"Precious" é um filme esmagador baseado no romance 'Push', de Sapphire. Retrata uma realidade muito dura: as crianças que crescem maltratadas, abusadas, violadas no contexto familiar. A verdadeira pobreza.
Tão esmagador como a história é o desempenho de Mo'nique. Se ainda não viu, se não sabe porque ganhou ela o Óscar de melhor actriz secundária com este filme, não sabe o que perde. Fica aqui um aperitivo:
I want you to know, that I'm happy for you
I wish nothing but the best for you both
An older version of me
Is she perverted like me
Would she go down on you in a theatre
Does she speak eloquently
And would she have your baby
I'm sure she'd make a really excellent mother
'cause the love that you gave that we made wasn't able
To make it enough for you to be open wide, no
And every time you speak her name
Does she know how you told me you'd hold me
Until you died, till you died
But you're still alive
And I'm here to remind you
Of the mess you left when you went away
It's not fair to deny me
Of the cross I bear that you gave to me
You, you, you oughta know
You seem very well, things look peaceful
I'm not quite as well, I thought you should know
Did you forget about me Mr. Duplicity
I hate to bug you in the middle of dinner
It was a slap in the face how quickly I was replaced
Are you thinking of me when you fuck her?
'cause the love that you gave that we made wasn't able
To make it enough for you to be open wide, no
And every time you speak her name
Does she know how you told me you'd hold me
Until you died, til you died
But you're still alive
And I'm here to remind you
Of the mess you left when you went away
It's not fair to deny me
Of the cross I bear that you gave to me
You, you, you oughta know
'cause the joke that you laid on the bed that was me
And I'm not gonna fade
As soon as you close your eyes and you know it
And every time I scratch my nails down someone else's back
I hope you feel it...well can you feel it
Well, I'm here to remind you
Of the mess you left when you went away
It's not fair to deny me
Of the cross I bear that you gave to me
You, you, you oughta know
Annie Lennox é uma das minhas vozes que mais me toca!
Porquê? "Why"?
"I may be mad
I may be blind
I may be viciously unkind
But I can still read what you're thinking...
(...)
This is the book I never read
These are the words I never said
This is the path I'll never tread
These are the dreams I'll dream instead
This is the joy that's seldom spread
These are the tears...
The tears we shed
This is the fear
This is the dread
These are the contents of my head
And these are the years that we have spent
And this is what they represent
And this is how I feel
Do you know how I feel ?
'cause i don't think you know how I feel
I don't thinkyou know what I feel..."
É lindo!!!
"Why" (letra na íntegra)
How many times do I have to try to tell you
That I'm sorry for the things I've done
But when I start to try to tell you
That's when you have to tell me
Hey... this kind of trouble's only just begun
I tell myself too many times
Why don't you ever learn to keep your big mouth shut
That's why it hurts so bad to hear the words
That keep on falling from your mouth
Falling from your mouth
Falling from your mouth
Tell me...
Why
Why
I may be mad
I may be blind
I may be viciously unkind
But I can still read what you're thinking
And I've heard is said too many times
That you'd be better off
Besides...
Why can't you see this boat is sinking
(this boat is sinking this boat is sinking)
Let's go down to the water's edge
And we can cast away those doubts
Some things are better left unsaid
But they still turn me inside out
Turning inside out turning inside out
Tell me...
Why
Tell me...
Why
This is the book I never read
These are the words I never said
This is the path I'll never tread
These are the dreams I'll dream instead
This is the joy that's seldom spread
These are the tears...
The tears we shed
This is the fear
This is the dread
These are the contents of my head
And these are the years that we have spent
And this is what they represent
And this is how I feel
Do you know how I feel ?
'cause i don't think you know how I feel
I don't think you know what I feel
I don't think you know what I feel
You don't know what I feel
"I sat and thought for four (delayed train) hours, and all the details bubbled up in my brain, and this scrawny, black-haired, bespectacled boy who didn’t know he was a wizard became more and more real to me".
-J. K. Rowling fala de como a história de Harry Potter lhe surgiu enquanto esperava por um comboio em atraso. Precioso momento de inspiração!
"When we read a story, we inhabit it. The covers of the book are like a roof and four walls. What is to happen next will take place within the four walls of the story. And this is possible because the story’s voice makes everything its own".
Brian Adams presenteia-nos com uma nova canção que apesar de falar de traição e infidelidade transmite alegria, humor e boa disposição. Do CD "Bare Bones", de 2010.
1.Use uma linguagem positiva: em vez de “habitualmente não chegava à hora”, diga “habitualmente chegava tarde”; em lugar de “não recordou” diga “esqueceu” – e isso porque, consciente ou inconscientemente, o leitor prefere que se diga o que é a o que não é.
2.Seja concreto: “Sobreveio um período de tempo desfavorável” constitui uma vagueza. “Choveu diariamente uma semana” seria a boa fórmula.
3.Abrevie o mais que puder: escrever “atos de natureza hostil” é alongar de dois centímetros “atos hostis”.
4.Não qualifique: sempre que não se tratar de estabelecer uma opinião, a qualificação prévia é desnecessária. Dizer que é “interessante” o fato que se vai narrar, é pichar o leitor de inimaginativo.
5.Não use adornos: o estilo não é um molho para temperar uma salada; o estilo deve estar na própria salada.
6.Coloque-se atrás do que escreve: escreva de tal forma que a atenção do leitor seja despertada sobretudo pelo sentido e pela substância do que está dito, e não pelo temperamento e pelos modismos do autor. O primeiro conselho a dar ao escritor que começa seria, pois: para chegar a um estilo, comece por não ter nenhum.
7.Use substantivos e verbos: evite o mais possível adjetivos e advérbios. Não há adjetivo no mundo que possa estimular um substantivo exangue ou inadequado; isto sem subestimar adjetivos e advérbios, quando corretamente empregados. Mas a verdade é que são os nomes e os verbos que dão sal e cor ao estilo.
8.Não superescreva (significando aqui, don’t overwrite): a prosa excessivamente rica, adornada ou gorda torna-se mais facilmente nauseante.
9.Não exagere e seja claro: primeiramente, porque o exagero pode tornar o leitor suspicaz; e a clareza, é lógico, facilita a comunicação. Mais vale recomeçar uma frase longa com que se está brigando, que persistir na briga. Freqüentemente uma frase longa nada mais é que duas curtas.
10.Não opine sem razão: ter por hábito ventilar opiniões próprias é prejulgar que o leitor as esteja pedindo, o que constitui um sinal de vaidade.
(William Strunk citado por Vinicius de Moraes na coletânea de crónicas Para Viver Um Grande Amor)
