Antony And The Johnsons Cut The World 2012 Rar
Embedded content is unavailable. Pitchfork: Was the concept for 'Cut the World' collaborative? NE: It stemmed from Antony. I remember getting an email with an outline that was really well-written, which is something I'm not used to.
AH: It's something I've been working on for a couple of years, developing an idea for a film. I've got notebooks full of ideas. I knew I wanted to record a video for 'Cut the World' and do something we hadn't done before. It seemed synchronistic. Most videos I've done have been a bit fringier. Nabil, were the Bon Iver concepts your original ideas? NE: Everything I'd done prior was an original idea. AH: This video was a bit more aggressively narrated. But I loved it.
Antony and the Johnsons: ‘Cut the World’ By on August 23, 2012 in Film Music Recent Posts. The music of experimental indie band Antony and the Johnsons combines rich melody with strong political and gender analysis. This video is the title track of their new album. It contains some violent imagery. Aug 06, 2012 Published on Aug 6, 2012. Click HD for better viewing This video may not be suitable for all audiences. Viewer discretion is advised. Mix - Antony and the Johnsons - Cut the World YouTube.
As a director, what I'd love to do is a feature. So I was happy to make that shift-- getting a piece of a story. It was a big step in the direction I want to move and how I want to create things.
Even the texture. I have this video as a benchmark-- the feeling and tone that I want to create.
Pitchfork: The video leaves a lot open for interpretation. Antony, how did you conceptualize the narrative? AH: The basic premise was that a cataclysm in nature provokes a chain of events, which occur in the film. I ended up finding the word 'cataclysm' because I kept thinking of a tsunami, or something that happened to everyone-- no one was making conscious decisions. And Willem sensed that something was changing, in the way that a dog would sense an earthquake. And by the time [Carice] was aware of what happened, somehow her consciousness had shifted. One of the struggles was-- NE: To find balance.
AH: --so it didn't seem like it was a revenge killing, or that she was upset with him for a personal reason. We really worked on the innocence of Willem's character. NE: On really humanizing him. When you look at him, you're not thinking, 'This is a bad boss.'
Pitchfork: What did you do, in terms of the cinematography, to emphasize that? Download dota allstars v6.83d. NE: The tone of the film was very subtly approached-- keeping on shots with slow movements. Really letting you feel him through his subtle actions, as simple as drinking the coffee or looking out the window. Leaving that open to interpretation; not being too specific. AH: [ to Nabil] You really got into their eyes.
It really drew you into both of them. NE: Both of their eyes are so unbelievable. The way Carice's eyelids would flicker, the little movements of her eyeball-- you can sense her character and what she was feeling. Same with Willem. Eyes are the windows to the soul; that's not just a saying. 'If you're only making art about your own pedestrian life, abstracted from the reality of the world today, soon you'll have a creative cesspool of meaningless work.
Because it's not built on any values.' Pitchfork: The video seems to be about dismantling the male role, and the idea of different perspectives and ways of seeing the world. AH: It's been provocative for me to see people try to create a moral narrative out of it. We didn't come at it from that perspective. NE: It reveals what's in the viewer's head. AH: It's been weird to see people with opposing points of view-- who have found something in it that might resonate with them, or that they hate about it.
It's actually a bit disturbing to create work like that. It reminds me of like, Borat, where everyone's laughing, but everyone's laughing for a different reason. One person's laughing because they're racist, and the other person's laughing because racists are so idiotic. There's a moral ambiguity. NE: What I was hoping we would create-- and I think we did-- was something with beauty, even in that [murder] scene.