Shy, tentative, even fragile; but you have to protect your own voice, your creative spirit, no matter what it costs.

Lo spot di Apple “Make a film with iPad” contiene un breve stralcio del discorso di inizio anno che Martin Scorsese ha tenuto alla NYU Tisch School nel 2014.
È lungo, ma fatevi il favore e ascoltatelo: è la summa dell’ispirazione di un artista che ho sempre amato e che per il cinema ha fatto molto.

«You can’t do your work according to other people’s values. I’m not talking about “Following your dream” either. I never liked the inspirational value of that phrase. Besides being sentimental, it’s beside the point. Dreaming is a way of trivializing the process. The obsession that carries you through the failure as well as the successes. If you’re dreaming, your sleeping and it’s important and imperative to always be awake to your feelings, your possibilities, your ambitions. But you also know this, for your work, for your passion, every day is a re-dedication. Painters, dancers, actors, writers, filmmakers, it’s the same for all of you. All of us. Every step is a first step; every brush stroke is a test, every scene is a lesson, every shot is a school. So let the learning continue» — Martin Scorsese

La Strada

«A volte racconto al bambino vecchie storie di coraggio e giustizia, ormai così difficili da ricordare.
L’unica cosa che so è che il bambino è la mia garanzia e se non è lui il Verbo di Dio, allora Dio non ha mai parlato»

Cormac McCarthy, “La Strada”

Play it again, Avraham

George Deek, cittadino israeliano arabo e cristiano, è vice ambasciatore di Israele in Norvegia.

«When I was 7 years old I joined the marching band of the Arab-Christian community in Jaffa. That’s where I met Avraham, my music teacher, who taught me to play the flute and later the clarinet. I was good.
Avraham is a holocaust survivor, and his entire family was murdered by the Nazis. He was the only one who managed to survive, because a certain Nazi officer found him gifted in playing the harmonica, so he took him home during the war to entertain his guests.
When the war was over and he was left alone, he could have easily sat, and wept and cried over the greatest crime of man against man in history, and over the fact that he left alone.
But he didn’t, he looked forward not backwards;
He chose life, not death;
Hope, rather than despair;
Avraham came to Israel, got married, built a family, and he started teaching the same thing that saved his life—music. He became the music teacher of hundreds and thousands of children all over the country.
And when he saw the tension between Arabs and Jews, this holocaust survivor decided to teach hope through music to hundreds of Arab children like me»

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The fault in our scars

«Non andartene docile in quella buona notte,
I vecchi dovrebbero bruciare e delirare al serrarsi del giorno;
Infuria, infuria, contro il morire della luce.

Benché i saggi conoscano alla fine che la tenebra è giusta
Perchè dalle loro parole non diramarono fulmini
Non se ne vanno docili in quella buona notte,

I probi, con l’ultima onda, gridando quanto splendide
Le loro deboli gesta danzerebbero in una verde baia,
S’infuriano, s’infuriano contro il morire della luce.

Gli impulsivi che il sole presero al volo e cantarono,
Troppo tardi imparando d’averne afflitto il cammino,
Non se ne vanno docili in quella buona notte.

Gli austeri, prossimi alla morte, con cieca vista accorgendosi
Che occhi spenti potevano brillare come meteore e gioire,
S’infuriano, s’infuriano contro il morire della luce.

E tu, padre mio, là sulla triste altura maledicimi,
Benedicimi, ora, con le tue lacrime furiose, te ne prego.
Non andartene docile in quella buona notte.
Infuriati, infuriati contro il morire della luce»

Dylan Thomas