Showing posts with label Arthur Rimbaud. Show all posts
Showing posts with label Arthur Rimbaud. Show all posts

Sunday, October 20, 2019

Tosh's Journal - October 20 (Tribute to Jean-Pierre Melville)




TOSH’S JOURNAL

October 20

The films I make are easily misunderstood. “I move from realism to fantasy without the spectator ever noticing.” I drive a 1967 Rambler through the streets of Shi-mo-ki-ta-za-wa, looking for landscapes to use for my films. So far, I have made three movies, and the filmgoer has pretty much accepted all of them. On the other hand, I don’t care if they like them or not. I know shit. I want to have fun, you know. “I like to take risks. My films never follow the current trend.” Perhaps that is the reason why I lost my audience.

My current film project is to do a film based on Arthur Rimbaud’s “A Season in Hell,” starring the musician Ivo Pogorelić. It was a matter of entering Hell itself to get funding for the film, but due to the success of “Le Samourai,” I found backers from a small theater group in Shimokitazawa, who want to expand their theater into the cinema world. Besides having a great looking star, Ivo is also going to supply the soundtrack, which will be mostly music by Chopin. The producers (the theater people) want to change the title to “Unhappiness Was My God.” To me, it sounds a touch pretentious, mostly due that I like crime films, with their short to the point titles. Some say poetry is the cinema, but I find it to be more suitable for the pulp crime narrative. So in my script, I have changed Rimbaud’s poetic prose into hard-boiled dialogue. It should work, especially coming from Ivo’s mouth.

The beauty of this project is the fact that it will be my last film. One reason why I’m attached to “A Season in Hell” is because it was Rimbaud’s last book. Doing art is a bit like a slow death. I can stall the mortal moment when the end comes, by doing more work, but I think to have a small number of films under my name, will serve my purpose, artistically and financially in the long (short) run. “By being too sensitive, I have wasted my life.

” On the other hand, my “artistic” life is doing fine. The more I personally suffer, the higher my work becomes. It’s a double-edged sword, but I rather have good work than happiness anyway.

“In the morning, I had a look so lost, a face so dead, that perhaps those whom I met did not see me.” It is hard to drive my Rambler on the streets of Shimokitazawa, due to the smallness of the roads here, which are more like alleys that lead to nowhere and one comes back to a full circle. “A Season in Hell” (my version) is based on driving around here and trying to look for a parking spot. I can never find one, so I continue to drive around and around. Ivo is going to play the driver as he recites critical phrases from the Rimbaud book. He will dress like a French gangster, and I’m also thinking of adding some prose from a David Goodis novel as well. The juxtaposition of Rimbaud and Goodis’ text together can cause a certain amount of tension that will be good for the film.

I will mostly be shooting at night because I feel the material doesn’t work in the daylight. I’m also putting this in my contract that the film must be shown only at nighttime. Even if the theater is dark, I want people to leave the theater and find darkness outside instead of daylight. Everything must work in unison. My last film must be perfect. There is no second act in a European’s life. Once the film is finished, viewers can see my blood on the screen. Due that it takes everything I have to make a film like “Unhappiness Was My God.” The only high I have in life is to watch the finished work, due to the fact “I never drink … wine.”

Wednesday, September 12, 2018

September 12, 2018 (Paris)


September 12, 2018 (Paris)
The jet-lag is better, but not completely gone.  Still, it's a considerable effort to wake up in the morning, where it's morning.  Everything in my body tells me to stay in bed, but then I get nagging anger at myself for allowing more bedtime when I should be out and about to enjoy the magnificent city that is Paris.   For me, the pure enjoyment of this city is due to walks.  We arranged to see our friend Dennis at the used bookstore/cafe "Merci" on bd Beaumarchais.  For one, the cafe is just around the corner from our residence, and therefore no excuse to be late for such a meeting.  We did get there on time, which was 2 PM.   Dennis had bread that is called bouche, and its served with butter and jam.  I had a cappuccino and Lun*na had a cold drink of some sort.   



Dennis is a friend from Los Angeles, and I have known him for years.  A brilliant writer, he's now making films and for the past ten years doing theater pieces as well.   For me, he's the classic example of the American who goes to Paris and everything becomes great for him and his art.  I have to presume that the road to this greatness is a bumpy one, but he wears it well, and he's genuinely one of the few people that I much admire.  In other words, he's everything that I'm not.  For instance, I'm sluggish, and I'm trying to tell the difference between my waking and dream life.  Since I  have been in Paris, I have been having these odd dreams of being at work (which is weird enough, because I don't go to work) nude.  Everyone is dressed, but I try to act normal like it's OK for me to be at my occupation and space and to be in the nude.   I feel in the dream that I know this is wrong, but if I act like it is not wrong, then the problem or feelings will go away.   I then wake-up in the middle of the night, thinking "why do I have dreams like that?"   This, of course, keeps me up for numerous hours and then depressing comes over me, because I fear it will ruin the rest of the day, and my day is here in Paris.

After the coffee break, I take Dennis over to the Frank Elbaz Gallery to see my dad, Wallace Berman's artwork.   Frank was there, and he showed me a work by Wallace which I haven't seen in years.   It's a strange phenomenon to see a work by your father that you have no connection with, yet, it's very much part of one's DNA.  The narration is that artworks get sold, and they go out into the world.  The collector or buyer may have it for a few years or forever, but mostly they did get re-sold and moved somewhere else in the world.   So, to locate artworks is sometimes a detective story.   The thing is, as a member of the family, I have no control over how these pieces move from one owner to another.  It's an odd feeling to be associated with a work, just due to family, and come upon something that is almost new to one.  It is a rock sculpture by my dad, with Hebrew writing and it's one of the rock pieces that has a metal chain attached to the rock.   A beautiful piece.  I remember seeing it as a kid.  Beyond that, I don't know what happened after my dad originally sold the piece. 

We walked Dennis to the metro.  Then we decided to go to a supermarket, Carrefour Market (88 Rue Amelot 75011 Paris), and buy food for lunch.  I purchased a cheese sandwich which was tasty and straightforward, and Lun*na purchased a vegetable wrap.  For me, to go to a neighborhood food market is a delight. Especially a foreign (to me) food place.  I'm easily amused to wander around the potato chip section of the store.  We got back home with our lunch, and after we ate it, we had to figure out how to use the laundry machine, that is also a dryer.   A rocket scientist could figure this out, but sadly I failed every science class in Junior and High School, and therefore I wasn't much help.  But we did find a YouTube post regarding how to use this type of washing machine.   If nothing else, YouTube is great for instructional videos.



It's now around 6:30 PM, and usually, this would be our happy hour at home (Los Angeles), but we decided to go out and walk around Paris.  We strolled down Bd des Filles du Calvaire to Bd Beaumarchais.   On this Bouvard is a series of motorcycle shops.   When I look at these machines, I think of them as being fetish objects.  Every type of machinery in France or in Paris looks like a highly aesthetic object. The same goes for the buildings or architecture.  I'm not used to being in a city that has such high visual standards.    We eventually reached Place de la Bastille.  I get goosebumps by going to this location because Marquis de Sade was in prison here.  Of course, the prison structure doesn't exist anymore due to its destruction during the French Revolution.  Still, to think such a great man as Sade being in the same location as I.  I shudder in delight.   



Lun*na and I then went onwards to Bd Henry IV where we ended up at Pont Sully.  We looked over the Seine River and wondered what it would be like to jump into the waters.  It's odd that we think of suicidal thoughts on a holiday, but there you go!  The highlight of this street is a statue of Arthur Rimbaud, the great poet.  It's a new statue, meaning something made this century.  The bronze statue is located on the Place du Père-Teilhard-de-Chardin, on the right of boulevard Henri IV, and is the work of Jean-Robert Ipoustéguy (1920-2006).  The work is called L'homme aux semelles devant (à Rimbaud) (Man with soles in front, to Rimbaud).   

Walking down a street and to come upon the memories of Rimbaud and Sade, can only happen in Paris.  - Tosh Berman


Monday, October 20, 2014

October 20, 2014



October 20, 2014

The films I make are easily misunderstood.  “I move from realism to fantasy without the spectator ever noticing.” I drive a 1967 Rambler through the streets of Shimokitazawa, looking for landscapes to use for my films.  So far, I have made three movies, and all of them have been pretty much accepted by the film goer.  On the other hand, I don’t really care if they like them or not.  I know shit. I just want to have fun, you know. “I like to take risks. My films never follow the current trend.” Perhaps that is the reason why I lost my audience.



My current film project is to do a film based on Arthur Rimbaud’s “A Season in Hell,” starring the musician Ivo Pogorelić.  It was a matter of entering Hell itself to get funding for the film, but due to the success of “Le Samourai,” I found backers from a small theater group in Shimokitazawa, who want to expand their theater into the cinema world.  Besides having a great looking star, Ivo is also going to supply the soundtrack, which will be mostly music by Chopin.  The producers (the theater people) want to change the title to “Unhappiness Was My God.” To me, it sounds a touch pretentious, mostly due that I like crime films, with their short to the point titles.  Some say poetry is cinema, but I find it to be more suitable for the pulp crime narrative.  So in my script I have changed Rimbaud’s poetic prose into hard-boiled dialogue. It should work, especially coming from Ivo’s mouth.

The beauty of this project is the fact that it will be my last film.  One reason why I’m attached to “A Season in Hell” is because it was Rimbaud’s last book.  Doing art is a bit like a slow death.  I can stall the mortal moment when the end comes, by doing more work, but I think having a small amount of films under my name, will serve my purpose, artistically and financially in the long (short) run.  “By being too sensitive I have wasted my life.” On the other hand, my “artistic” life is doing fine.  The more I personally suffer, the greater my work becomes.  It’s a double-edged sword, but I rather have good work than happiness anyway.



“In the morning I had a look so lost, a face so dead, that perhaps those whom I met did not see me.” It is hard to drive my Rambler on the streets of Shimokitazawa, due to the smallness of the roads here, which are more like alleys that lead to nowhere and one comes back to a full circle.   “A Season in Hell” (my version) is based on driving around here, and trying to look for a parking spot.  I can never find one, so I just continue to drive around and around. Ivo is going to play the driver as he recites key phrases from the Rimbaud book.  He will dress like a French gangster, and I’m also thinking of adding some prose from a David Goodis novel as well.  The juxtaposition of Rimbaud and Goodis’ text together can cause a certain amount of tension that will be good for the film.



I will mostly be shooting in the night, because I feel the material doesn’t work in the daylight.  I’m also putting this in my contract, that the film must be shown only at nighttime.  Even if the theater is dark, I want people to leave the theater and find darkness outside instead of daylight.  It’s important that everything works in unison.  My last film must be perfect.   There is no second act in a European’s life.  Once the film is finished, viewers can actually see my blood on the screen.  Due that it takes everything I have to make a film like “Unhappiness Was My God.” The only high I have in life is to watch the finished work, due to the fact “I never drink … wine. ”

Tuesday, August 2, 2011

Arthur Rimbaud's "Illuminations" (translated by John Ashbery)

I think what's amazing here is that a magnificent American Poet John Ashbery at the age 83 (or something like that) translated the great poetry of Arthur Rimbaud, whose poems were written when he was in his teens. The ultimate teenage rebel icon touched by the grand poet of American letters, whose work is still controversial and has a bite. One wonders what took so long? 
The truth is in this book, well, kind of. Rimbaud will always be this cloud that floats above us. It is there to be captured and read, but can one ever own the feverish imagery of his poems? Rimbaud's work is in Ashbery's DNA by now. 'Illuminations' is one of those perfect books or even moments, and Ashbery captures the essence and flavor of Rimbaud's vision and words. Mega-important!