I'm not posting anything actually not-safe-for-work there, but I enjoy the thought that these ones are *safer* for work

- Harmony Korine's "Blood Of Havana" short vimeo.com/126743604?fl...
- Argento's Inferno and Fellini's Satyricon
- Forcefield's costumes
- Wet Pets www.youtube.com/watch?v=gMbs...

I'm signing up for this, I might need to put something about corn in the description of my set eulerroom.com

lol

but respectfully Autechre really should make more tracks that sound like giant corn cobs

yeah man, I auditioned for Everything Everywhere Whatever but they told me to cut off my freak flag so I turned it down. more like Squares Everywhere All At Once, right?

yes please merge these wolves immediately

this artist/architect is one exception to that who I dig: youtu.be/P2MraKGoS1Y?...

yeah this makes me think of various Ursula K Le Guin quotes, to the effect that we need alternative/constructive reactions to dystopia, not just ones that show us how bad it is. there is very little of that in film/games/art, aside from a little bit of solarpunk stuff which tends to be overidealized

I think the goal (aside from bigotry) is putting more people in jail for slave labor

would you say your current sandals are metal without korntext?

& yeah I think experimenting with image quality/stability is super rare in film, it's seen as a risk. so it's really interesting when you see someone do it not out of need or incompetence, but expression.

maybe if there was more of a pipeline from experimental art into vfx direction we'd see more!

it's semi-serious, I had that thought after I finally watched the deleted scenes 😅

the movie *definitely* gives away the mystery of season 1-2, and the deleted scenes could give you some suspicions. but mostly it's just a super bizarro intro to the characters if you don't know them, or forgot

Twin Peaks is def a time committment, and basically 3 totally different vibes between the 90s series, the movie, and season 3. my recommendation for the weirdest possible way to get into it would be to start with the Fire Walk With Me deleted scenes and *then* start season 1

- but I'm kinda obsessed with handheld cameras these days because mainstream film is in this ultra-smooth, post-Matrix-post-LOTR, pre-visualized mode

stuff like Ryan Trecartin, or low-budget moments in Italian horror or Japanese sci-fi, it's fascinating how it makes the actors suddenly "too real"

yeah I think Mulholland Drive may be the most aesthetically perfected Lynch film, but Inland goes a little deeper into the ideas

I suspect for him the cameras were purely about budget and getting closer to the performance with a smaller crew - I mean he shot the "Rabbits" segments in his back yard

though I did listen to a podcast with the cinematographer who said Lynch would have done that season on "a bunch of iphones", if not for network pressure to shoot in higher resolution

that's my favorite, pre-Inland he did a lot of stuff with a fantasy/dream vs reality dichotomy, but it feels more like he mixed it all together and suggested intersecting alternate realities

only other one like that is Twin Peaks season 3, but it doesn't have the handheld cameras which I love