Reminds Me of You

I’ve gotta get out of here
This town’s no longer fun
And I’m falling closer, falling closer
Closer to the sun
I’ve gotta get out of here
Come kiss another face
Cause it hurts too bad, it hurts too bad
And I don’t like the taste

You say it’s over, leaving me so far from sober
Now summer is colder, I lean on a stranger’s shoulder
I walk the streets and hear heartbeats and city smoulder
Without a trace I’m under

And God knows I try
Looking for lovers at night
But each time I do
It only reminds me of you
It only reminds me of you

I’ve gotta get out of here
Cause you’ll never want me back
You are moving on, moving on
And I’m stuck on the track
I’ve gotta get out of here
Before I self-destruct
And I don’t want, and I don’t want
My heart to ever stop


Ps: ga ada kode lagi. Please lah belajar bahasa inggris. Aku capek ngejelasinnya ke kamu.

Inspired by You

I wrote this post on my journey to see him. Again. Di samping gue duduk seorang tante yang akan menuju ke Semarang. Gue ga tau pekerjaan si tante apa, karena gue bukan tipe orang kepo.

You must be wondering what the hell am I doing in the past month. Kerjaan gue pada intinya adalah makan dan tidur. Nonton pun gue kagak. Dawn of the Planet of the Apes aja gue lewatin gitu aja karena gue ga suka liat apes yang disetting jadi antagonis.

Gue nulis post ini karena habis liat blog si dia yang penuh dengan kata petuah. Sedangkan di blog gue yang tercinta ini, gue terlihat sekali ke-agnostik-annya. Gue orang yang sekuler jadi don’t expect me to write a post about God and stuff around it.

Gue nulis post ini karena gue bosen dan pengen ngetik aja. Sesederhana itu. Lagian dari tadi gue nahan pipis. Meskipun ga ada ayam di gerbong kereta gue, gue tetep nahan pipis. It’s time to geplak nyokap gue.

Years ago there was a real sense of camaraderie among film directors, such as you still find in America and Britain. At the old Toho studio, we’d sit around on the grass during lunch and talk—Kenji Mizoguchi, Mikio Naruse, Yasujiro Ozu, Kajiro Yamamoto, Teinosuke Kinugasa, Sadao Yamanaka, and myself. I was still only a young assistant director, but the others didn’t exclude me. I learned a lot from those sessions. And between jobs I always watched the other directors at work.

Akira Kurosawa in response to the question “You’ve lived through the golden age of Japanese cinema. Did you learn a great deal from the filmmakers of that era?” in an interview with Saburo Kawamoto, 1991. (via kurosawa-akira)

Chit Chat: That Thing You Do

Mungkin karena puasa. Mungkin karena gue ketemu bokap nyokap. Mungkin karena for the first time in my life, gue pikir gue bisa napas dengan lancar tapi ternyata nggak. Gue pikir walk away from that thing you do. Yah pada akhirnya gue nggak mau munafik juga sih.

Gue nggak pernah digituin. Menurut gue itu, tindakan cowardly stupid. Mungkin kalo ini bukan bulan puasa gue akan maki-maki tu orang di post ini. Gue nggak pernah direndahkan seperti itu. Gue udah bilang gue orang kontra, kalo gue pengen berarti ga pengen. And he doesn’t get that. Gue capek meminta. Kalo kata Remi di PK, cari orang yang nggak perlu kamu minta, tapi dia kasih semuanya. Lo nggak gitu. Gue harus ngomong. Satu hal yang paling gue benci, gue benci meminta.

Lo mungkin bertanya-tanya ada apa dengan gue dan mantan gue. Let me tell you one thing darling, karena yang ga ngapa2in itu lebih dapet kenangannya daripada yang pernah ngapa2in. Inilah gue. Lo masih mau mencintai gue yang cynical bitch ini? Kalo masih, gue akan respect sama lo sampe mampus. Kalo lo nggak tahan, I don’t know. Guess I couldn’t survive this.

You can’t fix me after all. Kalo lo masih punya harapan untuk memperkenalkan cinta sama gue, lo cuma buang-buang waktu. Gue pernah bilang di Tumblr ini, I need someone who can share the same passion, the same dream and I’m going to love that kind of person for the rest of my life. Karena gue udah capek being alone. Bersama lo, tetep bikin gue merasa sendiri. You don’t know what I’m talk about. You don’t know anything about my life. Prinsip kita aja beda. Kalo lo mau mempertahankan apapun ini, gue angkat jempol gue. Maybe kiss you for a thousand times.

citizenscreen:


Film Noir (from the French meaning Black Film) is a genre of cinema that emerged during the early 1940s and continued until the late 1950s. It is characterised by it’s distintive stylisation of cinematography and it’s focus on crime, mystery and sex. Taking many cues from early German expressionism, Film Noir offered an immersive thematic experience that was very different to that of other contemporary melodramas. Several techniques and plot devices came to define the genre, including voiceovers, the inventive use of light and shadow, the protagonist’s need to seek out some truth, and the famed ‘femme fatale’ figure. 

Murderously FABULOUS!
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citizenscreen:


Film Noir (from the French meaning Black Film) is a genre of cinema that emerged during the early 1940s and continued until the late 1950s. It is characterised by it’s distintive stylisation of cinematography and it’s focus on crime, mystery and sex. Taking many cues from early German expressionism, Film Noir offered an immersive thematic experience that was very different to that of other contemporary melodramas. Several techniques and plot devices came to define the genre, including voiceovers, the inventive use of light and shadow, the protagonist’s need to seek out some truth, and the famed ‘femme fatale’ figure. 

Murderously FABULOUS!
Zoom Info
citizenscreen:


Film Noir (from the French meaning Black Film) is a genre of cinema that emerged during the early 1940s and continued until the late 1950s. It is characterised by it’s distintive stylisation of cinematography and it’s focus on crime, mystery and sex. Taking many cues from early German expressionism, Film Noir offered an immersive thematic experience that was very different to that of other contemporary melodramas. Several techniques and plot devices came to define the genre, including voiceovers, the inventive use of light and shadow, the protagonist’s need to seek out some truth, and the famed ‘femme fatale’ figure. 

Murderously FABULOUS!
Zoom Info
citizenscreen:


Film Noir (from the French meaning Black Film) is a genre of cinema that emerged during the early 1940s and continued until the late 1950s. It is characterised by it’s distintive stylisation of cinematography and it’s focus on crime, mystery and sex. Taking many cues from early German expressionism, Film Noir offered an immersive thematic experience that was very different to that of other contemporary melodramas. Several techniques and plot devices came to define the genre, including voiceovers, the inventive use of light and shadow, the protagonist’s need to seek out some truth, and the famed ‘femme fatale’ figure. 

Murderously FABULOUS!
Zoom Info
citizenscreen:


Film Noir (from the French meaning Black Film) is a genre of cinema that emerged during the early 1940s and continued until the late 1950s. It is characterised by it’s distintive stylisation of cinematography and it’s focus on crime, mystery and sex. Taking many cues from early German expressionism, Film Noir offered an immersive thematic experience that was very different to that of other contemporary melodramas. Several techniques and plot devices came to define the genre, including voiceovers, the inventive use of light and shadow, the protagonist’s need to seek out some truth, and the famed ‘femme fatale’ figure. 

Murderously FABULOUS!
Zoom Info
citizenscreen:


Film Noir (from the French meaning Black Film) is a genre of cinema that emerged during the early 1940s and continued until the late 1950s. It is characterised by it’s distintive stylisation of cinematography and it’s focus on crime, mystery and sex. Taking many cues from early German expressionism, Film Noir offered an immersive thematic experience that was very different to that of other contemporary melodramas. Several techniques and plot devices came to define the genre, including voiceovers, the inventive use of light and shadow, the protagonist’s need to seek out some truth, and the famed ‘femme fatale’ figure. 

Murderously FABULOUS!
Zoom Info
citizenscreen:


Film Noir (from the French meaning Black Film) is a genre of cinema that emerged during the early 1940s and continued until the late 1950s. It is characterised by it’s distintive stylisation of cinematography and it’s focus on crime, mystery and sex. Taking many cues from early German expressionism, Film Noir offered an immersive thematic experience that was very different to that of other contemporary melodramas. Several techniques and plot devices came to define the genre, including voiceovers, the inventive use of light and shadow, the protagonist’s need to seek out some truth, and the famed ‘femme fatale’ figure. 

Murderously FABULOUS!
Zoom Info
citizenscreen:


Film Noir (from the French meaning Black Film) is a genre of cinema that emerged during the early 1940s and continued until the late 1950s. It is characterised by it’s distintive stylisation of cinematography and it’s focus on crime, mystery and sex. Taking many cues from early German expressionism, Film Noir offered an immersive thematic experience that was very different to that of other contemporary melodramas. Several techniques and plot devices came to define the genre, including voiceovers, the inventive use of light and shadow, the protagonist’s need to seek out some truth, and the famed ‘femme fatale’ figure. 

Murderously FABULOUS!
Zoom Info

citizenscreen:

Film Noir (from the French meaning Black Film) is a genre of cinema that emerged during the early 1940s and continued until the late 1950s. It is characterised by it’s distintive stylisation of cinematography and it’s focus on crime, mystery and sex. Taking many cues from early German expressionism, Film Noir offered an immersive thematic experience that was very different to that of other contemporary melodramas. Several techniques and plot devices came to define the genre, including voiceovers, the inventive use of light and shadow, the protagonist’s need to seek out some truth, and the famed ‘femme fatale’ figure. 

Murderously FABULOUS!


Time: The 100 Most Influential People 
The passionate storyteller 
"From Hunger to Shame to 12 Years a Slave, Steve tackles tough subjects with passion and a very evident love. His storytelling is all about creating genuine emotional exchanges between the actors. He’s always in search of the truthful moment that will give the audience real human access to difficult issues. He’s a visionary in that way.
In 12 Years a Slave, he gave us a very clear and emotional representation of the time and institution of slavery. The complexity of characters lets you see how slavery was a burden not just to the enslaved but to the slavers as well. The emotional toil affected everyone.
I think Steve is a genius at what he does, but he doesn’t impose his genius on you. It really feels collaborative and exploratory to work with him. What he managed to create was a sacred space where everyone respected the story we were telling. He gave us reassurance that this was for something bigger than all of us.” - Lupita Nyong’o

Time: The 100 Most Influential People 

The passionate storyteller 

"From Hunger to Shame to 12 Years a Slave, Steve tackles tough subjects with passion and a very evident love. His storytelling is all about creating genuine emotional exchanges between the actors. He’s always in search of the truthful moment that will give the audience real human access to difficult issues. He’s a visionary in that way.

In 12 Years a Slave, he gave us a very clear and emotional representation of the time and institution of slavery. The complexity of characters lets you see how slavery was a burden not just to the enslaved but to the slavers as well. The emotional toil affected everyone.

I think Steve is a genius at what he does, but he doesn’t impose his genius on you. It really feels collaborative and exploratory to work with him. What he managed to create was a sacred space where everyone respected the story we were telling. He gave us reassurance that this was for something bigger than all of us.” - Lupita Nyong’o