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f_ragamuffin - история о том, как Уильям Гибсон полюбил группу "Кино" и писал киберпанковский сценарий для Виктора Цоя вместе с Рашидом Нугмановым, режиссёром "Иглы". Очень жаль, что этот фильм про ritualistic gang-warfare in some sort of sideways-future Leningrad (я так красиво по-русски не скажу, вот чёрт) так и не был снят.
...И наверное, все об этом знали, кроме меня, да? Гибсон писал об этом в своём блоге 6 марта 2003.
Thursday, March 06, 2003
posted 9:21 AM
[...]
VICTOR TSOI
Someone asked about Victor Tsoi, of Kino. I was at some point introduced to Rashid Nugmanov, a young Kazakh director who had made IGLA (The Needle) with Victor Tsoi, a dramatic feature shot (I believe) in Rashid's hometown of Alma Ata, and in the Aral Sea (or what used to be the Aral Sea -- source of the dead zone Cayce walks through in PATTERN RECOGNITION). Rashid gave me a tape of IGLA and another, for my Walkman, of Kino, Tsoi's band. I became an immediate fan of the music, and was impressed by Tsoi's film presence. He was Russian-Korean, extremely handsome, and evidently as serious about martial arts as we was about his music. Intensely charismatic. An American producer expressed interest in a Soviet-American co-production, to star Tsoi, and Rashid and I began working on a storyline of his. But when the time came to get down to it, and actually go to Russia to write the script, I was busy with a novel. Unable to go, but unwilling to drop this wonderfully odd project, I recruited my friend Jack Womack. Jack went off to Russia in my stead. (See his wonderful LET'S PUT THE FUTURE BEHIND US for some idea of what he found there.) Victor's tragic death in an automobile accident (nothing rockstar about it; he was a non-drinker who never did drugs) killed the project as well, but by then Kino had become a permanent part of my musical landscape. I sometimes wonder where Victor mightn't have gone, if he'd lived. He was extraordinarily talented. The world of the squat, in PATTERN RECOGNITION, that endless party, the element of some kind of spirituality, I owe to Rashid's memories, Kino's music, and Jack's experiences.
Rashid's story, for the film we never made, involved ritualistic gang-warfare in some sort of sideways-future Leningrad. I thought of it when I saw the opening battle in GANGS OF NEW YORK. Very similar! I remember Rashid describing large-scale combat in a snowy, midnight park, one gang armed with sharpened spades, the other with Cossack sabres. We were also trying to work in a six-wheeled tank, equipped with a water-cannon, which he'd picked up for a song in Alma Ata.
http://www.geocities.com/SunsetStrip/Club/9962/biagrophy.htm
[...]
f_ragamuffin - история о том, как Уильям Гибсон полюбил группу "Кино" и писал киберпанковский сценарий для Виктора Цоя вместе с Рашидом Нугмановым, режиссёром "Иглы". Очень жаль, что этот фильм про ritualistic gang-warfare in some sort of sideways-future Leningrad (я так красиво по-русски не скажу, вот чёрт) так и не был снят....И наверное, все об этом знали, кроме меня, да? Гибсон писал об этом в своём блоге 6 марта 2003.
Thursday, March 06, 2003
posted 9:21 AM
[...]
VICTOR TSOI
Someone asked about Victor Tsoi, of Kino. I was at some point introduced to Rashid Nugmanov, a young Kazakh director who had made IGLA (The Needle) with Victor Tsoi, a dramatic feature shot (I believe) in Rashid's hometown of Alma Ata, and in the Aral Sea (or what used to be the Aral Sea -- source of the dead zone Cayce walks through in PATTERN RECOGNITION). Rashid gave me a tape of IGLA and another, for my Walkman, of Kino, Tsoi's band. I became an immediate fan of the music, and was impressed by Tsoi's film presence. He was Russian-Korean, extremely handsome, and evidently as serious about martial arts as we was about his music. Intensely charismatic. An American producer expressed interest in a Soviet-American co-production, to star Tsoi, and Rashid and I began working on a storyline of his. But when the time came to get down to it, and actually go to Russia to write the script, I was busy with a novel. Unable to go, but unwilling to drop this wonderfully odd project, I recruited my friend Jack Womack. Jack went off to Russia in my stead. (See his wonderful LET'S PUT THE FUTURE BEHIND US for some idea of what he found there.) Victor's tragic death in an automobile accident (nothing rockstar about it; he was a non-drinker who never did drugs) killed the project as well, but by then Kino had become a permanent part of my musical landscape. I sometimes wonder where Victor mightn't have gone, if he'd lived. He was extraordinarily talented. The world of the squat, in PATTERN RECOGNITION, that endless party, the element of some kind of spirituality, I owe to Rashid's memories, Kino's music, and Jack's experiences.
Rashid's story, for the film we never made, involved ritualistic gang-warfare in some sort of sideways-future Leningrad. I thought of it when I saw the opening battle in GANGS OF NEW YORK. Very similar! I remember Rashid describing large-scale combat in a snowy, midnight park, one gang armed with sharpened spades, the other with Cossack sabres. We were also trying to work in a six-wheeled tank, equipped with a water-cannon, which he'd picked up for a song in Alma Ata.
http://www.geocities.com/SunsetStrip/Club/9962/biagrophy.htm
[...]
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no subject
Date: 2006-11-08 06:37 pm (UTC)no subject
Date: 2006-11-08 06:43 pm (UTC)И очень ли был ошарашен Джек Вомак?
:)
no subject
Date: 2006-11-08 07:06 pm (UTC)кажется, это был второй визит вомака в москву, так что ошарашенным он не выглядел. скорее любопытным. ну, и у нас местечко было намоленное -- за рашн экзотик андеграунд к толпами ходили западные корреспонденты. и была такая игра -- мы их старались удивить, а они старались не подавать виду, что удивляются (мол, мы давно уже в москве, всякого навидалися). ну а вомак был сравнительно свеженький -- его журнал spin в москву заслал. поэтому его легко было удивлять, а он с готовностью удивлялся. написал потом какие-то довольно стандартные наблюдения про москву, но с восторгом описал наш здоровенный надувной бассейн, который мы держали в одной из пустующих комнат.
no subject
Date: 2006-11-08 07:22 pm (UTC)no subject
Date: 2006-11-08 09:04 pm (UTC)сквотерство в россии тех лет конечно сильно отличалось от лондонского или скажем голландского -- просто так в заброшенные помещения почти никто не вламывался. да и не было помещений, в которые можно было бы не только вломиться, но и выжить в них -- либо руина с голыми стенами без света и воды, либо надо искать подходы через официальных хозяев или управдома.
архитектор, кстати, фигачил довольно крупные инсталяции. опять же надувной бассейн -- чем не редимейд а ля дюшан? квартирные рейвы тоже требовали много места -- приходилось кровати сносить в одну комнату. короче, двести квадратов мы использовали на всю катушку.
no subject
Date: 2006-11-08 11:43 pm (UTC)no subject
Date: 2006-11-08 09:05 pm (UTC)no subject
Date: 2006-11-08 11:44 pm (UTC)no subject
Date: 2006-11-08 06:56 pm (UTC)no subject
Date: 2006-11-08 07:23 pm (UTC)no subject
Date: 2006-11-08 07:14 pm (UTC)Надо бы, кстати, устроить просмотр Иглы. А то я видела только пять последних минут.
no subject
Date: 2006-11-08 07:25 pm (UTC)А просмотр - надо :)
no subject
Date: 2006-11-08 08:26 pm (UTC)no subject
Date: 2006-11-08 09:39 pm (UTC)я не знал тоже
no subject
Date: 2006-11-10 01:14 am (UTC)