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First, Lucas Krech's newest entry in his journal, "Lyrical Terrorism and the Physics of Ontology," is a must read if you don't normally read Lucas' journal. I keep wanting to comment on much of what Lucas writes on a regular basis, but as my comments would usually boil down to "yes, absolutely right, thank you for putting this into words properly," I don't bother. Lucas is excellent on airy theory that makes practical craftsman sense (appropriately, as he is a lighting designer, which means bending pieces of air into something concrete and needed), and there is never an essay of his that I am not pleased to read.
Yesterday, pickups on last week's voiceover gig, and (unexpectedly, wonderfully) a nice big payment for the whole thing. Car repairs soon, then. Wanted to give myself some kind of little treat with some of the money, so I got a used copy of Jacques Tourneur's classic noir Out of the Past for $10 at Kim's on St. Marks Place. Watched it in the evening, followed by Tourneur's later horror film Night of the Demon. A nice double bill, though Past just gets better and better each time I watch it and Demon gets . . . well, if not worse, then, lesser and lesser. Still, both were just kind of time wasters right now -- nothing in them applicable to any of the work I have to do now, so I didn't feel all that connected to them in any way.
Again, wanted to watch Koyaanisqatsi, but Berit wasn't in the mood, again, so I plopped down on the bed to read and wound up falling asleep exceptionally early. Woke up at 2.30 in the morning, undressed, turned off the lights and got into bed properly, and wound up spending the next two hours in a sometimes-pleasant-but-mostly-not half-sleep/half-wake state. I tried to make something productive out of it by thinking about That's What We're Here For and seeing if any productive ideas came out, but no go, just images of rectangular frames that had to be filled with material. I turned on my side and closed my eyes, but instead of darkness, or darkness with little white flashes as I usually get, I saw strange hi-con images, as if projected on the inside of my eyelids. Again, frustratingly, nothing usable towards any of the current work, just images of people walking towards me, mostly as if viewed from neck to waist, primarily men in suits or uniforms, as if being lit by flashes of lightning. They dissolved in and out of each other as if being switched around on an old analog video mixer. When I turned over -- in my half-asleep mind, I believe I was thinking that turning over might change my viewpoint on these images into something more interesting -- the images went away, and all I saw was darkness, with sparse white electrical flashes. Eventually, sleep. Then awake, early, and the jobs to be done . . . clean the cat box, go to the supermarket for groceries, make coffee.
The interspersing of sequences in the new show -- video, musical, tableaux -- makes more sense the more I think of it. I'm beginning to see how sequences will comment on each other and flow. I have the ending in mind now, too. Even besides the tech difficulty of the big (literally) bloody ending I had thought of previously, I'd come to realize that was too "dramatic" an image and I needed something else, unsettling and frame-breaking, but not violent. So I got it this morning. Now to try it with the cast.
Backlog of paperwork to be done for the show as well -- publicity materials, AEA and insurance documents, festival requirements. Not looking forward to that. I'm supposed to have publicity photos by next Monday. Of what? I need a poster/postcard/t-shirt image as well -- some kind of propaganda poster-looking-thing, I think. Don't think work will happen today though; doesn't feel like a productive work day. Contemplation day. Ideas are needed.
Yesterday, pickups on last week's voiceover gig, and (unexpectedly, wonderfully) a nice big payment for the whole thing. Car repairs soon, then. Wanted to give myself some kind of little treat with some of the money, so I got a used copy of Jacques Tourneur's classic noir Out of the Past for $10 at Kim's on St. Marks Place. Watched it in the evening, followed by Tourneur's later horror film Night of the Demon. A nice double bill, though Past just gets better and better each time I watch it and Demon gets . . . well, if not worse, then, lesser and lesser. Still, both were just kind of time wasters right now -- nothing in them applicable to any of the work I have to do now, so I didn't feel all that connected to them in any way.
Again, wanted to watch Koyaanisqatsi, but Berit wasn't in the mood, again, so I plopped down on the bed to read and wound up falling asleep exceptionally early. Woke up at 2.30 in the morning, undressed, turned off the lights and got into bed properly, and wound up spending the next two hours in a sometimes-pleasant-but-mostly-not half-sleep/half-wake state. I tried to make something productive out of it by thinking about That's What We're Here For and seeing if any productive ideas came out, but no go, just images of rectangular frames that had to be filled with material. I turned on my side and closed my eyes, but instead of darkness, or darkness with little white flashes as I usually get, I saw strange hi-con images, as if projected on the inside of my eyelids. Again, frustratingly, nothing usable towards any of the current work, just images of people walking towards me, mostly as if viewed from neck to waist, primarily men in suits or uniforms, as if being lit by flashes of lightning. They dissolved in and out of each other as if being switched around on an old analog video mixer. When I turned over -- in my half-asleep mind, I believe I was thinking that turning over might change my viewpoint on these images into something more interesting -- the images went away, and all I saw was darkness, with sparse white electrical flashes. Eventually, sleep. Then awake, early, and the jobs to be done . . . clean the cat box, go to the supermarket for groceries, make coffee.
The interspersing of sequences in the new show -- video, musical, tableaux -- makes more sense the more I think of it. I'm beginning to see how sequences will comment on each other and flow. I have the ending in mind now, too. Even besides the tech difficulty of the big (literally) bloody ending I had thought of previously, I'd come to realize that was too "dramatic" an image and I needed something else, unsettling and frame-breaking, but not violent. So I got it this morning. Now to try it with the cast.
Backlog of paperwork to be done for the show as well -- publicity materials, AEA and insurance documents, festival requirements. Not looking forward to that. I'm supposed to have publicity photos by next Monday. Of what? I need a poster/postcard/t-shirt image as well -- some kind of propaganda poster-looking-thing, I think. Don't think work will happen today though; doesn't feel like a productive work day. Contemplation day. Ideas are needed.
