bobbywood: bob moricz audio/visual

swampthingy: (hotmonsters)

Thu, 23 Feb 2012 05:00:05 -0800

swampthingy:

(hotmonsters)

maxcapacity: Amenhotep III (by Max Capacity +)

Wed, 22 Feb 2012 05:00:06 -0800

maxcapacity:

Amenhotep III (by Max Capacity +)

The Artist Vs. Psycho

Tue, 21 Feb 2012 10:40:00 -0800

Went to see THE ARTIST at the Moreland Theater here in Portland. Never been there before, but the movie house is a lesser known gem in this fair city. It’s a single screen theater which has been in business since 1926. Vaudeville acts performed before screenings in the silent era. The “Arabian Nights” decor is gorgeous, authentic, and completely preserved. The place actually projects film. For a film going buff, seeing a movie here is a true and rare pleasure.

THE ARTIST was a decent picture, and there are greater sins than decency, but also pretty soft and pudgy. Like a slick Guy Maddin without the whimsically magical, exotic flavors and textures. Cloyingly ingratiating, it really wants you to love it. For me it was sentimental and lacked real emotion. THE DESCENDANTS mops the floor with THE ARTIST.

But strangely, I really loved Gus Van Sant’s remake of PSYCHO. Doing it shot for shot is gutsy, experimental, and enlightening - proving soul is completely independent from mathematics. It’s really cool to see what a huge difference casting makes. Janet Leigh’s Marion was haunted and conflicted while Anne Heche plays it like she’s a little bit crazy. Filling Anthony Perkins mighty shoes as Norman Bates is thankless and completely impossible, so it makes perfect sense to cast Vince Vaughn in the role. Why not?

The original PSYCHO is, hands down, my favorite Hitchcock movie. I think his films often have some great scenes which overshadow the quality of the picture as a whole. There’s a very cold, reptillian quality to many of Hitchcock’s movies, which I’m not too fond of. Reminds me of a serial killer’s chapbook - creepy, removed, deluded. But I love PSYCHO. I think Perkins gives it a human glow which I gravitate towards.

The murders and climax don’t have the same visceral snap as the original, but that may be inevitable. When the original PSYCHO was made, there must have been a transgressive charge in the air which effected the whole tone and vibe of the piece. After millions of Friday the 13th’s, Halloweens, and Nightmares On Elm Street, a graphic onscreen murder has become a cliche. There’s no going back. Over time, some things lose power and after so much shock, it gets harder to shock.

I think Van Sant realizes this and purposefully doesn’t go overboard in the recreations of the famous death scenes. In fact, he adds some truly surreal little bits which are shocking in the way they contrast with the ingrained remembrance of the murders. He includes a quick time lapse shot of ominous, fast clouds during Marion’s shower death, and a shot of an undressed woman in a blindfold and a goat on a rainy road for Arbogast’s stairway demise. These images seem to have very little connection to the film itself. It’s almost as if the act of recreating Hitchcock’s famous film, shot for shot, is a strange and sacred rite unto itself, rupturing space and time and allowing momentary invasions from another dimension to intrude into the film. Cinema is alchemy. Cinema is magick.

Photo

Mon, 20 Feb 2012 13:33:05 -0800

swampthingy: (bittercinema)

Sun, 19 Feb 2012 13:32:06 -0800

swampthingy:

(bittercinema)

Photo

Sat, 18 Feb 2012 13:36:05 -0800

phineyharlock:

Fri, 17 Feb 2012 13:30:05 -0800

phineyharlock:

Photo

Thu, 16 Feb 2012 13:31:06 -0800

erotiterrorist: Source

Wed, 15 Feb 2012 13:31:05 -0800

erotiterrorist:

Source

higuchinko: monster world: Caminando con Gargantuas

Tue, 14 Feb 2012 13:30:05 -0800

higuchinko:

monster world: Caminando con Gargantuas

Segments Like A Centipede

Mon, 13 Feb 2012 14:14:14 -0800

This weekend after an extended, and somewhat difficult, hiatus from editing NAKED PREACHER LADY, I got back into it and I think I’ve figured it out. I did not feel as if I were stuck in quicksand anymore. I could see things clearly. The muck and mess had congealed, dried, and flaked off revealing a jagged yet harmonious form beautiful in its inconsequential symmetry.

It was easy to see a few little hangnails and I quickly cut them off. The story and the subject are rough and edgy and in no way am I going to soften that or translate it for the average viewer. But I was having difficulty pinning down the internal logic and rhythm of the piece. Something was always off and clunky. But I figured it out. It’s like segments of a centipede, each piece contributing to a strange and impressive whole. I lined it all up. Instead of hiding the imperfections, I highlighted them. Then the imperfections receded. It’s a strange alchemy.

Photo

Mon, 13 Feb 2012 13:32:06 -0800

Photo

Sun, 12 Feb 2012 13:31:05 -0800

swampthingy: IT! The Terror From Beyond Space

Sat, 11 Feb 2012 13:30:06 -0800

swampthingy:

IT! The Terror From Beyond Space

greggorysshocktheater: Ad for Frankenstein Meets The Wolf Man...

Fri, 10 Feb 2012 13:31:05 -0800

greggorysshocktheater:

Ad for Frankenstein Meets The Wolf Man (1941)

Photo

Thu, 09 Feb 2012 13:31:06 -0800

glitchnews: 自民党の石原伸晃幹事長（酒巻俊介撮影）

Wed, 08 Feb 2012 13:33:05 -0800

glitchnews:

自民党の石原伸晃幹事長（酒巻俊介撮影）

swampthingy: Santo en el Museo de Cera i love...

Tue, 07 Feb 2012 13:34:05 -0800

swampthingy:

Santo en el Museo de Cera

i love santo!!!!!!!!!!!!!!!!!!!!!!!

Mon, 06 Feb 2012 13:33:06 -0800

This box is filled with home recordings I made throughout the 1990’s. I liberated it from the...

Sun, 05 Feb 2012 13:40:05 -0800

This box is filled with home recordings I made throughout the 1990’s. I liberated it from the rain ridden garage and was shocked at how much stuff I recorded. It’s weird how back then one’s output was matched by physical artifacts and now it’s all invisible on a hard drive. Having less stuff is very cool.