glider18's Wonderful World of Autism

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I find those sounds adorable.
And the people who created them are special beings.
818 will be my last post here, I think.

Then I'll stay for a few days to see how long it's possible for me to stay here.
*You are one of the nicest people I've interacted with on a forum in the last 15 years.

This post doesn't show it: you've taught me positivity in writing and thinking, a precious gift I don't know how to repay...
Thanks, Glider18.

It is my wish that you would remain with us. You have a lot to offer the WrongPlanet. We need some life around here, and you have the ability to do that.

I must admit, in my years here, there have been a mere handful of members that I truly felt intrigued by -- and in the few days we have communicated, you are definitely one of them.

I have often gotten bored with this site and left over the years. Now, with the lack of members communicating, I fear I may get bored with it again. However, your presence here has made me want to stay. But if you feel you need to leave, I understand.

Thank you for your kind words,
glider18

The strange thing is that you use the same forms of evaluation as me: interest in what members can teach me.

Describe your way of thinking: through images.

Exactly the same situation.

I can use a form as a narrative of the thought form.

I don't have the dialogic nature that is very common among people not on the spectrum, and even among those on the autism spectrum, but I assume that thinking only in images is uncommon.

There are examples like Temple Grandin's: very similar.

Making the necessary distinctions, because her mental level is probably exceptional (demonstrably exceptional).

Feedback

I know Hammonds of various types and saw others a few days ago, so thank you!

I saw the Leslie component.

From a very experienced salesman.

I hope he's still alive because he was old.

People like Laures Hammond deserve praise for being brilliant.

I won't describe the conceptual and operational phases because perhaps no one but you and me cares.

Other features added to Hammond organs include an electromechanical vibrato.

The distinctive "click" associated with pressing the key, originally considered a design flaw, quickly became part of the Hammond's distinctive sound, so much so that modern Hammond organ imitations faithfully reproduce it.

Initially, imitating the Hammond sound electronically was not at all easy, especially because of the complex and delicate connection between the tonewheel phases, which is difficult to reproduce with electronic circuitry.


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(Even if reproduced, in my opinion, the difference can be heard with careful listening.

I understand what you mean by vintage and vintage sound.
* And this is what, when it disappears, represents a huge loss for modern music and beyond.
Because with electronic organs, you will never get the same sound.

In Italy, pipe organs are often restored in churches with donations.
Some of these were played by absolute geniuses of classical music.

What people don't understand is that the instrument absorbs sound, and we can only imagine how it can reproduce it if played excellently.

For example, our elderly violinist Salvatore Accardo, now 87, began playing Lili Marleen by ear at the age of three.
In 1954 (at age 13), he passed his middle school graduation with "A+." In the same year, he performed in public the complete Caprices of Niccolò Paganini, becoming one of the few soloists in the world capable of performing all twenty-four in one go. Evening.

I'm not a musician: you are, and there's a difference in knowledge of some important things.

When I was in school between the ages of 10 and 13, one subject was mandatory: music education, among others; our school system in Italy is very complex, with so many subjects.

We listened to everything.

Mainly classical music.

Afterward, we had to describe what we heard, telling stories.

By about 12, I was the only one writing reviews of what he listened to.

For me, it was a matter of news, but for the teacher, it was something else entirely.

I remember the review of W.A. Mozart's KV 626.

Then I bought records.

Later, CDs, which are now obsolete: I sold all the musical material I owned.

Sometimes I'm fascinated by a song I listen to.

It happened to me with a Led Zeppelin song.

I didn't understand why until later: They had performed it in a special house with an effect impossible to reproduce on the record.

It was like a helix: at least that's how I perceived it visually.

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Then the terrible conditions meant it was recorded in Paris.

The sound engineers did an excellent job.

Even in the remastering because there are so many overdubs.

This song didn't have the same success as his others: but people tend not to understand the songs they listen to.

Or not understand what goes on behind the scenes in the recording studios.

For example, there's a drummer originally from Palermo, who was born a US citizen, who you'll find everywhere as a session musician on the biggest hits of many artists, but people won't understand why he likes those songs, but he's often the one playing the drums, just one example.

Sorry, I digressed: it'll take me a few days to understand how I feel here on the forum.

Besides, we autistic people are peculiar; we tend not to absorb certain psychological situations and we suffer them.

Or we pick up useful, sometimes useless details and exaggerate them.

We're generally information collectors, even if not many people here do it publicly.

Then we try to share it with people we can't communicate with, and they're not receptive within our known range.
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Thanks @Glider18

You're very unique.

Keep in mind that many here are, but don't express it. I noticed they can go two levels higher in their descriptive thinking.

And here they don't publicly show it.

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Regarding my post above, that's exactly what I would have done: stop logging in.

I'm struggling with interactions.

Even though my interactions with you are extremely different from the average of other users.

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Yesterday it was very late, and I only had time to read the post.

Then I thought about whether or not to follow up on my perception.

And in any case, your post and your posts are (at least for me) significantly better than mine.

In this thread, I think it's from fifteen years ago; even the title alone is beautiful.

You're not describing complaints: but opportunities.

Which is markedly different from all the posts here and elsewhere: complaints (many of them with no consequences later: you get better, but you remain the same and you just complain), the typical phrase "affected by autism."

Which I find disastrous.

One is affected by a serious illness.

Affected by autism doesn't mean anything sensible; one is autistic, now genetics makes it about 83% of the total; the remaining sixth is not yet detailed except in a mix of multifactorial factors.
The fact remains that two or three things are true.
1) The problem lies in intrapersonal and interpersonal communication.
2) There are people with varying degrees of autism.
3) That many diagnoses are incorrect or inconsistent.
You are something else or you also have something else together.

I'm sure music can make us appreciate something within it without making it obvious, but intrinsically.

The vintage sounds of the instruments you mentioned are extremely unique.

I mentioned some CDs I had bought, but they were AADs, and I heard that metallic sound in the songs; they had been remastered.

In some songs I recognize the recording studios, in others I don't.

The song performed on the electronic piano by Elton John was special.

It was originally supposed to be recorded in Jamaica.

Then the terrible conditions meant it was recorded in Paris.

The sound engineers did a great job.

Even in the remastering because there are so many overdubs.

Sorry, I digressed: it'll take me a few days to understand.

You're the third person here who's allowed me to stay on the forum. One brought me back.

Now I'm finding you with an old thread you're updating.

It's incredible that this space is still alive.

We close them after a few years and consider them old threads, which is wrong.

I've had at least 5,000 of them deleted, either because they've been edited or because they couldn't remove them because I was discussing topics of interest to me at the time, but in an accurate manner and with bibliographical citations. They've used them as links in other people's new threads, without even notifying me.

Not here: all the thread history remains here instead.

I'll try to stay.

Keep in mind that I'm avoidant, so I try to walk with the wind against me. (Thanks Glider18)

You use the same forms of evaluation as me: interest in what members can teach me.

You describe your way of thinking: through images.

In this too, you convey many things in the description: like in a modern painting.

Exactly the same situation as mine.

I can use a form as a narrative of the thought form.

I don't have The dialogic nature is very common among people not on the spectrum, and even among those on the autism spectrum, but I assume that thinking only in images is uncommon.

There are examples, as I mentioned before, like Temple Grandin's: very similar.

Making the necessary distinctions, because her mental level is probably exceptional (demonstrably exceptional).

Feedback:
Sometimes I'm fascinated by a song I listen to.

It happened to me with a Led Zeppelin song.

I didn't understand why until later.

I'm sure music can make us appreciate something within it without making it obvious, but intrinsically. The vintage sounds of the instruments you mentioned are extremely unique.

I mentioned some CDs I bought, but they were AADs, and I heard that tinny sound in the songs; they had been remastered.

In some songs I recognize the recording studios, in others I don't. The song performed on the electronic piano by Elton John was special.

It was originally supposed to be recorded in Jamaica.


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I've written a book of my memoirs, just not published yet, that I introduce with the metaphor of my mind being like a movie theatre playing the memories of my life on the silver screen. That's how I see them, played back like a movie.

As you think just in images, I still think a bit by hearing words.

Laurens Hammond didn't like his organs hooked up to Leslies to begin with. But I guess after time, after Hammond bought out Leslie, the dollars made him change his mind.

The imperfections of the Hammond - key click you mentioned, cross leakage of the tone wheels, wobble in the drive system of the tone wheels, etc. create the distinct sound of the Hammond that synthesizers and modern keyboards have trouble emulating. Like you mentioned, even with the advanced keyboards of today taking these imperfections into account to get a good reproduction of the Hammond sound, I believe we can still hear the difference. I have three Hammond organs, and although each of them sounds like a genuine Hammond, they each have their own distinct tonal qualities. While my C3 has a very bright pronounced sound, the E147 has the typical B3 with Leslie 122 sound, even though my Leslie for it is a 125.

About instruments absorbing sounds, I know exactly what you mean. The original Leslie speakers like mine, are wood. New ones are probably not. That makes a difference. I also have a lot of dulcimers -- hammered and mountain. The woods used in them create different colors of sound. My main hammered dulcimer has a black painted soundboard of Honduran Mahogany. The usual wood is spruce.

We had mandatory music here as well. In fourth grade we had to try to learn the recorder. That didn't go very well.

I still have most of my records, tapes, and CDs. But I listen to most everything I want on Youtube these days.

One artist I love to listen to is Bernard Estardy, who was French I think. I could tell he was not only an excellent musician, but a genius at mixing in the recording studio which he owned. When I recorded music in the studio, we still used reel to reel masters. They probably do mostly digital these days.

As for being better posts, I find yours incredibly detailed and knowledgeable -- beyond mine.

Thank for the comments on my wonderful world of autism thread. Almost everyone found that old thread enjoyable and worthy.

Still alive - the Wrong Planet -- I Know. They say Alex will keep it alive no matter what. It was a lot different in the old days. Everyone once in awhile a member would unintentionally tick off another member and we've have a little war. Often times, someone would get warned or banned. One member took offense to my avatar image -- not the one on here now, but another of me taken about the same time in my youth. With the 1970s portable cameras of that time period, people like my mother used cartridge film in instamatic cameras. This film, while better than the early Polaroids, did have to be processed, but they weren't as good of quality as 35mm cameras. So I had selected a nicely focused and high quality image she had taken of me after we had gotten back from the beach. I was shirtless in the picture -- the image was from the waist up, and showed my face very well. The member thought others might do "something" with this picture, thinking it was a picture of someone other than me. What a misunderstanding. I still used the picture for my avatar, but eventually changed it for the one on there now since a lot of posters were changing their avatar pics at the time.

Glad you may stay.

Hi (Ciao!)

Welcome back.

Sorry for yesterday's unpleasant post, but it was a conservative choice.

The choice to let go.
To pull out the hand.

I remember an old TV series, one of whose creators was Bruce Lee and who appeared in the credits with two others, including Jerry Thorpe, who then directed, I believe, many episodes from 1972 for three years.

The series was wonderful.

It was called Kung-Fu.

David Carradine was chosen because there was a sort of diktat about casting people with Asian features, even if they were US citizens.

His genius was incredible.
In the few films he made, Lee moved much faster than the camera.
He was asked to make gestures very slowly for it.

He did so, and a few films were created that became very special.
*Although mediocre from a narrative standpoint.

I had even seen Bruce's contract auditions.

Perhaps his first role was in Batman (?)

I'm returning to the series because Lee wasn't cast.
They opted for Carradine, and several scenes involved him as a child (other actors included Radames Pera and three others, I believe).
The figure of the master was iconic.

He was blind, if I'm not mistaken.

But he perceived every detail in things, and in the philosophical part of his teachings to the Shaolin students.

Once, Master Po (Master Khan was also there).
Po told Kwai Chen Caine to put his hand in an amphora and extract the balls inside.

The hand went in easily, but it couldn't come out with the balls in its hand as requested.

So he pulled it out without the balls.

The Master took the amphora and turned it upside down.

He solved the problem.

Kwai C.C. was speechless.

He understood why.

If you grip something tightly and the mouth is tight, you have to let go.
If you do it another way (alternatively), then you achieve a perfect result.
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Then you know, Glider18, it was innovative to bring Kung Fu not just as a martial art, but as a philosophical art.

The plot of the series focuses on the escape from China (Caine was accused of murder) and his escape through the USA of his time.

All this while encountering every obstacle that came his way.

There were often fights, but he only used defenses and skillful moves to ensure he didn't cause harm.

There was always the philosophical teaching.

I liked it a lot.
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The way you describe the book, it also reminded me of Cinema Paradiso.

I don't know why: I can only think of a few scenes from the film, which I think was by Tornatore and won an Oscar, if I'm not mistaken.

The old cinema and the child, the projection of images, the beauty of the production, the lights, the luminous gazes, the frames.

I sometimes see frames in old films.
I honestly don't remember the later ones.
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The actor chosen was Bernad Blier (French), and the child was Totò Cascio.

They used beautiful photographic techniques.

The child, I remember him dreamily holding an old film reel in his hand.

He admires it.
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I also remember through images.

It comes easily to me.

I remember as you write: as if it were a movie.
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Sometimes I even remember the aromas, pleasant and not-so-pleasant smells.

Ferrero chocolate powder that I dissolved in milk.

The smell of the cooking gas additive that even takes me back to the person who carried the gas home in a cylinder.

The smell of gasoline back then.

The postman in his uniform and the bus ticket collector carrying his ticket dispenser over his shoulder, just as the postman with his letter bag, and I with my school bag.

I remember that even before we were 8, we too started playing those instruments you mentioned.

Of course, no one liked it.

It was the wrong instrument.

The plastic, the orange color, the keyboard, the part where you blew air through your mouth.

The school photos: one in a group and the other a perfect portrait that I still have.

A child's expression is devoid of malice, I would say pure, and without filters.

*Forgive me because soon I will have to visit someone who is not well; he had liver surgery.
And I don't know if his body will accept the new organ.

Now he has so many machines that do everything for his body.

In one of the best transplant centers in Europe.

And yet it doesn't seem to have worked.

Now he's on standby to have time to see if they can operate again and implant another.

I don't want to think about the rest.

He wanted to hear from me when I hurt myself in the bike fall.
But he didn't.
And I haven't seen him for almost two months: but he was himself, sick, but able to do and think, to reason.

Now he's in a medically induced coma.

I don't think he'll make it.

We'll see.

See you in a few hours.

Sorry to break up my answer like this.

P.S.; true! I know the history of the Hammond and Leslie. And they were brands that Hammond didn't want to integrate into its own.

The really beautiful thing was the novelty of its organs and the pairing with the Leslie.
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The same thing happens with pipe organs: the music remains imbued in the wood of the instrument.

If played properly, it does good.

With the violin, it's really special because it's a predominant thing.
I mentioned Accardo because those were different times; now the geniuses who use those instruments, but our music is also artistic, but they allow it to survive.
Or Ukrainians (the female pianists).
The USA has so much criticism, but little praise.
One for example is about art.
All of it.
Even if it's modern.
I always say that you hold the keys to music: in our country, it's like a fad and it passes.

Here, it's preserved forever.

We used to produce both quality cinema and quality music in every genre.

Now, it seems we're no longer capable of doing so.

Some schools remain and are unique in the world.

Regarding restoration: I know someone who restored the mosaics of St. Mark's Basilica in Venice, I don't know if you've ever been inside.

You shouldn't: but you can even touch them, and unfortunately, some do.

They're gilded.

Another church worth seeing is Siena Cathedral: spectacular.

I don't remember the organ; it was so beautiful...

Regarding Alex, whom I've never had the pleasure of meeting, I think people like him are indispensable.

As for the rest, you know, Glider18. Hopefully, he can maintain this virtual space, but I don't know for how long.
Usually, those who create it no longer participate for various logical reasons.
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Regarding arguing on a forum: I wouldn't like a forum full of arguments.

I like the harmony between people.
Then, you know: you can choose the most suitable person among the people here.
And never argue with others: it's a waste of time and a lot of stress.
I've always wondered what benefit these types of people get from arguing.

Besides, it would be damaging to the forum:
In our country, it happens in forums not for Neurodivergents.

I jokingly write:
If you mention a neurotypical, it seems like you're suing them in court!
If you mention a Neurodivergent person, they'll almost always respond because they want to understand and are unlikely to argue with the other person.

Then it also happens as you described, Glider...but they're very sensitive people and maybe they haven't even understood each other.

Or they're mutually unpleasant, or even completely unpleasant, and then an argument ensues.

I usually ask if I've unintentionally misunderstood.
Or, but I do this routinely, I apologize.
In the case of a disagreement, sometimes it happens because there's a misunderstanding, and you can easily fix it calmly and, if necessary, apologize.

I find mistrust and arguing stressful and pointless.
I don't understand half-hearted trust: if anything, I'd move on!
I also understand that people are complicated, and they find the bad even where there's only good.
Or problems where none exist at all: in the meantime, they've taken time away from the previous conversation, stealing it from their counterpart.

They are "thieves" of emotions.
And the few they have, they turn into their own paranoia.
I'll leave it exactly as it is: their own paranoia.

Then I don't know what others do or think about it.

I don't have an O.T.O.; only life experience.

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I really like the photo you use in your avatar.
The one that gave rise to the misunderstanding, you know: I think someone should mind their own business.

Because if it was accepted by the moderators, I don't understand the point of taking it for an image of you, and it's your life you were sharing with others here.

Then the afterthoughts about what others should do or what they can do are also indicative of some issues that person had within themselves.

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The Polaroids: I found an old model.

But it was terrible at taking pictures.

The advantage was that the images came out without requiring development.

I could post you an old clip of an Italian commercial.
Incidentally, the director, screenwriter, and actor passed away at the age of 68 in 2023.
He began acting at a very young age. He made his debut in 1969 in Emilio Marsili's The Boy with the Clear Eyes; the following year, he starred in Vittorio De Sica's The Garden of the Finzi-Continis. He moved on to directing in the early 1980s, directing over 100 commercials that received excellent recognition. In 1991, he made his first film, Americano Rosso, for which he won the David di Donatello and the Ciak d'oro for best debut film.

The Garden of the Finzi-Continis is beautiful.
I don't know what the photography looks like now; I hope they've restored it.
Because it's truly unique. Perhaps one of the best European films ever.
He talks about the Racial Laws in Italy and tells the story of the deportations to Germany, and he does so in a narrative way, memories of memories of a dream life that no longer existed, loves lost in the hell of World War II, and a slice of Italian life at the time.

I'll post the one where he was an actor, and the commercial because it's funny.
§ He made over 100 commercials.

Back then, they were small films.

Even Federico Fellini made a few.

And you never forget those.

Nowadays, commercials are made terribly.

In scripts and images, and they don't have storyboards like in the 1960s.

In Italy, they are so in the memory of people born much later that they endure as works of art, even if seemingly banal.

One of the directors, screenwriters, and comic book artists I really like is Maurizio Nichetti.

Because he's full of imagination.
But ignored at awards shows and underrated.

Funny because there's a video of him and Roberto Benigni in which Benigni makes fun of him, but he was much more talented than Benigni.

The Garden of the Finzi-Continis


The film narrates the turbulent events of the wealthy Finzi-Continis family from Ferrara, forced, with the advent of the racial laws, to see their social and professional lives upended and ruined because they were Jewish. The film is a powerful portrait of a family, clinging to the sole hope of finding salvation and guaranteeing their youngest children a better future amidst the most absolute degradation, and thus forced to split apart, perhaps forever.

A huge success and an absolute milestone in Italian cinema, the film represented Italy at the 1972 Academy Awards, winning the Oscar for Best Foreign Language Film, as well as the Golden Bear at Berlin, two David di Donatello Awards, and several other minor awards.

A conversation between Romolo Valli and Lino Capolicchio, who played two Jews.
The father explains an absurd argument to his son.

"In life, if one wants to understand, truly understand how things are in this bizarre world, one must die at least once. And so, it's better to die young, when one has so much time ahead of oneself, to pick oneself up and resurrect. Understanding when one is old is much worse, you know. How can you do that? There's no time to start from scratch. And our generation has made so many blunders."
(Giorgio's father (Romolo Valli) in his last conversation with his son.)

The Garden of the Finzi-Continis

Vittorio De Sica chose Israel for the film's world premiere.
The dialogue is wonderful.
The photography is excellent, then.
The story is part of our Italian history.
One we cannot boast about.
The racial laws also included Jews, and anyone different.
The Garden of the Finzi-Continis is a 1970 drama film directed by Vittorio De Sica, based on the novel of the same name by Giorgio Bassani.

The film narrates the turbulent events of the wealthy Finzi-Continis family from Ferrara, forced, with the advent of the racial laws, to see their social and professional lives upended and ruined because they were Jewish. The film is a powerful portrait of a family, clinging to the sole hope of finding salvation and guaranteeing their youngest children a better future amidst the most absolute degradation, and thus forced to split apart, perhaps forever.

A huge success and an absolute milestone in Italian cinema, the film represented Italy at the 1972 Academy Awards, winning the Oscar for Best Foreign Language Film, as well as the Golden Bear at Berlin, two David di Donatello Awards, and several other minor awards.

A conversation between Romolo Valli and Lino Capolicchio, who played two Jews.
The father explains an absurd argument to his son.

"In life, if one wants to understand, truly understand how things are in this bizarre world, one must die at least once. And so, it's better to die young, when one has so much time ahead of oneself, to pick oneself up and resurrect. Understanding when one is old is much worse, you know. How can you do that? There's no time to start from scratch. And our generation has made so many blunders."
(Giorgio's father (Romolo Valli) in his last conversation with his son.)
§

Villa Ada near Rome was used for the garden, while the fictional Villa Finzi-Contini is Villa Litta Bolognini in Vedano al Lambro, a municipality in Brianza, adjacent to Monza Park. The tennis court is the one at Villa Strohl-Fern in Rome (adjacent to Villa Borghese).
The entrance to the garden in the film is actually in Ferrara, on Corso Ercole I d'Este next to Parco Massari, almost where Bassani had imagined it;
The other exteriors were filmed in and around Ferrara's city center at various historic locations, starting on Via Cisterna del Follo itself, where Bassani's house stood, and then on the corner of Via delle Scienze and Via Giuoco del Pallone, at the entrance to the Jewish cemetery on Via delle Vigne, as well as scenes framing the Estense Castle and the city walls in the area next to the Jewish cemetery, the Palazzo dei Diamanti, and the Cathedral of San Giorgio. Some interiors feature the Sala Estense and the Verdi Cinema Theater, when they were popular city venues.
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It's not very popular today to write about the persecution of Jews.

There have just been demonstrations against them in Italy.
"Millions of people, many of whom blocked the highways to Gaza.
§
I don't know what will happen.
§
In our recent history, there have been few just people, and many unjust ones.
Discriminating between one and the other is impossible.

The style of the commercial reminds me the style of Joe Sedelmaier's commercials here in the states.

You'll have to forgive me this evening (evening for me) because I'm not feeling the best, so I'm not too descriptive at the moment.

The forum with arguments -- used to be a bit of it around here. One member I recall seemed to take great pleasure in creating heated debates with members. No matter how illogical his arguments were, he always made it seem he was right because everyone else's logic was flawed --- well, so he thought. I wonder how he thought about getting banned?

As easy going as I tend to be on here, I've had run-ins with three members -- two were banned and one left. And then there were little nit pick things I got in email from a couple members -- they both left.

I agree with commercials not being well made anymore. I am sick of the insurance commercials -- Doug and emu, Flo, the annoying Dr. Rick who doesn't want people to be like their parents. Really? Not be like your parents. For me, to be like my parents would be an honor. I thought people were supposed to respect their parents. But not according to Dr. Rick. What a negative message he sends. Well, that's just my opinion.

Speaking of commercials, I have scripted and appeared in three commercials. They were done through Warner Brothers. I tried to make them humorous but not annoying. They were for a computer company. I used to do a lot of this kind of stuff, but anymore I try to stay in the corner and tend to my writing. Though I did perform in a big band show recently playing trombone.

I find myself uneasy with a lot of the stuff I did earlier in life. Besides music, I used to do a lot of magic shows. Now, my props sit around the house, and I don't know what to do with it all. I hate to sell it off because I would feel like I was selling off a part of me. It took me years to collect it all. It's stuff you can't find anymore.

Anyway, I'm talking silly this evening, sorry ... just not feeling very good. I'll probably end up sleeping on the couch while watching some scary movie.

Thank you again for your interesting and informative posts. I really appreciate it.

But you don't have to apologize for not feeling well.
If anything: I hope you get better soon.
I don't think you ever write stupid posts: I'd sign up to read posts like yours!

Don't worry: I'll write the response, and when you feel better, you'll get back to me.
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I didn't know the name of the person you mentioned: I'll have to look it up.

Commercials don't make people dream anymore.
And if they don't make them daydream, they'll never achieve the desired result.

The Italian ones, but not all of them, were creative.
There was a special column that covered them for twenty years, from 1957 to 1977.

Now it's quite strange that commercials were one of the most beloved TV programs ever on Italian television.
Which produced TV shows in which scenes were rehearsed for eight days to produce three minutes chosen to be broadcast.

Initially, they took inspiration from American film productions for the choreography, which we lacked.
There were great films produced by your cinema.
And then great choreographers who inspired Italian shows.
To the point of excelling in choreography: see Glider18, we have an urban fabric rich in history and genius, which is expressed in works of art.
In the villages, in the squares and churches, in the monuments, in the paintings, frescoes, museums of every variety...

There is a profound sense of beauty.
I can't explain it to you: but that has always existed.
Unlike today, everything was produced with a brand: Made in Italy.
Now that brand is very rare.
Everything is Made in China.
We don't produce anything anymore.
We create almost nothing.
And those who don't create, invent, produce something innovative are destined to become culturally extinct.

I was born in a country where creativity prevailed everywhere, and commercials were an indispensable way to sell Made in Italy products.
But everything was culturally richer.
We had an abundance of productive sectors.
Not now.
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Some commercials are compared to masterpieces, even if they're just commercials, but if Fellini made them, they have a different appearance, as do others by other important directors.
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Wow! Three commercials in which you also wrote, Warner Bros. was and perhaps still is very important.
Even at MGM and others you had/have.
In my early years at school, I thought I was hopeless at artistic drawing.
Until I excelled.
That is, from a passing grade, I went to an A+.
I followed the techniques.
Anyway, I liked black and white.
And at first, I refused to color the drawings.

My art teacher only wanted them colored.
For two years, I told him no.
He even thought of absurd things the first time I brought him a drawing; I had redrawn the cover of a Mickey Mouse comic book, the main character was Donald Duck.
He thought I had de-celain it: it was identical.
I brought him the original, which was three times smaller than mine.
So it was impossible to do what he said.
He gave me a grade of around 7 (the maximum was 10).
Because color was missing.
I used the creativity I had learned by reading anything imaginative, because I lacked it (deficit).
From the age of 4 onwards, I read anything creative.
And more.
Until I improved.
I wrote stories for comics.
I drew them.
Outlining them.
I got a 9.5.
Then I completely lost those skills: by not practicing them anymore...

But I used them anyway because around the age of 14 I had become passionate about inventions, patentable ones.
Some things I thought of I see in stores now.
The material changes.
But they're the same.
Except that patenting, at least here, costs too much.
In every notebook I wrote the story, drew them, and built the prototype.
I had imagined the window retainers like the ones you find in stores, but now they're made of silicone and rigid plastic.

I sent Ferrari some ideas.
But they said they'd already thought of them.
I saw cars being destroyed and Villeneuve losing his wheels, and I thought about the cable.
I also thought about something else.
To have the engineers make.

Every now and then when I pass through Maranello, I think about it.
Even before, an Alfa Romeo with a Ferrari engine, a production one.

Which now has non-Ferrari engines (Huh!)

Writing: I tried with poems, but they're cold, so no.
Fairy tales I could.
Sculptures I could, but it would take school.
I have the talent.

Trombone!
Beautiful!
Some instruments are not commonly heard.

I'm not an expert in music, but Jazz is fantastic.

Another instrument that's fallen into disuse is the Clarinet.
§
I understand what you mean about the negative messages in so many commercials, but it's the same in animated series.
Which, among other things, almost never have well-developed characters; they almost always look like villains, they lack dialogue, they're always poor compared to years ago; American animated series always had the good character pitted against the evil one.

In Italy, the evil ones were especially successful: even now, cult collections like Diabolik remain, which has its own important history.
Some, however, don't have one at all.
They had great success

§
The ones about US history were successful, both the wars between the Southerners and the Northerners, and the wars of independence from the English.
One of my favorites is no longer published!
Others have remained, like Tex (From Texas) Willer.
The creator was inspired by my region, where there are canyons and some locations similar to those of the Southern states of the USA.
That series, just the first few issues, is worth almost the cost of a small apartment.
Because they're popular.

§
Ah! At most, I got some likes from the late director Ermanno Olmi when I was writing on Facebook. I posted one of M. Monroe's images, but I chose an extraordinary one, and he liked it.
A director who followed my page now doesn't even have the page that Facebook asked me to monetize with the likes he received...
§
By taking inspiration from reality and translating it to the goldsmith's art, you can design jewelry and more.
Except that what you invent you have to sell to companies because only they can patent it, the costs are enormous.

I don't know about creating stories for commercials now: what the market demands.
Before, yes.
But the company provides the line and then you have to stick to that.

I know someone who has worked as a web designer for major companies.
He wouldn't be able to do it now.
There used to be a boom in these things.
§
Yes, I had read about magic.
You know, I was passionate about an illusionist who I think inspired Copperfield.
I think he still exists.
Silvan.

His father took him to the psychiatrist when he was 7: because the first illusion he invented was his sister's disappearance!
He actually did it.
The doctor, hearing this child, said to the father: "Your son isn't sick, his son is an artist!"

It was true.
As a kid, I saw a show with him—a hand-animated mouse with invisible others behind the backdrop—and it was made of Moplen, a plastic that I believe was invented by one of the few Italian Nobel Prize winners.
And a dancer as the presenter.
The whole thing was a huge success.

Nowadays, illusion shows aren't very successful.
§
You're messy too!

Same for me.
§
Damn.
And what did they have to criticize?

In our country, it's a crime to do so by email or PM if you express disagreement about something.

On forums, you get targeted by the wrong people.
Then, if you don't respond to their attacks, they're the ones who get kicked out or leave at least.
Typical of forums.
The motivation doesn't often exist.
Or it does: to scare away the people who steal their attention.

I like people who write good things. I don't understand envy, but it's very possible.

You know, there are fewer arguments now because, at least here, older people write on the forums; before, the audience was mostly young people.
The older ones don't want to argue: I've always been annoyed by those who argue on the forums, especially the bullying ones.

Or the paranoid ones.

But it's normal for them to be in psychology forums: and it's a place that accepts them.

The places chosen by very young people have changed.
And new, useless spaces have sprung up that will be short-lived.

I won't write about them specifically because maybe I can't mention them.
But some are just virtual places where people vent their frustrations.
And anyone who expresses ideas is attacked in writing.

I don't even log in.
§
I understand what you mean: if they're unobtainable objects, you have to sort them out.
§
I like selling things.
Not before.
Now I do.
Stones: minerals (the exact definition is stones) I've gotten enough of them by finding them scattered in the hills.
So imagine: they were there but no one understood them.
I posted ads on a portal and before I had time to shower, someone wanted to buy them right away.
I don't even know why.
What their value was.
I sold one lot for a few hundred euros.
But I have others in the house where I can't go.

Some say they're rocks, others say they're mined.

And those are worth something, but it depends on what you find.

Some are rarer than diamonds, and among other things they're radioactive, so you have to take the necessary precautions.
I had the price of one of my friends' pieces changed from 50 euros to 500 euros.
They sold them right away.
For 500 euros.
§
I could show them to a doctor friend who has written books about stones.
But I'm far from those places now.
§
Writing for pleasure or to make money, creating sellable books?
§
Writing correctly in Italian is difficult: everyone, or almost everyone, makes tons of mistakes.

Journalists included.
You could try e-books.
§
A few days ago I was watching a movie with Gian Maria Volontè,
L'oeuvre au noir (The Black Opera), directed by André Delvaux (1988).
It was a Belgian film.
I wasn't familiar with it: his acting is impressive.
He became the character.
Sometimes so much so that the directors asked him not to make him too close to the character, but to simply hint at it.
Impossible for him!
The making of this film took 8 years for every detail.
(Don't worry)



H.F.
https://en.wikipedia.org/wiki/Sacco_%26 ... (1971_film)

When I was asked to do the commercial, it was to be an actor in it. I was given the script, and after looking at it I decided it was terrible. I told the company that I could write a better commercial than they had come up. I also said I would write a better script for free and still appear in it. After some hesitation, they agreed. I wrote a funny one, similar to the Joe Sedelmeir commercials (Wendy's, Fed Ex, Alaska Airlines, etc. of the 1980s). After looking over my script, the company wondered about a second commercial script because they had bought an entire day's worth of studio time from Warner Brothers. I agreed and came up with the second commercial. It took the entire day to shoot two thirty second commercials. This was about right considering it can take an entire day to shoot one minute of a major motion picture. The commercials came out really well, and the company had a remarkable increase in computer sales. A few months later, I did a third commercial for them.

Sorry, but he didn't notify me of your post.
I saw it now.
You know, one time (before hiring me), the head of an electronics company told me to do this, that, and the other thing.
He was stressing me out. And I told him that if he was okay with it, he could even let me do the work myself.
He hadn't hired me yet.
He could have fired me.
Instead, he said, "Okay!"
"Fine."
And he left me alone. The others were teams from other types of construction sites.

I was the youngest there.
For example, the oldest was 45 years older than me!
The youngest was 42.
And it wasn't the only construction site they had under contract, there were three others.
The absurd thing is that they had taken me as a point of reference...

Um!

It was embarrassing for me to tell people what to do with older people, and I was also new to the place.

They gave me the job of managing a team of five people.
They depended on me.

It wasn't an exciting experience, but I was used to it; it happened at school too, but at least I was dealing with people my own age.

I managed it, and I wasn't even unpleasant, quite the opposite.
Only to the person who was in charge of everyone.

Then I solved a problem for them because the entire construction site was blocked.
Imagine me arriving on a scooter. And they had a shift half an hour before mine.

There were like 100 people there.

They had made a mistake and blocked everything.

They even complained about my supposed late arrival.

I replied that my shift started at 7:30.

They went silent.

I asked what they had done.

The funny thing is, I checked everything carefully first.

Then I lifted the main switch.
Everything worked again;

First they didn't speak, then they looked at me really badly!

The truth was: a kid comes along and solves a very trivial problem for them.
They didn't make a good impression, in short.

Then one of the nicest ones came over and started smiling and even told me!

The others changed expressions and thanked me.

But before that, they were really nervous.

Besides, there was also mud, and maybe the wheels, as they were coming, blew something onto their clothes.

It seemed like a scene from Sergio Leone's "Duck, You Sucker!"

Good thing they didn't have any dynamite with them!

§
You were brave enough to tell them.
That the script wasn't good.

They not only gave you credit, but they were very open-minded in accepting that you wrote it.

I just read who he is, he's still alive.

From what they've described, he's an innovator in advertising.

And in the way it's perceived.

He's got a lot of important awards.

§

Yes, it was like that in our country too.

A commercial or any program would take a lot of time and then only get a few minutes out of it.

But that's what made it work: perfection, the pursuit of perfection in the little things.

§

I don't know, I've never tried my hand at writing something so important.

You can't make mistakes there, and you have to be quick to understand immediately what's best to do.

Acting: no!

I wouldn't be capable of that.

I would have been embarrassed;

I spoke to a crowd of people, but I was on an anxiolytic (I took a risk because it affects memory, and the dosage was high).

But I managed to do it for two hours in a room full of people.

A classroom at school: it was embarrassing because everyone was silent to listen to my questions.

Looking at it more calmly, it was strange.

I had to catch up on a lot of questions for weeks, I think three a day, including law, where I have to talk a lot.

But I got an A every time: I didn't even have a choice, because it was based on the arithmetic mean of my previous grades. It's just that that year there had been several strikes, and school attendance was minimal.

So there were also mandatory tests.

I used to have them like: math, law, and electronics.
I went from one to the other all at once.
Then the next day, Italian, chemistry, and Boolean algebra,

I remember that a classmate of mine, before saying I could do it, replied with a smile: "You'll never make it."

Every time I took one of those subjects, I knew exactly what I was going to do.

He didn't even try, but I did.
I passed every exam.

Only once did I have a mental blackout from stress, but luckily there was a break of a few minutes.

I recovered and got an 8, even those were the best.

My classmates knew me, but you know, it's always a mystery; stress can play tricks on you.

Because of the absences, I was the only one who had so much to catch up on.

Several years ago, there were TV quizzes where you had to be very prepared.

Now anyone can participate.
You just have to be interesting on TV.


H.F.

H.F.