl. And the rest are all nonprofessionals.

21. But Sasha Grey is a pornstar, not a callgirl. But she's a Godardfan. [Godard made one movie about prostitution. It is irrelevant. Fucking DumbAss.]/When we first met, and I told her, "I want you to [watch] look at this Godard film,  VivreSaVie1962 she said, Oh, I've seen that. Yeah, that's a reallygreat movie. She has a lot of the qualities that I want this person to have, and, when I described the working process onBubble and how that ["]played out["], she said, I think I'd be very comfortable doing that. I said, Look, we're going to have scenes. There are sort of topics to each scene, and I'm gonna give you ["]bulletpoints["] that I want to have addressed here, but how you address them is totally up to you. [RobertAltman] I wanted to give each character as much information as they needed to get through each scene, but not the same information that I'm giving the other characters. The key is to just stay yourself throughout.[RobertAltman] She's attractive, but not that sort of unreal beauty that pulls you away. She still looks like somebody who lives in your neighborhood. And it'll be really fun to make a movie inNYC and shootManhattan even though it's been done a lot. But I haven't gotten to do it.

22. Finally, I have a craftquestion for you. Having seen the different versions of the Chemovies and watched them evolve, it seems to me such a difficult thing to know what people know. Do you think that's true?/Well, it's the thing that you spend your whole life trying to figure out. How does an audience receive information? How much can they take? When can you play off of their expectations? When do you have to fulfill their expectations? It can be really fascinating, and it can be really frustrating. I mean, there are times when you just can't believe that something is not coming across the way that you think it is, you have those situations where somebody says, Oh, I had no idea that was his brother. And you go, How could you not? They said, Brother.

23. I ask because, writing Fiction, you never get to be in the reader's head, reading it./Oh, that's really hard. Well, who do you rely on in that case?

24. You're fucked./Really.

25. Yeah, you just do it./You may talk to people who say they've figured it out, and maybe they have, but I don't see any evidence of that. The evidence around me is that we are all starting over every time we make a movie.

Interview. Ellroy. ParisReviewTheMagazine.fall2009. NatanielRich.

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