♥ *

You color my smile red,
You play on my lips, stretched.
My heart becomes a jumping yoyo,
and You; this Yoyo's thread.
You are so deep in the words so shallow.
You make it, I break it,
You say it, I take it.
Even if I deny every word of yours,
Truth is my heart doth follow.
You were there.
You are here.
Every inch of you is care,
Always there like fresh air.
Every inch of you is Light,
Of the brightest star at night,
Of the sun that always shines.
Even If i dont look at the sky,
This star always caresses me..
With its promising smile..
You take me to the oceans deep.
You take me to the far off seas.
We run we play across the fields,
Drenched in liveliest green.
You take me to the angelic heaven.
We swing from tree to tree.
We slide from waterfalls,
Screaming those words,
Our very own, those very three.
You are the rhythm, my heart beats with.
You are the song, my every breath sings.
You are the fatherly comfort,
You are my childlike sleep.
The only plane I want to take,
The only train I want to travel in,
The only way I want to walk,
With you it starts, with you it ends.
and I get the most musical symphony..
You are my loveliest journey..
You are my belief in love.
When my every definition of love dies,
Every feeling that I call love, expires.
You are still standing by my side.
Truth is only YOU are love.
Truth is you swim in my blood.
You are my promise of life.
Dying, my every cell,
Betraying were my breaths.
and you were busy collecting
every stale of air,
sowing every hope,
to bring me life.
to end despair.
Your every prayer,
Everything you shared,
Everything I remember.
and every road I take now,
whichever, wherever,
It U-turns back to you.
Truth is you are my every road.
Truth is you are my every square.
You were there,
You are here,
You are Everywhere.
Truth is you never went away.
Far you were, yet so near.
Truth is you stayed,
when I felt you disappeared.
Truth is I know, I know You never can go.
Truth is You are my own.
Truth is you are every smile
Truth is you are every word.
Truth is You are my Life.
Truth is You are my Love.
I LOVE U!

* (c) She

Angel

Let us make a video for Angel - massive Attack!


We begin with a long shot of a large, multistory building. Very rectangular. Very dark, but the detail is visible. Think mental hospital, isolated; stuck on some hill somewhere. The sky is dull gray or deep blue. This is what we see as the song begins. We are zooming in steadily as we take this in. As we get closer to the building there is a brief flash of a female. Several flashes, all of which are brief, so we are denied detail but allowed to gain some idea. We continue to zoom in, and as the flashes continue it is implied that this building somehow exists inside the female's chest. We reach the door of the building and the flashes of the female pause as we enter. The camera seems to float, banking around corners as we move deeper inside the maze of corridors that make up the building. The interior has a sterile green tone. Think mental hospital. Think linoleum floors that make a hard clicking sound when they are walked on with firm soled shoes. Think emptiness that allows any sound to echo and be heard from some distance away. The corridors are lined with small rooms, which are just as dark and empty as everything else. Think cells. We continue to travel through corridors and up stairs and through corridors and past rooms until we come to a particular room that is just like all the others. The door is open. Inside, a man sits in the corner, knees up against his chest. He looks calm. He sings.The flashes of the female begin again, and show here to be moving. The man gets up and walks slowly to the door of the room. He looks around. The flashes continue and we now see that the female is reaching out. She touches another males face. The man in the building looks scared. The flashes continue and a male's face enters our field of vision. The flashes continue and the male and female kiss. The man enters the hall and spins around to see some sort of horror racing down the corridor toward him. The man runs. The flashes show more kissing and detail the hands of both male and female moving over their bodies. More horrors are now chasing the man through the corridors. The man is running at full pace. The flashes show clothes being removed. A horde of horrors are now almost on the man, who hides in a small room, which is unlike the others. Think storage room. The horrors beat against the door of this room, which looks as if it will not hold them for long. The man collapses on the floor, head in hands, as the flashes show two naked bodies embrace. The door of the room the man is hiding in begins to break. The man looks up and sees a vent. He climbs through this vent into a cramped space. Think air-conditioning duct. The flashes imply that the male and female are having sex. The man curls up and sobs. After time, the flashes show that the male is asleep and the female is lying next to him. The man stops sobbing and climbs out of the cramped space back into the small room. There is no more banging at the door. Flashes show the female kiss the male's cheek and begin to dress. The man opens to door and looks into the corridor. The horrors are gone. Flashes show the female complete dressing. The man walks back toward the room in which we found him. Flashes show the female leaving the room in which the male sleeps and close the door behind her. The man enters his room and huddles in the corner, as if to sleep. The scene fades.

Finish it .....

... OK ?

The Fountain

The Fountain was directed by Darren Aronofsky and released in 2006. It is a complex movie, following three different storylines that are interwoven with one another. Throughout the course of the film, we learn the story of a conquistador in the 16th century who travels to the New World to find the Tree of Life, an oncologist in the present searching for a cure for his wife’s cancer, and an astronaut in the future traveling through space to return life to a dying tree. These stories unfold and intertwine as they move towards a singular goal: overcoming death. The film did not do well during its theatrical run (only earning about half of its budget). Despite this, The Fountain is an excellent film whose soundtrack, visual elements, and storyline come together to create a work of art that surpasses many other, more popular films.

The musical score for The Fountain was composed by Clint Mansell and performed by the Kronos Quartet and the musical performance group Mogwai. Mansell also composed the music for Aronofsky’s previous two films, Pi and Requiem for a Dream, and the Kronos Quartet performed the music for Requiem for a Dream as well. String instruments and electronic elements are the main components of much of the music, and there are no vocals (though the final song, “Together We Will Live Forever,” was intended to be a vocal piece). Because of this, the music tends to stay in the background, but there is a haunting quality to it that does not allow it to get lost behind everything else.

Of the soundtrack, in an article written about the movie, Steve Dollar says, “Rather than come together as an afterthought, which is the case with most films, the score arose as part of the process.” This allowed the music to express the proper mood of certain scenes in the film, and also allows for another level of experiencing the movie. Many of the songs are constructed around a common tune that ties them all together. The basic structure of “The Last Man,” the first song on the soundtrack, is carried through to the other pieces. Much like the story, this song flows through the others and helps to connect the seemingly detached segments of the story. All of the songs collectively build to the second-to-last song, “Death is the Road to Awe.” This song violently explodes at the film’s climax, enhancing and emphasizing the power of the on-screen visuals. Everything is finally drawn together with the final song, “Together We Will Live Forever.” It is relatively simple, compared to the other songs, in that it is performed solely by piano. Nevertheless, it is a powerful song that has a calming effect after the excitement of the final scenes. Overall, the soundtrack is well suited to the film and in some ways even helps to tell the story.

Like any other motion picture, The Fountain relies heavily on what the audience sees. Otherwise, it wouldn’t be much of a motion picture. All but two of the film’s locations were built on a sound stage in Montreal. Because the film takes place in three different time periods over a span of about a thousand years, it was important that each location properly reflected the period during which a particular scene was set to take place.

The 16th century segments of the film take place in two major locations: Spain and the New World (presumably present-day Mexico, because of numerous references to the Mayans). These locations contrast with those of the present-day segments; while the 16th century has a sort of wild and gritty feel, the locations in the present day feel smooth and clean. Much of the present takes place in the oncologist’s lab. The lab is filled with numerous technological devices which, despite the use of warm lighting, give it a feeling of coldness and sterility.

Both the 16th century and the present day make use of locations that feel enclosed and crowded; these are a stunning contrast to the location of the scenes that take place in the 26th century: outer space. The astronaut’s spacecraft is a large, clear sphere; inside of it is a large tree. This ship is traveling through space to reach a distant nebula so the tree can be reborn; the astronaut himself is the last man alive. The film is probably best known for its outer space scenes; however, filming them proved to be a challenge.

Because of the limited budget, Jeremy Dawson and Dan Schrecker, who helped Aronofsky with the visual effects, were unable to use a lot of computer-generated images; as about a third of the film takes place in outer space, this would’ve been difficult to achieve without making the film look dated. Johan Weiland interviewed Jeremy Dawson for his Comic Reel interview.

Darren's fear, and one we agreed with, is that with a lot of CG stuff it places the film at a certain moment in time and makes it very current, but the tools evolve and are changing from day to day, so there's a big difference in the way CG things can look from one year to three years later and he wants this film to stand in its own alley way separate from this. (Weiland)


To combat this, they enlisted the help of Peter Parks, a macro photographer (macro photography involves taking close-up pictures). He was able to create the stunning deep space effects by mixing different combinations of chemicals and microorganisms. In using this process, Dawson said, “We saw beautifully vibrant and active reactions that look remarkably like deep space photography we've seen from NASA [...] it's mostly a random and organic process filled with lots of wonderful accident and no software tricks” (Weiland). As a result, 20,000 feet of film for the special effects was filmed for a relatively low cost of around $140,000.

The space scenes are amazing, but the rest of the film looks gorgeous as well. Gold is used throughout the film to emphasize the search that the characters go through (much as the conquistadors of the 1500s sought gold, among other things, in the New World). All of the sets and scenes form an esthetically pleasing atmosphere that holds the interest of the viewer. In an interview conducted by Steve “Capone” Prokopy, Darren Aronofsky said, “One thing is there’s this whole geometrical thing going through the film.” Each of the three time periods is differentiated by shapes: the 16th century by triangles (used in the pyramids of the New World and constellations), the present day by rectangular forms (doors, windows, and computer screens), and the 26th century by circles and spheres (the spacecraft and stars) (Prokopy).

These elements alone cannot create a good motion picture; without a good story, it would just be a glorified slideshow. The Fountain, however, tells an interesting and complex tale. As was stated earlier, the film follows three people throughout time as they all search to overcome death in order to be with the women they love.

The conquistador, Tomas, is given the mission of seeking out the Tree of Life in the New World while his queen and the territory she holds in Spain are threatened by the Spanish Inquisition. In the present day, the oncologist, Tommy Creo, is researching methods to reverse the growth of brain tumors in monkeys with the hopes of finding a cure for the cancer that threatens his wife, Izzi. The astronaut, Tom, is riding a spherical spaceship towards a distant nebula in the hopes of rejuvenating a tree; during the journey, he is often haunted by hallucinations of Izzi. Each of these storylines are told simultaneously onscreen, and they are all expertly interwoven as they evolve along with one another and come together at the climax. The ending is a surprising one that will hopefully leave viewers with a powerful message about themselves and the world around them.

Along with the theme of overcoming death, the film makes heavy use of numerous spiritual and religious themes and symbols. These include the use of the Mayans’ story of the creation of the world, the Tree of Life from the Bible, Yggdrasil (the World Tree of Norse mythology that stands at the center of the universe), and the Hindu concept of the cycle of life and death. These concepts and symbols are utilized in an interesting and unique way while still being easy to understand to viewers who are not familiar with them. With the extensive use of these themes and symbols, it is difficult to formulate an all-encompassing interpretation of the film. However, in an interview with the Washington Post, Aronofsky stated, “It's very much like a Rubik's cube, where you can solve it in several different ways, but ultimately there's only one solution at the end" (Kolakowski).

In conclusion, there are numerous elements that combine to make The Fountain an immensely enjoyable motion picture. Not many people had a chance to see it during the theatrical run, but it is available on DVD in various formats to be enjoyed in the privacy of one’s home. The movie’s soundtrack, visual elements, and storyline are all expertly crafted, and the result is a film whose theatrical success (or lack thereof) poorly reflects the effort that was put forth to produce an amazing, awe-inspiring motion picture.

Lux Aeterna

Wonderful sound.
'A great melody.'
'The work of Satan.'
So ... different opinions circulating on the violins are so loved.
Small, wooden, perfectly executed.
I dreamed to play on them. Feel the gentle strings under your fingers.
With easy to pass on their strings. I play.
Although the fact that the Lord 'None'.
Bear the imagination. Close devilish pact.
Create. Delight. Intimidate.
I was wonderful to base violin on his shoulder,
placed on the chin,
to touch the strings and ...
enjoy a welcome, so unrealistic, even abstract sound.
I take.
All eternity.