30 people over at our house on easter. 30! what a time and place. that was so cool. i was really happy that there were so many people. it was refreshing.
mom and dad were alive and kickin' let me tell you! it was really good to see them, and hear what is all happenin' with them. it was good times.
ah, the dordt place. as mom likes to call it. i got to see almost everyone i wanted to see. and spend a good amount of time with a lot of those people. thanks to everyone who spent time with me. it was rockin!
well. my flight back was a-ok. no problems at all. although, my ears decided that it would be fun to not pop when we landed in burbank. that frustrated me. silly ears. i think i have a cold coming on, so that is likely the culprit. i go to work in about 10 minutes. la traffic, what's that? i don't recall...
well. that's what i've got. the break was fantastic. and i'm rejuvinated to finish out this last month.
Posted by jack. | | Email post 
I don't really know if you'll appreciate these, but hell! I'm going to write em' and check your responses later.
PAINTINGLARGE.mov-
Dusty is AWESOME. What is the purpose of his subliminal message? This is an entertaining technical record of an artistic process. Nuff said, and I dig it.
1+1=2.mov-
Hmm. Boy meets girl, or'd like to, anyway. This film seems to be complete, but after it was finished I was, like, "ack." The film seemed to be made to support the music rather than the other way around. I [currently] think that the only time the music should overpower the film's action is in a movie like "Ray." Other than that... Be wary. Angst seems to be one of easiest emotions to capture on film. (Low risk implies tiny rewards.) Could this explain why the majority of student films use it so often? Or is this the emotion that young directors are most familiar with? (Bah.) My guess is that the LADY IN RED (dee dah dah doo...) at the end of the film is another hallucination and is another sad (yet successful) attempt at easing the coffee-flavored bitterness of modern angst. The film seems, to me, to be too simple and too short in its scope. It's got a momentary solution to a momentary problem. Plus, I have a hard time caring about the inner-pain protagonist washing his dishes in the dishsoap of emotional turmoil. In my mind, action must not be done for itself. Action must be done to advance character meaningfully or to support plot movements. The dinner scene seems cut short for ratings of cleanliness. (This is too harsh, Chris...) Recommendation: Add style to the actions ala Spun or 400 Blows. Also, make your scripts more epic in proportion. I'm not implying murders and detectives, but I am implying major epiphanies and big action. Earn the privilege of taking time away from your audience. And throw in some more hot chix in cars. They're always good. Oh, forget it. Just go make exploitation films instead. Undercover lesbian nun action-detective adventures with ninja assassins and baby daschunds taken hostage for radioactive rods of ransom-reaping. Or something...
GIFT_WIDESCREEN.mov-
I can't remember this one right now and the compy I'm on has no movie plugins. I'll store this one, maybe.
~Oo°~
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