beasts

Sent out a batch of CHARLEMAGNE! dvd’s to film festivals over the weekend. If any of them want it, then they will have a good thing.

Last week, while working on a script called Western Industrial 73 I had a brainstorm for another one. I didn’t really want to abandon Western, but the new one came into my consciousness fully formed, steaming and piping hot. So I decided to go for it, which is a little bit funny as I have hundreds of incomplete scripts. Whats’ one more, eh?

So the new one’s coming along easy – writing itself basically. I will finish it and I will shoot and edit it. I have a title but I can’t say what it is because it is too good.

Watched some movies. A couple of Boris Karloffs: Frankenstein 1970 (the worst Frankenstein monster ever) and The Walking Dead. Both rather forgettable but a fine waste of time, with The Walking Dead being way superior to F70.

Also diving into Rosselini‘s The Age of the Medici. Got through the first two parts of the three part series and am loving it. It’s great how performance quality has nothing to do with Rosselini’s filmmaking.

Also watched the Ghost Rider sequel by Neveldine/Taylor and loved the yummy twinky. Saw Beasts of the Southern Wild, too, appreciating its underdog qualities but not digging on the emotional cues of the music. Note to filmmakers: we don’t need you to tell us how to feel. We can figure that out on our own.

Finally, been reading Chester Brown‘s comic on being a john called Paying For It. I’ve been a big fan of Brown’s work since I encountered Ed The Happy Clown in the mid 90′s, but Paying For It is a bit disappointing. Brown’s emotionless stance works wonders in a book like Louis Riel, but here his distance renders him sort of arrogant and clueless. Completely unaware of his own privileged standing, Brown’s book comes off like a two hundred page excuse. The whole thing feels super defensive to me.

So I’m hammering away at the new script. Also the “re-mastering” continues with FELONY FLATS. Oh, and finished the Eat Skull music video I shot and edited with Ben Popp, a truly rad underground filmmaker. It was a damn joy shooting the thing. I cut it using Final Cut which made me very homesick for iMovie, then gave it to Ben and let him make sense of my shambling psychedelia. He also added some animations. I saw the finished product and loved it.