- Sean: Do you have a soul mate?
- Will: Define that.
- Sean: Someone you can relate to, someone who opens things up for you.
- Will: Sure, I got plenty.
- Sean: Well, name them.
- Will: Shakespeare, Nietzsche, Frost, O'Conner, Kant, Pope, Locke...
- Sean: Well that's great. They're all dead.
- Will: Not to me, they're not.
- Sean: You can't have a lot of dialogue with them.
- Will: Not without a heater and some serious smelling salts.
Tu non lo sai, ma sei stato l’unico sorriso della mia giornata.
Perché sia la scena del ponte di legno a Lexton ne IlBuonoIlBruttoEIlCattivo, sia quella del ponte di pietra in GiùLaTesta sono tra le più belle scene nella Storia del cinema.
“According to Eli Wallach, when it came time to blow up the bridge, Sergio Leone asked the Spanish army captain in charge to trigger the fuse, as a sign of gratitude for the army’s collaboration. They agreed to blow up the bridge when Leone gave the signal “Vai!” (Go!) over the walkie-talkie. Unfortunately, another crew member spoke on the same channel, saying the words “Vai, vai!”, meaning “it’s OK, proceed” to a second crew member. The captain heard this signal, thought it was for him and blew the bridge; unfortunately, no cameras were running at the time. Leone was so upset that he fired the crewman, who promptly fled from the set in his car. The captain was so sorry for what happened that he proposed to Leone that the army would rebuild the bridge to blow it up again, with one condition: that the fired crewman be re-hired. Leone agreed, the crewman was forgiven, the bridge was rebuilt and the scene was successfully shot” (via)
Diamond Life became a statistician’s dream; it spent 99 weeks on the UK chart, racked up awards, launched a hugely successful career in the US and put Sade on the bill at Live Aid, and still no-one really had any clue who Adu and her band were. For them, there was no celebrity, no pouring out of clubs at 4am. It started them as a cottage industry at the centre of the music business, and that continues to this day.
Sade Diamond Life Review
- Rachel Cooke: You're a great Anglophile, so I'm sure you know about Desert Island Discs: a guest chooses their eight favourite records. At the end, they must choose just one to take with them to the island. What are your Desert Island Movies and why? And which one would you take to watch out there, over and over?
- Roger Ebert: I have a lifelong refusal to make lists of movies. But I enjoy that programme and so I will play. Citizen Kane, The Third Man, La Dolce Vita, 2001, Vertigo, The General, Ozu's Floating Weeds and Kurosawa's Ikiru. The one I'd take to the island is La Dolce Vita, because it has been a touchstone since 1962 of my own developing maturity. When I first saw it, Marcello Mastroianni was living a life I could only dream about. Later, it was the life I was living, then the life I had escaped, and now he seems to me a touching and troubled young man.