Alyssa Quinn
My grandkids taught me how to use this! Just kidding, my grandkids are useless. Check out my internet website.
Ask Me Stuff
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Art-House Nature Film of the Day: In his latest short film, the Terrence Malick-inspired We Were Wanderers On A Prehistoric Earth, James W. Griffiths (of Splitscreen Love Story fame) pens a visually stunning video love letter “to the incredible flora and fauna of Malaysia.”
[thanks james!]
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No habla Americano.
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(Source: yimmyayo, via themadeshop)
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I’ll tell you a story about that. I have very close friends who used to have a jazz club in Hong Kong. I was there every night, I was their photographer, just because I was their friend. Four of them were Supreme Court judges. And one day I came in and there had been an article like the ones you’re talking about, and the head of the Supreme Court, who was a little bit drunk, said to me, “If you came before my court I’d throw you in jail for lies like that. I saw this article in the newspaper about you being a Norwegian sailor and this and that—what total bullshit, that’s impossible.” And I realized, fuck—even someone I regard as a friend doesn’t believe how I live. And certainly, it’s so far outside of convention, I better fucking forget about convention. I’m doomed no matter what. Kids from film schools say to me, “I love your work, I wanna be like you, I wanna make my first film next week.” And I go, “Yeah. What have you done? You’ve been through an academic system, and if you’ve been to film school I assume you have a certain amount of wealth, what the fuck have you done in life? What are you gonna tell people? You gonna talk about your high school experiences in America? Or how wonderful it is to go skating illegally in Trafalgar Square? What the fuck are you gonna talk about?” It’s a problem. Of course, if you don’t have anything to say, why open your mouth? It’s just gonna be platitudes. Or something clichéd. Or something totally unnecessary to anyone else’s experience. That’s what you see all the time. People making films about making films. Because that’s all they know!
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Marjoe part 2/10
Part documentary, part expose, this film follows one-time child evangelist Marjoe Gortner on the “church tent” Revivalist circuit, commenting on the showmanship of Evangelism and “the religion business”, prior to the start of televangelism.(Source: youtube.com)
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not with a bang but a whimper
(Source: youtube.com)
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[Flash 10 is required to watch video]
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Rossellini doesn’t show anything like the acting technique that her mother, Ingrid Bergman, had, but she’s willing to try things, and she doesn’t hold back. Dorothy is a dream of a freak. Walking around her depressing apartment in her black bra and panties, with blue eyeshadow and red high heels, she’s a woman in distress right out of the pulps; she has plushy, tempestuous look of heroines who are described as “bewitching.” (She has the kind of nostrils that cover artists can represent accurately with two dots.)
Rossellini’s accent is useful: it’s part of Dorothy’s strangeness. And Rossellini’s echoes of her mother’s low voice help to place this kitschy seductress in an unreal world. She has a special physical quality, too. There’s nothing of the modern American woman about her. When she’s naked, she’s not protected, like the stars who are pummelled into shape and lighted to show their muscular perfection. She’s defenselessly, tactilely naked, like the nudes the Expressionists painted.
(via This Recording)
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The Loneliness of the Long Distance Runner by Vargtimmen
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