nedraggett: A Giorgio Moroder story: apropos of his appearance on a certain new album — a few years ago on ILX, someone named Tilman posted saying he’d been doing research into “I Feel Love“‘s production, saying he was “particularily interested in the delay effect that he uses to “double” the synth riff, and the other means with which he creates “metrical dissonances”, e.g. the echo effects.” He indicated that he’d contacted Moroder directly about this. Moroder replied with this graphic, adding: “Dear Mr. Tilmanthis is the only way i can help you salutiGiorgio Moroder” This is the greatest thing ever, of course. Credit to my friend Grady for the reminder. I hope that graphic makes it into every Encyclopedia of Symbology and at least one radio telescope transmission into space.
Pop-upView Separately

nedraggett:

A Giorgio Moroder story: apropos of his appearance on a certain new album — a few years ago on ILX, someone named Tilman posted saying he’d been doing research into “I Feel Love“‘s production, saying he was “particularily interested in the delay effect that he uses to “double” the synth riff, and the other means with which he creates “metrical dissonances”, e.g. the echo effects.” He indicated that he’d contacted Moroder directly about this. Moroder replied with this graphic, adding:

“Dear Mr. Tilman
this is the only way i can help you

saluti
Giorgio Moroder”

This is the greatest thing ever, of course. Credit to my friend Grady for the reminder.

I hope that graphic makes it into every Encyclopedia of Symbology and at least one radio telescope transmission into space.

cinephilearchive: Orson Welles removes his makeup on the set of Citizen Kane. Notebook: Cinephilia & Beyond has an amazing find: the complete collection of Orson Welles’ Sketch Book: “a series of six short television commentaries by Orson Welles for the BBC in 1955. Written and directed by Welles, the 15-minute episodes present the filmmaker’s commentaries on a range of subjects. Welles frequently draws from his own experiences and often illustrates the episodes with his own sketches.” All the essential documentaries on Orson Welles, including Orson Welles: The Paris Interview (1960), Filming ‘The Trial’ (1981), The Battle Over Citizen Kane (1996), Shadowing the Third Man (2004), Orson Welles: The One-Man Band (1995), With Orson Welles: Stories from a Life in Film (1990), Filming ‘Othello’ (1978), F for Fake (1973), Orson Welles with French film school students, Orson Welles “Its All True” Citizen Kane and RKO, and seven-minute video of a very young-looking Welles (he was 23 at the time) addressing an onslaught of press members on October 31, 1938, the day after The War of the Worlds broadcast.
View Separately

cinephilearchive:

Orson Welles removes his makeup on the set of Citizen Kane.

Notebook:

Cinephilia & Beyond has an amazing find: the complete collection of Orson Welles’ Sketch Book: “a series of six short television commentaries by Orson Welles for the BBC in 1955. Written and directed by Welles, the 15-minute episodes present the filmmaker’s commentaries on a range of subjects. Welles frequently draws from his own experiences and often illustrates the episodes with his own sketches.”

All the essential documentaries on Orson Welles, including Orson Welles: The Paris Interview (1960), Filming ‘The Trial’ (1981), The Battle Over Citizen Kane (1996), Shadowing the Third Man (2004), Orson Welles: The One-Man Band (1995), With Orson Welles: Stories from a Life in Film (1990), Filming ‘Othello’ (1978), F for Fake (1973), Orson Welles with French film school students, Orson Welles “Its All True” Citizen Kane and RKO, and seven-minute video of a very young-looking Welles (he was 23 at the time) addressing an onslaught of press members on October 31, 1938, the day after The War of the Worlds broadcast.