Sustain-Release is the private press of UK artist Richard Skelton. He started the label in 2005 as a commemorative tribute to his late wife Louise, with the intention of publishing her artwork alongside his own musical offerings. Since its inception he has released a series of raw and beautiful recordings presented in lovingly assembled, limited-edition pressings.
recently finished reading “A Wild Sheep Chase” by Haruki Murakami… I think this shot perfectly captures the atmosphere of the book.
![AVC: The movie [Still Walking] focuses very much on those little details. You have long master shots of the family interacting, and then minute details, like the toothbrush or the tempura being cooked. What dictated that style?
HKE: [Takes pen, draws diagram.] So the master shot is the shot of the room with people sitting on either side of the low table. So if this is Ozu [Points to the camera.], this is [Japanese director Mikio] Naruse. Naruse’s always at a bit of an angle. My master shots are Naruse. So there’s four shots, four different angles, they’re all at an angle, they’re never straight on. And the master shot is composed of shots from those four different angles.
One of those, we’d go in for a tight shot. Sometimes it doesn’t make it all the way to angle four, but fundamentally, it’s composed of those shots. And for that room, that was the basic plan. Outside is a little bit different. Basically, it’s like four beats. It’s [Points to cameras.] one, two, three, four. Fairly methodically. I didn’t mess with that rhythm very much.
more](http://19.media.tumblr.com/tumblr_ktbw5lyIei1qzqutso1_500.jpg "AVC: The movie [Still Walking] focuses very much on those little details. You have long master shots of the family interacting, and then minute details, like the toothbrush or the tempura being cooked. What dictated that style?
HKE: [Takes pen, draws diagram.] So the master shot is the shot of the room with people sitting on either side of the low table. So if this is Ozu [Points to the camera.], this is [Japanese director Mikio] Naruse. Naruse’s always at a bit of an angle. My master shots are Naruse. So there’s four shots, four different angles, they’re all at an angle, they’re never straight on. And the master shot is composed of shots from those four different angles.
One of those, we’d go in for a tight shot. Sometimes it doesn’t make it all the way to angle four, but fundamentally, it’s composed of those shots. And for that room, that was the basic plan. Outside is a little bit different. Basically, it’s like four beats. It’s [Points to cameras.] one, two, three, four. Fairly methodically. I didn’t mess with that rhythm very much.
more")
AVC: The movie [Still Walking] focuses very much on those little details. You have long master shots of the family interacting, and then minute details, like the toothbrush or the tempura being cooked. What dictated that style?
HKE: [Takes pen, draws diagram.] So the master shot is the shot of the room with people sitting on either side of the low table. So if this is Ozu [Points to the camera.], this is [Japanese director Mikio] Naruse. Naruse’s always at a bit of an angle. My master shots are Naruse. So there’s four shots, four different angles, they’re all at an angle, they’re never straight on. And the master shot is composed of shots from those four different angles.
One of those, we’d go in for a tight shot. Sometimes it doesn’t make it all the way to angle four, but fundamentally, it’s composed of those shots. And for that room, that was the basic plan. Outside is a little bit different. Basically, it’s like four beats. It’s [Points to cameras.] one, two, three, four. Fairly methodically. I didn’t mess with that rhythm very much.
Still Walking bts - Hirokazu Koreeda
Sin, he reflected, is not what it is usually thought to be; it is not to steal and tell lies. Sin is for one man to walk brutally over the life of another and to be quite oblivious of the wounds he has left behind.
— Shusaku Endo ‘Silence’
