Macrolog//Words

Blog All Bookmarked Pages: Notes (on the Making of Apocalypse Now) by Eleanor Coppola
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I’ve had it for something like 15 or 16 years now — the pound sign on the Hodges Figgis price sticker is a giveaway — and I was in the mood for a memoir/diary-type book to read, so I relieved this one from its tsundoku status in my bedside locker a few months ago.

Was it worth reading before seeing Apocalypse Now? I think so. I mean I’ve seen most of the film, in parts, and I know the gist of the story; it’s just that I’ve never sat down and watched the whole thing through. With perspective, I don’t think I was ready for it before — I certainly didn’t have the patience for a three-hour treatise on war and existentialism the night I first saw (some of) it — but I feel primed for it now, having read Eleanor Coppola’s thoughts on and around its making.

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Microlog//Latest

My Thumped review of The Tale of the Princess Kaguya
Isao Takahata’s first film in 15 years, and maybe his last, is also one of Studio Ghibli’s finest. #   ·

Why Are There Only 28 Days in February?
Huh. I did not know this before. Suppose I should it this under ‘TIL’ for ‘today I learned’. #   ·

How to Make Caramelized Onions in the Microwave
Although it takes about as long as it would to do them on the stovetop, I’m not sure why I’d bother. Still, they are delicious [c/o Lifehacker]. #   ·

What it’s like to compete in the Chopped kitchen
Decent interview with a past contestant giving a pretty detailed behind-the-scenes at the Food Network’s best show. #   ·

Favicons, Touch Icons, Tile Icons, etc. Which Do You Need?
Turns out the answer is ‘all of the above’. I’m gonna need a new favicon file, aren’t I? #   ·

Where Was The Windows XP Default Wallpaper Photo Taken?
Weird that the Dutch version of Windows calls it ‘Ireland’; that shade of green is far too bright for this country. #   ·

InDesign Secrets: Assigning Default Text Formatting
I ran into an issue the other week where the text box default assumed one of my pullquote styles. I’d draw a frame, say for a headline or body text, paste in the text and voila: exactly the style I didn’t want. I still don’t know how that happened. But this tip helped me reset back to the basic un-styled text. Winner. #   ·

My Thumped review of Insurgent
“Woodley, alas, is as ligneous as her name. I’m talking Keanu Reeves levels of blank-faced disengagement. Literally the only change she undergoes between the first movie and this one is a haircut. Two movies in now, if she can’t connect with Tris on any emotional level, why the hell should we?” #   ·

false starts, true beginnings
“The year is 2015; we don’t quite know what year it is. The notion that 2020 will show up five years from now seems absurd, that ‘10 years ago’ refers to ‘2005’ hardly less so.” Nick Sweeney (from whom I got my Gmail invite in 2004, IIRC) reflects on something that’s been on my own mind as of late. I was in Forbidden Planet yesterday and saw a magazine on the shelves celebrating 20 years since the premiere of Star Trek: Voyager and I was like ‘20 years? What?’ Because it only feels like a decade if even that. But maybe it’s just that as we get older, our sense of time is compressing. #   ·

Near-total solar eclipse to darken Irish skies
It’s on 20 March, this Friday morning! I missed the last one, in August 1999, ‘cause I was at work. Weather permitting, I don’t intend to make that mistake again. #   ·

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Macrolog//Self

Weeknotes #705
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Week 705 was a quiet one. From Monday it was head down to the deadline at my semi day job, then a well-earned break on Wednesday afternoon involving a sunshine cycle to the park, where I met these deer. (I’m planning to return with carrots and my good camera on the next sunny day.)

In the meantime, my first album review in ages (not counting my round-up last month) went up on Thumped. There’s a few more in the works where that came from, though it’s still a challenge to sit down and just crank ‘em out, y’know? Still chasing my mojo in that respect.

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Macrolog//Self

Weeknotes #704
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Two press screenings in Week 704: British war film Kajaki (out in April, so review to come closer to that date) and Neill Blomkamp’s Chappie, which I reviewed for Thumped.

I cycled from home in West Dublin to Rathmines for the former screening, and that was a fairly pleasant ride, apart from the deplorable condition of what Dublin City Council would purport to be cycle lanes in the Islandbridge/Kilmainham area. That and the cycle home was into the wind, which had picked up a bit too much for my liking. But on the bright side, the fog has cleared from a new area of my mental map of the city.

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Macrolog//Self

Weeknotes #703
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Week 703 began with WWE Fastlane, an event I don’t think I can bring myself to write about other than say it wasn’t any better or worse than the average edition of Monday Night Raw. I’d much rather talk about the WWE Network when I have a chance to whittle my thoughts into shape.

Later in the week my review of Focus went up on Thumped. That was a tough one, to write about a fairly average film that did not excite nor disgust me to any extreme. I’ve got two screenings scheduled for next week, one of them being Neill Blomkamp’s Chappie, which might prove more fruitful.

Which reminds me, I must find the time to watch Elysium this weekend, around the extra editing work I’ve got going on, and a record review that needs completing. Boy, am I tired. I’m eyeing up the end of March for a few days off; the week between WrestleMania and Easter looks like a good one for a bit of a break.


Macrolog//Screen

Elsewhere: My Letterboxd reviews of And the Oscar Goes To…, Dangerous Days, Honeymoon and Hanna
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I didn’t watch the Academy Awards (because we don’t have Sky Movies, and I can make do with the highlights) but I did watch And the Oscar Goes To…:

This history-of-the-Oscars doc is clearly a puff piece (it’s only very lightly skewering, like trying to roast someone who can’t take a joke) but I’m a sucker for these kinds of things. Still, there’s room for a real warts-and-all, behind-the-scenes take on what it takes to put on the show, from the screeners to the stage techs to the politics and all points between.

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