After A Few Years Of Saving Amazon Credit And Waiting For A Copy That Wasn’t $1000 Or More, I Finally

“Mi madre siempre decía que todo lo bueno a nivel artístico habla del amor. Las míticas películas que se reponen, las obras eternas que se representan una y otra vez en teatro y hasta los libros épicos que se releen durante lustros y lustros. Todos tienen en común el amor o la pérdida de ese amor.”

— “Todo lo que podríamos haber sido tú y yo si no fuéramos tú y yo” - Albert Espinosa.

“La muerte me está guiñando un ojo.”

— Lirika inverza

Holly shit...

We have an exchange here talking about [the first sonnet of Dante Alighieri’s La Vita Nuova], which, of course, is reflected in what Hannibal says. He’s actually kind of talking about Clarice, if you listen to this speech. [Allegra]’s more cynical. She expresses this when she asks him that question. I think this is always him talking about Clarice. Most people missed that, but that’s what it is. I felt the underlying emotion of this film is affection. And in some instances you might even wonder, certainly from one direction, is it more than affection? It is dark because the story, of course, is essentially dark, but it’s kind of romantic at the same time. - Ridley Scott

It’s a haunting story and my ambition’s been that the music will be haunting. The great thing about this film is that you can literally read a million different versions of messages, of subtext, of substance into each scene. I can score this movie as an archetype of Freudian beauty-and-the-beast type fairy tale. I can score this as a horror movie. I can score this as a treatise on corruption in the American police force. I can score it as the loneliest woman on Earth. I can score this as the beauty of the Renaissance. I can do all these different things in each scene and I have to make up my mind: where do I want to see the character at which moment in time? I’ve come from this idea that it should really be a love story. But it can be a dark love story. I think using the word “passion” in its truest sense. I mean, [Hannibal and Clarice] are two people that should never be together. This is Romeo and Juliet, and so I’ve done a modern-day Romeo and Juliet. - Hans Zimmer

“Louvre Come Back To Me”, directed by Chuck Jones, 1962. Top two drawings: character layouts by Chuck Jones; bottom two drawings: background layouts by Maurice Noble (who received Co-Director credit for this film.)

Enamórame

Enamórame, por favor.

Enamórame con un detalle

Y con otro

Día a día.

Enamórame con un beso,

Con una sonrisa

Con un abrazo

Con un te quiero.

Enamórame

Dame tu tiempo,

Tu atención

Tu fidelidad

Hazme sentir bella,

Lo soy, pero a veces lo olvido.

Enamórame

Haz que te desee,

Que te necesite,

Que te extrañe.

Enamórame,

De tu voz,

De tu aroma,

De tu sonrisa

De tu risa

De tu poesía.

No me mientas,

No me rompas.

Enamórame, porque hace mucho,

No amo a nadie

Y quiero que seas tú,

El que rompa el hechizo,

El que descongele mi alma

Mi corazón.

Quiero que seas tú,

El que me bese al final del cuento

Porque no soy la princesa en la torre,

Soy la bruja malvada,

Y quiero enamorarme

Enamorarme de ti.

De nosotros,

Enamorarme otra vez.

Esgrima

The Toth Tarot - Lady Frieda Harris - Aleister Crowley