Anyone who has seen Heima knows about the incredible, unsuspecting power of a low-key Sigur Rós acoustic session.
“For me, the equation is as follows: the band is staying at the Kube hotel, north of Paris; their equipment is at porte de la Villette; Moon and his camera are wedged at la Closerie, in the south of Paris; and, obviously, Sigur Ros are playing at Zénith this very evening. We only have a little time […] We bought a bucket at a bazaar in a side-street, and we decided not to bother pulling out the costumes. We moved some tables to set up a splendid harmonium, we took over the piano, and everything seemed ready… the only thing missing was two drummer’s brushes, which weren’t in the van. While we wait, we ask the group in vain to play a few other songs in the mean time—any song that doesn’t need the brushes. They decline.As John reminds us, they’ve never done anything like this before—they usually don’t perform acoustic. We just have to wait […] Little by little the room empties, the remaining diners drag out the final moments of their lunch, and then the drumsticks arrive. The environment is tense, but they jump in. A few notes on the harmonium, and an incredible voice that it would have been a shame to exhaust. We don’t know if the sticks were essential. But in three minutes, our patience was repaid.”
(via La Blogotheque)
Usually when I watch a film, I like to play like a critic and try to really “interpret” what the director is trying to get across. Some people prefer to simply enjoy a movie for its visual pleasures, but understanding the intricate aspects of editing and directing tends to provide a much more fulfilling viewing experience to me. With the music video for 
It was already a month ago that 
MIND INVERSION 