tag:blogger.com,1999:blog-31756317970771985162024-03-13T23:18:43.956-07:00 Tobe Hooper Appreciation Society "<u><a href="http://cranialblowout.blogspot.com/2014/04/thas-thas-official-motto.html">A cinema of sense, not sentiment</a></u>"JRhttp://www.blogger.com/profile/15544454753709801525noreply@blogger.comBlogger263125tag:blogger.com,1999:blog-3175631797077198516.post-1079153912988230722023-07-17T17:57:00.001-07:002023-07-17T17:57:15.168-07:00THAS: The Angel and the Badman (MORTUARY)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJOEY_acQzins0cNL7o5d7kkzTC1Q-Nzg_cPNBjxo_EppINJ4rK4K-M8ORhFbCn-Q3u5L4ndHCphtaI_XHUDO5NqxVX7-V7iUHh8LWskFA5wlzRn0PSsv5-Z43T7Ln-I12Ok2CFTSVI31mNSYzUa8HGcrdk7ROg5a11h34y1lyCCsacGtSGWn9EZaTNqDH/s1276/vlcsnap-2023-07-17-02h35m10s826.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1276" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJOEY_acQzins0cNL7o5d7kkzTC1Q-Nzg_cPNBjxo_EppINJ4rK4K-M8ORhFbCn-Q3u5L4ndHCphtaI_XHUDO5NqxVX7-V7iUHh8LWskFA5wlzRn0PSsv5-Z43T7Ln-I12Ok2CFTSVI31mNSYzUa8HGcrdk7ROg5a11h34y1lyCCsacGtSGWn9EZaTNqDH/w640-h362/vlcsnap-2023-07-17-02h35m10s826.png" width="640" /></a></div><p>Bobby Fowler is not the only figure of projection in the film of MORTUARY (2006), Hooper's penultimate feature and something of a New Testament eschatology primer before DJINN's return to the Old Testament lands where newly raised are parables of Sodom and Gomorrah and the city and the tower of Babel. An angel statue takes a geographic centrality in the film, serving as a beacon point: as characters carelessly wander into the film's front yard cemetery, they each come to interact with the statue in their slightly varied way. The ones whose fates are most perilous regard it with varying degrees of alarm, while the film's emo protagonist plucks at its collected nest of twigs like the forgotten receptacle it is (much like he himself?). Not much further off from a Tim Burton pièce de résistance, the angel is more than slightly younger than the "eons" spoken of in the Lovecraft couplet, but it represents something of a symbol of mortality for the characters stuck in their own cycle of time dictated by relativeness to the death of a proclaimed messiah. If lifetimes are so relative, what is it that makes us act out so? More than being a "droplet," why do our ripples feel so magnified to us? If MORTUARY is Hooper's most zen movie, it is because he's evaluated religion and our notions of sinfulness and come out the other end "a lamb." The film's figure of innocence, a six-year-old girl, who hands the angel a piece of licorice along with the slabs of stone that represent ghosts or undead effigies, asks her brother and his friends, "Am I a lamb?" and the teenagers have no choice but to acquiesce. They have aged out of that notion, but Hooper has read the Bible and read his career and he's doing an exposé of both here with the eyes of a child if the end were nigh.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_oTOXknMno3GJQ4bB-BoM23iDatlgcMBx3YAXFGjV3BVmEtS9n3rpqZ-3qsd5nyhe38q5wq17JZsNG0a0ap2AOYYtLa0AIEZsobb_9whR5Zf7UCrU8kOvP_Du2ZGdrcOn35OisYEtUsg2UfzXLLyvJfWNHhHUJ0G-6Xau3B0ekt56Z_YLwT_soI5Qq66M/s1276/vlcsnap-2023-07-17-02h35m07s747.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1276" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_oTOXknMno3GJQ4bB-BoM23iDatlgcMBx3YAXFGjV3BVmEtS9n3rpqZ-3qsd5nyhe38q5wq17JZsNG0a0ap2AOYYtLa0AIEZsobb_9whR5Zf7UCrU8kOvP_Du2ZGdrcOn35OisYEtUsg2UfzXLLyvJfWNHhHUJ0G-6Xau3B0ekt56Z_YLwT_soI5Qq66M/w640-h362/vlcsnap-2023-07-17-02h35m07s747.png" width="640" /></a></div><br /><div class="separator" style="clear: both; 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text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinfA7PkNkRnEp-nwlZswS_mZXg-zo94WDZQcNgHwlXhXEK9b1DXP1bGKaBJw3TMcC_FjSiMeHIULXBUwfvRoutJo3zDL5re6YjckeIMzLsDrhv_5JS-VsClX1TMaJ54cG6nQw7pa_tPmt37iQph6vDp8mzBzbB3a279gJGIZJIMAVho_WLbXCViA4IS4zE/s1276/vlcsnap-2023-07-17-16h18m52s584.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1276" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinfA7PkNkRnEp-nwlZswS_mZXg-zo94WDZQcNgHwlXhXEK9b1DXP1bGKaBJw3TMcC_FjSiMeHIULXBUwfvRoutJo3zDL5re6YjckeIMzLsDrhv_5JS-VsClX1TMaJ54cG6nQw7pa_tPmt37iQph6vDp8mzBzbB3a279gJGIZJIMAVho_WLbXCViA4IS4zE/w640-h362/vlcsnap-2023-07-17-16h18m52s584.png" width="640" /></a></div></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9GaGVKflX7D9vzIXn8gqRwnSHyqF13EBBoQvgtmOr_viiuqkxDFTXkTbTJ3cbUn_a8yQDcccbnUeyyJJYLWKO8CMjH7BLmvbGxknRZHSc4-LQDc7mi62YZOax20KtI4fUx5YS_0nhmvfaNGQGZ7CoiGNL168uWFcyb4q08-EL6L8DMepUn-Aj5Tgy_kEJ/s622/vlcsnap-2023-07-17-02h36m10s272.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="622" data-original-width="523" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9GaGVKflX7D9vzIXn8gqRwnSHyqF13EBBoQvgtmOr_viiuqkxDFTXkTbTJ3cbUn_a8yQDcccbnUeyyJJYLWKO8CMjH7BLmvbGxknRZHSc4-LQDc7mi62YZOax20KtI4fUx5YS_0nhmvfaNGQGZ7CoiGNL168uWFcyb4q08-EL6L8DMepUn-Aj5Tgy_kEJ/w538-h640/vlcsnap-2023-07-17-02h36m10s272.png" width="538" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div>JRhttp://www.blogger.com/profile/15544454753709801525noreply@blogger.com1tag:blogger.com,1999:blog-3175631797077198516.post-58149483668182199662022-12-31T10:58:00.008-08:002023-01-01T22:28:26.744-08:00Odds/Ends 3<p><i>Capsule reviews I've written in the meantime that span the entirety of 2022. Presented achronologically. Upped my game from 2021, so for that, I take some pride.</i></p><p><b>TAKEN</b></p><div>All ten episodes of the Spielberg Sci-Fi Channel miniseries. Surprisingly grotty: drug addiction, murder, Oedipal stuff, sexual grooming, and aliens. Hooper’s pilot naturally is the stuffiest and most fearful of transgressing into televisual goofiness, but that is the reason the other episodes have “Best of TV” <i>life</i> whereas Hooper’s only has his stock-in-trade formalist tropes that awkwardly impose movie-artificiality onto TV-artificiality. His “romantic horse-riding date” scene he rips off blatantly from <i>Night Terrors</i> and it's a pale imitation of cinema here. He’s obedient and afraid, but that doesn’t result in him betraying his sense of style, but misapplying it. Wish y’all could see his unaired <i>Prey</i> pilot, the more deranged misapplication of stuffy formalism to TV.</div><div><br /></div><div><b>THE FUNHOUSE/EATEN ALIVE/THE TEXAS CHAIN SAW MASSACRE</b></div><div><b><br /></b><div><i>A response to viewing a triple feature of all three in 35mm:</i><br /><br /></div><div>The trilogy of films of a sensitive soul. Hooper seems terrified of other people, encounters, and being faced with others who are not immediately simpatico (and there is never that in a Hooper film). He is the one truly entropic filmmaker, which is why his films have such lasting power. <i>The Funhouse</i> is less immediately impressive than <i>Eaten Alive</i> and <i>The Texas Chain Saw Massacre</i> (it's strange going from the proud vibrant experimentalism of those two films to what, to a full crowd, might collectively be seen as timid convention), the <i>Texas Chain Saw</i> redux elements I can do without, and its look at social ostracizing and inbred groups half-hearted at best (look to <i>The Elephant Man</i> for that), but it is certainly a film about subplots along a mutual track and the clearest evocation of his philosophy of telling multiple stories at once, stacked on top of each other. </div><div><br /></div><div>It is really all about Amy, the survivor-by-chance, who connects with the recessive family (the monster and his family), her own, and her friends merely by chance. The details of the others' plots are incidental (Buzz, the oldest of the teens, works at a gas station; Richie considers college), though they are all connected by bad fathers. Hooper does not feel kindred to the two depraved boys - Joey and the "Anomaly" - though he attempts to give them an "out" through the fantasy of the film (in other words, these beings certainly <i>cannot</i> exist in real life; Carpenter's <i>Halloween </i>presents it as more of a given, while Zombie's revision corrects the original point). The Monster/Barker scenes are my least favorite, but it is all about how the scenes butt up against each other (after all, her friend is killed as Amy and Buzz... walk around? Not one moment is given over to expositional dialogue like "Where do you think she is?" or "We have to find her!"). It is also about Amy's almost imperceptible arc, which is her ability to dissociate until all her friends are dead and her relation to the monster is no longer just theoretical (though it has just occurred to me this describes most generic slashers, though they are never as aware; <i>The Funhouse</i>'s real revolution is that Amy, its princess character, is just as ruthless as its cynics). </div><div><br /></div><div>Its gestures are small and old-cinematic, like Hooper finally attempting that 50's Lean picture he had always wanted to make (he had "a romance with cinema [around the time he made <i>The Funhouse</i>]," he said once in an interview), but they, the film's incremental units of time, always have to do with the Moments missed and the weight of things falling like on you that is beyond your control. So, <i>Funhouse</i>’s plot describes the form of <i>Brief Encounter </i>- its narrative about lost moments, thus its form about it - which itself super-correlates to the narcotized form of <i>Funhouse</i>. In other words, this film does not attempt Cinema <i>a la</i> all its New and New-New Hollywood fetishists, but it carries the weight of a cinema (British golden age, perhaps neorealism) and all the gaps of story that signify a world crumbling and accelerating around you (Tourneur). <i>Texas Chain Saw Massacre</i> and <i>Eaten Alive</i> feel apocalyptic in their very form, but <i>The Funhouse</i> is the most apocalyptic of all of them because every second - i.e. every lost opportunity to be more cinematic, or even more thematic - is a grappling with our ability to disassociate from a life ticking by, crumbling from time, barely concealed by the story of a few bad fathers and dead kids. </div><div><br /></div><div><b>THE NOVELIST'S FILM </b><b>- #12 IN TOP FILMS OF 2022</b></div><div><b><br /></b></div><div>Hong chases after a misshapen homunculus of equal parts novelist, filmmaker, and inhuman Superman without the flaws and short-sightedness of either the first two. Needless to say, neither the impossible homunculus or the Superman exist. Hong is not a novelist, he's a playwright at best, and it is never quite clear if he is trying to make this very point or the opposite - that his film's might as a well be plays (no. it would not alight, not spark). One watches this entire film that was built to chase its own tail and we come out the other end not knowing if Hong understands novelists at all, outside of the fact they suffer a different type of imposter syndrome than filmmakers do. At first it's about the novelist pursuing some sort of scopophilic liberty from the prison of words - which does suggest Hong knows the ease of film is, by that measurement, "preferable" to the cacophony of inner thought - this "evolves" to ending with a direct, almost resignatory Kiarostami cribbing that suggests one of the following: the novelist fails to find the synthesis of the art forms (at least what was in her head); the purity and immediacy of filmmaking; or the novelist achieving her escape from what is so stifling about the overweening empathy asked for by books, as she expresses earlier, and finding escape by becoming Hong himself... while bypassing all that is conventional, which is decidedly not how she expresses her ideas for the film earlier. She has in effect disavowed herself to become, metatextually, a male director (after previously telling off a Hong stand-in earlier in the film). Or, is it the things that escape us and are found in the process? Transfiguration? To suggest all of these things feels like cheating, and the undercutting of the others, while the path to apotheosis is redundant, and not in a fun way. That's not how Hong works, or it shouldn't be, as he writes things meticulously and is known for finding the harmony of things, even restlessness, and not for chasing aesthetic manifestos in 90 minutes. Best leave the chaos of emotions to Imamura and Kiyoshi Kurosawa. <i>The Novelist's Film</i> feels much too hardboiled for Schiller.</div><div><br /></div><div><b>THE CATHEDRAL - #14 IN TOP FILMS OF 2022</b></div><div><br /></div><div><i>Notes on an Appearance</i> arthouse-indie wunderkind Ricky d'Ambrose skips making his crossover <i>Jaws</i> and skips straight to <i>The Fabelmans</i>. It feels a bit like a premature firing of a gun, and considering d'Ambrose attests to having a full-blown epic in script form reduce to its bare essentials in keeping with his instincts and first feature adds to this feeling like a film made as a prediction of a career and shrinking back from the challenge. Thankfully, this leap involves far less personal failings and ruing the day than Nate Parker's <i>The Birth of a Nation</i>.</div><div><br /></div><div><b>PINOCCHIO</b></div><div><b><br /></b></div><div>The indignities of puppets, even femme puppets/puppet people allies (Zemeckis' thing for female puppets is definitely his one alpha move over Spielberg). You know, sometimes films just do not work, and Zemeckis' deep level corporate CGI scientist (think John Amplas's military-commissioned scientist in <i>Day of the Dead</i>) output is surely disposable ephemera for dispassionate x-beta/y-omega/z-delta trials he is only interested in doing in a glazed-eye-on-the-prize way. Doesn't mean he is a bad filmmaker, though. He's still out there saving transhuman lives.</div><div><br /></div><div><b>PLANET OF DINOSAURS</b></div><div><br /></div><div>I loved this movie. It's on Amazon Prime. Please join me in the glow of experiencing such a discovery. Takes place on a deserted alien dinosaur planet but includes at least two refrains of my favorite standard "Auld Lang Syne," one where the crew sings it happily to a plaintive guitar instrumental (I reiterate, they're stranded on a desert planet without amenities) that turns into a minor key when they begin to further ponder their situation. Yes, it's badly made, but this is the<i> Rio Bravo</i> of badly made<i>.</i></div><div><br /></div><div><b>SC</b><b>REAM</b></div><div><br /></div><div>It’s the directors sink this. Sad thing, is I don’t know if Wes could’ve pulled off Gen-Z, gentrifying Woodsboro, without giving one of the teens eyeliner and some weird working-class shtick? </div><div><br /></div><div><b>BENEDICTION - #1 IN TOP FILMS OF 2022</b></div><div><br /></div><div>Deeply Beckettian irony underlies an "[It's all too much.] I can't go on. I'll go on" ethos of continuous self-flagellation for the absence of something one is always searching for. Very Freudian. Even the eros-driven roundelay of the middle section is just a diversion. Life is a condition of constant substitutions for a purity that may never have existed. Here, it is a cruciform for a "lost generation" of boys, a lost cause made painful because ghosts are as incommensurable a state of being as one being in utero - actually more so. Davies goes past nostalgia and enters a late-life consideration of the image that is death in relation to a homosociality that, so he (or his protagonist) sees, seems to deny the nostalgic present. Sassoon is a figure in history he abuses freely, contrary to the female protagonists of his previous two features.</div><div><br /></div><div><b>CORNEILLE-BRECHT</b></div><div><br /></div><div>A Jean-Claude Rousseau Production of a Jean-Marie Straub Film.</div><div><br /></div><div><b>DEADLY FRIEND</b></div><div><br /></div><div>I don't know anything about Craven's original conception of the film and how pieces were forced upon him, but the oddball teen world and violent, gnarly content seen together, this is just another one of his incoherent horror worlds, to me indistinguishable from the harsh retributory vision that informs 'Nightmare on Elm Street' and 'Deadly Blessing' (and am I to believe the final scare of <i>Nightmare</i> was also forced on Craven? Insane). Anyway, it's foolish to doubt the certified horror masters, Craven - the most recondite and retrograde of them - included. The existence of their visual point-of-view culled from traditional storytelling bedrock, but fueled by a searching curiosity, especially that of Craven's, is always clear, and no amount of bad decisions can sour that. The first half of this was invigorating world-building of an impossibly Minnellian teendom, the second half a poorer reflection of the first but with excellent, polished horror scenes (almost as if made by assignment?).</div><div><br /></div><div><b>BRUISER</b></div><div><br /></div><div>A profoundly apolitical work, in the best sense of the word. Just… don’t be a jerk. Preeminent director of chivalry in cinema - honor as charisma, charisma as honor - Raoul Walsh could’ve directed this tale 70 years ago and I would not bat an eye (barring the few period updates, like electronic money, sleaze culture, and punk music).</div><div><br /></div><div><b>CODA</b></div><div><b><br /></b></div><div>Why do I do this to myself, you ask? Because while I may have given up on civilization, I have not yet abandoned it. The whole film is like a cotillion scene in a John Ford movie. A rite of backwards passage film for us all to remember we all had our prom night. No wonder it shot straight to the Best Picture prize.</div></div><div><br /></div><div><b>CLEOPATRA</b></div><div><b><br /></b></div><div>The communists of classical Hollywood are at it again with this premake of <i>Revenge of the Nerds</i>, the titular nerds tasked to quantify and enumerate the eternality of love through their cynical march to progress. Cleopatra is an intellectual who sees past or at least through the tyranny of finite time and numbers (aka optics).</div><div><br /></div><div><b>THE POWER OF THE DOG</b></div><div><b><br /></b></div><div>Suffers from <i>There Will Be Blood</i> syndrome. Anderson’s confidence is overbearing as he meets his Greenwood score blow by bombastic blow, while Campion treats her score like a foreign intrusion. Nolan and Anderson get praised for their immersive quality - Campion deserves at least as much praise for not caring a bit how immersed you are. She still has a better grasp of the mystery of human sensory recall and all that it adds to storytelling, and that compensates even for how overtly artificial, clunky dramatically, and compulsively watchable this is in a <i>Secret Garden</i>, “Don’t even try starting a water cooler conversation about it (it's too unspeakable)” sort of way. May pair nicely with <i>Drive My Car</i> as (inadvertently) pop-culture-accepted works that nevertheless commendably follow the beat of their own private drum, being about the things that never can be expressed out loud or even at all.</div><div><br /></div><div><b>COMRADE X</b></div><div><br /></div><div>Chaos alternative to easy-going liberalist <i>Ninotchka</i>, King Vidor's intellectual curiosity as an artist of sociological metaphysics films stiffly a comedy without metaphysics, about characters without philosophy... only ideals (a poor substitute). "Americans aren't soulless," says Clark Gable, and Vidor's camera - perhaps indistinguishable from the usual visually-filtered American liberality we see in his other work, objectifying the wider world and finding only stark one-dimensionality - just stands by and gawks.</div><div><br /></div><div><b>HER SOCIALIST SMILE</b></div><div><b><br /></b></div><div><i>3 1/2 stars out of 5</i></div><div><b><br /></b></div><div>I’m afraid my reserved rating will push Mr. Gianvito into the arms of HBO.</div><div><br /></div><div><b>DANCE OF THE DEAD</b></div><div><b><br /></b></div><div>The clearest articulation of Hooper's automaton thesis, on things neither living nor dead, alive but not autonomous; this is both about our changing intake of art and our changing values in general. Jerry D. Metz in his essay on <i>Dance</i> in the Hooper essay collection <i>American Twilight </i>mentions how Richard Matheson's original story was about refined suit-and-tie crowds taking in the cavorting cadavers, but now, it is angry, politically ambivalent punks with cattle prods. The loss of meaning in art and the spectacle, and remarkably finding beauty in that loss of meaning, that devolvement from refinement, which necessitates his (and our) adaptation. The beauty that is front and center here is not Hooper's directorial choices but in his presenting something at all in the current times of 2005 or 2055. Hooper assesses the state of the soul, as the diegetic titular act does with its ugly and meaningless "dance," given to an allegedly "devolved" audience. The beauty is in the "why," the searching of why things have gotten this way, no longer in art but in the absence of it. Nihilism as a necessity.</div><div><br /></div><div><b>THE GIRL AND THE SPIDER - #6 IN TOP FILMS OF 2022 </b></div><div><b><br /></b></div><div>All the same tricks as <i>The Strange Little Cat</i>, it can be confused as the same film. But is it the disappointment in scale and vision it promises from that description? Nope. It is most assuredly an expansion on the first film’s family unit into a larger world of quirky <i>Amelie</i>-like communal life and breaching self-parody in its applying structuralist film pedantry onto wider living in general. It is Haneke 90210, Sirk 2.0 for social atomization. It is bigger in scope but no less fixated on inner lives. But like actual fellow structuralist Eugene Green, the Zurchers have mustered a sense of life and a pure playfulness that transcends arthouse appliqués and approaches a vivid-redundant view of the world. Ramon Zurcher himself asserts his control and discernment over his dollhouse narrative in adding Euro pop to the mix, to what was previously strictly classical in conception, in order to not keep their vision “simple” (read: “fussy”) despite it being unchanging.</div><div style="text-align: center;"><br /></div>JRhttp://www.blogger.com/profile/15544454753709801525noreply@blogger.com0tag:blogger.com,1999:blog-3175631797077198516.post-12365367497277080262022-08-20T15:12:00.006-07:002022-08-21T10:55:11.175-07:00EATEN ALIVE! A script by Alvin L. Fast, Mardi Rustam, and Kim Henkel<p style="text-align: center;"> <span style="font-family: helvetica;"><b>Adapted for the Screen by Kim Henkel</b></span></p><p style="text-align: center;"><span style="font-family: helvetica;"><b>First Time on the Internet</b></span></p><p style="text-align: center;"><b><span style="font-family: georgia;"><a href="https://www.scribd.com/document/588087050/Eaten-Alive-Script-1975-6">Read / Download</a></span><br /></b></p><p style="text-align: left;">Alvin Fast, Mardi Rustam, and Kim Henkel's (though really just Kim Henkel's) <i>Eaten Alive</i> is really a Southern-fried attempt at horror anti-formula. It is less an act of personal expression and more an act of felicitous inspiration, likely guided by the film's eventual director, Tobe Hooper. Given a prompt - the producers' exploitation proto-slasher idea based off serial killer lore of a Texas hotelier who fed his victims to a pond of alligators - Henkel would fashion another rambling Texas hang-out, but with murder and doom the final conclusions, a logical emanation of his oddball imagination, as seen in his other writing credits collaborating with Eagle Pennell on his barfly opus <i>Last Night at the Alamo</i>, and then with his own co-legacy for the needlessly inspired <i>Texas Chainsaw Massacre: The Next Generation </i>(or as its more hilarious original title, giving away its kitsch intentions, dubs it, <i>The Return of the Texas Chainsaw Massacre</i>). Boasting colloquialisms to match Arthur Miller, this is a character study of one mad psychopath Judd lost amidst a famous <i>ronde</i> that has more than a little flavor of Maupassant and the French psychological tradition. Loosy-goosy Altman comparisons have been known to be made in regards to the final film, but Henkel's convicted writerly treatment of fateful doom is too weighty with predeterminism and is honestly closer to Shakespeare.</p>JRhttp://www.blogger.com/profile/15544454753709801525noreply@blogger.com0tag:blogger.com,1999:blog-3175631797077198516.post-34587052347303911042022-08-06T17:34:00.007-07:002022-08-06T22:20:34.778-07:00RED SCARE: THE MAKING OF TOBE HOOPER'S I'M DANGEROUS TONIGHT<p><span face="TwitterChirp, -apple-system, "system-ui", "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="background-color: white; color: #0f1419; font-size: 20px; white-space: pre-wrap;">The resident Hooper storyteller is back with a book about the film on everyone's tongues, <i>I'm Dangerous Tonight</i>!</span></p><p><span face="TwitterChirp, -apple-system, "system-ui", "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="background-color: white; color: #0f1419; font-size: 20px; white-space: pre-wrap;">We all know Hooper was an idiosyncratic guy, one who earned the affection and raised the ire of the many whose paths the man crossed. But have you ever wondered where'd you fall if you were on one of his sets? Take the virtual mind's-eye tour with this very special book by wordsmith Stan Giesea, with introduction by savant of ideas and polemics, the incomparable Scout Tafoya, with artwork by artist (and filmmaker) Patrick Horvath.</span></p><p><span face="TwitterChirp, -apple-system, "system-ui", "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="background-color: white; color: #0f1419; font-size: 20px; white-space: pre-wrap;">Support independent writers and buy it on Lulu. I've read it, it's worth it, and it's a lovely tribute to an artist we love!</span></p><p style="text-align: center;"><span face="TwitterChirp, -apple-system, "system-ui", "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="background-color: white; color: #0f1419; font-size: 20px; white-space: pre-wrap;"><a href="https://www.lulu.com/shop/stan-giesea/red-scare/paperback/product-krjv7m.html?q=red+scare&page=1&pageSize=4">BUY</a> <a href="https://www.lulu.com/shop/stan-giesea/red-scare/paperback/product-krjv7m.html?q=red+scare&page=1&pageSize=4">IT</a> <a href="https://www.lulu.com/shop/stan-giesea/red-scare/paperback/product-krjv7m.html?q=red+scare&page=1&pageSize=4">HERE</a></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://assets.lulu.com/cover_thumbs/k/r/krjv7m-front-shortedge-384.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="384" height="640" src="https://assets.lulu.com/cover_thumbs/k/r/krjv7m-front-shortedge-384.jpg" width="427" /></a><br /><br /></div>JRhttp://www.blogger.com/profile/15544454753709801525noreply@blogger.com0tag:blogger.com,1999:blog-3175631797077198516.post-43569607406714444962021-12-18T01:39:00.019-08:002021-12-18T22:11:53.726-08:00SMOLDERING EMBERS<p style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/a/AVvXsEgXFsyAQj59ycOMVjGnx6O0iUiyr3NxIww8U4BKsf1kg9FnMYy8IEvK-9703-g0fQ0Ss636I8hakYn0nIBX5syIdCYhlXc7xfWOe6qmAyRPH5_GO9fOnajHIDCnqpPnX3y9uMk8zXFJSxgXPRUwhOnC-iRwDhBMLoXJIVGHvckMTy00bZ9hOp0S-L9y=s480" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="314" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEgXFsyAQj59ycOMVjGnx6O0iUiyr3NxIww8U4BKsf1kg9FnMYy8IEvK-9703-g0fQ0Ss636I8hakYn0nIBX5syIdCYhlXc7xfWOe6qmAyRPH5_GO9fOnajHIDCnqpPnX3y9uMk8zXFJSxgXPRUwhOnC-iRwDhBMLoXJIVGHvckMTy00bZ9hOp0S-L9y=w418-h640" style="border: medium none; margin: 0px 10px 0px 0px;" width="418" /></a></p><a href="https://www.amazon.com/dp/1939282500?&linkCode=sl1&tag=miniverpress-20&linkId=89d62be04ec86d34aef6e72857d47f9b&language=en_US&ref_=as_li_ss_tl&fbclid=IwAR3pI1TT2_nGVB7XEPJF1Ls8u6po5lSI25PXyy0K1W3tjRy-ivZ2zCgKARk">Buy it now</a>! A rare perspective of, so far as my estimation goes, one of the most important acts of putting to film in the history of the art form. Chock full of goodies, it is a chronicle of the making of Tobe Hooper's <i>Spontaneous Combustion</i>, no longer worthy of the subtitle "a folly in the making," and so can be classified in the proper library section of a celebration, one about one's relationship to an act of creation. A natural part of the <i>Spontaneous Combustion</i> extended half-life, an impossibility of atoms reserved only for great artists and genuine enigmas, how Stan possibly could have known is a question for him (and which you may possibly find an answer in the book)!<br /><br />JRhttp://www.blogger.com/profile/15544454753709801525noreply@blogger.com0tag:blogger.com,1999:blog-3175631797077198516.post-81039546234429658722021-12-17T23:30:00.002-08:002021-12-18T22:15:09.603-08:00Review of 'American Twilight' by Thomas Puhr<p><i><span> </span><span style="font-family: georgia;"><span> </span>"We're all just victims of the times."</span></i></p><p style="text-align: right;">(<span style="font-family: georgia;"><span style="font-size: small;">The character of Pam in the original shooting script of <i>'The Texas <br />Chain Saw Massacre')</i></span></span></p><p>In lieu of my own (unwritten) rundown of the new <i>American Twilight</i> collection of essays, I'm grateful someone else has taken it upon themselves to provide an intended overview of the book and demonstrate the breadth of both: a) the spectrum of pieces themselves, and b) what they reveal of Hooper's filmography: that, while clear now after bated time, the breadth of the works together has always been a vital continuum, duly, and first, showing us how one can meld artistic expression, current trends, and an osmosis of societal factors, and then patiently waiting for its time that it can make its most needful impact.</p><p><a href="http://filmint.nu/american-twilight-the-cinema-of-tobe-hooper-review-thomas-puhr/" target="_blank">'The House That Hooper Built - American Twilight: The Cinema of Tobe Hooper,' review by Thomas Puhr</a></p><p><i>American Twilight</i> shows a group of people being willing to put the work in to advance an unusual but important perspective, and I for one, who is not an academic by any means, hope to advance it myself in ways that hopefully do not suffer from my lack of a formal discipline. For now, we have the acceptance that this is a conversation between multiple people that is worth having.<br /><br /></p>JRhttp://www.blogger.com/profile/15544454753709801525noreply@blogger.com0tag:blogger.com,1999:blog-3175631797077198516.post-62667917563749110702021-11-29T17:39:00.002-08:002021-11-29T17:46:44.470-08:00We're Still Talking<div style="text-align: left;">Thanks to Joe Bob Briggs for the pomp, circumstance, and know-how. That is a man for whom reasoned expertise is second nature. University of Texas Press and the "American Twilight" editors took the momentum to graciously invite the speakers from the Joe Bob Briggs event back to cover things more in-depth.<br /></div><p style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/qpu0gWDHy1g" title="YouTube video player" width="560"></iframe></p><p style="text-align: left;"><i>(Above) </i>Scout Tafoya leads a far-reaching conversation full of allusions with "American Twilight" editor Will Dodson that covers all of Hooper's marginalized TV work and the politics of distrust and paranoia subsumed into all of them, not as a sharpened or pointed political sling (often manifested as satire in those outside works) but as a general malaise of anger and rebellion. The Bush presidential cabinet is a particular target for Hooper's, and the participants', disdain.<br /></p>
<p style="text-align: center;"></p><p style="text-align: center;"></p><p style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/bTKI4boxVO0" title="YouTube video player" width="560"></iframe></p><p style="text-align: left;"><i>(Above)</i> First-hand observer of Hooper's working methods Stan Giesea and someone who looks an awful lot like myself provide, with the help of moderating presence Dr. Will Dodson, PhD, a more focused, smaller-in-scope discussion on ideas barely formed and secrets unlocked, but put forth in the shape Hooper scholarship has so far taken, which is theses, manifestos, and histories yet to be written. "American Twilight" is of course the ideal of where scholarship can go, but we show how a live Hooper seminar might play in the future after a few speech lessons and public speaking tutorials.<br /></p>
<p style="text-align: center;"> <iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/QOc6HokjHAU" title="YouTube video player" width="560"></iframe></p><p style="text-align: left;"><i>(Above)</i> Co-editors Kristopher Woofter, PhD. and Will Dodson, PhD. discuss the themes running through their writers' essays and get surprisingly passionate about underrated Hooper films from <i>The Funhouse </i>to <i>Crocodile</i> and <i>Mortuary</i>. Getting matter-of-fact about <i>Poltergeist</i> is the evolution of Hooper discourse. </p>JRhttp://www.blogger.com/profile/15544454753709801525noreply@blogger.com0tag:blogger.com,1999:blog-3175631797077198516.post-41442002518345720252021-10-16T13:20:00.004-07:002021-10-16T13:26:40.618-07:00References for AMERICAN TWILIGHT Livestream Event (With Joe Bob Briggs)<p><a href="https://www.youtube.com/watch?v=S8JWWVOh91A">Invaders from Mars Rough Cut (Raw)</a></p><p>John 'Bud' Cardos's and Tobe Hooper's and Julius Banzon's <a href="https://vimeo.com/425366950">The Dark Re-cut</a></p><p><a href="http://cranialblowout.blogspot.com/2017/12/thas-anatomizing-dark.html">Anatomizing 'The Dark'</a> - Long article on <i>The Dark</i></p><div style="text-align: left;"><a href="https://twitter.com/hooperandthdark">The Dark Twitter</a> - Where it is revealed Hooper's early shooting work on the film took place largely in Karen Black's home as a location! Karen Black must have been a longtime acquaintance, as she was then married to his future <i>Texas Chainsaw Massacre 2</i> screenwriter and fellow Texan L.M. Kit Carson. </div><div style="text-align: center;"><br /></div>JRhttp://www.blogger.com/profile/15544454753709801525noreply@blogger.com0tag:blogger.com,1999:blog-3175631797077198516.post-68523239761053164582021-10-14T02:40:00.007-07:002022-06-23T22:20:01.027-07:00SPONTANEOUS COMBUSTION: THE ROUGH CUT RECONSTRUCTION (V.1)<div style="text-align: center;"><a href="https://www.youtube.com/watch?v=fTzNZXkTL_c" target="_blank">https://www.youtube.com/watch?v=fTzNZXkTL_c</a></div><p style="text-align: center;"><i>A glimpse into what could have been.</i></p><p style="text-align: center;">It is by and large the same film.</p><p style="text-align: center;">Hooper is no editor.</p><p style="text-align: center;">But this is the <i>Spontaneous Combustion</i> as borderless genre soap opera he imagined.</p><p style="text-align: center;">Kiyoshi Kurosawa went on to make similar films, predominantly the monstrous romances, with <i>Loft </i>and <i>Daguerrotype.</i></p><p style="text-align: center;">(Unfortunately, YouTube has flagged the video for copyright reasons from being viewable in essentially all territories outside the US. If you are an international viewer and would like to watch this reconstruction cut, please reply or message me directly.)</p><p style="text-align: center;"><i><br /></i></p>JRhttp://www.blogger.com/profile/15544454753709801525noreply@blogger.com0tag:blogger.com,1999:blog-3175631797077198516.post-2242362254787397612021-09-16T15:47:00.001-07:002021-09-16T15:48:05.544-07:00"American Twilight" Excerpt: Final Chapter, "Tobe Hooper and the American Twilight" (Christopher Sharrett)<p style="text-align: center;"> <b style="text-align: center;">(Click-through to read)</b></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="http://filmint.nu/tobe-hooper-and-the-american-twilight-christopher-sharrett/" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="177" data-original-width="643" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWLfdDdd2CgmT3MHc9iuT446AHQ3durb_gB98VESw6hvhRUTmz_EfL0kcKtd5G6aB9dBZ06Ubr-oJ8fWRVtrV5uQACVV9KOhhIULXwvnpcOXnwR8Jww-hvlbBealfrczSjd4rDvhIRwPQ/w640-h176/Screen+Shot+2021-09-15+at+2.46.16+PM.png" width="640" /></a></div></div><div><br /></div><blockquote><span><span><span style="background-color: white; color: #111111;"><span style="font-family: georgia; font-size: medium;">"My point is that Hooper, like these other men, was constrained by money, his greatness hampered by money issues – although his first masterpiece was as low-rent as one could imagine. Still, that kind of cinema, with its intelligence and wit, may thrive precisely because of its status in its day, a “poverty row” piece of lowbrow drivel never to be taken seriously except by a few nuts who like to overthink such things.</span></span></span></span> <span><span><span style="background-color: white; color: #111111;"><span style="font-family: georgia; font-size: medium; word-spacing: 1px;"><br />
<p>(...)<br /> <br /></span><span style="font-family: georgia; font-size: medium;"><span style="word-spacing: 1px;">Hooper was as aware of the end of the American utopian aspiration as Romero, his greatest colleague. His ability to realize fully all of his visions was more limited than Romero’s, but what he did achieve is remarkable.</span></span></span></span></span><span style="background-color: white; color: #111111; font-family: georgia; font-size: large; word-spacing: 1px;">"</span></blockquote><div><p>Sharrett, 2021</p></div>JRhttp://www.blogger.com/profile/15544454753709801525noreply@blogger.com0tag:blogger.com,1999:blog-3175631797077198516.post-23749998142261544552021-09-15T14:33:00.006-07:002021-09-15T14:42:37.379-07:00"American Twilight" Excerpt: Introduction<p style="text-align: center;"> <b>(Click-through to read)</b></p><div class="separator" style="clear: both; text-align: center;"><a href="http://filmint.nu/tobe-hooper-peter-paul-and-mary-the-song-is-love-kristopher-woofter-will-dodson/" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="179" data-original-width="626" height="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1iwR2-URPPp2jMZUd7mDWqsZ4QhyphenhyphenXzR-81LIDhd5My7Ohi_wTKPe9zFAGogAaJlFuMp0qmjFcPUVh4k6zjhe1KTSQsI0JOlAtnBnMdTK7oggj6myuw3vyEHvRVyR70FNGAWZO1SwAQVM/w640-h184/Screen+Shot+2021-09-15+at+1.51.15+PM.png" width="640" /></a></div><div><br /></div><blockquote><span><span><span style="font-family: georgia; font-size: medium;">"<em style="box-sizing: inherit; color: #111111; word-spacing: 0.3px;">The Song Is Love</em></span><span style="background-color: white; color: #111111; word-spacing: 1px;"><span style="font-family: georgia; font-size: medium;">, named after the 1967 song by the trio, is an inspired combination of political documentary and experimental portraiture, organized around personal statements by each band member. Mixing performance footage with candid interviews, musings by the band members in nature and backstage, and footage of the members marching and speaking at political rallies, the film is a meditation on America’s troubled politics, at home and abroad. Interviewed about the film, Hooper averred, “It’s not a documentary, […] and it’s not necessarily ABOUT Peter, Paul and Mary, although they are featured in it” (quoted in Worley 1970).
<br /> </span><p><span style="font-family: georgia; font-size: medium;"> Several candid moments serve as structuring set pieces, in which the three artists discuss freedom of artistic expression, and the political limitations on that freedom. Hooper parallels these intimate statements with the band members’ more public-facing protests for equal rights.<br /> </span></p><p><span style="font-family: georgia; font-size: medium;"> (...)
<br /> </span></p><p><span style="font-family: georgia; font-size: medium;"> Such feelings about the freedom and power of art against the expectations of the industry seem portentously relevant to Hooper’s own career, since the director was politically and artistically second-guessed at every turn. Though Hooper could not have predicted his future struggles inside and outside the Hollywood juggernaut, he fashioned a documentary that consciously blended the politics of freedom and equality with investigations of free artistic self-expression under stress."</span></p><p style="font-family: arial; font-size: 15px;"></p><p style="font-family: arial; font-size: 15px;"></p></span></span></span></blockquote><div><p style="text-align: left;">Woofter/Dodson, 2021<br /></p></div>JRhttp://www.blogger.com/profile/15544454753709801525noreply@blogger.com0tag:blogger.com,1999:blog-3175631797077198516.post-43068498115480094012021-09-14T00:38:00.002-07:002021-09-19T02:17:00.507-07:00IT'S COMING. IT'S HERE.<p style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDKTzu28n3dJLV5An8OpGstQ20xHCf0rkAZFBmqfwbpBotcPjR1iW1LESj3ey6p8MvSdL8UqZSooP5E9rRXtiNS8FtXK49y63f2ELJ7MgtMKYkLIPrIcbst4K_JcdlNVr-Vp5w7mCuZ-Y/s571/woofter-7555-s21-c+%25281%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="571" data-original-width="378" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDKTzu28n3dJLV5An8OpGstQ20xHCf0rkAZFBmqfwbpBotcPjR1iW1LESj3ey6p8MvSdL8UqZSooP5E9rRXtiNS8FtXK49y63f2ELJ7MgtMKYkLIPrIcbst4K_JcdlNVr-Vp5w7mCuZ-Y/w424-h640/woofter-7555-s21-c+%25281%2529.jpg" style="border: none; margin: 0px 10px 0px 0px;" width="424" /></a></p><p style="text-align: left;">The first academic collection of essays devoted to Tobe Hooper's career - entitled <i>American Twilight: The Cinema of Tobe Hooper</i> - has finally been curated and assembled by editors Kristopher Woofter and Will Dodson (who contribute their own essays within the book) and released by the University of Texas Press publishing outfit.</p><p style="text-align: left;">Released in <b>June 2021</b>, it is still fresh in the minds of its readers and non-readers (I am lucky to have counted myself in the former group since May, after receiving an early copy in the mail, a real moment of hope and beauty in difficult times) and nonpareil in its in-depth analyses and contributions to a scholasticism of a marginal career and what Hooper means to the landscape of genre. Promotions are planned and it is an illustrious initiation to upcoming Hooper releases, such as <i>I'm Dangerous Tonight</i> coming to Blu-Ray from Kino Lorber, a possible <i>Poltergeist</i> 4K release for its 40th Anniversary, and a book on the making of <i>Spontaneous Combustion</i> by writer Stan Giesea.</p><p style="text-align: left;">For information and purchasing options: <a href="https://utpress.utexas.edu/books/woofter-dodson-american-twilight" target="_blank">UTPress Book Listing</a> / <a href="https://www.amazon.com/American-Twilight-Cinema-Tobe-Hooper/dp/1477322833" target="_blank">Amazon</a> / <a href="https://www.amazon.com/American-Twilight-Cinema-Tobe-Hooper-ebook/dp/B08LMK6DRR/ref=tmm_kin_swatch_0?_encoding=UTF8&qid=&sr=" target="_blank">Kindle</a></p><p></p>JRhttp://www.blogger.com/profile/15544454753709801525noreply@blogger.com0tag:blogger.com,1999:blog-3175631797077198516.post-25169526137965576272021-04-11T17:14:00.000-07:002021-05-24T13:35:13.819-07:00NEW HOOPER BOOK: CINEMAPHAGY by Scout Tafoya<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1614868271i/57307421._UY2304_SS2304_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="400" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1614868271i/57307421._UY2304_SS2304_.jpg" width="400" /></a></div><p></p><p>So I've pored over and thoroughly imbibed the rich offerings of critic/author/filmmaker/loyal Hooper acolyte Scout Tafoya's new offering in Tobe Hooper scholasticism (buy it online at most booksellers, digital copy also available on Amazon Kindle), and took in his many insights which hit like lightning strikes within Tafoya's oddly business-minded but nonetheless voluminous prose, but his after-release postmortems for various publicity blogs may include the clearest declarations of intent and most candid and impassioned statements on the schisms of perception when it comes to what Hooper was doing and what only he was ever allowed to do in his career pocked by circumstances:</p><p><span><span style="font-family: inherit;">"<span style="background-color: white; color: #343434;">As in </span><i style="background-color: white; color: #343434;">Mortuary</i><span style="background-color: white; color: #343434;">, Hooper saw the GOP infecting the people, the land, the sky, everything it touched with its “good old days”. Rhetoric of a return to norms while the flesh was melted off the bones of their opponents – foreign policy at least as old as the Vietnam war he none too subtly opposes in both </span><i style="background-color: white; color: #343434;">Eggshells</i><span style="background-color: white; color: #343434;">, his study of a Texas commune, and </span><i style="background-color: white; color: #343434;">The Song is Love</i></span><span style="color: #343434;"><span style="background-color: white; font-family: inherit;">, his concert doc featuring a show stopping performance from the unlikely likes of Peter, Paul, and Mary."</span><span style="font-family: georgia;"><span style="background-color: white;"> </span><span style="background-color: white;"><br /></span></span></span></span><a href="http://www.dosomedamage.com/2021/03/scout-tafoya-on-films-of-tobe-hooper.html">http://www.dosomedamage.com/2021/03/scout-tafoya-on-films-of-tobe-hooper.html</a></p><p><span><span style="font-family: inherit;"><span style="color: #222222; letter-spacing: -0.174636px;">"All that rich text just </span><em style="-webkit-font-smoothing: antialiased; color: #222222; letter-spacing: -0.174636px;">sitting there</em><span style="color: #222222; letter-spacing: -0.174636px;">. That was why I wanted to write Cinemaphagy. Class and money are still such silent but heavy forces in cinema studies. You lose money and you’re off the cultural radar. Look at Michael Cimino. Everyone talks about </span><em style="-webkit-font-smoothing: antialiased; color: #222222; letter-spacing: -0.174636px;">Deer Hunter </em><span style="color: #222222; letter-spacing: -0.174636px;">(1978), no one talks about </span><em style="-webkit-font-smoothing: antialiased; color: #222222; letter-spacing: -0.174636px;">Desperate Hours </em><span style="color: #222222; letter-spacing: -0.174636px;">(1990). Just how it goes. You fuck with a producer’s bottom line and the critical establishment is only too happy to do the moneymen the favor of burying them. Hooper was hidden real good. Only his friends could see where they buried him, and they’d occasionally give him work but his reputation never grew past </span><em style="-webkit-font-smoothing: antialiased; color: #222222; letter-spacing: -0.174636px;">The Texas Chain Saw Massacre</em></span><span style="color: #222222; letter-spacing: -0.174636px;"><span style="font-family: inherit;"> (1974). Even now it’s tough to get people to take him seriously."</span><span style="font-family: georgia;"><br /></span></span></span><a href="https://frame.land/hooper-dreams-why-i-wrote-cinemaphagy/">https://frame.land/hooper-dreams-why-i-wrote-cinemaphagy/</a></p>JRhttp://www.blogger.com/profile/15544454753709801525noreply@blogger.com0tag:blogger.com,1999:blog-3175631797077198516.post-27183473538541767362021-04-10T14:54:00.009-07:002022-06-11T12:53:35.712-07:00Odds & Ends, Yet Again<p>Experience Tobe Hooper's <i>Invaders from Mars </i>in a new way. An experimental one-to-one fusion of the theatrical version and the VHS-ripped rough cut that has made its way online <a href="https://www.youtube.com/watch?v=S8JWWVOh91A&" target="_blank">here</a>, this is hypothetical in many ways and something actually quite personal in others (the sharp-eyed fans of the film in its original form may notice a completely gratuitous cut made without any precipitation in the latter half of the film, and this was made only to exert some sort of power and predominance over the film, better to not confuse it for anything authorized or completely anyone's vision but my own - to the extent whatever that means).</p><div class="separator" style="clear: both; text-align: center;"><a href="https://pbs.twimg.com/media/Ep6IV4qU0AIxKJX?format=jpg&name=900x900" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="500" src="https://pbs.twimg.com/media/Ep6IV4qU0AIxKJX?format=jpg&name=900x900" /></a></div><p>It can ultimately be said that the best way to experience either <i>Invaders from Mars</i> or its rough cut are separately, as the rough cut gains (and earns) a quiet beauty by being raw and unmediated by post-production sound mixing and scoring, while the logy and lumpy pacing of <i>Invaders from Mars</i> by nature - one will notice, especially from watching the rough cut, that it's the rare Hooper feature that takes place explicitly over multiple days, laying out clearly its methodical passage of time (something I eventually argue is a thematic and philosophic point of the film) - becomes even more enervating when accommodating for the switching media.</p><p>I recommend all give it a chance, though, as it shows a film that was the original intent and that seemed to have had better grasp of the roiling ideas contained within it.</p><p>Watch it here: <span style="color: #0000ee;"><u>https://www.youtube.com/watch?v=S4USz5Whrq4</u></span></p><p><b>ACCOMPANYING TEXT TO 'INVADERS FROM MARS: THE SUPER CUT'</b></p><p class="first" style="background-color: white; box-sizing: border-box; color: #1a2e3b; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 0.875rem; letter-spacing: 0.01rem; line-height: 1.42857; margin: 0px 0px 1.25rem; max-width: 44rem;">This is an unofficial experimental supercut combining Tobe Hooper's extant rough cut of the first hour and 19 minutes of the film and the full theatrical cut released by Cannon Films. The rough cut footage was taken from a VHS duplication of the director's in-progress cut, and thus reflects the video quality of the source. Rather than try to simply reinstate the larger deleted or altered sequences back into the movie in chunks, I frame by frame matched the two cuts and reconstructed every instinctual editing choice made in the rough cut phase, which ranged from the substantial to the miniscule. This was in order to present as closely as possible a "What Could Have Been" cut, that is, as if Hooper's initial desire of what his film would be actually made it to the screen.</p><p style="background-color: white; box-sizing: border-box; color: #1a2e3b; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 0.875rem; letter-spacing: 0.01rem; line-height: 1.42857; margin: 0px 0px 1.25rem; max-width: 44rem;">Big thank you to those who've supported, cheerleaded, and those who viewed my initial demo of the film. Explicitly personal touches were added that one may or may not notice (the most suggestive of "creative liberties" more often than not involved sound work and musical choices). Acknowledgements to filmmaker Christofer Pallu for mostly suggesting to add sound effects for the outdoor radar device and the bold, cosmetic statement to chromakey Hooper's credit over the shot of the house, but also for his enthusiasm for the project and audio editing advice.</p><p style="background-color: white; box-sizing: border-box; color: #1a2e3b; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 0.875rem; letter-spacing: 0.01rem; line-height: 1.42857; margin: 0px 0px 1.25rem; max-width: 44rem;">The frame by frame matching was actually a more necessary and complicated process than one would think, as the final cut exhibited not only deletions, but chronological reediting and swapped takes. Thus, take the following into consideration:</p><p style="background-color: white; box-sizing: border-box; color: #1a2e3b; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 0.875rem; letter-spacing: 0.01rem; line-height: 1.42857; margin: 0px 0px 1.25rem; max-width: 44rem;">* scenes existing in the final film will appear here but in rough cut quality. This is most likely because entirely alternate takes were used in place of those initially incorporated.<br style="box-sizing: border-box;" />* Shots may have been used in the final cut but utilized in a different capacity or at a different point. Thus, a "clean" final cut shot will be used momentarily within a scene that is by and large non-existent in the final cut.<br style="box-sizing: border-box;" />* Scenes were restructured back to the original ordering and chronology of Hooper's rough cut.<br style="box-sizing: border-box;" />* This is not even to bring up the scoring and sound work. The "personal" and "experimental" side comes up here, with musical workarounds used to change the tone of the film in the way I felt would have been closer to Hooper's primary intentions. The most glaring example would be the replacement of the opening credits theme used in the final cut with what is listed on the film's original soundtrack as "Original Intro and Main Title." In the process of constructing, it was discovered the cue known as "Original Intro and Main Title" was simply displaced, being not used in the opening titles, placed over the scene in which the parents put David to bed in its entirety as a soft, catch-all underscoring. Feeling this was an artificial rendering of the scene resultant of a utilitarian mindset - "if you got it/paid for it, use it" - and a desire to make the film play smoother, I used the rough cut audio in order to go without the scoring. Use of various cues from the original soundtrack recording is also done on occasion, particularly difficult as Christopher Young's score itself was subject to a similar sort of gutting, the film essentially scored twice - once by Young, a second pass, one of synthesizer atmospherics, by David Storrs - and so parsing what made it into the film and what didn't remains, even for me, after poring through the film for the last three months, incredibly difficult.</p><p style="background-color: white; box-sizing: border-box; color: #1a2e3b; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 0.875rem; letter-spacing: 0.01rem; line-height: 1.42857; margin: 0px 0px 1.25rem; max-width: 44rem;">You can view the raw rough cut footage - before I tried to conform it to some level of theatrical presentation - or enjoy the Rough Cut as its own whole piece here: <a href="https://www.youtube.com/watch?v=S8JWWVOh91A&t=124s" rel="nofollow noopener noreferrer" style="appearance: none; background-color: transparent; border: 0px; box-sizing: border-box; color: #00adef; cursor: pointer; display: inline-block; font-size: inherit; line-height: inherit; padding: 0px; position: relative; text-decoration-line: none; transition: all 0.1s ease-in-out 0s;" target="_blank">youtube.com/watch?v=S8JWWVOh91A&t=124s</a></p><p style="background-color: white; box-sizing: border-box; color: #1a2e3b; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 0.875rem; letter-spacing: 0.01rem; line-height: 1.42857; margin: 0px 0px 1.25rem; max-width: 44rem;">A statement on the rough cut:</p><p style="background-color: white; box-sizing: border-box; color: #1a2e3b; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 0.875rem; letter-spacing: 0.01rem; line-height: 1.42857; margin: 0px 0px 1.25rem; max-width: 44rem;">"... Clearer intentions are found in the more fragmented editing...</p><p style="background-color: white; box-sizing: border-box; color: #1a2e3b; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 0.875rem; letter-spacing: 0.01rem; line-height: 1.42857; margin: 0px 0px 1.25rem; max-width: 44rem;">The rocket destruction scene is symptomatically reconstructed into a slack, Cannon spectacle in the Cannon cut... [which] eliminates dialogue and re-chronologizes the sequence... whereas here it's a fragmentary confusion of splintered world-views.</p><p style="background-color: white; box-sizing: border-box; color: #1a2e3b; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 0.875rem; letter-spacing: 0.01rem; line-height: 1.42857; margin: 0px 0px 1.25rem; max-width: 44rem;">In its clearer demonstration of David as our proletariat hero... in its bolder assertion of time in the face of illusionary, dreamed spectacle, we see what Hooper truly intended. The intentions and placidity of the rough cut make are undeniably superior."</p><p style="background-color: white; box-sizing: border-box; line-height: 1.42857; margin: 0px 0px 1.25rem; max-width: 44rem;"><span style="font-family: Times; font-size: medium;">—————————————————————</span></p><p style="background-color: white; box-sizing: border-box; color: #1a2e3b; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 0.875rem; letter-spacing: 0.01rem; line-height: 1.42857; margin: 0px 0px 1.25rem; max-width: 44rem;"><span style="color: black; font-family: Times; font-size: medium; letter-spacing: normal;">Also included at my Vimeo is my 2020 recut of <i>The Dark</i>, directed by John 'Bud' Cardos, but with "contributions" by Tobe Hooper. It is one of my favorite films, and was even more of a labor of love than the <i>Invaders from Mars</i> recut. It removed all post-production tampering by the producers to turn it into an alien sci-fi film rather than the supernatural thriller it was intended to be.</span></p><p class="first" style="background-color: white; box-sizing: border-box; color: #1a2e3b; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 0.875rem; letter-spacing: 0.01rem; line-height: 1.42857; margin: 0px 0px 1.25rem; max-width: 44rem;">"This re-cut of John 'Bud' Cardos's THE DARK involves no commercial interest, but, under fair use law, it does wish to rip the film away from the historic avarice of its producers and reclaim a vision that was much stronger than their misappropriation could ever be. So this isn't just for education, either - this is fair use under criticism/comment that involves piracy and smuggling, the only proper response to its producers... one of who, Edward L. Montoro, is actually a literal crook, absconding with an embezzled fortune to an equatorial region in the early 80s to never be heard from again.</p><p style="background-color: white; box-sizing: border-box; color: #1a2e3b; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 0.875rem; letter-spacing: 0.01rem; line-height: 1.42857; margin: 0px 0px 1.25rem; max-width: 44rem;">"THE DARK: RECUT is not only a proper excising of studio/producer impositions but also partly a historical record of THE DARK, in particular, Tobe Hooper's role in it."</p><p style="background-color: white; box-sizing: border-box; color: #1a2e3b; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 0.875rem; letter-spacing: 0.01rem; line-height: 1.42857; margin: 0px 0px 1.25rem; max-width: 44rem;">[End excerpt]"</p><p style="background-color: #14181c; border: 0px; color: #99aabb; font-family: TiemposTextWeb-Regular, Georgia, serif; font-size: 15px; line-height: inherit; margin: 0px 0px 10px; outline: 0px; padding: 0px; vertical-align: baseline;">"In the tradition of RAISING CAIN RE-CUT, THE DARK RE-CUT (2020) aims to restore the original integrity behind a film that some love, most simply have no thoughts about at all. But it’s the principle of the thing. In the year between THE DARK’s filming and its release in January 1979, producers, anticipating the release of Ridley Scott’s ALIEN and noticing the increasing popularity of “space” films from STARS WARS to CLOSE ENCOUNTERS, decided to turn what was a creature feature (one involving a monstrous entity stalking the LA streets and committing a murder every night, a monster of which our inability to explain was the very point of the original story) into a space invader flick, reediting every murder into an attack by an eye-laser-shooting alien using cheap opticals and superimposed stock explosions. Reshoots occurred to implement actual fire effects into the big monster showdown in the end, beginning and end titles imploring of the vastness of space were added, and the rest is history. In the end, even John ‘Bud’ Cardos, who didn’t even develop or work on the preproduction of the film - rather, it was developed by Tobe Hooper himself - was caught off-guard by this imposition by the producers. THE DARK (1979) is a rich text concerning the coexistence of clashing egos, the workings of civil society as a tapestry meant to function as a whole, the illusion of state protection, the nature of fear as a natural outgrowth of social constructs, and the idea of darkness as what hides yet contains that which we fear, so much as being a reminder of a state pre-consciousness and pre-society. This may not all come to fruition in the film that was ultimately removed from Tobe Hooper’s hands, but what remains or is sensed of his and John ‘Bud’ Cardos’s efforts deserves at least the saving from one of the most cynical and scornful moves in producership history.</p><p style="background-color: #14181c; border: 0px; color: #99aabb; font-family: TiemposTextWeb-Regular, Georgia, serif; font-size: 15px; line-height: inherit; margin: 0px 0px 10px; outline: 0px; padding: 0px; vertical-align: baseline;">THE DARK: RECUT is not only a proper excising of studio/producer impositions but also partly a historical record of THE DARK, in particular, Tobe Hooper's role in it.”</p><p style="background-color: white; box-sizing: border-box; color: #1a2e3b; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 0.875rem; letter-spacing: 0.01rem; line-height: 1.42857; margin: 0px 0px 1.25rem; max-width: 44rem;"><span style="color: black; font-family: Times; font-size: medium; letter-spacing: normal;"><a href="https://vimeo.com/425366950">The Dark Re-Cut</a><br /></span></p><p style="background-color: white; box-sizing: border-box; color: #1a2e3b; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 0.875rem; letter-spacing: 0.01rem; line-height: 1.42857; margin: 0px 0px 1.25rem; max-width: 44rem;"><a href="https://www.facebook.com/THEDARKRECUT/">Follow the Facebook page</a><br /></p>JRhttp://www.blogger.com/profile/15544454753709801525noreply@blogger.com0tag:blogger.com,1999:blog-3175631797077198516.post-78585579159627767762021-04-10T13:28:00.007-07:002021-05-24T14:15:06.849-07:00Odds & Ends<p><i>Some capsule reviews I've written in the meantime of Hooper's films. Presented in rough chronology, so the repeating of titles and autobiographical elements within the reviews creates an interesting semi-narrative.</i></p><p><b>THE FUNHOUSE</b></p>Many great horror films are war films, in that they're about two opposing parties facing off in ideological or existential opposition. This is the greatest horror-battle film, half the parties unaware they represent a side in a war and that their actions and strategy (or non-strategy) are outright effecting the fate of their respective brothers-in-arms. The subtext is made into the text, which is the subtext, and this is through seeing these structures while the characters never do. The sound design is the ultimate piece completing the <i>Gesamtkunstwerk</i> here (and this should be played loud), as background dialogue, whispered back-and-forth, and repeated whimpers fill out the ever-strategizing, ever-blinkering, of an eternal war.<div><br /></div><div><b>THE TEXAS CHAIN SAW MASSACRE</b></div><div><b><br /></b><div>This is not a film of exposition, but more a series of scenic warning signs. There is no attempt to create a comprehensive view of our characters and we do not get to know them, they are merely the human figures in a film made up of cautionary events, conceived in Hooper and Henkel's liberally-dispersed and more writerly gestures, incarnate in Hooper's deliberate invention that determines gesture as just that. So extreme are its depictions of irrational terror and social entropy that it forgoes its claims to naturalism early on, tapping into underlying structures and artful syncopation that work on you at a subconscious level, much like a fairy-tale that knows what information to give out and what of its story to truncate and remix. Sally running into a branch leading to an extended moment of disorientation is the point at which the film no longer seems to wish to hide its claims to artifice. Like Hooper's double-window-jumping, the branch is clearly contrived, not to throw an extra jolt in but to support the three-pronged journey Sally embarks on (once her and Franklin enter the woods), acting as a final consecrating indignity - one at a final station of the cross - before the plot can move forward. Only Hooper can make a chaotic chase through a nettled copse geographically and structurally coherent, and Hooper does this because he has established the old Franklin house, he's established the Sawyer house - Sally's journey within it, itself, is an up-down-up structured movement - he establishes the gas station (using incredible tracking shots), and he never introduced that branch. I also noted the "humor" of the scene where Sally is finally brought into the Sawyer house as a captive, of which Hooper has often expressed feeling disappointed when audiences would be too terrified to catch on to that humor. It is less outright humor, though, than it is the sharpness of his editing and the rhythm he finds in the three cannibals' interactions, and I think Hooper knew this. He was not making a comedy, but he was making a hyper-observant portrait of inter-social behavior. The dinner scene is the apex of all of Hooper's ideas of the death-image, but he also shows remarkable dramatic continuity even amidst the chaos. I like how Leatherface is often quite peripheral in the scene, and it is only when Sally is not explicitly facing off with the Hitch-Hiker, who engages her the most directly and the most cruelly, providing the bulk of the drama in the scene, that Leatherface finally gets his moment with a repeat motion, silently creeping toward Sally, a curious hulk seen only through Sally's craning POV. </div><div><br /></div><div><b>THE TEXAS CHAINSAW MASSACRE 2</b></div><div><b><br /></b></div><div>Feels rushed in the making, but if L.G.’s holy-coded denouement and Jesus arc doesn’t suggest simply another Tobe Hooper passion play, then I’m moved for nothing.</div><div><br /></div><div><b>POLTERGEIST</b></div><div><br /></div><div> 100% Hooper. Spielberg would never make this awkward, slow, imagistic, and bogged-down-by-images (and pauses, and rhythmic digressions) of a film. The story and script are nonsense, this is merely an experiment in narrative storytelling. Spielberg's pretense of narrative through an emotive frivolity is undone by Hooper's seriousness with everything that juxtaposes unnaturalness in supposedly prescribed relationships. Alternately, Spielberg allows Hooper to divest himself of all his worries about the make-up of the family. Imagine <i>Poltergeist</i> without the kidnapping, its inciting, heroism-precipitating incident, and you would be close to Hooper's original conception of <i>Poltergeist</i>: a family lives next to a cemetery, small nuisance-like poltergeist activity occurs, and it ends in a chaotic finale in which a hidden history reveals itself in wagon wheels emerging from the mud. In the first act you feel the traces of this film. The story is told through magic tricks with the camera, not the coherence of the plot - the chair stacking is something you would see right out of Hooper’s <i>Eggshells</i>. Even after the imposition of narrative stakes, the film is a structureless procession of narrative stoppages, filled with pauses and performative silences (just think of the final shot). Hooper makes a set-piece even of a parents’ joint session, Hooper being the only one who can stage believably the rambling of two high individuals and in this realism, create a unified set piece out of a duet of performances. This is filled with visually-stimulated nothing-stretches; shorthand narrative; long form situationism. Hooper’s capacity for reframing is something he shares with Kiyoshi Kurosawa, a form of storytelling that is not in the content on the surface, not the telling of story (no matter how much they protest that idea), but framing and then subtle reframing, mining an always-drama, an always-characterization, in the very manner in which a story is told, or more accurately, an existence is circumscribed. Every Spielberg trope - the foreground-background placement, the one take, even the camera push into faces of awe - is noticeably different from Spielberg’s usage in the inseparable context of Hooper’s creation of imagist set-pieces, divorcing these techniques from narrative, embedding it in Hooper’s awkward handcraft, his naturalist set-piecing. It is most satisfying as a Frankenstein creature, a film not to have a soul of its own, but to mock the idea of life by the brazen networking of its parts. As a narrative, it is an ungainly creature, but as Hooper’s dissociated networking of parts, it is a comment on the acute sentience of his creation nevertheless. Tangina’s very long debriefing on "the Beast" is not in the original script. What neuronal mishap of elongating this film’s anti-plot was it that provoked that rewrite?
</div><div><br /></div><div><b>TOOLBOX MURDERS</b></div><div><b><br /></b></div><div>It might be cliche for me to reevaluate a Hooper film and inevitably give it a higher rating, but Toolbox Murders is as pure and uncluttered, unproblematic, an expression of Hooper's long, novelistic game as anything. The screening was preceded by outpourings of fondness, gratefulness, and admiration for the infinitely disarming, idiosyncratic, and eccentric Hooper: I heard Danny Pearl express his gratefulness for being given his career, Amanda Plummer in awe of a man she had cherished (telling the story of Kiyoshi Kurosawa and Tobe Hooper deep in an exchange upon meeting - as he was loved by all the Japanese genre filmmakers - and realizing the two men looked identical), <i>Toolbox</i> AD Andrew Zimmerman speak of Hooper's down-home sagacity shooting in the tricky Ambassador Hotel and the "magic" inevitable on a Hooper set. Mr. and Mrs. Ernest Dickerson, his dearest confidantes, who looked on him like a child, Tom Holland bloviating endearingly about his quirks in their Autumn friendship and his coming over with a copy of <i>Djinn</i> and pouring over every frame with them, Mick Garris bowing out on a brief <i>Poltergeist</i> flare-up when overcome with feelings, but recommending everyone just listen to the podcast episode he did that broached the subject as he was there and saw it all. Toolbox Murders in 35mm and theatrical sound (who knew the score was so meticulous and constant?) is definitely giving it the respect it deserves. It may move like an Argento or Polanski film, give or take, but in 35mm it looks and feels more like Hooper's Tsai Ming-Liang film.
I report this in a journalistic capacity, not as an impinging on the personal stories of those closest to him. This is for posterity and the record. </div><div><br /></div><div><b>EATEN ALIVE</b></div><div><br /></div><div><i>"As I heard the story in the paper the next day... my tears came tumbling down." </i></div><div><i><br /></i></div><div><i>"What do you want me to do? Throw myself to the alligators?"</i> </div><div><br /></div><div>Yes, this movie answers, that is what most men want women to do, as embodied by William Finley's emotionally erratic <i>pater familias</i>. </div><div><br /></div><div><i>"I said git and git. I made the signal. I told ya and I told ya and I told ya. You come in here and you go in there, ruttin' and ruttin'. You think I don't know?"</i> </div><div><br /></div><div>Blistering. Also, contrary to how it may come off at first, carefully considered (as "adapted for the screen" by Kim Henkel), despite the limitations of its making. The events of the film ensue because the monkey (and all its primate functions) dies, and only the reptile Id is left. This may not reach the intensity and razor intelligence of <i>Texas Chain Saw Massacre</i>, but this is because it is an entirely different animal: a studio picture, a work of fantasy, a lush piece of theater and a melodrama filled with emotions and sentiment (to the degree such a compromised work of grindhouse filmmaking can) - not a cunningly pointed piece of faux-guerilla filmmaking. Yet these are two films united by the ferocity and vision of their artist (and their shared look at madness), two very different projects finding overlap simply in the youthful inspiration and joie de vivre of their hard-working creator: works put together by an artisanal hand, as if by the skin of their teeth, for each cut and each moment of dramatic montage is welded into the thing as if its life depended on it. Hooper's hybridizing of studio-set artifice and the expressionistic run-and-gun inspiration of his previous film is truly something to marvel at, for we get the expressive cynicism of 'Chain Saw' tied to the mournful, non-cynical gestures of melodrama. Melodrama, at least in its most sophisticated form, has always been a genre of intense detail, and <i>Eaten Alive</i> provides it in gently preponderant ways: a preponderance of arresting subplots, for instance Libby Wood's lovelorn projection onto Stuart Whitman's sheriff no clearer than today with Crystin Sinclair's performance writ large in 35mm; the blood-smudged side of the veranda where Judd's mopping would be less effective, lying just below a clueless Buck's line of sight before he becomes croc bait; the evolution of victims, from Roy to Harvey Wood to Buck, all a lineage of masculinity, but Harvey's stoicism and Buck's belligerence and sexual odiousness alleviated by their growing rational awareness of the imperiled child underneath, each acting more humanly just as Judd ratchets up in villainy and madness. Quoted above is Judd's menacing exhortations to a distracted Buck, as he tries to locate the sounds of the little girl below, and it is a collection of phrases Judd has said at various prior points in the film. This moment is the condensation of Judd's mania, the novel serial killer who has no motivation but to reflect the victim's status right back at them, as refracted through an opaque glass (that is Judd) of PTSD, sexual neurosis, an unchecked sort of libertarianism (distrust of authority), and retrograde barbarity. He circles behind Buck in three paces, spouting these toxic Tantra, warnings to Buck and self-pity for himself. All of it results in anger.
The film's details go on, and accumulate, combined in a film that is almost as immersive and in control as <i>Texas Chain Saw Massacre</i>, and that is the sign of a filmmaker who would never stop crafting his work (until it was taken away from him). Even the cramped chase sequences with Angie under the floorboards are more than meets the eye, slyly crafted bravura bouts of impressionist suspense. I love how it ends its playlist of radio songs - up to that point pure American Countrypolitan - with a Spanish Mariachi song. Suffering is a universal language. Vixen Lynette saves the day. Judd's demise is a triumphant end to a work of clear structure. </div><div><br /></div><div><b>POLTERGEIST</b></div><div><br /></div><div>This kind of sucks in supersized 35mm. The film is returned back to its commercial purposes, its sensory overload context, every shot no longer a rarefied decision but simply what needed to be shot to get a film up on the screen at all. The film's theology is so populist and middling. It's just like <i>Gremlins</i> and <i>The Goonies</i>, serious (to varying degrees) filmmakers trying their best to cohere (or, better yet, "incohere") committee-written pop nonsense. The goth nonsense here curdles when mysterious strings accompany the reveal that you are, in fact, living on top of a cemetery. The mechanics of the production show their extreme laboriousness, every close-up surely its own hurdle while Goldsmith’s score is simply used to cover-up Hooper’s quick work and inattention to detail. It's a testament to Hooper's wayward train, which this certainly is - read the script, look at the preliminary storyboards, and see a film barely going by plan - that the experience of going to see the "new Spielberg production" feels less like a visit to the toy store and more like getting trapped in a toy store elevator for two hours with one genuine mystic and one ad man. Saying Spielberg was entirely happy with what ended up on the screen is akin to Hollywood revisionism, where Spielberg-hype fantasy overtakes a grim, frankly sloppy reality ("Can't we 'zazz this up a bit, Tobe?" "No Steven, just shoot it in wide shots, your energy tires me.")... Viewed in 35mm right in the center of Tinsel Town, call the experience, and it was kind of like traveling back in time, ONCE UPON A TIME IN HOOPERWOOD. </div><div><br /></div><div><b>EATEN ALIVE</b></div><div><br /></div><div><i> "It's much more complex than it seems. I tried to establish some kind of motif that carries throughout the show - sometimes that's actually more important than what you're actually showing. This has a lot to do with lights and shadows: it takes place in a single night, from dusk to dawn. And all the characters bring with them some sort of history, they're not just cardboard characters walking into a slaughterhouse." - Tobe Hooper</i></div><div><br /></div><div>I'm no longer convinced of its formal elements, a little too diluted by cinematographer Caramico's hastiness, a little too unfixed on Hooper's fixation on lamps as indifferent beacons of our everyday living, and on decoration (his interest hardly allowed to let flourish until <i>Poltergeist</i>); a little too, dare I venture the idea, <i>slick</i> in its horrific and atmospheric affects - the roiling fog, the canted Freudian <i>insert</i>-shots that glimpse the gator, and so on and so forth. There is a cohesive design and digestible shape here that gets in the way of the film of pure suggestion I have touted. But the film has ceased to become a rational object of evaluation for me, instead it has become a series of accidents and incremental details, and a spirit that defies my increased scrutiny with every revisit (Why didn't he center this shot better? Why didn't he move on this one? Why didn't he hold on this shot longer? It is the peril of being the aficionado), defies the bourgeoisie comfort blanket of hard "decisions" being always, constantly, made. This is a film of suggestion, because I am no longer in charge of the effect it has on me, even as I criticize it. The affective discharge I get in my synapses when I hear the mariachi song that closes the film is ten times greater than the lack of a point in certain prior shots, or the mechanics it may indulge in. This is a film of melancholy, even as it never makes a point of its melancholy. Remember that film <i>Babel</i>? This has the effect that that film desperately wants to achieve (about melancholy and interconnectivity) through constant making a point of it. I'd rather not know what I'm heading into, and this is the magic of Hooper's sense of cinema.</div><div><br /></div><div><b>POLTERGEIST</b></div><div><br /></div><div> No discernible thematic center, but still a strange, untangled object made of so much hobbled-together uncanny parts, set in a house that doesn't look like a house but a studio set and may be the last hold-out of studio soundstage artifice in a film that wasn't outwardly trying to create such the effect (such as <i>One From the Heart</i>). The ghostly woman descending the stairs is a leading example of a scene that was forced into cohesion, filmed without an idea of what was actually coming down the stairs. Hooper filmed it any which way and may have removed all purpose from the scene. The characters stare at it and it disappears (no one screams like in the script); a true scene that defies sense. Hooper only cared about the image (a wide shot of the living room, characters dispersed into all four corners, the top of the stairs and a hanging lamplight) and it was hobbled into cohesion at a later date with the filming of the ghost (and its equally unhelpful video capture). Defying pragmatic usage, it is not suspenseful, nor consequential, nor particularly elaborate or impressive a set-piece - those things are the domain of Spielberg - but it is emblematic of <i>Poltergeist</i> as a film of parts, schizophrenic and hobbled and rickety and two voices battling it out, Spielberg's sensibleness and Hooper's curiousness and openness, for the way things may not come together as a whole.</div><div><br /></div><div><b>DOWN FRIDAY STREET</b></div><div><br /></div><div>I try not to be too hyperbolic about a short documentary that is as shaggy, messy, thematically undefined, and unassiduously untempered aesthetically as all of Hooper’s other work, but if you are looking for that connecting thread between the curiously precise classicalist concerns of Hooper’s slapstick period piece <i>The Heisters</i> and the New Wave, timely-concerned vérité phase begun with <i>Eggshells</i>, this is the film for you. <i>Houses Also Die</i>, you can call it, and if it’s not in Hooper’s vocabulary to mount a discourse on race and anthropology, then we can at least expect the same introverted, phobic interests in mood, zones, the ghostly aspects of change and time; experimental techniques melded with his governing interest in the grounded aspects of a story to be told (here, of stately old WASP houses being razed for parking lots). A sharp dip into an almost-refined antiquity for a filmmaker who usually concerns himself with ardent, corrupted civilization (not “society,” as Hooper is either concerned with individuals themselves or the structure at large, at a nominal scale rather than a precise one - his observations on specific social groups often weaker than what is gathered when these subcultures merely stand in for larger issues). This is Hooper’s most withdrawn, well-bred film, into an interior world of objects; his truest occult film (a subject he would subsequently show interest in), for the objects are left to exist throughout divorced from human hands and presence (which Hooper's films of object-space <i>idée fixe</i> naturally betray, with characters). This is Tobe Hooper’s <i>The Haunting of Hill House</i>. It’s Hooper’s closest to a structuralist film, and he’s come close due to his miraculous instincts even in his narrative features. Rustic, region-specific Profit Motives and the Whispering Wind (Gianvito, 2007), give way to Michael Snow, give way to Kurosawa’s <i>Pulse</i> and, as mentioned, Shirley Jackson (and her antisocial libertarian, quasi-satirical takes on the commercialism running roughshod over a bygone, gothic hominess), and the seeds of hints are planted for borrowings - straight-on reiteration of techniques, a kingly lineage of fated self-plagiarism - in <i>Eggshells</i>, <i>Poltergeist</i>, and <i>Djinn</i>. </div><div><br /></div></div>JRhttp://www.blogger.com/profile/15544454753709801525noreply@blogger.com0tag:blogger.com,1999:blog-3175631797077198516.post-85946948324046264162020-03-06T05:44:00.001-08:002021-05-24T14:32:47.166-07:00PREY: "HUNGRY FOR SURVIVAL" (1998) by Tobe Hooper, William Schmidt<div class="separator" style="clear: both; text-align: center;">
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So a few days ago I had the chance to view a VHS of the unaired, Tobe Hooper-directed pilot of the TV show <i>Prey</i> (1997-98), which would eventually be brought to series as a completely retooled and renovated show for a short-lived season. While the vision of the series first conceived by show creator William Schmidt (TV writer and future executive producer on shows like <i>Carnivàle</i> and <i>Charmed</i>) and Hooper never came to pass, ascribable to nigh unassailable reasons connected to Hooper's airless style and Schmidt's occasionally high-toned creative decisions, reasons made even more succinct placed beside the show that was soon created from its picked-apart bones, it was an illuminating and poignant testament to the collision of popular templates and almost-imperceptible - naive and psychologically middling, but worldly searching; allegorically crisscrossed and incongruous, yet petrified and untouched - dramatic and exploratory structures that have come to characterize Hooper's work. <i>Prey </i>seems to activate for Hooper an archetypal romanticism in an hour time that his feature-length pilot work for <i>Nowhere Man</i> and <i>Taken</i> do not in their vaunting of regular plot mechanics. <i>Prey</i> offers the least realistic and most skeletal drama for Hooper to emphasize only what he deems worthy to emphasize, embodying his inclination for stories that may have no connection to reality yet reveal the world <i>a la carte</i> through a breadth found in dramatically bridging seemingly unconnected things and structuralist concepts. For instance, Hooper's libertarianism is not his communism, yet presented beside each other, they create paranoid neoliberal tragedies. This is somewhat applicable to <i>Prey: "Hungry for Survival."</i></div>
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Firmly in the realm of a minor work, being a forty-and-some minute pilot meant to launch an ABC drama, with all its necessary overtures toward show-duration, will-they-won't-they romance and stop-loss soap opera narrative threadbare, this falls in a purer, more rarefied place than the butch actioneer masculinity sprinkled over warmed-over <i>Spontaneous Combustion</i> leftovers that is <i>Nowhere Man</i> (1995) and the impersonality of <i>Taken</i> (2000), Hooper's other series launching efforts. The set-up, that is, the barely-congealed melodrama, allows <i>Prey</i>, for all its trappings, to present a beginning that is also an end, a suggestion of things to come that seems to performatively lay out the idealized solutions within its at-once romanticism and fatalism, sensibilities that are at once self-fulfilling and answer at once they question, for melodrama and tragedy's teleology has gone far from unstudied. For instance, the protagonist of <i>Prey</i>'s sometimes-disembodied passion is much more suited to Hooper's work, and the undisclosed but bleak fate of certain characters, subsumed in death-signifying genre tropes, is more than finalizing by the end of the episode, leading to no open threads with the enactment of some minor projection. (Hooper's feature-length pilot to <i>Dark Skies</i> also more successfully figures itself on passionate main characters, although the specter of Kennedy's assassination in that leads to an opening of the road ahead for its protagonists rather than the constricting of an artificial, contrived genre-world, significant of the elongation of a contrived, controlling reality.) <i>Prey</i> is modest, but it seems to be the least closely-monitored of Hooper's TV pilots, working off a creator and writer who also seemed to have been running off the fumes of a rare freedom to begin in science fiction invention and end in the most cozy convention, of the "starcross'd lovers."</div>
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<i>Plot </i>(penned by yours truly)<i>:</i> <b><i>Prey</i></b> concerns a projected global collapse to humanity threatened or at least harbingered by the resurgence of a demonized
other, an unevolved, "splintered" genetic strain of human that is
discovered to coexist among the Homo sapien. A junior geneticist (Sherilyn Fenn) in an academic setting, working amongst a team for a lead researcher who has gotten closer
and closer to uncovering the existence of the mutant strain (Lindsay
Crouse), falls in with a sensitive FBI agent (Adam Storke) after the mentor is murdered, but he turns out to be a member of this mutant species attempting to cover up the trail of this new discovery.</div>
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Unconvincing in more ways than one, this volleys valiantly between ripe set-pieces and unbelievable renderings of milieu, and even less realistically shaded quasi-satire of academic pettiness and global calamity as seen through less-than-visceral channels (such as the media and academia). The FBI agent appears randomly, along with local law played by Frankie Faison (filling in the R. Lee Ermey role from <i>I'm Dangerous Tonight</i> with even worse gnomic banter), within academic halls and seat-of-bourgeois eateries in or near the college hamlet, looking out of place and derelict of his more serious duties. A rival researcher steals the team's discovery and he names the species right on national TV without a peer-reviewed public release in sight. A federally convicted mutant has a gaggle of fawning Mansonesque groupies. </div>
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A <i>Beauty and the Beast </i>fricassee of inter-species romance featuring a shrill, performative Sherilyn Fenn and Hooper's own, most artificial theatrics, with a mercifully brief and incidental stopover in inconsolable <i>Silence of the Lambs</i> knock-off territory, this is nevertheless about Fenn's grappling with the world around her and its seeming moral collapse, and never have outsized, stilted displays of emotion been so at one with a director's dialectical, anti-good-television conception of building a serial narrative made of ideas. What better outlet for acute unreality and the melodrama of cultural tutelage than a series that is about a global sci-fi invasion but takes place almost entirely on a college campus (a la <i>I'm Dangerous Tonight</i>) and is once again in Hooper's filmography about a female protagonist who is never at one with the greater morality she represents - albeit that she holds inside her (wittingly or in sublimated state) - due to the oppression of societies and cultures? She is berated, gently, by ideas and perspectives on all sides that never seem to add up but to bolster her own undivided principles. Salama in <i>Djinn</i> asks, why must I suffer for progress? Amy in <i>The Funhouse</i>, why is my kindness and cruelty so embattled within me? Genie in <i>Night Terrors</i>, my purity and my pleasure? Sloan, here, asks only one pivotal question: Why kill, why divide, even as shadowy noir tropes come to both validate me and erase my love? Third quarter in, a young Michael Stuhlbarg appears affecting a "Balkian-Bosnian-type accent"<a href="https://books.google.com/books?id=pQIDAQAAQBAJ&pg=PA178&lpg=PA178&dq=Michael+Stuhlbarg+hungry+for+survival&source=bl&ots=WNkwiVuFob&sig=ACfU3U0REY5k001dnaXzGDHpIfj2Ap_goQ&hl=en&sa=X&ved=2ahUKEwi0_8v68PPnAhVHRqwKHTdNDAIQ6AEwFnoECAwQAQ#v=onepage&q&f=false">[1]</a>, playing a possible love-interest rival against the strapping mutant FBI agent but as a slender-spoken foreigner. He advises Sloan in tentative terms befitting both the first proper introduction of a Muslim character and Hooper's willingness to work in mysterious ways, like with a cross-cultural love triangle between a hunk and a dweeb. He simply asks her, against an illuminating fire (paraphrasing), "Do you believe in God? Among my people suffering great adversity, one thing one can simply do is pray." The episode ends in a full romantic modality between the two lovers, the scientist and the now-rogue mutant, and surely Hooper and Schmidt have more "Romeo and Juliet" in mind than the aforementioned "Beauty and the Beast," as the underlying genocidal and global warming concerns are meant to evoke a world at war with love, although the proto-<i>Twilight</i> bells alarm loudly... as they do in Hooper's <i>Dance of the Dead</i>.</div>
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I do want to someday track down a copy of this and make it available, as it has a lasting impact in its being the least competent of Hooper's television work. Sherilyn Fenn rides around on a helmeted bike like the least badass star of a sci-fi action show. It is certainly a statement. A more conventional but hobbled version of the show soon came to fruition starring Debra Messing in a much more tomboyish, elan-filled version of the main role. The most unfiltered and undutiful of Hooper's television work.</div>
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JRhttp://www.blogger.com/profile/15544454753709801525noreply@blogger.com5tag:blogger.com,1999:blog-3175631797077198516.post-43726800109533505682019-11-20T02:27:00.000-08:002019-11-22T13:20:16.547-08:00THAS: 'Invaders from Mars': The Rough Cut<br />
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I officially present this rough cut of <i>Invaders from Mars</i>, <span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0"><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0">which includes
most notably an entire first act cut out for reasons we can only presume
were motivated by a desire for expediency and fleetness in the film's part as a
product/commodity: In other words, a run time under 100 minutes.</span></span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0"><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0">I present to accompany this unprecedented and momentous history of <i>Invaders from Mars</i> a dialogue between myself and my colleague-in-thought (also poet/writer/performer) <b>Josiah Morgan</b>, unpretentiously gathered as the
at-first-blush impressions I had upon sharing it and Morgan had in immediate viewing, and which goes to some length in distilling the
value of this expansion of a film that already spoke to a jaded
filmmaker's sense of grandeur, but not to their personal labor, their
unfiltered work and ethic.<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><b>[X]</b></span></span></span></span></div>
<br />
<i>Alienated consumption and alienated production.</i> <br />
<br />
"I haven't had final cut on a movie since the original <i>Chainsaw</i>. It disturbs me that, for the most part, my movies have not been shown the way they were intended because of someone's 'fantastic wisdom.'" - Tobe Hooper, <i>Fangoria </i>Magazine, 1988<br />
<br />
<blockquote class="tr_bq">
<b><i><span style="font-family: "times" , "times new roman" , serif;">"With the Industrial Revolution's manufactural division of labor and
mass production for a global market, the commodity finally became fully
visible as a power that was colonizing all social life. It was
at that point that political economy established itself as the dominant
science, and as the science of domination."</span></i></b> </blockquote>
<br />
<blockquote class="tr_bq">
<span style="font-family: "times" , "times new roman" , serif;"><i><b>"Consciousness of desire
and desire for consciousness are the same project, the project that in
its negative form seeks the abolition of classes and thus the workers'
direct possession of every aspect of their activity. The opposite of
this project is the society of spectacle, where the commodity
contemplates itself in a world of its own making."</b></i></span></blockquote>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Thank you to Josiah Morgan </div>
<div style="text-align: center;">
for putting me in the direction<br />
of Guy Debord's<i> The Society of the Spectacle</i>, </div>
<div style="text-align: center;">
from which these excerpts derive.</div>
<br />
<br />
<div style="text-align: center;">
<b>A Dialogue Between JR and Josiah Morgan On the 'Invaders from Mars' Rough Cut</b></div>
<br />
<br />
<div style="text-align: center;">
<i><b>JR: </b>But let's talk about how Hooper never had final cut and he could barely
exhibit his wily, raggedy analyses of the human condition without it
being fitted into a box. I was going to say this "Invaders" cut reveals
the Mike Leigh of genre, but that's totally wrong, he's Rivettian and I'm
not even a big Rivette fan.†</i></div>
<div style="text-align: center;">
<i><br /></i>
<i><b>JM</b> (<a href="https://letterboxd.com/josiahmorgan11/film/invaders-from-mars-1986/2/#">whose brilliant write-up on the first 9 minutes of the rough cut you can read here</a>)<b>:</b> I
have always found Hooper's lack of final cut fascinating; it is one
mark of his artistry that he managed to always shine through. One can
see all of the impositions placed on him by studios, other writers,
producers, television stations, etcetera, in all of his work, and
frequently can reconcile these impositions with what we know of his
early films: </i>Eggshells<i>, </i>Down Friday Street<i>, </i>The Texas Chain Saw Massacre<i>.</i></div>
<div style="text-align: center;">
<i><br /></i>
<i>His
early films reveal an obsession with architecture (away from a
cosmology focused on theological hierarchies, away from a cosmology
focused on top-down governance, away from a democratic cosmology, toward
a cosmology of autocracy; in which emotions are autocratic, in which
emotions are made physical, in which emotions govern decisions and
critique structural societal problems).</i></div>
<div style="text-align: center;">
<i></i></div>
<div style="text-align: center;">
<i></i></div>
<div style="text-align: center;">
<i></i></div>
<div style="text-align: center;">
<i></i></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<i>His early films reveal an
obsession with discontinuous editing and lying about what one's own
senses perceive -- this seems intrinsically linked to the gap between
both cuts of </i>Invaders<i>; this one is far more discontinuous. Perhaps it is
naive to comment on this -- a rough cut, after all, is almost
predetermined to involve significantly less consistency! But the actual
language and ordering of language, the general sequencing here is
slightly different and more fragmented - closer, perhaps, to the
upstairs-downstairs-basement fragmentation of </i>Eggshells<i> than to the continuous architectural clarity of </i>Poltergeist<i>.</i></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<div style="margin-left: 60px;">
</div>
<div style="margin-left: 40px;">
</div>
<blockquote class="tr_bq">
<div style="margin-left: 40px;">
</div>
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"> <b>Excerpts from Chapters 5 and 6 of <i>The Spectacle of Society</i>, "Time and History" and "Spectacular Time"</b></span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><br />... History, which until then had seemed to be only the movement of
individuals of the ruling class, and thus was written as the history of
events, is now understood as the general movement, and in this
relentless movement individuals are sacrificed...</span></span></div>
<span style="font-size: small;"><br /></span>
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">... In this social domination by
commodity-time, “time is everything, man is nothing; he is at most the carcass of time” (Poverty of Philosophy)...</span></span><span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><br /><br />... Pseudo-cyclical time is actually no more than the consumable
disguise of the commodity-time of production. It contains the essential
properties of commodity-time, namely exchangeable homogeneous units and
the suppression of the qualitative dimension...<br /></span></span><br />
<div style="text-align: center;">
<span style="font-size: small;"><i><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0"><img border="0" data-original-height="366" data-original-width="719" height="100" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiErH3Br8PnJP1iqckkHC0z9vvBPL2aE-vkPUFaj0VIzRHDGzXhIwsvU_svT6EfPrV547hpxoiAF9fKBJxgkxDJmG21aVfqmRQNJzt2EuIjNUmALmPBluLG_LY4_GfxfqQDCI8rcYb2qg0/s200/Screen+Shot+2019-11-18+at+11.52.16+AM.png" width="200" /><span style="font-size: xx-small;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span></span></i><span style="font-family: "times" , "times new roman" , serif;"><b><span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;">Illegible: the jar of pennies beside David's bed, in an excised shot from the theatrical cut, the coveted item of the Martians' "science of domination," their invasion a mere reassertion of Earth's commodity-time.</span></span></b><br /><br />... While cyclical time was
the time of immobile illusion, really lived, spectacular time is the
time of self-changing reality, lived in illusion...<br /><br />... Time, as Hegel showed, is the necessary alienation, the environment
where the subject realizes himself by losing himself, where he becomes
other in order to become truly himself. Precisely the opposite is true
in the dominant alienation, which is undergone by the producer of an
alien present. In this spatial alienation, the society that radically
separates the subject from the activity it takes from him, separates
him first of all from his own time. It is this surmountable social
alienation that has prohibited and petrified the possibilities and
risks of the living alienation of time.<br /><br />... The natural basis of time, the actual experience of the flow of
time, becomes human and social by existing for man. The restricted
condition of human practice, labor at various stages, is what has
humanized and also dehumanized time as cyclical and as separate
irreversible time of economic production. The revolutionary project of
realizing a classless society, a generalized historical life, is the
project of a withering away of the social measure of time, to the
benefit of a playful model of irreversible time of individuals and
groups, a model in which independent federated times are simultaneously
present. It is the program of a total realization, within the context
of time, of communism which suppresses “all that exists independently
of individuals.”<br /><br />The world already possesses the dream of a time whose consciousness
it must now possess in order to actually live it.</span></span></div>
</blockquote>
<div style="text-align: center;">
<i><br /></i>
<i><b>JM </b>(cont)<b>:</b> In
relation to the Letterboxd Hooper-core, the identification of early
Hooper with later Hooper also marks the eyes of a set of talented
viewers. <a href="https://letterboxd.com/christoferp/">[Christofer] Pallu</a>'s writing, especially, has often seen straight through
the structural conditions Hooper worked inside and the surrounding
critical noise in order to get to the heart of the matter: the design,
the form, the story, the genre.</i></div>
<div style="text-align: center;">
<i><br /></i>
<i>What
do you make of Hooper's 80s forays into examining the industrial world?
Of course the threads were planted in the 1970s but he moved away from
the micro view of small towns and localised regions into the geography
of America as a whole, for a while (this stopped, I think, after </i>The
Mangler<i>), before shifting back to a microcosmic view that focused on
individualism and the creation of a collective identity through
solitary, wandering, wanting individuals.</i></div>
<div style="text-align: center;">
<i><br /></i>
<i><b>JR:</b> Not
sure yet (the 80s certainly made "mono-society" the forefront), but
it's a crime the final cut removed the one glimpse of real technology in
the film. Plus, the rocket destruction scene is shockingly reconstructed into a slack, Cannon spectacle whereas here it's a fragmantary confusion of splintered worldviews. </i><i> </i></div>
<div style="text-align: center;">
<i><br /></i>
<i><b>JM:</b> You
remind me that I need to read "Society of the Spectacle," actually --
Hooper is impossible to diminish into iconography which is why I suspect
the TCSM franchise never took off the way </i>Elm Street<i> did with the
Krueger colours and silly arms, the way </i>Halloween<i> did with its mask.
<span style="color: red;">This is largely because Hooper only creates icons in order to critique
them, to pull them apart, to suggest that they're only refractions of
something else.</span> In large part that is what he is doing here. His icons
bend to moods, and not the other way around, yes.</i></div>
<div style="text-align: center;">
<i><br /></i>
<i><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0"><b>JR:</b> It's
odd to think of Hooper condoning the reedit that hurries the pace into
something of a total dream (rather than an anti-Spielbergian
confrontation with time), but we can almost rationalize it (outside of
Cannon demanding it not exceed 100 mins).</span></i></div>
<div style="text-align: center;">
<br /></div>
<div class="css-901oao r-hkyrab r-1qd0xha r-a023e6 r-16dba41 r-ad9z0x r-bcqeeo r-bnwqim r-qvutc0" dir="auto" id="tweet-text" lang="en" style="text-align: center;">
<i><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0"><b>JM:</b> It's
remarkable, really, how similar the finished reedit is to what we see
here, at least in a material sense. Curiously, the reedit contextualizes
much of this in relation to a different tone and </span><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0"><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0">this is what affects the symbols. </span></span></i></div>
<div style="text-align: center;">
<i><br /></i>
<i><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0"><b>JR:</b>
What's unmistakable is how acute of a documenter Hooper is of human
emotions. Hunter Carson's performance is incredible here, and that's
what producers can't really see when they are trying to create a
finished cut. Hooper doesn't think in "finished cut" when he's on a
set, it's why human mutability accelerates and time stands still, as he
lives in the moment. This probably has to do partly with the
"roughness" of it, but as you say, the performances stand out and the
camera moves stand out, and given that he edited this cut, we see his
thought</span><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0">
process before it's ever changed. The "Texas Chain Saw" sequence in
the back of the van is astonishing and baffling at once, because it's
clear what it's doing, but </span></i><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0">why</span><i><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0"> it's doing? I dunno, but it </span></i><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0">does</span><i><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0"> so
well and so clearly in its intent.</span></i></div>
<div class="css-1dbjc4n r-1adg3ll">
<i><br /></i>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihNEAyyd_T77BKur2LzyYlhVpqMuoFicaHpmilCaXXjjYiROrpM97WESnRO_MAMUjO8Yww9mNkQsd4prB5wyk_gITRv0IPR2BOHqVspFC3C_276WLQB-1Ug8BaFfkUUoEBZtltGZpW7G4/s1600/IMG_4173.PNG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="311" data-original-width="1303" height="95" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihNEAyyd_T77BKur2LzyYlhVpqMuoFicaHpmilCaXXjjYiROrpM97WESnRO_MAMUjO8Yww9mNkQsd4prB5wyk_gITRv0IPR2BOHqVspFC3C_276WLQB-1Ug8BaFfkUUoEBZtltGZpW7G4/s400/IMG_4173.PNG" width="400" /></a></div>
<br />
<div style="text-align: center;">
<i><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0"><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0"><b>JM:</b>
Hooper is a realartist, in this sense - to risk laughability, to risk
being superficial - perhaps, even, a savant: it is so so difficult to
pinpoint why, but it is easy to pinpoint what, and it is easy to
pinpoint what else, and it is easy to discuss the gaps. He lives in the
gaps.</span></span></i><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0"><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><b>[X]</b></span></span></span></span></div>
</div>
<i><br /></i>
<br />
<div class="separator" style="clear: both; text-align: center;">
<img border="0" data-original-height="750" data-original-width="1302" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikCRO3SplGByOR5wc6MNKnzGb2i26kwSEiwpIdxChwpwGQcBbJCxBg9lqyrUKqQzuJ-CM83F6EGlEHj5GPuGFz4UMDTnr6L0IynMo7PPAzzQxihPS0P3PKcjnHqLhKUBpBUsjORK1hqVE/s400/IMG_4174.PNG" width="400" /></div>
<div style="text-align: center;">
<br /></div>
This cut also includes more eliminated scenes, shots, and alternate
takes, as well as some more subtle alterations in scene structure and
rhythmic construction (a lot of beginning and endings of scenes
snipped). It also has no score (outside of one scene given an eerie
temp track), which emphasizes how much musical scoring can affect a scene - such as a scene of a father repeatedly expressing a love and affection
for his son through a series of gestures and utterances, coming off sincere and
natural in the unscored version, but suddenly made threatening and
unnatural when underscored by the artificially saccharine "domestic
theme" used in the final film.<br />
<br />
Some of these differences
were hopefully pressingly touched upon in the correspondence above, such as the clearer intentions found in the more fragmented editing and the recut of the
rocket explosion scene, which eliminates dialogue and re-chronologizes the sequence in the final cut, thoroughly doing away with the sense of the events occurring through the subjectivity of David, <b>the rhythm of experienced, lived time</b>, and the aforementioned fractured, devastated worldviews.<br />
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<i><b>On the "Invaders from Mars" Rough Cut</b></i></div>
<br />
If there is one thing all sectors of "Hooper studies" have come seemingly to a conclusion to in total rank and file cohesion, it is that his films work at a remove from all
perceptible expectations surrounding them. It is the "Not safe" zone that, I think, it is John Landis who enjoins, rather aggressively, as he's interviewed in the <i>American Nightmare</i> documentary about <i>The Texas Chain Saw Massacre</i>. There being no less auspicious an authority on the theoretical valences of a work than one's contemporaries, so determined as Landis would be to sell a reactionary zeitgeist of which he was a part of (maker of his own brand of exploitation films and horror products), we can look at these "expectations" that Hooper evades in other, less sensational ways. If his films, in their original form, are to be compared to <i>things</i>, they would be the abandoned objects on the side of the street,
the home movie someone was not supposed to see (like the "snuff film" characterization that
overly-persuadable <i>Texas Chain Saw</i> adherents like to - somewhat artificially - apply), the junkyard appliance that symbolizes some late-stage capitalist neglect. These are things that have served their purpose once but now exist as things outside their time, in forms that encapsulate the necessity that derived them but now only serve as haunting reminders of that necessity. It is possible for these things to be reclaimed, in their original form, as a dereliction of the society that afforded it.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUCg-ynGqCwlkOoguJAhrW1lnnGEztGBtk9Gt9jbG1rDqbekdS1p5nZSemB7OfyhJuImu7PKTVuzAs3GTr5_a1Yozg7zyj4DhgC2w76_MkCN0gu9Cyju5LmTa6C9ljZGQZCtucyLRvPRw/s1600/Screen+Shot+2019-11-18+at+12.36.45+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="372" data-original-width="721" height="330" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUCg-ynGqCwlkOoguJAhrW1lnnGEztGBtk9Gt9jbG1rDqbekdS1p5nZSemB7OfyhJuImu7PKTVuzAs3GTr5_a1Yozg7zyj4DhgC2w76_MkCN0gu9Cyju5LmTa6C9ljZGQZCtucyLRvPRw/s640/Screen+Shot+2019-11-18+at+12.36.45+PM.png" style="border: none;" width="640" /></a></div>
<div style="text-align: center;">
<br /></div>
<blockquote class="tr_bq">
<span style="font-size: large;"><span style="font-family: "times" , "times new roman" , serif;"><i><b>"By
discovering its basis in political economy, history becomes aware of
what had previously been unconscious; but this basis remains unconscious
because it cannot be brought to light. This blind prehistory, <span style="color: red;">this new fate that no one controls,</span> is the only thing that the commodity economy has democratized."</b></i></span></span></blockquote>
<div style="text-align: center;">
<br /></div>
In their abbreviated, at times completely renovated, forms, subject to and the aesthetic byproduct of their use-value of that time, they are the product of a form of domination, a colonization of forms. Hooper's films are themselves constantly a comment on a society of domination, but, as the tossed-out item, or the home video on consumer camcorder, they are a document made valuable by the hands of the documenter and not the spectacle that produces it and "contemplates itself" in an endless spectacle. Hooper's films are made to exist outside of time, outside of production models, outside of consumer use. <br />
<br />
Hooper's work's "functional remove" is the presentation of time and crystallization of a proletariat/commonplace history.<br />
<br />
But rather than its funders honoring a documentarist's integrity, his works have been constantly recycled into trends that are meant to simply reflect a market that is unduly imposed on it.<br />
<br />
<blockquote class="tr_bq">
<span style="font-size: large;"><b><i><span style="font-family: "times" , "times new roman" , serif;"><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0"><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0">"Critical theory must communicate itself in
its own language -- the language of contradiction, which must be
dialectical in both form and content. It must be an all-inclusive
critique and it must be grounded in history. It is not a "zero degree
of writing," but its reversal. It is not a negation of style, but the
style of negation."</span></span></span></i></b></span></blockquote>
<br />
In its clearer demonstration of David as our proletariat hero seeing through the nightmare of recycled time and an endless production-cycle that dispossesses us of our autonomous time, in its bolder assertion of time in the face of illusionary, dreamed spectacle, we see what Hooper truly intended. The rough cut is undeniably superior.<br />
<br />
<div class="comment-body col-12 body-text -small collapsible-text" data-full-text-url="/s/full-text/viewingComment:4804191/">
<div style="text-align: center;">
<br />
<i><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0"><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0"><b><span style="font-size: large;"><span style="font-family: "times" , "times new roman" , serif;">"The wealth that can be concentrated in
the realm of power and materially used up in sumptuous feasts is also
used up as a squandering of historical time at the surface of society.
The owners of historical surplus value possess the knowledge and the
enjoyment of lived events. Separated from the collective organization
of time which predominates with the repetitive production at the base
of social life, this time flows above its own static community. This is
the time of adventure and war, when the masters of the cyclical society
travel through their personal histories, and it is also the time which
appears in confrontations with foreign communities, in the derangement
of the unchangeable order of the society. <span style="color: red;">History then passes before
men as an alien factor, as that which they never wanted and against
which they thought themselves protected. But by way of this detour
returns the human negative anxiety which had been at the very origin of
the entire development that had fallen asleep."</span></span></span></b> </span></span></i><br />
<i><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0"><span class="css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0"><br /> </span></span></i></div>
<i><i>† [Ed. "On "Rivettian": It's not only the primacy of human behavior taking over from the
typical plot mechanics, but the ability to give over a film totally to
the inhabitance of a performer into a character such that they become
one. If all life is a performance, then only so thin a line can be
drawn before our play-acting begins to bleed over into the circumstances
our superstructures enmesh ourselves into. </i><i><i>Refraining from the rudimentary sensationalism of a reaction to his debut
horror film, such as </i></i></i>Landis's<i><i><i>, the sense of instability that derives from his films is
more generally, and genuinely, seen as the way his films act as responses to both
natural and structural systems that entangle his characters and <span style="color: red;">function
at a remove</span> from them. The desire to see his films as commodities is
what allows a convoluted editing phase to so often dilute this "functional remove" in favor of efficiency and expediency, but at the sacrifice of a
non-spectacularized history, the labor of an artist who sees no line
between film and life, between his performers and their characters, save
the Rivettian efforts that what we see is a <span style="color: red;">performance of negation, a
negation of performance</span>. What Hooper's performances lose is the sense
they are in a film, despite the prominance of cameras, multiple set-ups,
and takes.</i>]</i></i>
</div>
JRhttp://www.blogger.com/profile/15544454753709801525noreply@blogger.com4tag:blogger.com,1999:blog-3175631797077198516.post-10944019726229885442018-09-19T19:24:00.000-07:002020-03-19T18:37:12.001-07:00Spontaneous Combustion, the Miracle FilmHooper is a filmmaker who works constantly outside his means. His imagination is continuously short-circuited, his imaginings never served by practical considerations, always falling beyond his means, not to mention people's understandings. Add to this perhaps the limits of his own powers, and certainly his industry constrictions (though that latter point will not be a focus of this post). <br />
<br />
Would you believe me if I said <i>Spontaneous Combustion</i>, as it now exists, is actually three-quarters of the actual film it was initially conceived as being? This would not be a surprise, left merely as speculation, for the final product is littered with what seems like gaps, logical empty spaces where strands appear forgotten, connections entirely left for the viewer to complete on their own. This has always been part of Hooper's methods, professing repeatedly his feelings against the act of explaining everything away for the viewer. It is his fidelity to reality that prevents this act. But <i>Spontaneous Combustion</i> actually most recalls a <i>Seventh Victim</i>-like phenomena (that is, the 1943 Mark Robson/Val Lewton Satanist thriller, which also lost many scenes in the final cut). These are films so symbolically and openly, naively dramatized, that even when the cuts, deletions, and shooting foibles started happening, they still retain that strange, ineluctable symbolism to their very shape and very movement... almost enhanced by the moments deemed "taboo" now forbidden from our view, as if their advances to meaning might have been too great for mortal eyes.<br />
<br />
<i>Spontaneous Combustion </i>is a film that should have had three months or six months for production, but had a month, give or take. None of the fascinating practicalities of its making nor persons on the set, beside Hooper himself, could come near to understanding the titanic endeavor of creating a miracle film, one almost from the get-go not meant to exist in any state but an embattled one. Hooper's vision was much too grand, too sensitive, too much of a <i>concept </i>from the very onset - a hooked and brambly crystal showpiece (much like the chandelier in the film) a mere lost filming day from shattering completely, forcing its way to existence despite all practical factors and a world against such fantasias (don't worry, <i>Spontaneous Combustion </i>has several times more mature the metaphorical treatment of <i>mother!</i>, perhaps closer to <i>The Fountain</i> in its humanist excesses; but we should be comparing Hooper to surrealist symphonists like Vigo and Fellini, trenchant symbolists like Vonnegut or Pynchon, rather than the recent salacious fantasies of a Hollywood bad boy).<br />
<br />
It should have not have had to build every one of its sets to a hurried specification.<br />
<br />
It should not have had to battle anything, such its nature as a miracle film. It was conceived to be a miracle, something uncommon in the market, but it instead became a miracle in its metamorphoses, its battling survival, its phantom forms; multiple states of existence; its lingering pure-mission that extends over all talk of it and all remaining parts of it, permeating atemporally from Hooper's pure-mission back then in March of 1989 and extending to now, where its influence is still felt in the possibilities of this world [this art] to always speak to a higher mission.<br />
<br />
That it was endeavored at all, that the idea such a "large" - spiritually and logistically - film could be pulled off under such constraints, is miraculous in itself, but Hooper had to have enough belief in the story that such constraints might have only goaded him to tell it to any extent he can.<br />
<blockquote class="tr_bq">
<span style="font-family: "times new roman"; font-size: large;">"Containing very little
in terms of commercial viability, it plays out like a TV drama written for the
screen, and that is meant as a compliment.<span style="mso-spacerun: yes;"> </span>Little to nothing happens in this film, other than the
explication of nuclear history and the sacrificing of oneself for the power of
love.<span style="mso-spacerun: yes;"> </span>There is no powerful mystery
in this film, just random displays of feelings." <span style="font-size: small;">(Excerpt from my Revista Detour essay)</span></span></blockquote>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br />
The <i>Spontaneous Combustion</i> shooting script is now available for anyone to read. I will provide a link soon (watch my Twitter account @<a href="http://twitter.com/jayjayabramzon">jayjayabramzon</a>). Yes, whole subplots were removed. The final act is totally rethought and reconstructed.<br />
<br />
The script is a purest horror film, angled away from the melodramatic love story/martyr's tale of the simplified film. Suddenly structured incredibly similar to <i>Djinn</i>, the hand-off of the story from Dourif's Sam to Cynthia Bain's Lisa is even more clear and decisive. It instigates Lisa's own prolonged descent into paranoia and persecution, the status of "traitor" shoved onto her by the ever-punitive fabric of American living - that is, one of constant and everlasting self-defense.<br />
<br />
Sam becomes a monster. He is the classic post-experiment, mad, lunatic-by-circumstances, the Mr. Hyde or megalomaniacal Invisible Man after they've imbibed or injected their serums. The mother's lullaby - "Use your power... Our love will save the world" - suddenly plays its proper function. Hooper's environmental, nuclear tirade becomes more explicit and radical, tying him even closer to Kiyoshi Kurosawa and his agitated environmentalist films: Sam comes to the conclusion his "purpose" (remember Lisa's chart reading: "You're a very important man... with a purpose") is to eliminate half the world's population using his power as an electrical being, to be a reset button for the world, one "diseased," "infected," and ridden with "atomic blisters."<br />
<br />
The ending is not the simplistic fable of love conquering hate, purification through redemption, but salvation as an untold descent into nothingness, Sam's protectiveness over Lisa manifested as the dispersal of all his "fire" into the filaments of a crystal world because he has no love to hold onto, as this immaterial "atomic man." I have seen this ending. It exists (not in as full-bodied a way as scripted, know now; the script is quite "out of its mind," almost Zulawskian levels of physicality and hysteria), in yet another miracle of this film that - in a world of production and consumption that never rewards simply intentions, would hardly think to recognize works jump-started out of seemingly a pure epistemological need - should never have been attempted in this such realm. I was shown a VHS dupe copy of a rough cut, unfinished FX work and all. And it might not work, it might not have any lasting usage, without the rest of the material that was cut, the cut scenes leading up to the ending, which is the material that largely sets up Sam as a monstrous spectral figure. Without that, we do not know Sam wrestles with what his "purpose" is, leaving the original ending with only half of its existential quandaries. This is all in footage which I have <i>not</i> seen. But if you are to believe me, also believe that the original ending contains a final image that seems to recall <i>McCabe & Mrs. Miller</i>'s<i> </i>final moment, and seems to match it in power and the allegation of the world as an atomic explosion of life and salvation and death, that humanity - after deeming itself the center of things - can only peer, and peer, and peer into, the atomic, fractal milky ways of eternity.<br />
<br />
We have this original ending existing, in some form, out there, like Sam himself in the original story, but we don't have him over the phone with Lisa laying in a bank of "silk clouds" with a "marble sky" (that of her skirt and apartment floor), somehow telekinetically being with Lisa but in a different, atomic world at the same time. We don't have Lisa feeling the weight of America's history as the world proclaims to her, "Death to traitors!" We don't have Sam questioning whether God exists for an atomic being.<br />
<br />
This is the essence of <i>Spontaneous Combustion</i>'s miracle existence, that a work of such beautiful aspirations can exist as an ideal that never can actually exist, but can indeed exist. This post is the first motion toward this, this lasting life for an ideal that may never be matched, materialized, known, or even could ever have existed by any realistic expectations in this temporal moment, and in whatever philosophical grandeur the cinema will prove to hold in this existence we've chosen. Never matched, in other "temporal moments," except perhaps in ways greater than actually existing; in its not existing. What doesn't exist is eternal. Like Sam. What we have is a thing of beauty, and what we don't have is a thing of hope. This goes towards the film's "miracle" nature.</div>
<div style="text-align: center;">
<br /></div>
JRhttp://www.blogger.com/profile/15544454753709801525noreply@blogger.com4tag:blogger.com,1999:blog-3175631797077198516.post-3890600811802752002018-08-14T18:18:00.003-07:002018-08-17T04:06:25.553-07:00"IT'S NIGHTTIME" TreatmentThe following is the "It's Nighttime" treatment that Steven Spielberg and Tobe Hooper first collaborated on during the Spring of 1980. A year and one month later they would begin principal photography. I have marked in red the parts that have mostly survived into the final script, and marked in bolded red the parts that are most relevant to the ideas I will put forth: in summary, the parts that may point to ideas that Hooper may have originated, in his collaborative correspondences with Spielberg. Spielberg would formally coalesce and draft the swift, strategic popcorn narrative that would become <i>Poltergeist</i>, but some core ideas - a haunted house movie, one that locates itself in a modern, calcified middle-class America - we cannot put past being the subject matter Hooper himself was interested in elaborating on.<br />
<br />
As far as the treatment goes, what we are shown here is an interest in the semiotic connotations of "suburbia" and the American history this manufactured appearance of civilization disguises (think the above ground and below ground societies that Lang manifests in numerous of his films, most explicitly <i>Metropolis</i>) and is, literally, "built upon"; such as it is, a comfortable, complicit way of life erected over the bones of a colonizing and frontiersman past. This early conception of <i>Poltergeist</i> involved mainly a historic site, that of the bones left from a Native American massacre of pioneering settlers, before it would be generalized into a mere desecration of more typical American dead and their resting place: our friends and neighbors before us, clad in burial garb and the creature comforts of an already gentrified way of life, such as with the matronly skeleton's jewelry in the pool. What was lost is the interest in a historical past - most interestingly personified in the teenage daughter of the story becoming obsessed with a recording of pioneer tunes, a rather esoteric, writerly invention that would have no place in a summer blockbuster - and consequent interest in a historical trajectory, somehow perceived and lost on the codified-ignorant family of complacent parents and gaggle of insouciant children (and teenagers; it is little mystery why a teenage boy was wiped clean from the story, as who is more complicit than a young man about to enter the custom-suited patriarchal society laid out before him). A completely non-massaged <i>Poltergeist</i> would surely have had no interest in identifying the members of its family as noble individuals, and would have shown only contempt for their inability to understand any sense of <i>implication</i> to the dead molesting them. The endearing, individually recognizable family members we have in the final film are barely allowed to internalize the idea of the historical dead that loom over them before their littlest child is snatched away and an immediately recognizable "enemy" - that labeled "Beast" - is offered to them for the narrowing on of sights, for the combining and focusing of their resources for battle. <br />
<pre></pre>
<pre><b>March 31, 1980</b> </pre>
<pre><span style="color: red;">Steven Freeling is a successful husband, father and provider. His innate practicality and above
average intelligence have made him a successful real estate salesman for a large agency in a
nearby community. He is well liked, and respected by his boss and co-workers, and is considered
an upstanding member of his community.
Nora Freeling, now 34, was married at 17 and pregnant at 18. She, with active help from Steven,
is in the process of raising 4 children, ranging in age from 6 to 16.</span> During this time she has also
managed to juggle her family life well enough to earn a degree in teaching and is active in the
community as a substitute teacher.</pre>
<div style="text-align: center;">
<span style="font-family: "georgia" , "times new roman" , serif;"><b>That Steven must be a real estate agent is a "must," seemingly, from the very beginning. On the matter of what would be a "regular family" - a mother and father, already conceived as somewhat "progressive" types stemming from a 60s coming-of-age, and a careless overabundance of children - seems the provenance of Spielberg, who spent his career studying what makes an American family, in various permutations and milieus.</b></span></div>
<pre></pre>
<pre>Nora and Steven are close enough in age to their own children that the experiences of a strict
upbringing (whippings, edicts and traditions) are still fresh memories. Thus has the generational
pendulum swung. They govern their domain with chummy lenience, and serious, but
good-natured discipline. They treat their children with respect and humanity, and are afforded
the courtesy of being treated the same. They are a close, open and loving family, fairly typical of
this neighborhood.
The children, Sweeny, age 16, Angel, age 14, Lawrence, age 12, and Carol Ann, age 6, are
children of the 80's. They watch more TV than they should, see all the "PG" movies at the local
six-plex, and do just enough homework to get by in school. They participate in a "healthy"
amount of sibling teasing and fighting, with subjects ranging from which TV show should be
aired to who stole who's toys. They are gregarious children who all have "best friends," "2nd
best friends," "3rd best friends".......
<span style="color: red;">Carol Ann is typically precocious for a child with much older brothers and sisters.</span>
They family generally spends quiet evenings together with bed time dictated at 10:00.
<span style="color: red;">Elmer, the last member of the Freeling family, is a silver-buff Cocker Spaniel who has been a
member of the family almost as long as the oldest child.</span>
<b><span style="color: red;">TAGINA BARRINS is a 65 year old medium. She has studied under some of the well known
psychics of the times and is a regular contributor to the National Enquirer; this being the only
accepting outlet for her communications with "the other side." She is eccentric in her manner of
dress and speech, but is sincere in her beliefs and very probably a true psychic.</span> </b></pre>
<div style="text-align: center;">
<span style="font-family: "georgia" , "times new roman" , serif;"><b>Tangina, or "Tagina," is one of the earliest elements decided upon, not yet specified as a small person. She is merely "eccentric," and a part of the parapsychology community. Hooper had experience with "mediums" at the time - he is said to have visited and studied among psychics and paranormal researchers sometime in the midst of his stint at WB (mentored by William Friedkin) circa-1976, having had an interest in doing a studio ghost story and having been inspired by Robert Wise's <i>The Haunting</i> and the book on<i> </i>poltergeists he had inherited upon taking residence in Wise's old office.</b></span></div>
<pre><b><span style="color: red;">Why must all tales of ghosts and hauntings find their settings in gothic cobwebbed mansions,
miles away from civilization?</span></b> Where does an audience draw the line between what is real and
what is fantastic?
<span style="color: red;"><b>NIGHT TIME is the story of a frightening occurence; not in a haunted house on a hill, but in the
center of middle class suburbia.</b></span> </pre>
<div style="text-align: center;">
<span style="font-family: "georgia" , "times new roman" , serif;"><b>Again, certain things were conceived and solidified from the beginning, per a convening of interests between Spielberg and Hooper. This would be a haunted house film taking place in an everyday corner of American living.</b></span></div>
<div style="text-align: center;">
<span style="font-family: "georgia" , "times new roman" , serif;"><b><br /></b></span></div>
<div style="text-align: center;">
<span style="font-family: "georgia" , "times new roman" , serif;"><b>Everything seems clear in their heads: a suburban, "ranch style" house, tract housing community, the type Spielberg would have grown up in. Hooper was sincerely on board. A mall would figure into it, a symbolic gesture toward modern consumerism a la <i>Dawn of the Dead</i>. Hooper must have been enlivened by the idea of a big budget ghost story dealing with such sprawling elements of a society.</b></span></div>
<pre><b><span style="color: red;">The Freelings, a middle class family, live at 3443 Wanda; a four bedroom, three and one half
bath, ranch style house.</span></b> <span style="color: red;"><b>It is a typical tract house located at the end of one of the several
hundred cul-de-sacs in a shopping mall district called Vista.</b></span> As its name implies, the center of
activity is a large modern shopping center complex. This large, child infested community holds
five schools: two elementary, two junior high, and one high school. On the neatly manicured
rolling hill fringes of town are a well used, man-made lake and the community's "rec-center."
This Chicago suburb is one of many similar communities springing up every day. Its planners'
goal: to bring families and the conveniences of life closer together.
It is a quiet evening. The children have gone to bed allowing Nora and Steven their cherished
hours alone. They go to their bedroom, turn the TV on to THE TONIGHT SHOW, (Something they
do almost every night) and prepare for a well deserved evening of rest and relaxation. They are
lulled to sleep by the voices on the television set. The rest of the evening's programming, the
late-late movie, the broadcast of the local news, <span style="color: red;"><b>the sign-off consisting of the Blue Angels
performing to strains of the Star Spangled Banner, color bars and test patterns, the local sign
off....and finally, static, or white noise.</b></span> <b><span style="color: red;">It is through this blizzard of static snow, and beyond<b><span style="color: red;"> </span></b></span></b></pre>
<pre><b><span style="color: red;"><b><span style="color: red;">the </span></b>slumbered breathing of Nora and Steven, that the first flash of paranormal communication
occurs. The television moans something chillingly audible and the static non-picture rearranges
into something indistinguishable. Steven turns over in his sleep, but does not awaken. The days
that follow bring a stream of odd but not necessarily suspicious occurrences.</span></b> Periodic phantom
phone calls break the silence in the middle of the night. On the other end, nothing but static
noise; similar to the static of the blank night television. </pre>
<div style="text-align: center;">
<span style="font-family: "georgia" , "times new roman" , serif;"><b>The TV element was also there from the very beginning. One of the greatest faults of the existing picture is how inconsequential, or at least scattered, is the idea of television and broadcast waves as the beacon point with a ghostly dimension. This is the "science" angle that both Spielberg and Hooper have touted </b></span><span style="font-family: "georgia" , "times new roman" , serif;"><b><span style="font-family: "georgia" , "times new roman" , serif;"><b>in subsequent interviews,</b></span> as the way in which to ground a ghost story in reality - but, as it is in the ultimately (and admittedly) somewhat frothy final product, it is essentially diluted "pseudo-science," left to a few sprinkled lines from primarily Martin Casella's Marty. Spielberg certainly has a footing in science and technology, as seen in <i>Close Encounters of the Third Kind</i>, and he had apparently injected this "researcher's inclination" of his into his <i>Poltergeist </i>draft - I of course reference the scientific "gobbledy-gook" Beatrice Straight, Casella, and Richard Lawson found incomprehensible and thus had Spielberg extricate from the sides - and maybe the film would be more coherent if Spielberg was directing, to make the film as grounded in reality and a layer of science as he would have wanted. But Hooper's rickety ship instead removed a lot of the science, as I imagine a similar process of denudation happening on <i>Lifeforce</i>. <i>Poltergeist</i> is abstract and nebulous as any of Hooper's other films, his interest in an artistic craft rather than a narrative one so often removing sensibleness from the proceedings. Melded with Spielberg's random throwing out of "realist" details, it results in a much confusing end product, when these details are so often torn asunder by Hooper's methods. Thus, the loss of the gobbledy-gook, the loss of a "curious" ectoplasm coming down the staircase in a premonition of <i>The Abyss</i>, the loss of Tangina's more relatable mannerisms as a <i>National Enquirer</i> regular, instead becoming a stoic and almost divine arbiter whose backstory is entirely left to the mystical and inexplicable.</b></span></div>
<div style="text-align: center;">
<span style="font-family: "georgia" , "times new roman" , serif;"><b><br /></b></span></div>
<div style="text-align: center;">
<span style="font-family: "georgia" , "times new roman" , serif;"><b>Surely it was Spielberg who came up with the opening scene - a little girl walking to a screen of television static after station sign-off and eerily talking to it - but Hooper was on board with this and he directed it, and perhaps, <i>just perhaps</i>, changed the nostalgic signifier (for Spielberg) of the Blue Angels sign-off and replaced it with the Iwo Jima Memorial sign-off.</b></span></div>
<pre>Food disappears from the cupboards and refrigerator, and a special lemon meringue pie is
marred by nibbling fingers. But with children in the house, and the children's friends, the blame
is not easily fixed. The furniture, slightly at first, is rearranged. Just enough to annoy a
meticulous mother; not enough to cause suspicion. <span style="color: red;">Elmer, the family dog, begins wandering to a
certain alcove in the house. He then sits there, facing the wall, occasionally whimpering toward
it, reaching out his paw and scratching at the air.</span> But, well, he's getting old, and if people can get
senile, so can dogs.
Angel, their 14 year old daughter, while cleaning out the garage, finds an old record of 19th
century songs supposedly sung by pioneers as they crossed the country. It becomes her favorite
album and is played all the time. She finds it soothing and somehow familiar. The songs become
a part of her life; humming them as she studies, walks to school and does her daily chores. But
then "things" start happening. Annoying things, inexplicable things, nerve fraying things.
<span style="color: red;">The television starts to change channels by itself</span>; to news station and cartoons, specifically. The
children, bright and inventive, are at first blamed for creating some gadget to "annoy and
frighten your mother." Having proven innocence or at least protested enough, Steven goes next
door to see if the neighbors are playing tricks with their remote controls. But the neighbors
aren't home. And a phone call to a friend assures Steven that a friend's remote control wouldn't
work on his set anyhow.
The Freelings are bird lovers. They have built a beautiful aviary which has become the home of
many different kinds, colors and sizes of birds. The aviary is located on a patio that is attached to
the house. Steven and Nora awaken one early morning to find birds flying all over the house. At
first, angry at the children for not closing the cage, Steve wakes them and takes them all
downstairs for a lecture on closing and locking the bird cage. But upon entering the porch,
everyone is silenced by something: the sight of the aviary torn open, a feat accomplished by
something beyond human strength. But no noise had awakened them..."what is going on?"
Windows and doors open and close, seemingly by themselves. In the middle of the night
someone has to go downstairs to re-bolt a window or re-lock a door. Furniture is being moved
around more obviously now.
Nora, preparing a meal in the kitchen, hears someone swimming in the pool. She calls outside
for whoever it is to get out and get ready for dinner. Her calls are ignored. She goes outside to
the sight of something invisible doing what looks like laps in the pool (Or perhaps we, the
audience, see something doing laps, but when Nora gets out there, it is gone). This could make
her even more nervous, thinking that there is something wrong with her, or that it is someone
playing tricks.
One evening, as Angel is getting ready for bed, she takes off her clothes and moves to the bed
when she is startled and almost screams. There is a lump in her bed, a lump shaped like a body.
Recovering, she starts to scold her sister for scaring her, and turns back the covers to discover
that there is nothing there. She turns to her sister's bed across the room. She is fast asleep.
The usual bluish of the household lights turn different colors and hues, both day and night.
Sometimes not enough to cause any more than squinting, or rubbing of the viewing party's eyes.
Steve and Nora prepare to leave for a dinner with their friends. They have called a babysitter
because the older children are going to a movie. As Steven is shaving, the 19th Century Music
album is turned on full volume. This startles him and causes him to cut himself. He storms out of
the bedroom, goes to the stereo, takes off the album and breaks it. He then yells for Angel and
reprimands her for turning it on so loud. She hasn't done it. The other children deny it also.
Steven accuses one of them of lying. "Record players don't just turn themselves on, you know."
Angel, upset with her father for breaking her album, and for accusing her unjustly, goes to her
room upset. She has to prepare for her date.
She sits at her vanity looking at herself, and being angry with her father. She starts to put on
lipstick. Looking into the mirror, she is putting her lipstick on someone else's face. She screams.
This brings her image back to the mirror. She is frightened to look into mirrors from this point
on.
Anxious to get out of the house, Angel hurries her older brother, with whom she and several
other friends are going to the movies, out of the house. The babysitter, a 15 year old teenager,
arrives allowing Nora and Steven to be on their way.
As she puts the children to bed, they talk her into telling them a story. She concedes, and tells
them a ghost story. As she tells her story, actual events in the house upstage the fictional story
she is telling them, adding to and punctuating the higher points. Terrified, the babysitter,
negligent of her duties, runs screaming from the house into the night. Neighbors' lights go on,
obviously disturbed by the screaming.
The older children get home to find the little ones sitting together on the steps, no babysitter in
sight. The parents return to a story of a deserting babysitter who says their house is haunted.
The evening's events have everyone on edge, especially Steven and Nora. </pre>
<pre><span style="color: red;"><b>Nora sits at her vanity brushing out her long auburn tresses. As she brushes her hair somewhat
mindlessly past her right shoulder, an invisible wind lifts her hair out from her brush and her
hand. It arches her hair slowly over her head and lays it to rest on her left shoulder. She sits
frozen, unable to speak, the empty brush in her hand, her wide eyes locked on her image in the
mirror. At that moment, she feels something touching her cheek. We see two indentations, such
as fingers would make, as her cheek gently caves in, opening her lips, and her face is tilted
upward by an invisible hand. She then receives a "ghost kiss," a long, forced, passionate kiss,
from which she cannot free herself. As she is released, there is a noise from the living /dining
area.</b></span> Steven bolts from their bathroom, sees the wide-eyed, almost panicked, expression on his
wife's face. He grabs her hand, and together they walk down the hall to check the house. The
furniture in the dining room has been totally rearranged. The chairs are on top of the furniture.
Some of the furniture has been moved from room to room. They wake the children, pack lightly,
pick up the dog and leave to spend the night at the local Holiday Inn. They will stay there for the
evening, then move into Nora's sister's house within a day or so. </pre>
<div style="text-align: center;">
<span style="font-family: "georgia" , "times new roman" , serif;"><b>Diane's - or "Nora's" - molestation by a ghost is another element from the very first draft of the treatment. It is less a climactic point, though, than simply another episode in the essentially random series of events that make up this treatment. For there was not yet a structured story to the film. The only thing Spielberg and Hooper could muster so far was "ghosts in suburbia" and the idea parapsychologists (and media) would become involved, then a ghost "plague" afflicting the entire town. Otherwise, their treatment is simply a "bunch of ideas," as Grais and Victor would put it, and it would only morph into a dark adventure film once Spielberg would rewrite the Grais/Victor draft in a deadline-competing bout of inspiration, manifested in "storytelling" sessions he held with Marshall and Kennedy (and Hooper). Spielberg, as the writer, decided, "This is how we're going to do it, and this is how we're going to give this film an adventure film structure, character end goals, and forward momentum." Still, this collection of ideas within this treatment shows a willingness to do something sprawling and symbolic, before the necessities of commercial cinema would whittle it down. Hooper did not object. He fully knew the film he was making (making himself, to be clear). But this treatment shows his errant ambition, his interest in the uncanny, and his interest in telling a history of the ills of Western civilization. One of these things still exists in the final picture: the interest in the uncanny, the magic tricks of cinema, the vivid melodrama of the image that drains narrative of its realistic particulars and leaves only an evocative "abstraction" of ideas.</b> </span></div>
<pre>The next day, unable to work because of the events of his home life, and not knowing what to
do, <span style="color: red;">he calls the Parapsychological organization within the University of Chicago.</span> They all decide
that the best idea for the Freelings is to spend another night at the hotel, while some of their
experts spend an evening at their home with test equipment.
That evening in the hotel room, feeling things are getting better, Nora and Steven make love.
However, something happens. A spirit enters Steven's body, causing his personality and actions
to be altered a bit. He does and says things to her that are obviously not of his doing. Things
which Nora would find baroque, to say the least. His manner of love-making is altered, but
rather than Nora being turned off, she is somehow excited by this change. What in essence is
happening, is that she is making love to two men at the same time. Steven, and another spirit.
Some of the things which he says harp back to an old time, long, long ago.
The next morning at breakfast, things are a bit strained. A normal breakfast conversation is
changed into a frightening experience when the six-year-old, Carol Ann, is talking about what
she is going to do at school when all of a sudden, for no more than three or four words, her
voice changes, slips two octaves, and a man's voice continues telling the story in the child's
own words, but only for a few seconds before the young girl's voice returns. The whole family
stops eating, and stares. It is obvious that the child is not aware of what has just occurred. Nora
gets up. Puts her hand over her mouth, stares at Steven with a realization of the night before,
and runs back up to their room.
They come to grips with the fact that it might not be the house, but themselves that are
"haunted." The desire for familiar surroundings, and the realization that no one's been hurt,
causes them to go back home.
<span style="color: red;">On arriving home, they realize that their house has been invaded by an entourage of young,
long-haired parapsychologists. Between their visit and the horrifying experience of the
babysitter, the entire neighborhood realizes that something terrible is happening in their
neighborhood.</span>
Also taking place at this time is a major archeological dig. This is going on not from from the
Freeling's home (Perhaps instead of a dig, it should be just the building of some new homes in a
tract, nearby). The excavators discover bones. Human bones. Thousands of them. It is
discovered that what has been unearthed is an extremely large grave site. The results of a
massive massacre of white settlers, perhaps 150 years ago. The bones had been shoveled into
shallow graves in approximately a 100 acre perimeter. Children, babies, pioneer men and their
women. Arrow heads, scalping knives-a horrible way to die. </pre>
<div style="text-align: center;">
<span style="font-family: "georgia" , "times new roman" , serif;"><b>One wonders whose idea it was to have the ghosts be "white settlers" massacred by the problematic bogeymen of "savage" natives. Hooper has always been willing to tease the non-Manichean duality of civilization, showing the cannibal clans of both <i>Chainsaw</i> films to be both the victims and the villains, bourgoisie culture both complicit and innocent, the villains of <i>Eaten Alive</i> both the white businesswoman and the white veteran, as well as the reptilian Other, the alligator that represents every ailment and suffering the white man blames his psychosis on. The willingness to create a threat from an anonymous force of White America, blaming their suffering on everyone but themselves, is something Hooper becomes quite accustomed to, and I wonder if Hooper insisted this nebulous use of White Christian settlers as the source of a demonic threat. If it was Spielberg, it would be more indebted to his occasional interest in occult and folk-Americana horror, as seen in <i>Duel</i> and <i>Something Evil. </i>As a conception of both together, they would soon realize this headiness would have to be sacrificed to make something more mainstream and in line with the blockbuster model Spielberg and Lucas pioneered, apart and together. Hooper was along for the ride, but would need to create something valid and personal from the more frivolous affair that he and his producers would generate.</b></span> </div>
<pre><span style="color: red;"><b>This discovery, along with the disclosure of the events at the Freeling household, cause experts
to hypothesize that perhaps through a rift in the barrier between "now" and "then," and
through one of the members of the Freeling family, as a mortal host, the spirits have found a
gateway into the 1980's and American suburbia. Some hypothesize that they are looking for
help to the next world, the world that they belong in, and the world that has been denied them.</b></span>
The Freelings are instantly descended upon by professional, pseudo-professional and crack-pot
ghost hunters who all want to spend an evening in the house with the ghosts and their
new-fangled equipment for recording spirits on film and tape. <b><span style="color: red;">A psychologist informs the family
that perhaps the spirits are attracted to one member of the family, and that a battery of tests
could be run to determine who it was. Not wanting to place any kind of "blame" or ostracization
upon any member of the family , they refuse the testing. Besides, what would they do with the
"guilty" party? </span></b></pre>
<pre></pre>
<div style="text-align: center;">
<span style="font-family: "georgia" , "times new roman" , serif;"><b>An <i>Entity-</i>like, Frank De Felitta-like moral quandary as tied to the supernatural invasion is formulated here and one almost dismays at the triumph of the inconsequential ghouls of burgeoning 80s fantasy filmmaking over the non-commerciality of "family drama horror" that had its heyday in the 70s. Like the paternity tests of a domestic drama, the Freelings aren't strong-armed into a display of their parental love by an abduction, but are left with an open-ended quandary of what child to love the most and which to perhaps love least. If you read this entire treatment, you will eventually get to a suggested story arc of Diane's strained relationship with her youngest, Carol Anne, imbued with telekinetic powers (in a blatant ripping off of <i>Carrie</i>, and its own real-life paranormal inspirations) the latter whom the mother abandons after the swimming pool episode and then allows to engulf herself in a house of flames in the most shocking direction taken in one treatment amendment.</b></span> </div>
<pre>As the Freelings and their house become unwitting celebrities, the children are saddled with a
barrage of torment from schoolmates. They are avoided. They are "the haunted people."
<span style="color: red;"><b>One of the people who comes to help the Freelings is TAGINA BARRINS, a psychic, and regular
contributor to the National Enquirer. She is a comic character who, though she comes off as a
crazy old lady seeking attention, is probably the most helpful and authentic psychic of them all.</b></span>
She spends a lot of time just walking around talking to the house. At one point, TAGINA is
awakened in the dead of night, and in a somnambulistic state, drives to the Freeling's home, is
admitted by our unseen visitors, and walks into Nora and Steven's bedroom. They wake with a
start, finding her talking to the television set static. </pre>
<div style="text-align: center;">
<span style="font-family: "georgia" , "times new roman" , serif;"><b>Tagina, a "comic character," who remains a comic character in the shooting script but is considerably toned down in the final film.</b></span> </div>
<pre>The Freeling's neighbors, once very friendly, have been almost hostile. A petition has been
started by the Eisenhowers to force them to leave the neighborhood. It is what Steven and his
family want more than anything. They look for a home in the area in which Steven works, but
are informed by his boss that if they think about bringing their bizarre ghostly rumors and cultist
rituals to his 400 acres of suburban tranquility, he will be fired and will never work in real estate
again.
Within a short period of time, the Freeling neighbors have problems of their own. Screams and
panic indicate that like a contagious virus, the haunting has spread: first to the Eisenhower
home, then across the street to other neighbors; then down the block. Beyond causing
frightened residents to harm themselves while fleeing ghostly manifestations, ghost fires are
set. (A ghost fire is a phenomenon which can take place in any room of a house. Perhaps in the
cold center of the haunting in that home. The fire will devastate everything in a specific area,
but will not spread to other rooms or other floors.) Each haunting, in each home, is signaled by
the television. Where there is a remote control device, the TV will flip on by itself in the early
hours of the morning to a station that is broadcasting static noise. The manifestations originate
there.
<span style="color: red;"><b>Other items for possible incorporation would be:
The manifestations love to materialize (not in humanoid form such as ghosts), and occasionally
we will see ectoplasmic displays</b></span>, perhaps emanating from the toaster in the house. (Ectoplasm
is a spermatozoa-like substance that originates often from the fingers of mediums trying to
contact spirits from the other side). But yet these ectoplasm manifestations could come from
the family toaster, or from the microwave oven, or from anything naturally uncommon. </pre>
<pre><span style="color: red;">Occasionally there is a manifestation of a whisp-like type of smoke in basic humanoid form that
keeps changing shape and travels from one room to the next, until if finds the recipient is has
been looking for.</span> When found, the smoke will dissipate into the sleeping person. We will see
their hair blow from their ear, as if a ghostly breath is whispering something privately, and
chillingly. We might even hear mournful crying of "help me, help me" from perhaps a
poltergeist. Beyond the toaster and the microwave oven, <span style="color: red;">the ectoplasmic manifestations will
finally develop first and foremost from the television sets that are on during static hours, as if a
form is trying to climb out of the TV set and into your home to haunt you. This could be the
climax of the story.</span> <b>(Hooper and Spielberg wrote <i>The Ring</i> before it was <i>The Ring</i>.)</b>
Another aspect of the dog's being affected by the Haunting, could be for the family to see it roll
over on its back, as if it is being tickled on the tummy; and without anything obviously petting it,
he wags his right leg, the common reaction of most dogs when being tickled above the
abdomen.
One possible ending for NIGHT TIME could be the evacuation of the town by the townspeople.
As we slowly pan through the empty town and its deserted homes, we see ghost fires being lit.
The town burns, TV sets imploding; the burial ground has not been consecrated, and the souls
are set to rest in peace.
<b>Addition to treatment dated July 31, 1980</b>
A petition has been started by the Eisenhowers to force the Freelings to move from the
neighborhood. Following various threatening telephone calls throughout dinner, Steven angrily
calls the police and asks for someone to come out and investigate the situation. A call from the
Freeling home or other families on this community suburb, protesting unusual occurrences.
A policeman arrives approximately 8pm. He asks Steven and his family questions about recent
threats, etc. And then falls into a serious discussion about the Freelings moving from the
neighborhood all together. At least consider a temporary move. Growing hostility has been
evident through periodic vandalism. Several windows over the last week with broken windows
in their house and automobile along with other assorted mischief. Steven loses his temper at
one point during their conversation and questions whether the local police department has
really made a concerted effort to do anything to protect his family let alone control this
mounting violence. As the conversation heightens almost to hysteria, an iron comes hurling
through the living room plate glass window followed by the loud chanting of an angry mob
outside, "Free us from the Freelings." Steven grabs the police man and screams, "What are you
going to do about that?" pointing hysterically out the window. Flustered, the policeman frees
himself from Steven's grasp and takes control by ordering Nora and the children into the living
room on the floor out of the way of the windows. Things settle for a bit and the policeman and
Steven move toward the front door. He reaches over to pull it open, gun drawn, he jumps back
just as a frying pan flies by catching the corner of the door jamb. Out of sight, but with the door
still ajar, the policeman yells orders for the crowd to disperse. Footsteps and scurrying can now
be heard on the roof, Nora attempting to calm the children. Lightheartedly (on the surface), she
heads to the kitchen to get the children some milk and cookies. It's obvious the crowd, laden
with guns, frying pans, kitchen knives, crow bars, etc., are paying little attention to the
policeman's demands. He reaches over to shut the door, the chanting continues, several octaves
higher now. As the door slams, he yells to Steven to get on the phone for some backup units. As
he says this, a huge gush of water pours out of the fireplace, sending a cloud of ashes and soot
into the living room. The children jump up running and screaming. Nora, in the kitchen, sends a
glass pitcher crashing to the floor, she screams and runs to the living room. Steven, angry and
frightened, grabs the phone to call for reinforcements but the phone lines have been cut and
the phone is dead. Nora and the children begin bolting the doors and windows frantically. The
chanting outside continues. The youngest of the Freelings, Carol Ann, silently sobs in the corner
of the couch holding snugly to a white stuffed bunny rabbit. In the midst of the terror, she
suddenly stands and makes her way toward the window, a very content look on her face as she
gazes outside at the angry faces. Her bunny drops and dangles from her hand as she slowly looks
toward the sky. Slowly at first, then like locusts, real rocks begin descending from the sky,
pummeling the mob. People begin screaming and running in all directions. Slowly various
members of the family stop what they're doing and move toward the living room window.
Within a few minutes, the yard is cleared of people and rocks cover what was a lawn. The family,
relieved but uncomfortable, stare silently at Carol Ann, who softly giggles and caresses her
bunny-off in a world of her own.
<b>IT'S NIGHT TIME story by Steven Spielberg. Amendments-August 18, 1980 </b></pre>
<pre><b>August 8, 1980</b>
<span style="color: red;"><b>A SUBURBAN HAUNTING WHERE A TYPICAL FAMILY IS MOLESTED BY GHOSTLY
</b><b>MANIFESTATIONS THAT FIND ACCESS TO OUR WORLD FROM THEIRS THROUGH THE TELEVISION
</b></span><b><span style="color: red;">SET AFTER BROADCASTING HAS CEASED.</span>
</b>
It further concerns the epidemic spread through the suburban neighborhood of this malevolent
haunting. The carrier is the youngest daughter, (Carol Ann). Wherever she goes, "it" follows. The
film aims to trace the mental disintegration of this American nuclear family unit as well as the
psychological effects on an entire community, that ultimately sets off a vigil-anti action against
the Freeling family.
<b>August 7, 1980</b>
Nora is feeling very uneasy and tired from little sleep during the night. Steven has headed off for
work and the children, except for Carol Ann, are all off to school. Jim and Joannie Bender live
next door and are really the only close neighborhood friends the Freelings have. When the
housing tract was announced, they were the first two families on the list after camping out in
line for almost a week. A feat Nora now tends to regret. She telephones Joannie and asks if
she'd like to come by for a morning cup of coffee. Joannie indicates that it's a pretty busy time
for her, but before she finishes, Nora cuts in, edging on hysteria, almost begging. A little
alarmed, Joannie quickly agrees and the Freeling doorbell is ringing within minutes. Nora,
straining to be relaxed, gives her a big hug and talking a mile-a-minute heads for the kitchen
with Joannie in tow. Certain things in the house are still disheveled from all the activity during
the night. Joannie takes notice of this as she follows Nora to the kitchen. A concerned look
crosses her face as she knows Nora is a meticulous house keeper. Nora hands Joannie a cup of
coffee, and blurts out, almost in tears, "Joannie, could Steve and the kids stay with you and Jim
tonight?" Joannie immediately assumes that Nora and Steven are separating, hence the frantic
call. Nora immediately straightens that out but still avoids any discussion about ghosts. She
reveals that they believe there have been burglars in the area and they're all feeling a bit
uncomfortable staying there knowing they haven't been caught. Without hesitation from
Joannie, everything is arranged.
Steven arrives home after picking up the kids and finds Nora and Carol Ann patiently waiting in
the living room with bags packed. She then announces she has made arrangements with Joannie
and Jim for the family to spend the night at their house. Steven gets slightly irritated, feelinng
that Nora is over reacting but quickly agrees to have dinner, but not necessarily spend the night.
All the kids are delighted because the Bender children are close in age and they look forward to
one big party.
Following dinner, Lawrence suggests a game of charades. Nora and Joannie are in agreement
but set the bed time hour at 10:00 pm. After a mass flurry of stacking dishes and clearing the
table all the kids head to the living room, leaving the adults with coffee in the dining room. The
kids choose sides and begin acting out various movie idols, etc. We're aware of the adults
engaged in a loud political discussion and kids screaming clues, guesses, etc. We then focus our
attention to Angel Freeling as she begins giving her clues. A couple of periodic wisecracks from
her brother Sweeny and then out of nowhere, Angel freezes and glares into the fireplace with an
absolutely horrified expression on her face.
The laughter from the children stops instantly and we visibly see two of the children shudder
and slowly turn and look in the direction Angel is staring. The fire wavers slightly as if there was
a breeze. Then from upstairs in the bedroom the 19th Century music album can be heard full
blast as Angel screams and throws her arms back outstretched and fighting as if being tired to a
stake. Her face contorts in agony. She throws her head back and forth violently. All the children
in the living room are stunned and just stare, mesmerized. Angel cries out several times, "No
more fire! No more fire!" The violent jerking subsides for a moment as her eyes rise, still a
horrific look on her face, her hair slowly rises as if someone has hold of it and is going to scalp
her. Again she screams violently and her head drops limply in front of her. Her arms are still
outstretched but she's become more resolved to the pain now, almost unconscious. We are
aware that is has become a freezing temperature inside the room, frost has gathered on the
windows even though it is the middle of July outside. We then become aware of very faint
imprints of faces in the windows. Then writing starts to appear on the filmy condensation, like
finger painting. All the screaming has brought Steven and Jim into the living room. Steven enters
with an angry tone, "What the Hell..." his voice trails off as he sees Sweeny huddled in the
middle of the floor rocking Angel, trying to comfort and calm her. The other children, with teeth
chattering, still stare as if in shock. Steven and Jim's arrival breaks the silence. Carol Ann jumps
up and runs hysterically to her father. Steven scoops her into his arms at the same time that one
of the Bender children becomes aware of the faces in the windows, she screams, which sets off
a chain of reaction screaming. Then as quickly as it happened, it ends. The blaring music stops,
the frost runs off the windows. All the children are obviously shook. Joannie and Nora run in
with a flurry of questions. None of which has an audible answer from the children. Nora looks at
Steven, they realize the ghosts have followed them. </pre>
<pre>Everyone has gathered with the kids in the kitchen to have warm milk and cookies to calm
everyone's nerves. Angel is back to normal with little sign of her ordeal. All the kids decide
they'll sleep in the living room except for the two youngest. Nora and Joannie are in fair
agreement to this as they head up the stairs with the little ones. The other kids get the sleeping
bags out and start rearranging the furniture for space. Lawrence Freeling is really impressed
with the Bender's new Advent TV screen. Johnny Bender runs through the remote control with
him and they loudly discuss how great the football games can be seen and they can't wait for
the season to start. Soon things settle down, the kids are set and the grown-ups head upstairs.
Half way up, Nora says "Ok, everyone quiet, it's way past bed time, lights out, no talking and no
watching television." After the "good-nights" and the periodic giggling subsides, the room gets
very quiet except for the usual night time creaks. About 30 minutes go by and we hear
Lawrence, "psst...Johnny, are you awake?" There's a moaning sound, then "yeah...what'd ya
want?" (Lawrence) "What time is it?" Johnny looks over at the big Grandfather clock on the far
wall. "It's 2:00 in the morning. Why are you still awake?" Lawrence ignores the question and
says "How do you turn on the TV...and make sure there's no sound." (Johnny) whispering,
"You're nuts, go to sleep, there's nothing on at this hour." (Lawrence) "Wanna bet? We've got to
get it just as it signs off." (Johnny) "You mean to tell me you like to sit and watch the snow or
something?" (Lawrence) "Something like that, you'll see." Reluctantly Johnny craws out of his
sleeping bag and over to the set; flips it on just in time to see the jets go by on the sign off.
(Lawrence), "Great, perfect timing." (Johnny) "Don't you think there's been enough weird shit
tonight?" (Lawrence) "Oh come on be a sport, just watch." The two boys crawl back into their
sleeping bags and with their chins resting on folded arms, they stare in great anticipation at the
Advent screen and the mass of static snow. Shortly we see both of the boys drift off to sleep
trying as hard as they can to fight staying awake with no luck. Just as they drift off, the images
that began to appear in the Freeling home begin to slowly take shape at the Benders. It's 3:00
am, the Grandfather clock chimes on deaf ears.
<b>August 8, 1980</b>
Carol Anne and her best friend, Jeanette are playing house upstairs in Carol Ann's bedroom.
They have dressed up in various old clothes of Nora's and some of her jewerly and hats. Tea has
been served though a minature little tea set which Carol Ann has obviously used often with all
the chips and cracks, etc. Both girls are talking a mile a minute to their dolls. Although this is
make believe, like any little girls six years old, they're playing very seriously.
Carol Ann wear an old hat of her mother's. On the left side holding up the netting is an antique
stick pin which Nora found at one of the local antique shops. The hat is obviously too big for
Carol Annand as she bends down to serve her doll some tea, the hat tumbles off onto the table.
Jeanette giggles, grabs the hat and puts it on her doll. Carol Anne, at that point, becomes very
serious, rises from the table and moves over to the record player. She then puts on the 19th
Century record; at exactly this moment, Jeanette begins gazing at the stick pin in the hat and in
slow motion she reaches out and removes it from the hat. Carol Ann, standing sternly and
motionless by the record player in the background. In the foreground, Jeanette takes the pin, as
if it were a buck knife and drives it slowly into the chest of her doll. She then removes her hand
leaving the pin embedded. At the head of the pin we reveal a carving of an Indian Fire God
(something to be established earlier in the story possibly). Then instantly, Carol Ann reels
around, confronts Jeanette and begins speaking like an adult (or perhaps in an Indian language),
all signs of being six years old are gone except for her physical appearance. Then looking straight
at Jeanette says "She must die." Jeanette turns from Carol Ann, pulls this pin from the chest of
the doll and with ferocity, drives the pin into the chest a second time. Carol Ann, still gazing in a
trance, looks at Jeanette, then the doll and the doll burts into flames. Jeanette, as if snapping
out of a dream, jumps back, startled and runs for the door. The door then bursts into flames.
Jeanette, terribly frightened now, begins to scream and cry. The door and the doll blazing away
brings Nora frantically up the stairs. Carol Ann up to this point has not moved. At the sound of
her mother's voice, she returns to her normal voice, "Mommy, mommy make the fire stop!" By
now, the neighbors have called the fire department. Fire trucks roar up to the house and a
ladder is quickly thrust up to the 2nd floor, bringing the girls to saftey. As the fireman descends,
he says under his breath, "oddest thing, only burned a doll and a door, didn't spread to any
other part of the house. Damnest thing I ever saw."
<b>August 14, 1980</b>
<span style="color: red;">Toward the end of the picture, we should reveal that Carol Ann is beginning to "get to" Nora.
Nora has already felt trapped over the past few years. She married at a very young age. She's
bright and enthusiastic and has begun to voice her discontent to Steven. It's obvious that Carol
Ann was not a planned baby as noted by the ages of the other children.</span>
<b>NIGHT-NORA'S BEDROOM
</b>
Nora is sound asleep; it's her first night alone in their new house. Steven is on a three day
business trip. Even with the kids and the dog, Nora has always been a bit nervous without him
there. Carol Ann comes in after Nora has finally drifted off to sleep. She stands quietly by the
bed, then softly at first, "Mommy" pause..."Mommy"....pause. Nora wakes up. Groggily, "What
is it honey?" Carol Ann, "I got somethin' to tell you." Nora, "What honey?" Carol Ann, "I got
somethin' to say." Nora (getting a little irritated), "Then say it honey, I want to go back to sleep."
Carol Ann, "Can I get up on the bed to say it?" Nora, "Sure..." she pats the side of the bed, "Now
what is it you have to tell me?" Carol Ann climbs up and looking straight into her mother's face
but with a distant stare, she says "It's Night Time, It's Night Time...." Nora is visibly unnerved and
then windows above Nora's bed fly open; she screams. Sweeny comes running into the room.
Nora, slightly embarrassed but obviously feeling very distant to Carol Ann. "It's nothing," she
says, "Carol Ann just startled me, that's all." Sweeny, not quite sure what to make of the
situation, leads Carol Ann out of the bedroom. He looks in the door, after he's tucked Carol Ann
in, at his mother, smiles and says "You gonna be alright?" Nora, still a little unsettled, "Just fine,
see you in the morning. Just the jitters with your dad gone."
<span style="color: red;">The next day, Nora tries to observe Carol Ann from a distance. Too many unexplained things
have been happening and Nora is beginning to doubt her own children.</span> While doing relatively
routine chores, a thought comes to mind. She goes to the phone and calls information for a
locksmith. "Would it be possible to install a lock on a bedroom door today?" pause..."Oh thank
you. 3:00 this afternoon. Great." She hangs up. A look of relief crosses her face.
[the next page is missing]
Sweeny has fallen asleep in the rocking chair next to the bed. A thoughtful look crosses her
[Nora's]face as she grabs her robe and heads for the door. A huge back-hoe can be seen past the
gentleman at the door. "We've come to start diggin' the pool area, ma'am." Nora, with a slight
look of embarrassment, "Oh, I'm so sorry, I completely forgot it was Saturday-I"ll show you
around to the back yard." The door closes. As she comes back in, the rest of the family has come
to life, the record player is already full blast up stairs, Carol Ann transfixed herself in front of
Saturday morning cartoons. Nora exits the kitchen, where Angel has already started breakfast.
"Hi mom, I didn't know they were going to start digging the swimming pool today?" Nora, "I
totally forgot. I even forgot what day it was. God, I wish your father would come home." Angel,
"I can't wait for a pool." She can tell that Nora isn't really listening, her head buried in the
refrigerator. Angle (while turning the bacon), "Mom, what happened last night? I heard
screaming. Sweeny said you'd had a nightmare. It must have been terrible. Do you remember
any of it?" As she is saying this with her head still buried in the refrigerator, Carol Ann wanders
in, bunny in tow, and slides unnoticed under Nora's arm to peer in the refrigerator. Nora goes to
close the refrigerator, catches a glimpse of Carol Ann and lets out a blood-curdling scream. Carol
Ann, obviously frightened, drops to the floor and bursts into tears. Angel at this point also
screams and sends the spatula and bacon grease flying everywhere. Nora, more embarrassed
than anything, bends down to comfort Carol Ann, she looks up at Angel. A big grin spreads
across her face and they burst into hysterics. Nora:" I guess I'm still a little shook from last
night."
Later that afternoon, nerves still a little frazzled, Nora mentions to Sweeny that it might not be a
bad idea for him to take the other kids to a movie that night. Sweeny is not overly thrilled about
the idea, but also senses the urgency in his mother's voice. He agrees and they all head off that
evening to see "Fantasia" at the local theater, leaving Nora and Elmer home for a quiet evening.
Nora is obviously relieved. She settles into a good book and a warm fire and we're aware that it
has begun to rain. She calls Steven and gives him a run down on the events of the day but
doesn't mention the series of events with Carol Ann. <span style="color: red;"><b>They discuss the new pool, Nora "With all
this rain, I hope we don't end up with too much mud for the cement to set in...when are you
due home?</b></span> I really miss you. You know I hate staying in this house when you're not here." We
hear him mumble a response. Nora, "I know the kids are here and Elmer's right here keeping me
company but it's not the same...." They both say goodbye at the same time a deafening clap of
thunder goes off, startling Nora. It's now pouring rain. Nora flips on the television for some
company and heads to the kitchen for a cup of tea. Then Elmer begins to act very strange. He
sits staring at the wall as he's been known to do on occasion. At this point though, it makes Nora
nervous. She calls his name several times with no reaction. He then suddenly bolts for the
backdoor. She follows him and looks out into the pouring rain. She tries the outside light but the
bulb is burned out. Leaving the door slightly ajar, she grabs her tea and heads for the living
room. Very shortly afterward she doses off. She wakes with a jerking motion. She sits up, some
sitcom is blaring away with canned laughter, we still hear the pouring rain, she looks at her
watch, the kids will come home in an hour or two. Nora rises to stretch and suddenly out of
nowhere the 19th Century record album begins blaring away from Carol Ann's and Angel's
room. Noticeably disturbed and turning lights on as she goes, Nora heads upstairs to check. As
she slowly enters the bedroom, the arm of the stereo ejects over to the side and the stereo
shuts itself off. Nora nervously cases the room. <span style="color: red;">Satisfied that it was nothing overly unusual as
the girls have left the stereo on before, she heads for her bedroom and gets ready for bed. She
stares at herself in the bathroom mirror.</span><b><span style="color: red;"> </span></b>Slowly she reaches up and touches the dark circles that
have begun to appear under her eyes, she then pulls slightly at the corners as if remembering
what it was like without the little wrinkles that now appear there. Then she opens the cabinet,
pulls out the jar of cold cream and begins slowly removing the makeup from her eyes and face,
staring lethargically in the mirror. The tap water goes on and she begins rinsing her face with
several handfuls of water. As the splashing continues we see at the far left corner of the mirror a
very small trickle of blood begin to spread in very fine lines along the natural ridges in the glass
of the mirror. Her face covered with water she swings around with her eyes closed to grab a
towel. Dries her face and reaches over to turn on the facets in the bathtub. Still not noticing the
trickling blood on the mirror, she reaches underneath the sink for her favorite bubble bath. She
then climbs in the tub, pours plenty in for lots of bubbles. <span style="color: red;">She then adjusts the force of water
from the taps, settles back, eyes closed and totally relaxed. As the bubbles begin to rise in the
tub (and for the first time in our frame) we see that they are pink in color. Nora, eyes still closed,
sees nothing.</span> Moments later we hear Elmer barking up a storm. This rouses Nora. She opens her
eyes, sees blood now pouring from the faucet instead of water, screams and flies out of the
bath. As she grabs a towel she sees the mirror-hysterical, she runs to the bedroom and grabs her
bathrobe. By now Elmer is not only barking but whining as if hurt. Nora goes tearing downstairs
out the back door yelling "Elmer, Elmer.." <span style="color: red;"><b>It's raining so hard that Nora is soaked within seconds.
She hesitates for a moment and almost heads back inside, but Elmer cries again and she strains
to make out his shape in the distance. It's pitch black as she edges her way out onto the patio.
Suddenly the ground gives way and she plunges into the freshly dug pit for the new swimming
pool. She attempts to grab the side but the freshly tilled soil is now thick and gooey muck. Nora
sinks quickly up to her waist in the quick-sand-like mud. She sees one of the pool lights hanging
by a wire and struggling, tries to grab it. It has now begun to rain even harder and panic is
definitely beginning to set in with Nora. Desperately she grabs at the light wire, catches it and
pulls as hard as she can. At that moment, a wagon wheel comes tumbling through the mud
along with a sea of skeletons and mummies. One after the other she tries to push off them off of
her as they bob up and down out of the thick gooey mud falling in all directions. Many of the
skeletons have severed limbs, old bullet holes through the chest and head. Nora is beyond the
terror that allows you to scream and is consumed with panic. A bolt of lightning strikes very
close to the pool area and suddenly all the pool lights (just hanging by wires, no covers) go on,
illuminating this sea of decay. Nora finally gets out a loud scream which dissolves into sobs</b></span>....we<b> </b></pre>
<div style="text-align: center;">
<span style="font-family: "georgia" , "times new roman" , serif;"><b>And here we have the pool sequence, finally added into the mix in a second or third major revision. It more resembles the final outcome of the scene, with the description of the skeletons "bobbing," rather than pushing out like weeds, along with a coffin. I can only imagine Hooper saw exactly what this scene would be like in his head from this initial point, no matter whether Spielberg wrote this, as Hooper would revert back to this treatment in order to realize this potent image of a "sea of decay," of a literal stew of dead things rather than the grinning "black-tie" ghouls of the final screenplay.</b></span><b> </b></div>
<pre><b>CUT TO:
</b>
The kids coming out of the theater. Carol Ann is sound asleep in Sweeny's arms. Lawrence is
beside himself about the film. As they make their way back to the house, we hear bits and
pieces being reenacted by Lawrence. They all clamor inside the house, whispering and giggling
"Shh...Don't wake Mom." As a few houselights go on, we are faintly aware of streaked mud on
the carpet and hand prints on the wall. The children stare stunned and frightened. Sweeny
directs everyone into the living room. Carol Ann, who remains sound asleep, he stretches out on
the sofa. He motions to Lawrence and Angel to stay with Carol Ann. He then makes his way up
the stairs, following the trail of mud along the banister, hand smudges on the wall, mud
covering the door knob and light switch into Nora's room. Dresser drawers are thrown open, a
bathrobe covered in mud is draped on the bed. Sweeny then follows the trail into the bathroom.
Horrified by the bathtub full of blood, he jumps back and turns to run out of the bathroom. He
just catches a glimpse of the mirror as he smashes right into Angel (who had wandered up the
stairs in search of Sweeny), they both scream. Lawrence yells from down below. "What's
wrong?" Sweeny and Angel grab each other, Sweeny shudders and Angel begins to cry, "Oh
Sweeny, what's happened to Mom?" Comforting as best he can he leads her down the stairs
back to the living room. Carol Ann still sleeps soundly. Sweeny moves over to the picture
window and realizes Nora's car is gone. A bit relieved, he turns back to Angel. "The car is
gone...Mom should be alright. We gotta call Dad." He rushes to the phone and dials. Steven
answers the phone. Sweeny with a slight loss of control in his voice now, "Dad, oh God Dad,
you've gotta come home tonight!" pause, "No, Mom's gone." Pause, "I don't know but there
mud everywhere and blood," (he chokes a little bit), "It's awful, and we can't go to the
neighbors, they all think we're possessed." Long pause while Steven talks, Sweeny, "Ok Dad,
yeah they're all fine, we're in the living room, Carol Ann is sleeping," pause..."Bye...please
hurry." Sweeny hangs up the phone and looks into Lawrence and Angel's frightened faces, "He's
on his way. Everything's going to be OK. Dad said about an hour and a half, he'll try to call the
police but I'm sure they won't come..." Under his breath "they never believe us anyway."
<b>CUT TO:
</b>
Nora driving in a transfixed stare, headlights lighting her face from ongoing cars. We see that
her hair is caked with mud along with her arms and face. She pulls into a Motel 6 about 30 miles
outside of town, checks in, and immediately goes to call Steven. There's no answer. She dials
again, still no answer. She looks at her watch, it's 11pm. Frustrated, she grabs her bag and heads
across the street to a little local dive cafe called Indian Palms. She fumbles around with the
menu. Nothing looks very good, the page flips back revealing a historical overview of Indian
history in the area with a map and pictures from the early 1800's. Nora barely pays attention to
what she's looking at until she sees a small picture of a ghastly massacre, an artist's conception
of the actual event. She continues reading and realizes that the massacre took place at the exact
location of their sub-division. She stuffs the menu in her purse and peels out of the parking area
back toward town. We cut to the children at the house. All the younger children have dosed off,
Sweeny lies wide awake cocking his head at every sound. Finally he gets up and walks into the
kitchen. He opens the refrigerator and the light from inside spills onto the floor in front of him.
The storm front seems to be moving on and the pounding rain has turned into a howling wind.
He reaches in to grab some milk just as the wind gusts through the back door, then slams it shut
causing Sweeny to jump and drop the cartoon of milk. Sweeny moves toward the back door,
tries the light switch, nothing happens. He slowly opens the door, "Elmer, hey boy...where are
you?" <span style="color: red;">He then sees pool lights, or rather an eerie glow emanating from the freshly dug hole in
the back yard. As he steps out onto the patio, cautiously moving toward the illuminated pit, he
gets within a few feet and a skeletal head emerges slowly over the edge. Horrified, Sweeny loses
his balance and falls backward into the mud along the edge.</span> He quickly scrambles to his feet,
sliding across the patio and into the house, never looks back. He then slams the door shut and
locks it. He runs to the living room. He sees Carol Ann sitting up, her back to him. All we hear is a
humming lullaby. He moves around to the front of her. She doesn't look at him, only stares out
the window, singing to her bunny, "It's night time, it's night time..."Still panicked, he wakes the
other two kids, "C'mon we gotta go!" He looks at Carol Ann, hesitant at first, "You too, let's go."
He reaches out to grab her hand. She looks at him sternly and says, "No." Sweeny stares for
just an instant and then reaches over to pick her up. Angel steps in and says,"Here Carol Ann, I'll
hold your bunny." Carol Ann turns to both of them and in a low rumbling male voice says, "NO,"
then pulls the head off her bunny, stuffing flying everywhere. From Carol Ann's POV looking at
the shocked faces of Sweeny and Angel, we see a ghost fire burst into flames in the neighbor's
house and Jim and Joannie Bender come running out into the street. Then headlights come
through the living room window playing across the wall and over to Carol Ann's face. Sweeny,
Angel, and Lawrence turn to run toward the door and it too bursts into flame, just as we hear
Steven's voice from outside the door,"Sweeny, are you in there?" Sweeny terrified, "Dad, we've
got to get out of here. She'll burn the place down." His voice trails off as we hear a chair come
crashing through the picture window. Quickly Steve helps all the kids outside. He yells for Carol
Ann, Sweeny grabs his arm, "No!" he screams. "She should stay." Steven looks at Sweeny
dumbfounded. Just then, Nora drives up and comes running to the four of them. Steven starts to
go in after Carol Anne, Sweeny practically tackles him, "No Dad, please." Nora rushes over, "Oh
God, believe him he's right..."she buries her head in his chest. We look up and see Carol Ann get
up and walk slowly, still humming, toward the back door and out into the yard, moving toward
the pit. Steven and Nora grab the kids and head for the car. We then realize that ghost fires have
started throughout the neighborhood, even in those houses that have not yet completed
construction. People are running with few belongings to their cars, some screams and crying can
be heard.
<b>CUT TO:
</b>
<b><span style="color: red;">Morning. We pan past a "No Trespassing" sign and reveal a huge digging site in progress. To end
similar to "The Birds," with no real answer in sight.</span></b> </pre>
<pre></pre>
<div style="text-align: center;">
<span style="font-family: "georgia" , "times new roman" , serif;"><b>This idea of the ending resembling <i>The Birds</i> in its evocation of "No answer" and a state of "non-finality" does exist in the final film, as it does in most ghost stories (if not on this scale of mass panic, thus the <i>The Birds</i> evocation). The sense of passage from the suburban Sodom under reckoning to the anonymity of a highway's Holiday Inn is communicated in the script through a shot of a "Cuesta Verde" border sign, and it exists in the film as a limbo-like flight on pitch-dark highways, which is visualized through elegant Poor-Man's process shots that I wish were talked about more. They resemble similar vivid process shots in <i>Salem's Lot</i> and <i>The Funhouse</i>.</b></span></div>
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<br />
<pre><b>"It's Night Time:" Final Set of Revisions</b>
These final revisions to the treatment, dated <b>August 23, 1980</b>, <span style="color: red;"><b>change the "white settlers killed
by Indians" buried under the neighborhood to simply a regular grave yard that Steven's
company decided to build on top of.</b></span> <b><span style="color: red;">It also amps up the danger to Nora in the scene where she
is attacked by the ghost in her bedroom before running outside and falling into the newly dug
pool.</span></b> Finally, it adds an early scene showing the changing of the TV set channels by unseen
forces <span style="color: red;"><b>(and also renames "Lawrence" to "Robbie").</b></span>
<b>August 23, 1980</b>
<b><span style="color: red;">Steven Freeling comes from a family of real estate brokers. </span></b>His father was selling houses when
they were going for a thousand to five thousand dollars. Both of his brothers are still in business
with their Dad and Steven went out on his own. His reputation locally is one of the best. He now
heads up a huge firm responsible for the last five or six major land development in the area. The
broken on the area little over two years ago and families started to move in about 6 months
ago. Steven is in charge of showing the houses, clearing escrow, arrangements for personal
kitchen designs, etc. Approximately all the houses have been filled-it sits in the middle of several
other housing development and is separated by rows of poplar trees. A grave yard had stood
here for years which accounts for the delay in developing the area. Through a lot of
underhanded payoff with the Planning Commission, etc., <span style="color: red;"><b>Steven's company had gotten the ok to
build provided they moved the graves to another location. Realizing this would be wildly
expensive, they had publicized transferring the grave yard when in fact they simply moved the
grave stones to another location but covered the existing grave site with about seven feet of fill
and about a foot of dirt, quickly got the foundations laid and before anyone really knew what
happened, installed housing tract. Steven was never involved in the negotiations but served as a
representative in the community for the company, therefore becoming a target for the ghosts'
retaliation.</b></span>
<b><span style="color: red;">This sequence will begin with Nora combing her hair at the vanity-however, no one else is home,
Steven is on a business trip and the kids have gone to the movies to give Nora a little peace and
quiet.
Fairly deep in thought, Nora combs through her hair in long slow strokes. Then without warning,
the brush lifts her hair from one side of her head and lays it down on the other. Nora stares in a
state of shock. Indentations from fingers can then be seen as if a hand is grabbing her face and
turning. Nora is still in a state of shock, unable to move. We then see her lips press in, her nose
shift off to the side a bit and we realize she is being kissed by a ghost.</span></b> <span style="color: red;">The indentations leave her
face and she sits shocked for a few minutes. Then in the mirror, she sees a human form take
shape from a smoke and gaseous material. Nora slowly rises from her chair and begins to move
toward the door. Staring at the smoke-like shape which is now dissipating, she reaches up to
turn on the bedroom light. Just as she switches it on, it immediately goes off. Quickly she turns it
on again and again something switches it off. She gasps a little and turns to run down the hall
and the stairs to the living room turning lights on as she goes but they go off as quickly as she
turns them on. She then turns on the television set which immediately goes off. She runs for the
phone, which is invisibly taken out of her hand and hung up.</span> Truly frightened, she runs upstairs
again, half way up the stairs as if someone stepped on the back of her dress, she falls. We then
see a hand print as if something were gripping her ankle and it begins moving up her leg. Nora
stares for a moment in horror and then begins to resist, trying to pull herself up the stairs,
reaching desperately for the banister. As she breaks free she runs into the bedroom, the door
slams shut moments later and the smokey, gaseous form begins to appear again. We can only
see it with the moonlight streaming through the window. Nora sits shivering on the corner of
the bed with her hands crossed over her chest holding onto her shoulders. We're then aware of
the hand indentations again which grab her wrists and slowly but forcefully uncross her arms
and drop them to her side. Nora, under her breath, on the verge of tears says, "No, no please
don't hurt me..." <span style="color: red;">As she says this, her night gown is slowly ripped off her shoulders and she is
pushed down on the bed. We then see the hand indentations grasp her breast with a strong
massaging effect and move down to her underwear which is gradually slipped back on the bed.
Not able to grab at any human form she takes hold of the sheets for leverage to try and get out
of the ghost's grasp. In the struggle she rolls off the bed, but we're aware that she still can't get
up. Her arms are suddenly thrown back straight over the top of her head and then her legs are
pulled apart forcefully, we can see on Nora's face sheer terror beyond the ability to cry. Then
the sheet over the top of them begins to rise up and down rhythmically, and several times we
see her face being kissed. Then the sheet falls away from her as if someone rolled over and took
the sheet with them. Nora, for an instant, stares at the sheet, then jumps up and runs for the
door grabbing her robe on the way out. </span>She gets downstairs, grabs her purse and heads for the
front door. She takes hold of the handle and finds that she can't turn it. She pulls frantically to
no avail. <span style="color: red;">She then runs for the back door, quickly switches on the outside light and runs out on
the patio.</span> Finding it difficult to see, she runs into the patio table, and knocks a chair over just as
the outside light goes off. <span style="color: red;"><b>Now, truly horrified she starts backing out onto the lawn. A clap of
thunder goes off startling her, she turns and steps right into the freshly dug pit for the new
swimming pool. Another clap of thunder, a bolt of lightning and a huge downpour starts. The
freshly tilled soil turns into a gooey quick sand like mud very quickly. One end of the pool is very
steep and as Nora tries desperately to climb out the grade is so steep she slides back each time.
After the second or third slide, the mud is now up around her waist, another clap of thunder and
suddenly the pool lights come on. Nora looks around for a moment and suddenly we see areas
in the mud that start to rise up and then shafts of mud as the pouring rain hits these, we realize
they are skeletons, more and more bobbing to the surface, then again a bolt of lightening strikes
and short circuits the pool lights, causing a strobe effect. In sheer terror, eyes shut, Nora begins
screaming, clawing frantically trying to make her way to the shallow end of the pool. Just as she
nears the edge a hand reaches out to help her. </b>With one hand resting on the pools edge and the
other in this hand, she looks up into the eyes of her ghost, a smoke like apparition. For the first
time, we can make out a human like face. Nora screams and goes sliding down back into the sea
of skeletons only to come face to face with the corpse of the ghost she just saw. The last image
we see is Nora huddled in the corner of the pool, strobe lights going and a sea of bobbing
skeletons, rain pouring down and occasional lightening and thunder.</span>
<b>Another revision page dated August 23, 1980</b>
<span style="color: red;">Steven sits in the living room one evening after a hard day's work watching Monday Night
Football with his two boys, Sweeny and Robbie (change name from Lawrence in previous
treatment). Just as the touchdown pass is thrown, the television goes to snow. Steven jumps up
furious and starts screaming at the neighbors. He runs over to Jim Bender's house, who is also
furious and finds that he thinks that Steven's remote control changed the channel on his set.</span>
They argue fervently for a few minutes and Steven heads back to the house convinced now that
he will just move the TV somewhere else in the house as to avoid the neighbor's remote control.
During the night the television set clicks on and starts racing through the channels till it comes
to snow. This wakes Steven with a start. He jumps out of bed, throws on a robe and races over
to the neighbor's house. After pounding on the door, Jim Bender answers. Steven immediately
flies off the handle accusing him of disrupting the household. Jim seems a bit flustered saying he
was just about to head over to his house because his set went on voluntarily.
Steven sees this as just an excuse but concedes. This remote control duel continues for a few
days, until, one evening while the family is watching a late movie, the channels begin racing
around until they come to snow. Steven jumps up and races outside over to their neighbor's
house. Peeking through the window, he realizes they are gone. He tries the door several times
and walks around to the back of the house. He finds this a bit disquieting and heads back to his
house. As he turns his back, we are aware that the TV set in the neighbor's house clicks on, just
as we hear a scream from the Freeling home. Nora seems a little more unnerved as Steven
enters the house, insisting that some form came out of the television set. Steven passes this off
as her imagination, but doesn't let on that the neighbors weren't home to cause the channel
changing....thus begins the silent invasion of the Freeling home through the static snow of their
television sets. </pre>
<div style="text-align: center;">
<span style="font-family: "georgia" , "times new roman" , serif;"><b>This final revision dated late August, I imagine they must have given Grais/Victor a few months to work on their version in script-form, and maybe by January, Spielberg was working hard to make it the accessible adventure story it wound up as.</b> </span><br />
<br />
<b> </b></div>
JRhttp://www.blogger.com/profile/15544454753709801525noreply@blogger.com0tag:blogger.com,1999:blog-3175631797077198516.post-31043210299162399932018-08-04T16:45:00.003-07:002018-08-08T00:34:54.995-07:00Weird Art in the Films of Tobe Hooper<div style="text-align: center;">
<br />
<b>Weird Wall Art in the Tobe Hooper Film</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGxI1Gyta9syL3gqY1UCalEyT2TKC3F0Dc-_gTM0JmdvviaBKCFxoLpXVZqARlDtuPZF_FXw8qnyssGpU8sY32nMvSOfTkWV3vPDePEoygdlHS-8lgBV1fY1f7gXScwGscowl9c3gh1Tg/s1600/Screen+Shot+2018-08-07+at+9.56.38+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="428" data-original-width="800" height="342" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGxI1Gyta9syL3gqY1UCalEyT2TKC3F0Dc-_gTM0JmdvviaBKCFxoLpXVZqARlDtuPZF_FXw8qnyssGpU8sY32nMvSOfTkWV3vPDePEoygdlHS-8lgBV1fY1f7gXScwGscowl9c3gh1Tg/s640/Screen+Shot+2018-08-07+at+9.56.38+PM.png" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPFK0rwZCSf_aOdeLSwArMt8RXu0OjjPkpPEksNWbyg7gsjzzVw0JG2ZFqkYTXPWizgf8Pqo0LIcdAYN67o7VGFBUpjNsgsyZ0idgFu_-1w7s6ocFaw2kiKKELOTAruRa7OUxXl4Ofvwo/s1600/Screen+Shot+2018-08-07+at+9.58.44+PM+copy.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="255" data-original-width="179" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPFK0rwZCSf_aOdeLSwArMt8RXu0OjjPkpPEksNWbyg7gsjzzVw0JG2ZFqkYTXPWizgf8Pqo0LIcdAYN67o7VGFBUpjNsgsyZ0idgFu_-1w7s6ocFaw2kiKKELOTAruRa7OUxXl4Ofvwo/s200/Screen+Shot+2018-08-07+at+9.58.44+PM+copy.png" width="140" /></a></div>
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<i>Detail</i></div>
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A woman and small boy (with mandolin?).</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNfE1-GW7884YezGTG77Ilr_aOycyc3hnhR3G3w4sy-Njb-pgSmFcAAMDcLyz0E_VL0TitiIeQBf2K4DNNPOUz1DHtYYnKpBTIesfdcgXTRbInCpWyuiQgmY7sHy2xo96j2HLsECvv6pE/s1600/wa3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="304" data-original-width="720" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNfE1-GW7884YezGTG77Ilr_aOycyc3hnhR3G3w4sy-Njb-pgSmFcAAMDcLyz0E_VL0TitiIeQBf2K4DNNPOUz1DHtYYnKpBTIesfdcgXTRbInCpWyuiQgmY7sHy2xo96j2HLsECvv6pE/s640/wa3.png" width="640" /></a></div>
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Clothesline art.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMK5W6sZu1l-f2BMjo4IcYWueEVAwYQfehGuAS_jWHXAs2RfA3sfhAcjDOrpU5Ixtmvm6SPMwYn7ZBQe7KREA9xPJIRvY9IF7qWLzQlcDNX2geR4-1WkVaLE8YADc3O0rq_W1DPJLPuus/s1600/wa4.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="304" data-original-width="720" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMK5W6sZu1l-f2BMjo4IcYWueEVAwYQfehGuAS_jWHXAs2RfA3sfhAcjDOrpU5Ixtmvm6SPMwYn7ZBQe7KREA9xPJIRvY9IF7qWLzQlcDNX2geR4-1WkVaLE8YADc3O0rq_W1DPJLPuus/s640/wa4.png" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTBV260CiKCqozW_Y-DETpFf_Mj5ATU-wbKJhaxOcA7LXL1Cd1iKfgjBWafH7KZ79VRfLC3mgOrZX2uZVZzy_afXPvTm6oPPqZRKvOG5Gy57LsZHt8NI-IGEvj7WtO2xJzwycGFIW2RA0/s1600/wa5.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="304" data-original-width="720" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTBV260CiKCqozW_Y-DETpFf_Mj5ATU-wbKJhaxOcA7LXL1Cd1iKfgjBWafH7KZ79VRfLC3mgOrZX2uZVZzy_afXPvTm6oPPqZRKvOG5Gy57LsZHt8NI-IGEvj7WtO2xJzwycGFIW2RA0/s640/wa5.png" width="640" /></a></div>
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The childlike dove drawing (can double as an angel).</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVsY16wMWxv5BgDX6tRCK9Fs8aTH9SiHB-qBCKgvgYCmm8ZQCH4yuHWfSjvlq5WMRBJ7I3L4tFg0VfqhBrb-PbglFiud3-XqqQobZm83dJd3sseLPBb_paCMyhxMoMqeuoj-cTRVAiP3g/s1600/wa6.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="304" data-original-width="720" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVsY16wMWxv5BgDX6tRCK9Fs8aTH9SiHB-qBCKgvgYCmm8ZQCH4yuHWfSjvlq5WMRBJ7I3L4tFg0VfqhBrb-PbglFiud3-XqqQobZm83dJd3sseLPBb_paCMyhxMoMqeuoj-cTRVAiP3g/s640/wa6.png" width="640" /></a></div>
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The graphic mod art painting in the upstairs hallway.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3XdjM3P9l-dfbQjp-YfLp9uVRpq_z6LCrxYTNTp5ZS9GS4kPkvjTk0SMxEvgMrmG3Hfl2VzbQo9mt0gESUI47LG6t45bTz6xqMxx3Khcw1HCiWnXF3GaHM19pFfy7B9rYI0-zucr4lHI/s1600/wa8.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="304" data-original-width="720" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3XdjM3P9l-dfbQjp-YfLp9uVRpq_z6LCrxYTNTp5ZS9GS4kPkvjTk0SMxEvgMrmG3Hfl2VzbQo9mt0gESUI47LG6t45bTz6xqMxx3Khcw1HCiWnXF3GaHM19pFfy7B9rYI0-zucr4lHI/s640/wa8.png" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM4ZAyXq7pwindSgV3UlczahkZIhhxq0S69JXSJHTyu3kTUl6DA-rlfv_hOb-CvdBuof9s9yBZkwBEnqZwtFKZZviUeOcVgPVCNveCB-jozyBAmMYx3g4tzZAwxfL8O88ALrBnXBbm9_g/s1600/wa9.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="304" data-original-width="720" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM4ZAyXq7pwindSgV3UlczahkZIhhxq0S69JXSJHTyu3kTUl6DA-rlfv_hOb-CvdBuof9s9yBZkwBEnqZwtFKZZviUeOcVgPVCNveCB-jozyBAmMYx3g4tzZAwxfL8O88ALrBnXBbm9_g/s640/wa9.png" width="640" /></a></div>
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Not "weird art," but an occasion to point out the carnival manager's cabinet of Catholic paraphernalia that exists prominently in his small trailer, seen behind him and Joey's parents. In the same vein of "weird" paintings, it is certainly an artifact of our fleeting iconographic identifications we as human beings make, with which we, for reasons of status-stating and bourgeois obligatoriness, deign to put on our walls. As ever-present as they are forgotten, dust-collecting.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoqKrSRBaENL2g3oz0fov_ELGoS_g58-t5M791WfI7otxSPbtcimnSD-LpYghLaL5Iw6D-zxyYCj8cMLhbvYmgApCCsAEbDLicB6UBWwZLxEudkwzr1y9BgTq68Z49SnCex2N6xBgH530/s1600/wa10.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="669" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoqKrSRBaENL2g3oz0fov_ELGoS_g58-t5M791WfI7otxSPbtcimnSD-LpYghLaL5Iw6D-zxyYCj8cMLhbvYmgApCCsAEbDLicB6UBWwZLxEudkwzr1y9BgTq68Z49SnCex2N6xBgH530/s640/wa10.png" width="640" /></a></div>
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The anti-symmetrical modern art mock fresco.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhj2NkpMq26lAYsc6oxNsz8AQ5rK3xyxq418MMLWxKhRN9WFG_UeXJqPVZD0HmNkPdxoml-xoDOuzY7ysJuxgdb2r75Y3p35zRdJCJbazNDmLaAVvjbTaQtV1NReefXuKevbCeEzgzvVk/s1600/wa11.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="669" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhj2NkpMq26lAYsc6oxNsz8AQ5rK3xyxq418MMLWxKhRN9WFG_UeXJqPVZD0HmNkPdxoml-xoDOuzY7ysJuxgdb2r75Y3p35zRdJCJbazNDmLaAVvjbTaQtV1NReefXuKevbCeEzgzvVk/s640/wa11.png" width="640" /></a></div>
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Three plates mounted on the wall, like a rigid embodiment of order and a three-branch system of equitability, constantly judging our protagonists.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9NkI6AiffhV1Td4-Mi5qMGPW4N6eHPq7Ll4cx-lvNtrfnwBm_KbgKPPpi0Fki8UvCwe7RuHwLyZq6JnpK0a9KxnbgFnGGC6ytWFAHCXeSyba5tsVT-5FfhjINKEvzC0uYeG7QLaMe-ws/s1600/wa12.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="669" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9NkI6AiffhV1Td4-Mi5qMGPW4N6eHPq7Ll4cx-lvNtrfnwBm_KbgKPPpi0Fki8UvCwe7RuHwLyZq6JnpK0a9KxnbgFnGGC6ytWFAHCXeSyba5tsVT-5FfhjINKEvzC0uYeG7QLaMe-ws/s640/wa12.png" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwd5dKOZr7wDu3uPiA2aFH8g9j0339QnX_sqKpXHTfLwmtIqmLGvwRP0mLGnrbXJM0tQzus2Sj00L_hevVl5zueZk7qkNrlt7vP5eqw9L_iMwvs-tjPYLwRHRC9Fljdg0js56bxCCCJ3A/s1600/wa13.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="669" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwd5dKOZr7wDu3uPiA2aFH8g9j0339QnX_sqKpXHTfLwmtIqmLGvwRP0mLGnrbXJM0tQzus2Sj00L_hevVl5zueZk7qkNrlt7vP5eqw9L_iMwvs-tjPYLwRHRC9Fljdg0js56bxCCCJ3A/s640/wa13.png" width="640" /></a></div>
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Looking past the cluttered interior decor/3D textural art of <i>Texas Chain Saw Massacre</i>'s farmhouse, the densely littered decoupage of pop culture adorning the children's walls in <i>Salem's Lot</i> and <i>The Funhouse</i>, the rock 'n' roll collage of K-OKLA's station, the symbolic pop-up fastenings of Lisa's apartment in <i>Spontaneous Combustion</i> and Barlow and Straker's morbid wall adornments, there is the weird wall art to be found in Hooper's films.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFXwoAZVLyx30pTpnUMVrzImcb-Jl9OgOJaT-ORrJsWJ7sF7VNyO48G3FWmHt9960A0RR1_RzfodTYNqtbZi5M6e-Ss-vj-XOVlufXVGvswAfKFRXX9RWEBxjQu4EHcT0jY0mk7oN4ycA/s1600/wa14.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="304" data-original-width="720" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFXwoAZVLyx30pTpnUMVrzImcb-Jl9OgOJaT-ORrJsWJ7sF7VNyO48G3FWmHt9960A0RR1_RzfodTYNqtbZi5M6e-Ss-vj-XOVlufXVGvswAfKFRXX9RWEBxjQu4EHcT0jY0mk7oN4ycA/s640/wa14.png" width="640" /></a> </div>
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Looking past the space toys arrayed around the table, there is the painfully beige color block art behind the institutional men.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEWambHwpZ-AX1zCNaQWRksQAvWlAB_cBxxJ4rUW0C1kc7yXcg-Mzqwq9uWC6n_s4YPL53Ark_U06Z9lofINg3q0yx7s6UH84IAI6hKTj4rj6GjLWmxfK6EL3-OoeXkOkxTrqeDYPIjDA/s1600/wa15.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="304" data-original-width="720" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEWambHwpZ-AX1zCNaQWRksQAvWlAB_cBxxJ4rUW0C1kc7yXcg-Mzqwq9uWC6n_s4YPL53Ark_U06Z9lofINg3q0yx7s6UH84IAI6hKTj4rj6GjLWmxfK6EL3-OoeXkOkxTrqeDYPIjDA/s640/wa15.png" width="640" /></a></div>
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This never made much of an impression on me, but this expressively minimalist watercolor piece behind the befuddled guard is too pretty and plaintive not to appreciate it being there.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPd2Omra6WwUUaP9Hvw3xa3ebivZ3gR47raZw0GXWrP_ZW90FAvcrPX6R6HvyPATgn1BNmVhQdMNo_hsjcrm_H5nSatR5FHglK2C0jntxjQrkp2KoXW0NF6s3wjsq6H6whGpbV9GLKfbE/s1600/wa17.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="304" data-original-width="720" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPd2Omra6WwUUaP9Hvw3xa3ebivZ3gR47raZw0GXWrP_ZW90FAvcrPX6R6HvyPATgn1BNmVhQdMNo_hsjcrm_H5nSatR5FHglK2C0jntxjQrkp2KoXW0NF6s3wjsq6H6whGpbV9GLKfbE/s640/wa17.png" width="640" /></a></div>
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There are many things on the wall of the nurse's quarters, including weird art, in the same way the quarters of many characters in Hooper's film's walls are covered with their personality in strange and hodgepodge ways (one can even say the funhouse is this... but whose room would this be? America's?). But the weird art I'll focus on, due to its identifiability, is the Pierrot clown poster - a mainstay of 80s kitsch art.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj5nVuozTSt7HgYAHAf9-oqhdV0yTSK-G_vtcjNpr7OC8KMaWAa59EoWNkIMPF5Zs_Q4bzS_dcymofPAFaY7FMocC9ateJdLZUBGTfOoWqa5Gzpm52UFh2pIVuqKjD71Q-OB7wtKV6Tbg/s1600/wa18.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="304" data-original-width="720" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj5nVuozTSt7HgYAHAf9-oqhdV0yTSK-G_vtcjNpr7OC8KMaWAa59EoWNkIMPF5Zs_Q4bzS_dcymofPAFaY7FMocC9ateJdLZUBGTfOoWqa5Gzpm52UFh2pIVuqKjD71Q-OB7wtKV6Tbg/s640/wa18.png" width="640" /></a></div>
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Not necessarily "weird," but Hooper takes a thoughtful, isolated moment in the commentary of the Blu-Ray to point out the weird, tiny Mona Lisa reproduction at the right of the frame and how he appreciates its presence.<br />
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<br />
Finally, the art of Chevalier's home, a collection of maternal-themed, womb and loin favoring nudes, scattered throughout but never contextualized. It's the most explicit implicit "weird" art.<br />
<br />
If anyone has an ID on any of these artworks/artists, leave a comment! Would love that.<br />
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JRhttp://www.blogger.com/profile/15544454753709801525noreply@blogger.com3tag:blogger.com,1999:blog-3175631797077198516.post-40763106533943106242018-07-26T15:11:00.002-07:002018-08-12T12:15:24.680-07:00Set StoriesI want to bring up set stories from crew members who purport Steven Spielberg was running the show and how one-sided these "evidence to the contrary" (on the issue of Hooper's validness on set) are. I will also bring those up in conjunction with all other set stories we have, ones heard from actors, mainly.<br />
<br />
Now the following is an interesting account, because it is from two different production members who always mention the presence of both Hooper and Spielberg as decision-makers on set, yet one is speaking on behalf of Hooper and the other is absolutely <i>convinced</i> Hooper could not have had a smaller role in what would turn out to be <i>Poltergeist</i>.<br />
<br />
What we can use these accounts of the set for are a sort of comparison point for what we have heard from certain actors.<br />
<br />
Now the veracity of the stories are anyone's guess, and, if to be believed at all, there is the issue of subjectivity and the failings of memory.<br />
<br />
We begin with a story of the day Beatrice Straight, Martin Casella, and Richard Lawson were tasked to perform very technical, scientific dialogue and were not able to perform it until Spielberg rewrote it.<br />
<br />
<blockquote class="tr_bq">
<span lang="EN"><i>Source: <a href="http://www.poltergeist.poltergeistiii.com/reallyIII.html">The Poltergeist Fansite: "Who Really Directed 'Poltergeist'?</a></i></span></blockquote>
<blockquote class="tr_bq">
<span lang="EN"><span style="font-size: small;"><span lang="EN"><span style="font-size: small;">Another source who worked on the film told me:</span></span></span></span>
<span lang="EN"><span style="font-size: small;"><i>"In the beginning, Steven did
occasionally yell action and say cut. Sometimes the actors got two
different sets of directions from two directors. Sometimes they would be
the opposite directions. <b><span style="color: red;">After about three days of that, Beatrice
Straight put her foot down and said she would only listen to one
director. That was Tobe.</span></b> After that, Steven was often on the set, but
since he was prepping ET he wasn't there all the time. The only time I
ever saw him really fight with Tobe was after an entire day of shooting a
scene with Beatrice Straight and the other two scientists involving a
great deal of gobblety-gook dialogue, Tobe just couldn't get the shot.
Steven came onto the set and was very upset - there was a lot of ugly
yelling - and Tobe just stood there taking it. Beatrice Straight, again
the hero of the day, finally stood up to Steven, said that the dialogue
(which I believe Steven himself had written for the scene) was
unplayable and that Sir Laurence Olivier himself couldn't act such
badly-written dreck. She made it very clear that Tobe was not to be
blamed. Steven was very quiet and about five minutes later the cast and
crew were all dismissed for the day. The next day the actors came back
to the set and were handed new dialogue, which again I believe Steven
had rewritten. It was 100% better and Tobe shot the scene in about an
hour with no problem. But before shooting commenced, Steven got up in
front of the entire cast and crew and apologized for the outburst and
said Tobe was not to blame for the previous day's delays. It was one of
the most generous, selfless and courageous things I had ever seen on a
movie set. "</i></span></span><br />
<span lang="EN"><span style="font-size: small;"><i><br /></i></span></span>
<span lang="EN"><span style="font-size: small;">"BenThere" then disputed the particulars of the above recollection:</span></span><br />
<br />
<span lang="EN"><span style="font-size: small;"><i>"I vehemently disagree with almost
every detail recounted in that quote. I do not doubt your word that
this person worked on the film - so, on that point, I stand corrected,
but I believe I'm wrong ONLY on that point. As I said before: <span style="color: red;"><b>'I'm just
plain tired of hearing so much pure conjecture from the public - and so
much pure BS from its principal players.'</b></span> Certainly, my witness IS in
the minority, as, to the best of my knowledge, no 'Poltergeist' cast or
crew member has EVER publicly stated 'the whole truth and nothing but
the truth' on the subject of its director. It may be said, that, in my
many years of silence, I DID suppress the truth... but I most certainly
DID NOT EVER perpetuate the falsities and outright lies as have so often
been professed by many of our cast and crew."</i></span></span></blockquote>
<span lang="EN"><span style="font-size: small;">Now, if you'll allow me to get personal here, I believe the red, bolded part of the first account, but in regards to the red, bolded part of the <i>2nd</i> account - come <i>on</i>. "BS from the principal players," as if they can deny what happened to them on the set, and "pure conjecture from the public," the <i>exact </i>reason Hooper has been the one suffering the most marginalization in regards to the film? Cast and crew, going against their better instincts, lying on behalf of Hooper, really? We're going to play the turning tables card?</span></span><br />
<span lang="EN"><span style="font-size: small;"><br /></span></span>
<span lang="EN"><span style="font-size: small;">Back to the first account, we cannot proclaim it <i>absolute</i> fact, nor that it isn't awash in enlargements, exaggerations, and outright fabrications (such as the more fractious elements in the story). <b>But we can corroborate this story as truth,</b> as Martin Casella, the actor (now writer) who plays Marty, has put this story on the record, in the form of <a href="https://soundcloud.com/i-was-there-too/poltergeist-with-martin-casella">a podcast appearance on "I Was There Too"</a>:</span></span><br />
<blockquote class="tr_bq">
<span lang="EN"><span style="font-size: small;"><i>(Casella) </i>"When we shot that scene later, it's the scene where we're walking down a hallway and Richard Lawson says, "Oh, we observed a really <i>amazing</i> incident where the truck moved a <i>quarter of the inch </i>in five hours!" and Craig Nelson goes, "Uh-huh, uh-huh," and then he opens the door, and every toy in the room is flying through the air and jumping up and down. Well, that scene originally had the most difficult to learn, scientific gobbledy-gook you'd ever heard. And we shot it, and shot it, and shot it, and shot it, with Tobe going, "Well, try it again," and Beatrice Straight was almost pulling her hair out, and Richard and I would get tongue-tied, and finally, Steven finally had to come in and say, "You know, there's a problem." And Beatrice Straight said, "We <i>can't</i> say this dialogue. We literally can't say it. It just makes no sense." And Steven said, "Okay, fine. Send everyone home and the scene will be re-written tonight"... He came back the next day... said, "We're back on track now," and we all read the dialogue and went, "Oh... oh yeah" and I think we got it in one take after that, because all the technical stuff had been taken out, so now it's just funny and punchy."</span></span></blockquote>
<span lang="EN"><span style="font-size: small;">So the accounts are basically the same, save the juicier elaborations in the anonymous account that allege him or her seeing an angrier Spielberg and a more abused Hooper, as well as the supposed "apology" Spielberg gave.</span></span><br />
<br />
<span lang="EN"><span style="font-size: small;">As for the second witness, they are primarily disagreeing with the idea that Hooper ever became the dominant force on set, and asserting that anyone who says otherwise is under a grave misapprehension and marked by an inability to read critically the events on set. But it turns out they are in fact in the dark about this hallway scene's shooting, corroborated by Casella; and, whether they simply missed that moment or not, they remain highly skeptical that Spielberg's blow-up, then apology, happened (which, given, is the most likely exaggerated part of the first witness's account). The second witness continues on, never quite pinpointing the source incident of the first witness's story (he or she conjectures it may have been the dinner table exchange, or the researchers discussing things in the living room), but rather using this as a jumping-off point to discuss the day they <i>do </i>remember, in which they shot Richard Lawson sketching at the bottom of the staircase - a day that would prove an eventful one, in their case<i>. </i>I will quote it at length, not because I wish to dispute or confirm anything within it, but, taking it at its word, it can illuminate a little bit about Hooper and Spielberg's relationship on set, and perhaps Hooper's state of mind:</span></span><br />
<blockquote class="tr_bq">
<span lang="EN"><span style="font-size: small;"><i>By phone, I've already contacted
two other 'Poltergeist' crew members who, like myself, were present 'on
set' each and every day of shooting. As well, like myself, neither
recall any such exchange among Steven, Tobe, and Beatrice - and, believe
me - it's almost impossible that all three of us would EVER forget (or
never even hear mentioned) such a 'generous, selfless, and courageous'
apology as is claimed to have been given 'the entire cast and crew"...
by Mr. Spielberg, no less!!<br />
<br />
Semi-Interesting Side Note: Based on my intimate familiarity with the
making of "Poltergeist," I believe the claimed exchange of dialogue and
subsequent apology could only have taken place in the Interior Freeling
House Set (ie. - kitchen, dining room, living room, downstairs bathroom,
and staircase with upstairs landing, hall and bedroom doors). Most
likely it would have occurred sometime around our shooting the Dr. Lesh /
Diane discussion as a tea pot slides across the dining table on its own
power... or the scene where Ryan (Richard Lawson) is listening to music
via headphones while, simultaneously, sketching his version of a
ghostly apparition - even as he fails to notice that his scientific
'ghost image capturing' equipment is, also, stirring to action. <b>What's
'interesting' here is twofold: Firstly, we shot both of those scenes on
the same day. Secondly, it was the ONLY day that Mr. Spielberg was, IN
FACT, 'very upset - (and indeed) there was a lot of ugly yelling.'</b> Your
source got that much right and I would never again see him SO vocally
express his displeasure to anyone else. <b>By the way... (geez, I almost
forgot)... most interesting of all is this: He was not 'upset' with, nor
did he 'yell' at Tobe Hooper. He was upset with... and he yelled at...
ME!"</b></i></span></span>
<br />
<span lang="EN"><span style="font-size: small;"><i><br />Certainly, it IS possible that
Beatrice's objections, Steven's outburst to Tobe, and Steven's apology
were known only to a select group of individuals and not to so large a
group as was inferred by your source. What DID happen in witness of a
large number of cast and crew was Steven's outburst to me. Let me be
very clear on this point: Some directors, (too many actually) are, in
fact, "reamer/screamers" and they can be easily agitated and/or moved to
anger by even the smallest of problems or setbacks. Mr. Spielberg,
however, is NOT among them. He is a most cordial person, but he is
human, after all, and his emotional facilities are definitely intact.</i></span></span>
<br />
<span lang="EN"><span style="font-size: small;"><i><b><br />For very practical reasons, the entire film, or quite nearly the entire
film was storyboarded.</b> <b>In purely artistic terms, the action as depicted
in "Poltergeist's" storyboards was quite simple in nature... almost
cartoonish.</b> (This is not to slight our, then, storyboard artist, Ed
Verreaux, who is now a production designer. His sketches were drawn in
the style and manner of Steven's request.) <b>In the earlier stages of
preparing "Poltergeist" we were told the storyboards should not be taken
too literally - they were not "the bible,"</b> then again, neither was the
script, but I digress. The storyboards were most useful in keeping the
entire crew 'all on the same page' <b>and they provided a good deal of
information as to how Steven wanted the film to be shot, especially in
terms of his preferred camera angles, lens sizes, and camera movements.</b></i></span></span></blockquote>
This is interesting, to me. The debate over how much of Spielberg's influence can be attributed to his heavy involvement in storyboarding - or if Hooper collaborated extensively on the storyboards and exerted his own influence there - we can put aside, but I'd like to just say that <i>Poltergeist</i> is something of a "simple" film... and it is simple in the way many Hooper films are "simple." Think <i>Jaws</i>, <i>Duel</i>, <i>1941</i>, and <i>Close Encounters</i> and notice how elaborate are their set-pieces and how particular their sense of graphical montage. <i>Poltergeist</i> is <i>simple, simple, simple</i>, in comparison, and it's so interesting that a crew member who became intimate with the film's storyboards would go so far as to call the storyboards "cartoonish" - I would say due to this simplicity. This is because <i>Poltergeist</i> was not a "classy" genre picture the likes Spielberg had made, where the New Hollywood realism of the characters and drama matched the elaborateness of the cinema, the technical precision of the camera manifested from shots laid-out and long-planned. <i>Poltergeist</i> was so simple, and it was storyboarded as such, because it was, in Spielberg's eyes, a horror <i>cartoon</i>... With set-ups so basic as a shot of a tree outside the window and a tree arm grabbing a little boy... Thus, the onus was on <i>Hooper</i> to bring the sense of texture and reality to the simple <i>cartoon</i> that this picture existed as in storyboards. It's baffling the importance people will give to the storyboards in order to claim Spielberg's influence, but it is rather the greatest evidence of the <i>barest</i> <i>parameters</i> Hooper worked with in order to make a decidedly un-Spielbergian film. He had Spielbergian blueprints, and it's from there that Hooper's imagination is allowed to soar. Is that not what directors (non-writer/directors) do? He has a location, he has an idea of the story and what needs to be shot, and he let his inspirations take him from there. Yes, he followed the plans of his producer and his cinematographer a lot of the time - when it coincided with his vision of things - but when he was given a drama to stage, he would see things to his liking. This is why the Living Room scene is so effective, because you can tell Hooper feels the freedom to stage the scene as he sees fit, without the restrictions of tree puppets and budgetary concerns.<br />
<blockquote class="tr_bq">
<b> </b><span lang="EN"><span style="font-size: small;"><i><b>Twenty five years later, I have yet to work another film that was so
completely storyboarded as was "Poltergeist." The combined bulk of the
storyboards made them almost twice as thick as the script itself and a
steady stream of changes to both required our constant and diligent
upkeep.</b> <b>As our remaining number of prep days decreased, emphasis on our
knowledge of (and, therefore, the importance of) those storyboards
increased. In short, it turned out that, sometimes, those storyboards
WERE considered "the bible."</b></i></span></span></blockquote>
What a limited perspective this is, that just because storyboards exist, it must negate the presence of an individualistic artist on the set. This is the great "automation versus human will" debate. <i>Poltergeist</i> is <i>almost</i> a story of defeat to the impersonality of automation, given how much critics will describe its mainstream sheen and impersonal nature, but there is more than enough of Hooper's human spark to overcome a triumph of mass production.<br />
<blockquote class="tr_bq">
<span lang="EN"><span style="font-size: small;"><i>
<b>No more than a couple or three weeks before we began shooting, I was
forced to inform Tobe the limitations on some of the technical equipment
to be used in the film.</b> I also confessed a lack of certain expertise on
my part as well. <b>Tobe was actually quite gracious and accomodating. He
asked if his cutting the scene - in a place where neither the script nor
the storyboards called for a cut - would solve my problem. Indeed, it
would, and by his agreeance to do just that, I was greatly relieved.</b></i></span></span><br />
<span lang="EN"><span style="font-size: small;"><i>
</i></span></span>
<span lang="EN"><span style="font-size: small;"><i>
<br />Only days into our shoot, however, as we began to rehearse that scene it
suddenly dawned on me that <b>neither Tobe nor myself had ever made Steven
aware of my problem and our agreed upon cut.</b> <b>My greatest fear was
realized then as Steven's blocking of the scene did not allow the cut
that I'd been assured of. I looked over at Tobe and he just raised his
hands and rolled his eyes as if to say, "Hey... tell Steven your
problem... I ain't directing this thing!"</b> At that point, it became my
distinct and very unfortunate task to tell Steven that I could not
accomodate the shot he wanted to do. <b>Quite frankly, I fully expected a
swift and harsh reaction to that news... and, geez-louise... did I ever
get it!</b> I won't detail his exact words or the heated manner in which he
communicated his thoughts, but, in essence, he wanted to know why I had
failed to accomplish something that had been in the script AND in the
storyboards for some three months.</i></span></span><br />
<span lang="EN"><span style="font-size: small;"><i>
</i></span></span>
<span lang="EN"><span style="font-size: small;"><i>
<br />In the moment, I did not take his wrath well... but I took it. Later
that day, I had occasion to return that disfavor to him in nearly the
same tone and in, exactly, the same words. Like I said before, you CAN
argue with Steven... but you damn well better have good reason. If you
don't have good reason, however, well you damn well better be nothing
short of RIGHT!"</i></span></span>
<br />
<br />
<span lang="EN"><span style="font-size: small;">[I asked: And I'm assuming the shot in
question involved Ryan making the pencil sketch while the camera tilts
up toward the stairs...?]</span></span>
<span lang="EN"><span style="font-size: small;"><i><br /><br />"That is correct."</i></span></span></blockquote>
<span lang="EN"><span style="font-size: small;">So: Spielberg was a harsh taskmaster who wanted certain elaborate shots. A more-completely Tobe Hooper-<i>Poltergeist</i> would not have had that shot of the camera tilting up from Ryan to the top of the staircase. Honestly, it's a shot I can do without. It might have been more interesting without such a showy shot that so underlines its expensiveness. Hooper and I seem to share the same sense of priorities when it comes to cinema.</span></span><br />
<br />
<span lang="EN"><span style="font-size: small;">But let's move on to the fact that this crew member offers an example of Spielberg's totalitarianism and of Hooper's demureness (and, let's admit it, his cowardice in the face of altercation, something which, understandably, must have miffed this individual greatly, and I cannot say I would not have felt rebuffed in the same way) as evidence of why this is a Spielberg film and not a Hooper film. But soap opera antics are one thing, and the substance of a collaboration and partnership is another. Hooper cannot be scrub-washed out of this film just because he shrank from a fight at one moment, or just because Spielberg was responsible for certain money shots that were more or less superfluous?</span></span><br />
<br />
<span lang="EN"><span style="font-size: small;">And let's be clear, Hooper did not say, "I ain't directing this thing." That was pure projection on behalf of the individual, onto Hooper's betrayal/throwing of him under the bus.</span></span><br />
<br />
<span lang="EN"><span style="font-size: small;">Let's hear a little more of what Casella says about the <i>Poltergeist</i> set in the <a href="https://soundcloud.com/i-was-there-too/poltergeist-with-martin-casella">"I Was There Too" podcast</a>:</span></span><br />
<blockquote class="tr_bq">
<span lang="EN"><span style="font-size: small;"><i>CASELLA: </i>"There's obviously the question you may or may not ask about the "directorial" [<i>etc.</i>]... and my answer always says, Tobe always directed my scenes. Steven was always there, because he was the producer, and he shares co-screenwriting credit on the film."<i> </i></span></span><br />
<br />
<span lang="EN"><span style="font-size: small;"><i>Host, Matt Gourley: For the listeners, there's been some controversy as to whether Spielberg or Tobe Hooper directed this, because he was contractually obligated to do </i>E.T.<i>, but wanted to do this, but then had to give it over to Tobe Hooper, correct.</i></span></span><br />
<br />
<span lang="EN"><span style="font-size: small;">"That's... basically correct. I guess." <span style="color: red;"><i>[ed.: I mirror Casella's noncommittal affirmation. I actually think it's largely untrue. </i>Poltergeist<i> was always intended for Hooper. If Spielberg ever desired to go back on his offer, this was never publicly deliberated.]</i></span></span></span><br />
<br />
<span lang="EN"><span style="font-size: small;"><i>Host, Matt Gourley: So he was present on the set, but you're sort of saying that, <b>Tobe Hooper, he handled the reigns.</b></i></span></span><br />
<br />
"<b>Yeah.</b> As far as I was concerned, I was there for five weeks of... whatever the length of the shoot was, and then I came back and had to do reshoots later - which were actually overseen by Frank Marshall, who was one of the producers..."<br />
<br />
[...]<span lang="EN"><span style="font-size: small;"><i> </i></span></span><br />
<br />
<span lang="EN"><span style="font-size: small;"><i>Host, Matt Gourley: So then we'll consider the Spielberg-Hooper thing settled for today's purposes, 'cause I think everybody talks about that.</i></span></span></blockquote>
And, to that that last remark, I must concur and ask, WHY is this the case? When all the evidence you have stares you in the face, of a set filled with warring voices, but one in which Hooper is <i>always - always</i>, whether according to accounts coming in defense of Hooper or not - mentioned to be present? Why must he be scrubbed of his authorship because he emulates the style of his producer, who would have made a film far different and more stylized left to his own devices, without a director to stopper him?<br />
<br />
Back to the "I Was There Too" interview:<br />
<blockquote class="tr_bq">
"Steven was the one who shot <i>that </i>sequence [<i>Marty getting bitten in the children's bedroom</i>], because it was technically an insert. Like in <i>Raiders</i>, when I was a PA on <i>Raiders</i> and things, and Steven's assistant<i>... </i>Frank Marshall shot some of that. That's how movies work, for anyone who knows how movies work."<br />
<br />
[...]<br />
<br />
"He said, "Don't worry, with the special effects and the ILM guys, they'll make it something sparkly," or, I don't know, whatever ghost saliva looks like. So... it was very, very painful. That's all I remember. And then they lowered me back down and Steven was like, "Good guy"... but at that point, I'd knew Steven for three years, and we were laughing, and he said, "Great, great, great," and "You're all done, terrific." And, later on, when they were doing post-production on the movie... I can't remember who called, if it was Steven, or Kathleen Kennedy, or Frank, or somebody... and said, "We're just giving you a head's up -- you're in the movie, don't worry, there's no way to cut you out!" And friends of mine who had no idea, they were like, "Oh, will we see you in the movie? Do you have a line?" And I'm like, "Well, I'm in the movie for, like, 45 minutes... Yeah, you'll see me... don't worry..." Because we'd already done the looping by then. That's when they told me, it was at the looping session."<br />
<br />
"They told me that-- that's when it was, I remember now, they told me that day. They said, what happened is that, JoBeth Williams's acting was so amazing in that scene that was happening simultaneously to what I was going through... it was when she says, "Oh my God, she went through me, I felt her soul!" Steven said, "We couldn't find a way to cut away to you because it would have ruined that really beautiful moment." And I was like, "Okay." And so they gave me a couple stills."<br />
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"The thing I want to say about JoBeth Williams, in addition to how amazing she is, she is one of those actors - I don't know if she's still that way or not - that she had such... she carried that movie, basically. She had all the hard stuff to do. She had effects to do, she had to be the loving mother, she had to be funny, and she basically had to spend the last part of the movie screaming, in a bathtub, a ghost dragging her around the room. She was, very, very, very focused. And, for some of the time, it was one of those performances, which we all hear about, where it was basically, the AD would go, "Kind of leave JoBeth alone. It takes her a lot of time to prepare." And when you see the results, you'd understand why. That scene where she says, "I felt her go through me." I got to see that, I was there when she shot that. I mean, some of the people were in tears, she was so wonderful."</blockquote>
This is very true about JoBeth Williams as Diane. ... I also lose the fantasy that Casella and Spielberg were off shooting the beast biting scene while Hooper was filming the entire<i> </i>Living Room sequence alone, if in fact Martin was present to see Williams perform the "Went through my soul" moment.<br />
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<span lang="EN"><span style="font-size: small;">Now what we can gather from these set stories is a sense of an egalitarian, multilateral set between director and producers (as well as all other technicians and craftspeople present, and even actors, like the very focused JoBeth Williams). This is also suggested from some of producer Frank Marshall's more avuncular comments about Hooper's presence, often hinting at someone just learning the ropes and needing too much of a push when it comes to an enormous production like this. So what we have is something of a portrait of Hooper as a new, green camp counselor, in a sort of "summer camp" of big-budget movie-making, with Spielberg being the most knowledgeable counselor and Hooper sometimes fumbling in his attempt to assert himself. Hooper, then, was learning all the duties of a counselor/director: using tight shot lists, luxurious schedules in which you can devote hours on a single shot, and how to work within these parameters while being true to your vision of things. Or we can say Hooper was even just a camper in this workshop atmosphere of the <i>Poltergeist</i> set, in which all children get to learn their trade. Hooper's trade was directing. Even a toddler on a play-set with big boys playing around him is still one that is playing and creating, between him and the play-set, a relationship between human and his workplace and tools; even an apprentice forging his first metalwork is still the one forging.</span></span><br />
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<span lang="EN"><span style="font-size: small;">So all accounts, pro-Hooper or anti-Hooper, cannot say Hooper was not on the set. And almost all actors says he was the primary decision-maker. The way to reconcile all the divergent perceptions of the set is thus: Spielberg made his presence known. Hooper was always acquiescent to the reality of Spielberg's opinionated producing. People don't understand the priorities of an artist. Hooper, in his own head, was always making his [own] film.</span></span><br />
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<span lang="EN"><span style="font-size: small;"><i></i></span></span>JRhttp://www.blogger.com/profile/15544454753709801525noreply@blogger.com4tag:blogger.com,1999:blog-3175631797077198516.post-14991381266598789682018-07-16T17:37:00.000-07:002019-03-06T14:15:25.366-08:00Is Tobe a "Take-Charge" Sort of Guy? And, The Bird Story.<i>SPIELBERG: </i>"Tobe isn't what you'd call a take-charge sort of guy. He's just not a strong presence on a movie set."<br />
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Is he? No. This doesn't mean he didn't have vision, or that he didn't have a backbone. <i>Texas Chain Saw</i> alums remember a few tantrums. He was a quiet, interior, sometimes inarticulate, largely mumbly artistic presence. He is going to fare even less well on a heavily-structured major studio set that was automatically biased toward Spielberg. Does this mean he didn't direct the film? No. Are there other ways to exert your influence? Yes. It is these smaller, less conspicuous and showy ways that crew members ignore for Spielberg's more attention-grabbing producing.<br />
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<b>"If</b> a question was asked and an answer wasn't immediately forthcoming, I'd jump up and say what we could do. Tobe would nod agreement, and that became the process of the collaboration."<br />
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<i>If</i> an answer wasn't immediately forthcoming. And in those cases in which he jumped in, he didn't really care. "You want the clown to be skinnier instead of stubbier? Sure." And when he cared, you better expect he spoke up. It became the nature of the collaboration: frustration on both ends.<br />
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<b>"Well,</b> the turmoil is essentially created by wanting to do it your own way and having to go through procedure. That is why I will never again <i>not</i> direct a film I write. It was frustrating for Tobe Hooper and it was frustrating for the actors, who were pretty torn between by presence and his on the set every day."<br />
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<i>Procedure</i>. Spielberg had to suppress himself. Things had to be uniformly agreed upon. Hooper was the director who worked in tandem with Spielberg.<br />
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Also, from my diligent Facebook stalking, I can confidently say there was at least one instance where a stand-up person out there who "happens to know a person" who "worked on the production," says that that person he knows said Hooper directed. Whenever you find a comment saying "I knew a <i>crew member</i>," it is almost always a vote for Spielberg, but there is one, golden time where the person who knows the person, and that person was in the <i>crew</i>, holy cow, said the person said it was Hooper directing. There is at least one production personnel on my side, whoever you are. *weeps*<br />
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And I'll finish off this short post with the "Bird Story," graciously tipped off to me by a reader as invested in the <i>Poltergeist</i> story as I am, told by the late Lou Perryman on the Dead Pit podcast that you can listen to <a href="http://www.deadpit.com/shows/1408final.m3u">here</a>. It is a case of Hooper having a forthcoming answer...<br />
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"<i>[Answering the question] </i>Tobe directed it. ... Tobe directed it. You know, Tobe told me that what he had to do was accept reality. He and Steve were writing a script, together, and they were probably gonna take 16 years to write it, who knows, with Tobe. Who knows, I don't know, less? But at some point, Steve wrote it, said, "Here's our script, this is what we're going to shoot." And, of course, he's got, "Written by Steven Spielberg." And I believe Tobe. Absolutely I believe Tobe. Tobe, Tobe had a <i>[...?] </i>story, and understood what needed to be in there, and was certainly conversant with <i>Poltergeist</i> and what was into that. But Tobe directed me, and everything I saw while I was there he directed. Steve <i>was there</i>, you're not gonna ignore Steve, but he's only gonna step-- he only stepped in... I think they <i>talked </i>about some stuff. He didn't go in and take things over, while I was there. I <i>heard</i> some of the stories that were... not flattering of Steve. Of making trouble. Remember the scene in <i>Poltergeist</i> where the mother is getting ready to flush the little dead bird, and there's the shadow of the dead bird on the toilet lid? All of a sudden you see the shadow of this hand holding this bird... and evidently, Steve wanted Tobe to put his profile in that shot in the back of the toilet. Anyway, weird; Tobe said no. Tobe said, no, I don't believe I'll do that. I don't want to do that, Steve. And Steve stayed after him and <i>[?]</i> him about it. And made almost an issue of it. I believe Tobe on that one. Tobe wouldn't tell that story, I'm sure. But it's difficult, you know, we're all human and shit comes in, and he might've felt some breath from Tobe, I don't know what. What can we imagine, that Steven Spielberg who was not the monster star even then as he is now, but with all the heavy weight that he was there... he was busy doing <i>E.T.</i>, evidently, so he was there only a part of the time, so if there was anyone who was there part of the time, it was Steve. But yeah, Tobe directed, Tobe directed me. It was tense, you know, you've got Steve Spielberg looking over your shoulder, holy mackerel. You're gonna be on your best behavior. I've known actors that have been just so tense around certain directors who didn't make them feel comfortable. I've worked with directors who didn't make me feel comfortable... god damn Oliver Stone, man. Wanna be tense? Holy shit, that's the guy. God damn."<br />
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JRhttp://www.blogger.com/profile/15544454753709801525noreply@blogger.com0tag:blogger.com,1999:blog-3175631797077198516.post-51971979492277890842018-07-13T23:43:00.002-07:002018-07-15T23:37:53.333-07:00VIDEO ESSAY! "How the Pool Scene of 'Poltergeist' Could Have Turned Out"<div class="separator" style="clear: both; text-align: center;">
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I am no virtuoso, but here is my humble attempt at a video essay on <i>Poltergeist</i>'s pool scene and how the script could point to a very different scene if realized by someone else other than Hooper.</div>
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Video-making is a tedious and difficult process, and so I'll admit to gaps in the larger argument result of a lack of patience to go back and fill them in. I forget to put a point on the nature of the film's skeletons or corpses, in contrast to the "characteristic corpses" of the script that emphasize the morbid individuality of the dead instead of the "anonymity" of the corpses (I mention "anonymity" in the video, but probably fail to give it context). Here is the commentary I had excised from the video: </div>
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As opposed to the characteristic corpses of the script, whether described as clad in burial clothes or flashing its embalmment paraphernalia, what we have instead is complete interchangeability marking the concept of death. One corpse is described in the script with a “leathery face,” like the mummies of Raiders. The "upsurge" of corpses is describes as a "black tie crowd," as if a scene from <i>The Shining</i>. No, these are not ghouls for Hooper, they are merely the metonym for death and require no greater elaboration.</div>
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I also took out further commentary on Spielberg and Hooper's divergent approach to characters and dramatic scenarios. While Spielberg is a dramatist and will traditionally develop characters by giving each their "moment" (such as Mrs. Tuthill telling her husband emphatically, "No. Don't go in there"), Hooper only serves to realize a document of reality, not the measured dramatic display of a screenplay. Thus, the Tuthills' personal deliberations over what to do with Diane are a cacophonous overlapping of their indecision and objections. Mr. Tuthill's line, pointing out the bodies, is completely elided, looking down at the bodies, relegating him to an Other with no stake in the events. Mrs. Tuthill's objection isn't the caricature-approaching, <u>underlined</u> moment of entitled bourgeois disengagement, but a proper wrestling with a character allowed humanity, the ability to be as afraid as Diane - she pleads with her husband, Hooper knowing the most understandable and universal instinct is not to judge (whether Mrs. Tuthill herself, or the audience in reaction to her) but to empathize, and we are allowed to do so with Mrs. Tuthill.<br />
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Tuthill feints a step toward the house before his wife, in rather typical Spielbergian fashion of overriding emotional caricatures, grabs him and sternly - whether in fear or an anti-noblesse oblige - and says, in its big bolded moment, “Don’t go in there. Don’t ever go in there.” It’s a statement towards Spielberg’s interest in measured drama and character work, as opposed to the instinctive, subliminal dramatic and character work of Hooper’s realistic zone. </blockquote>
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Also, my most regretted omission, not pointing out the restaging of the scene that has Diane finally climbing out of the pool not at the shallow end but by climbing a large hose. Absurdity through necessity.<br />
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Hopefully not too incoherent to extract something sensical every so often, please enjoy.<br />
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JRhttp://www.blogger.com/profile/15544454753709801525noreply@blogger.com0tag:blogger.com,1999:blog-3175631797077198516.post-68848602017194311512018-06-27T15:39:00.003-07:002018-07-25T10:32:06.004-07:00GOODBYE TO LANGUAGE<div class="separator" style="clear: both; text-align: center;">
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The light fixture and the bouquet: two objects of fascination for Hooper, so far as I have gathered. Here, they are, by happenstance, fused, as if from the same fount of knowledge and wisdom artists go to find the items of inspiration, the foundational index of that aesthetical ultimatum "Truth is beauty, beauty truth." Where to find that highly sought after intersection between nature and civilization is in the latter's most man-made and most mimetic graces (through means of production): the harnessing of light - the dint of living through illumination - artificial or otherwise (or perhaps an atomic indeterminacy between the two), and the harnessing of nature, a bouquet an artificiality and a naturalism all at once.</div>
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All at once, in our state of nature, naked, nude, we are gifted a bouquet: an act of aggression, an act of devotion, towards our lovers, towards our living with freedom but without coherency. Where do we stand as beings determined to achieve coherency but ultimately failed by the means of our communication (our language), the artifacts of our ascendancy?<br />
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Artifacts, such as clothing. Another hand-out by the passive-aggressive lover. Clothe yourself and you shall be one with our nature, our found-objects civility. Hooper's characters adorn themselves in ways that characterize them, or that beautify them - the latter, a way to return to nature, a conjoining of our modesty-artifice and our search for grace. The predominance of primary colors in Hooper's clothing, namely in <i>The Funhouse</i> and <i>Poltergeist</i>, is tied to the "bouquet of humans" he often tries to materialize.</div>
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<i>"I'm speaking, subject."</i></div>
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While dressing... if Hooper's timelines weren't so compacted, he'd always have scenes of characters dressing.</div>
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<i>"I'm listening, object." </i>One need only think of Lisa listening to Dr. Marsh in the hospital waiting room in <i>Spontaneous Combustion</i> to see Hooper's similar feelings toward the disjuncture between the means of our communication - subject, object (somewhere lost: predicate) - and the idea that our communication ever resolves our battling impulses toward nature and ascendancy. Between coherency - at war with our desire to communicate in words - and false signifiers, that of language, that of self-identity... and self-assurance, that which we contrive as if natural.</div>
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<i>The Human Bouquet</i></div>
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<div style="text-align: center;">
LA NATURE</div>
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"Experiment in literary investigation." The unknown, often elided inscription of a text gives away its method. An investigation through documents, texts, and primary sources. Hooper's filmography doubles as "experiments in literary investigation." That which we cannot trust - whether images or words - we must use.</div>
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LA MÉTAPHORE</div>
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<i>La nature</i> versus <i>la métaphore</i>. Granted their diversity, the concepts are one and the same, sprung from the same indexes. One is our state of being, the other the Derridean dissemblance of it into that which is unrecognizable. No concept is original, the metaphor is simply the investigation of a dissembling "nature." Imagine each of Hooper's films beginning with this red-on-white-on-black text "NATURE" and then "THE METAPHOR" before beginning its postmodernist or modernist invective and you would not be too destabilized (save, perhaps, for <i>Texas Chainsaw 2</i>, <i>Spontaneous Combustion</i>, and <i>The Mangler</i>:<i> </i>the less self-conscious melodrama and fantasy).</div>
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<i>"In Kinshasa,"</i> </div>
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<i>"... at a bend in the river."</i></div>
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The nude woman inducts a new Africa-centric world-building, with a gesture of the hand. A nude woman inducts a new galactic-centric world-building, with a choke-hold on small men.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi3LyO1JLV6Skla-M44_GZ5lCYis2eD4aC_uRnFb42grAPe6sis6KHz2ZkobpAscIamRJOK9XUAGSCH1BZka8rtCOJLAtswJL0ge5qNoUsX5HVZPuhruWsdxrKjAqSuqGpIFj7ODrXWrc/s1600/jlg1.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="304" data-original-width="720" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi3LyO1JLV6Skla-M44_GZ5lCYis2eD4aC_uRnFb42grAPe6sis6KHz2ZkobpAscIamRJOK9XUAGSCH1BZka8rtCOJLAtswJL0ge5qNoUsX5HVZPuhruWsdxrKjAqSuqGpIFj7ODrXWrc/s640/jlg1.png" width="640" /></a></div>
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<i>"Soon, everyone will need an interpreter, to understand the words coming from their own mouths."</i></div>
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The woman holds two roses before the man comes to her and throws the entire bouquet into her hands. Nature becomes civilization's construct before our eyes as she extols our growing ability to dissociate from ourselves, allegorized by an increasing unfamiliarity with our own language and how we deem to use it, by dint of controlling the text. Logo centrism is an illusion when the world designs to delude us, mire us in conspiracy, fool us of our own control over ourselves.</div>
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By way of the Fat Lady laughing at an unshackled Amy in <i>The Funhouse</i> ("Give up freedom itself," Godard will go on to announce, "and have everything returned to you"), we recall that a rose was meant to symbolize Amy in the confines of the funhouse in a mostly unrealized-within-film conception that Hooper trumpeted in a circa pre-<i>Funhouse</i>-release<i> </i>magazine interview. "Amy is the rose" that we see in the film, he said to an effect. It survives almost exclusively now in the opening credits, with the "faded gentleman" puppet holding a rose shown in conjunction with Elizabeth Berridge's credit. Her nature is singularly that which <i>can</i> be returned to nature (by the end of the film), an innocence that can only reach its potential by giving up all freedom. Contrast to this the freedom - of return - that the fancy thief Villamosh Anolisslovsky in <i>The Heisters</i> (also symbolized by a rose) only actualizes by never giving up freedom and self-interest, and thus his return is one only through death.</div>
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<i>"There's never been a Nobel Prize in painting, or music." </i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGc_qHZGUs_x0FnLGdDyaImihk0m1g5xoAFYSvp0orGsvMTdTVZnj55fsg_I84bFa8p4vNo74VXYwqa6DCPeGZdjuNYf5yfvnFepxh2xrHOTew8aH7lVZ1NxP3YHr-DRhQX3zkh_fTlZo/s1600/vlcsnap-2018-06-21-12h27m53s654.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="304" data-original-width="720" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGc_qHZGUs_x0FnLGdDyaImihk0m1g5xoAFYSvp0orGsvMTdTVZnj55fsg_I84bFa8p4vNo74VXYwqa6DCPeGZdjuNYf5yfvnFepxh2xrHOTew8aH7lVZ1NxP3YHr-DRhQX3zkh_fTlZo/s640/vlcsnap-2018-06-21-12h27m53s654.png" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmlu1q4jGTAZed1JZjgKktz1MI4LlBTcSqjj6mYNgNIrVmWFg8iH7WFHHvdHAODf9z2_pj5BdlKIKi1icQMhSFhGLuiYKEDR3LRIC5o9l4-HKCY3EbG9g4p22VF6PTlnn3KJJtyMAHeok/s1600/vlcsnap-2018-06-21-12h28m35s609.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="304" data-original-width="720" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmlu1q4jGTAZed1JZjgKktz1MI4LlBTcSqjj6mYNgNIrVmWFg8iH7WFHHvdHAODf9z2_pj5BdlKIKi1icQMhSFhGLuiYKEDR3LRIC5o9l4-HKCY3EbG9g4p22VF6PTlnn3KJJtyMAHeok/s640/vlcsnap-2018-06-21-12h28m35s609.png" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaMrm1Piwq-pnm8Bni0S4GrxTOTPUhY6_WzmMGiJhUHRGadcJr_pPlgTESPcXYJY46sWJBfj4shBKn1-mY4U412WIs8OdVC96YD4yDQL5HWP4EUD-ZibAWtxc9q_iSr4FlFQbkggLxNNs/s1600/vlcsnap-2018-06-21-12h28m49s729.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="304" data-original-width="720" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaMrm1Piwq-pnm8Bni0S4GrxTOTPUhY6_WzmMGiJhUHRGadcJr_pPlgTESPcXYJY46sWJBfj4shBKn1-mY4U412WIs8OdVC96YD4yDQL5HWP4EUD-ZibAWtxc9q_iSr4FlFQbkggLxNNs/s640/vlcsnap-2018-06-21-12h28m49s729.png" width="640" /></a></div>
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Can the image be an achievement? The lamp returns. Hooper mentions Nick Ray in the <i>Lifeforce</i> commentary at the very moment the camera tilts and initiates an experiment in cinematographic investigation.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyXyzSjQTpeEhKXK1cnVuOCNp53R3t6YVP1xvHN45bhQcVytBXVg3jrL3LFB-p_Jjp7ilmP0xoYh9WUNUCZhpV5aJV5HjG-wkXN0QoY_VZ-j7_PIGYEKXdfTJDKUhuuHvSWUvX_r1Afl0/s1600/vlcsnap-2018-05-04-00h48m14s596.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyXyzSjQTpeEhKXK1cnVuOCNp53R3t6YVP1xvHN45bhQcVytBXVg3jrL3LFB-p_Jjp7ilmP0xoYh9WUNUCZhpV5aJV5HjG-wkXN0QoY_VZ-j7_PIGYEKXdfTJDKUhuuHvSWUvX_r1Afl0/s1600/vlcsnap-2018-05-04-00h48m14s596.png" /></a><br />
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Once again, we dress.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2d104lLxSKciV1blD-RNPzr47nDaLMiUBshI_YE1gT7YLLxgE6st5Ohp6eD5xrB06OoNoW0UPbuleq4E3JEE-1QwefnIwiM6N93vW2xq1z0W0o9INtjBVJ1qCAZgs8vdFpa1Xupc6g6Y/s1600/vlcsnap-2018-06-26-01h44m37s477.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="304" data-original-width="720" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2d104lLxSKciV1blD-RNPzr47nDaLMiUBshI_YE1gT7YLLxgE6st5Ohp6eD5xrB06OoNoW0UPbuleq4E3JEE-1QwefnIwiM6N93vW2xq1z0W0o9INtjBVJ1qCAZgs8vdFpa1Xupc6g6Y/s640/vlcsnap-2018-06-26-01h44m37s477.png" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmKiPNTU5Uza6psob2IFta39ogUHddvPgddUbI3s9midYbTWZ0l8TC2jY0mlb_yWBRs04zVk3U5JSlytROS9VEdCjcmufmZxr0ZfzvH1t1qU33uI27ADlYsci-BFNKo1-ZCCdeR1TuD3c/s1600/vlcsnap-2018-06-26-01h44m41s652.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="304" data-original-width="720" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmKiPNTU5Uza6psob2IFta39ogUHddvPgddUbI3s9midYbTWZ0l8TC2jY0mlb_yWBRs04zVk3U5JSlytROS9VEdCjcmufmZxr0ZfzvH1t1qU33uI27ADlYsci-BFNKo1-ZCCdeR1TuD3c/s640/vlcsnap-2018-06-26-01h44m41s652.png" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSkWr1rXm6cJ_VhFwvoyxQ-KwPP6FOmDgaqKx8fka7bWyrZzZx5HHZda-rG6qWuvfmabwkOXECWvCZ6KD_m-mSIbAQwy2fmhtWsSYkO1nYXzsblZQKVXu-5ZGceeU6oYWN8z-vcAKzA7Y/s1600/vlcsnap-2018-05-04-02h00m41s477.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSkWr1rXm6cJ_VhFwvoyxQ-KwPP6FOmDgaqKx8fka7bWyrZzZx5HHZda-rG6qWuvfmabwkOXECWvCZ6KD_m-mSIbAQwy2fmhtWsSYkO1nYXzsblZQKVXu-5ZGceeU6oYWN8z-vcAKzA7Y/s1600/vlcsnap-2018-05-04-02h00m41s477.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8LXITfg9-DEYcEvV_gTXA6y54hZc4wVefIxWKGKkjhWga5Dm-WSup9Phk0ylDqHCOWG_kom50XsQX-zsEFYrPrVKEia8tkZP14mrLtFb5AtUPJ0B_KZYLP_jrOKu2kNOSaLNliod0oi8/s1600/vlcsnap-2018-06-26-01h34m31s501.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="304" data-original-width="720" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8LXITfg9-DEYcEvV_gTXA6y54hZc4wVefIxWKGKkjhWga5Dm-WSup9Phk0ylDqHCOWG_kom50XsQX-zsEFYrPrVKEia8tkZP14mrLtFb5AtUPJ0B_KZYLP_jrOKu2kNOSaLNliod0oi8/s640/vlcsnap-2018-06-26-01h34m31s501.png" width="640" /></a> <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWsOctFBkoxv428BeJVwdoX0tj3K2ZNh73QOEHtaeveSb-7nwXKKP-PBjC_4E_mNXFX53JudWEWE7gwA3R1VGtt1QM0fcJOLnMbAKp-7eOzhvF2BySXRPz3k9xThIN7iJ0CykG8uLiiXk/s1600/vlcsnap-2018-06-26-01h53m33s661.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="682" data-original-width="1600" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWsOctFBkoxv428BeJVwdoX0tj3K2ZNh73QOEHtaeveSb-7nwXKKP-PBjC_4E_mNXFX53JudWEWE7gwA3R1VGtt1QM0fcJOLnMbAKp-7eOzhvF2BySXRPz3k9xThIN7iJ0CykG8uLiiXk/s640/vlcsnap-2018-06-26-01h53m33s661.png" width="640" /></a></div>
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And disrobe... </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCe9GWkTdyR-dI90QXqTqoYaBwhGcvlfG1yUOh4u3jltoFEnqSIr7Hz0KL7Du937ZX7v8l2_tusg8hgxXGiZfMENNtrMPloMvMV2och27ExF0IhDBsJItzJmY4O3hJCjbC9_7IAVV84T0/s1600/vlcsnap-2018-05-04-02h00m42s494.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCe9GWkTdyR-dI90QXqTqoYaBwhGcvlfG1yUOh4u3jltoFEnqSIr7Hz0KL7Du937ZX7v8l2_tusg8hgxXGiZfMENNtrMPloMvMV2och27ExF0IhDBsJItzJmY4O3hJCjbC9_7IAVV84T0/s640/vlcsnap-2018-05-04-02h00m42s494.png" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLISkJMaj2x7DJ4zJmSrlGBbpeceVF-l1AISN2QJxCMQO2EhK8k81co70yvFWJyUk-TiPpjkGJg-TYhuozeGXGap1M_a_Fp0CKp3nfLU4ySFQRNVWwksfUdWu4dWgv9gngmYJSkt8BDDY/s1600/vlcsnap-2018-06-26-01h54m59s441.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="304" data-original-width="714" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLISkJMaj2x7DJ4zJmSrlGBbpeceVF-l1AISN2QJxCMQO2EhK8k81co70yvFWJyUk-TiPpjkGJg-TYhuozeGXGap1M_a_Fp0CKp3nfLU4ySFQRNVWwksfUdWu4dWgv9gngmYJSkt8BDDY/s640/vlcsnap-2018-06-26-01h54m59s441.png" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTJd6vESERxIOvYCm1pq2OUNaeeN2lw7RvBLlTnvpLuZv8BNVnynOUSq12LGmEJ5-10HKtzDSSRzOgo9rLatKTNjHv9DvBVH7E95YNlB4I5LZXOuLqPL9NLuIDsKpVyAQEMAs8Gu7FXa0/s1600/vlcsnap-2018-05-04-00h52m26s549.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTJd6vESERxIOvYCm1pq2OUNaeeN2lw7RvBLlTnvpLuZv8BNVnynOUSq12LGmEJ5-10HKtzDSSRzOgo9rLatKTNjHv9DvBVH7E95YNlB4I5LZXOuLqPL9NLuIDsKpVyAQEMAs8Gu7FXa0/s640/vlcsnap-2018-05-04-00h52m26s549.png" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0gj6RYA5e5PO65XUHXksNHV-EdKZyd9WHnUb__Sywh40yIN74kNG7rcdwW3I4NBGFuGHEALvpeexCxwoPDpo4TZ_yNXricuXYGFUlvzXfiObWG6P5KnfB12_F6NMrezB0FqNut9GBSuM/s1600/vlcsnap-2018-05-04-00h52m53s072.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0gj6RYA5e5PO65XUHXksNHV-EdKZyd9WHnUb__Sywh40yIN74kNG7rcdwW3I4NBGFuGHEALvpeexCxwoPDpo4TZ_yNXricuXYGFUlvzXfiObWG6P5KnfB12_F6NMrezB0FqNut9GBSuM/s1600/vlcsnap-2018-05-04-00h52m53s072.png" /></a></div>
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<i>Bouquets.</i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4zITJEOXTHqHp1X6CKyEHPYM1WgOYSbfTdtTsRPT9maXgEvRdkquVsOlg2qZqJu8YDF6FsML4AeGQ5Nz5M_ngoYiowOrmQkgPiKKLi7EOnbWxeD7br6aVjZsIP9QC8koaoaEDEIEUpDs/s1600/vlcsnap-2018-05-04-01h00m35s388.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4zITJEOXTHqHp1X6CKyEHPYM1WgOYSbfTdtTsRPT9maXgEvRdkquVsOlg2qZqJu8YDF6FsML4AeGQ5Nz5M_ngoYiowOrmQkgPiKKLi7EOnbWxeD7br6aVjZsIP9QC8koaoaEDEIEUpDs/s1600/vlcsnap-2018-05-04-01h00m35s388.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGdtha91RRz5hqxREBEywl-L4vT5o2rHvKmWLmL1o5kaKdJ9aZ5i5_cUoeKdTUjzJglwCqSuy7DPpGBFc-sVR85gDB16udga68QbWbhskGLkiH3Z83PTpTdXDbgz-0B2u_zdzUhqmaQls/s1600/vlcsnap-2018-05-04-01h00m40s148.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGdtha91RRz5hqxREBEywl-L4vT5o2rHvKmWLmL1o5kaKdJ9aZ5i5_cUoeKdTUjzJglwCqSuy7DPpGBFc-sVR85gDB16udga68QbWbhskGLkiH3Z83PTpTdXDbgz-0B2u_zdzUhqmaQls/s1600/vlcsnap-2018-05-04-01h00m40s148.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii3kvtWc4Kg_f1nXtg0cBv7QeUtiTrku9J-fQGIZRBzYCzGu3vDgd0su-NG3EwFGOfWt7_9kEPIthNmnujyP4dHU6FUwBhGl4M56R6zja8ngjKtt37lSnP3V2fDEzT4C_84YUhuVlGHm8/s1600/vlcsnap-2018-05-18-00h23m11s013.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="669" data-original-width="1600" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii3kvtWc4Kg_f1nXtg0cBv7QeUtiTrku9J-fQGIZRBzYCzGu3vDgd0su-NG3EwFGOfWt7_9kEPIthNmnujyP4dHU6FUwBhGl4M56R6zja8ngjKtt37lSnP3V2fDEzT4C_84YUhuVlGHm8/s640/vlcsnap-2018-05-18-00h23m11s013.png" width="640" /></a></div>
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<i>"Everyone can stop God from existing, but no one does." </i><br />
God in the contemptful, profane prologue to <i>Djinn</i>.<br />
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<div style="text-align: center;">
<i>"I remember studying the Laurent-Schwartz-Dirac curve."</i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHb7SzTEiXu8NvukiOtl5kBNokv-0KI8z-At299L_w-9_q6Gl82E709gHFK_tpA-Em_k7hl-c1hQ6WEGypXPFwd6vvgAfx3vC-OKcQDnpLZPe6pRiEv48DFaZfZ0Z7DrFy4JtPUni02dg/s1600/vlcsnap-2018-05-04-01h06m30s434.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHb7SzTEiXu8NvukiOtl5kBNokv-0KI8z-At299L_w-9_q6Gl82E709gHFK_tpA-Em_k7hl-c1hQ6WEGypXPFwd6vvgAfx3vC-OKcQDnpLZPe6pRiEv48DFaZfZ0Z7DrFy4JtPUni02dg/s640/vlcsnap-2018-05-04-01h06m30s434.png" width="640" /></a></div>
<div style="text-align: center;">
<i>"Infinite in every point except for one which is zero."</i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPFaNfUnuPuTr2nAMHDbSn8puTOMAl4nL7jKqNtP33mnzP2kZ1VnQeR3qqug-LdH3hqw1WHbdhQRRcm3Kd5hCuYbRWsac76SsPnBvXvM684ejfs_MY3QE4uK0z55JZHwSusWSI-teVI3w/s1600/vlcsnap-2018-05-04-01h06m40s133.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPFaNfUnuPuTr2nAMHDbSn8puTOMAl4nL7jKqNtP33mnzP2kZ1VnQeR3qqug-LdH3hqw1WHbdhQRRcm3Kd5hCuYbRWsac76SsPnBvXvM684ejfs_MY3QE4uK0z55JZHwSusWSI-teVI3w/s1600/vlcsnap-2018-05-04-01h06m40s133.png" /></a></div>
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<i>"The two greatest inventions,"</i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxJtbeePkgjTB2XCNQVNw14Ui1JfUVw5osaC_lJKERkrD8BSR9zg5HjQkvmPPhu4naJp1_86cCmlkP6l8fX5NVxJIbP4eAO7z7-OWjifPef3Vb2o1m6tU2PpYMg6pFXG4cABLygb2kReI/s1600/vlcsnap-2018-05-04-01h06m43s083.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxJtbeePkgjTB2XCNQVNw14Ui1JfUVw5osaC_lJKERkrD8BSR9zg5HjQkvmPPhu4naJp1_86cCmlkP6l8fX5NVxJIbP4eAO7z7-OWjifPef3Vb2o1m6tU2PpYMg6pFXG4cABLygb2kReI/s1600/vlcsnap-2018-05-04-01h06m43s083.png" /></a></div>
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<i>"infinity and zero."</i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXLJRiumVwT5x554QzmUno6gu4ITaFkQaIDkFj9Hs_juGTfBb1Lqu_kWfLhsMHJzxApNjOCCx0q1-EDK0dbhvFUVRugzcp_k3QrKqymMo4DxJmLe-0gU4AnTgj51hn1fJ3uWCn6gzQ7xM/s1600/vlcsnap-2018-05-04-01h06m48s127.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXLJRiumVwT5x554QzmUno6gu4ITaFkQaIDkFj9Hs_juGTfBb1Lqu_kWfLhsMHJzxApNjOCCx0q1-EDK0dbhvFUVRugzcp_k3QrKqymMo4DxJmLe-0gU4AnTgj51hn1fJ3uWCn6gzQ7xM/s1600/vlcsnap-2018-05-04-01h06m48s127.png" /></a></div>
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-<i> "No."</i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMtCiWZ3uw2XcKzypzudLo0i2rl8TJjO6zKgADNaM8PN4iVsKQSMJulwSJrgXRs9ehU2tQ3I0ganmcQ0WRkS8AKwQfuE7cg28zBmVTU2wuZsxmn2xDFjYD2-UrnymAGmR-xQqA2aProp8/s1600/vlcsnap-2018-05-04-01h06m53s402.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMtCiWZ3uw2XcKzypzudLo0i2rl8TJjO6zKgADNaM8PN4iVsKQSMJulwSJrgXRs9ehU2tQ3I0ganmcQ0WRkS8AKwQfuE7cg28zBmVTU2wuZsxmn2xDFjYD2-UrnymAGmR-xQqA2aProp8/s1600/vlcsnap-2018-05-04-01h06m53s402.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAmjnyAx3jC9OX7q0z3vems9Ksz5So67lwv7XuaPikyUATIYB-9_j-Oiq7kfVmyUymRNUQwQ3rAE6ceQWam4W_fnVR9yZDSVgCURsxYHQOjwhkgDq9GAQJsE0U1N4rS8172nu4N0m2kW0/s1600/vlcsnap-2018-05-04-01h06m57s447.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAmjnyAx3jC9OX7q0z3vems9Ksz5So67lwv7XuaPikyUATIYB-9_j-Oiq7kfVmyUymRNUQwQ3rAE6ceQWam4W_fnVR9yZDSVgCURsxYHQOjwhkgDq9GAQJsE0U1N4rS8172nu4N0m2kW0/s640/vlcsnap-2018-05-04-01h06m57s447.png" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNh-4_tXPn5RA4CNHXhx3_FlN86L0WnZWm7zZhcU7Oh42ErjsRoltzv0PlDx0WN4THbeEWKsuhJJ-muCluEpI1Q7fbLin4N0BvUyK9ImLyZpcwuKdKNXfcRYK8t5fiSeETspUKXVxZWUo/s1600/vlcsnap-2018-06-22-04h55m39s800.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="304" data-original-width="720" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNh-4_tXPn5RA4CNHXhx3_FlN86L0WnZWm7zZhcU7Oh42ErjsRoltzv0PlDx0WN4THbeEWKsuhJJ-muCluEpI1Q7fbLin4N0BvUyK9ImLyZpcwuKdKNXfcRYK8t5fiSeETspUKXVxZWUo/s640/vlcsnap-2018-06-22-04h55m39s800.png" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXIUeCv1v6ql1hpyx9QdPuqamBdLwfqjEO73Wsj9LbF9KKMgpiI2etkqoLSOJbXouxeqw2zbzlaHKjUlP1aeTayTZtDvepdJAFSc0Sah6TrGpIc7sEJ6pVvtbyqvPtWgb36LGbQ_pk41Y/s1600/vlcsnap-2018-06-22-04h58m06s534.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="304" data-original-width="720" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXIUeCv1v6ql1hpyx9QdPuqamBdLwfqjEO73Wsj9LbF9KKMgpiI2etkqoLSOJbXouxeqw2zbzlaHKjUlP1aeTayTZtDvepdJAFSc0Sah6TrGpIc7sEJ6pVvtbyqvPtWgb36LGbQ_pk41Y/s640/vlcsnap-2018-06-22-04h58m06s534.png" width="640" /></a></div>
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<i>Infinity and zero.</i></div>
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Hooper's images are that image infinite at every point except that which it is zero, the limits of the frame: meaning only derived where it is null, the father at the edge of significance.</div>
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Multiple points of focus merely derive the infinity in which there is none. Sex and death imply the two limits of the image: that which gratifies, satiates, multiplies, and that which ends our search. Beauty is truth, truth is the end of purpose and the image. </div>
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Light is the closed circuit that represents our existence as a society, flickering on and off between an infinity and zero.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivWFl6gVgIl8-aNkQ0HIF1icl-kqyv-SaHLV6_gO19FlKef9FwMhH1U-KX9SAAFo_r1F2QHn2u0DQt05voGW2vNP7tJ-oe3dNDG6CtaaGnb1bBBECuiUK63WyYbe_hPUp3OZ-1N-2OhmQ/s1600/vlcsnap-2018-05-04-01h07m12s100.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivWFl6gVgIl8-aNkQ0HIF1icl-kqyv-SaHLV6_gO19FlKef9FwMhH1U-KX9SAAFo_r1F2QHn2u0DQt05voGW2vNP7tJ-oe3dNDG6CtaaGnb1bBBECuiUK63WyYbe_hPUp3OZ-1N-2OhmQ/s640/vlcsnap-2018-05-04-01h07m12s100.png" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX578JF0Cn3kcuL0Z0Az-QEShhalPByk7MKS9lGz_Lhv8H-c7f30kTR2twxHR6wJmw2n9KnDn8TJV9wqBvgV7zkAoXpCHBAPum3-DjmQjl1aq5xZo0GjPr5lSoXYie44Wmv2S1G5qCKkg/s1600/vlcsnap-2018-05-04-01h07m39s640.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX578JF0Cn3kcuL0Z0Az-QEShhalPByk7MKS9lGz_Lhv8H-c7f30kTR2twxHR6wJmw2n9KnDn8TJV9wqBvgV7zkAoXpCHBAPum3-DjmQjl1aq5xZo0GjPr5lSoXYie44Wmv2S1G5qCKkg/s640/vlcsnap-2018-05-04-01h07m39s640.png" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic8L2a5Qsr7bpArqwxUdmJuc58V3nmsuEloUToE2bZBuVeL_9c68-bcjInxDFxhOBVLxsRasprawQG__03n8WgBBE0PCXM6c10uF0wS3MPf1_SxPWw0Pnofy8mdB08VwTKC-Z8noIjRX0/s1600/vlcsnap-2018-05-04-01h07m43s264.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic8L2a5Qsr7bpArqwxUdmJuc58V3nmsuEloUToE2bZBuVeL_9c68-bcjInxDFxhOBVLxsRasprawQG__03n8WgBBE0PCXM6c10uF0wS3MPf1_SxPWw0Pnofy8mdB08VwTKC-Z8noIjRX0/s640/vlcsnap-2018-05-04-01h07m43s264.png" width="640" /></a></div>
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<i>"Only free beings can be strangers to each other. They have shared freedom, but this is what separates them."</i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7skAf9HifQbeUFZPT39uwvyuNrLdLkHLieQoqpLPlaTkt_yAHnn4sabU0Il4tXcyL5LOn73z1pCMwZOUZ4hcZhHGObwapJT4Pxx1u2bTJpI7W6YFWYYbWeQcnYmklsgKzO-LJu7309_g/s1600/spontaneouscombustion21.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="350" data-original-width="640" height="350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7skAf9HifQbeUFZPT39uwvyuNrLdLkHLieQoqpLPlaTkt_yAHnn4sabU0Il4tXcyL5LOn73z1pCMwZOUZ4hcZhHGObwapJT4Pxx1u2bTJpI7W6YFWYYbWeQcnYmklsgKzO-LJu7309_g/s640/spontaneouscombustion21.jpg" width="640" /></a></div>
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Hooper's filmmaking is special and especially literate, in the same way Godard's is, in that his characters are not just symbols and representations, the same way Godard's oftentimes nameless characters are not just symbols. They are everything in a relationship before they become zero. This is why every relationship in a Hooper film is an ultimatum between fulfillment and loss (and perhaps why <i>Poltergeist</i> does not quite feel, thematically, like a Hooper film, save for perhaps the ultimatum between a relationship bestowed with a material abundance, and then, suddenly, a relationship divested of all those things). The two filmmakers' lovers may not act and speak rationally, within the drama, but this is because the ideas are bigger than they are. They are lobbed about and volleyed to and fro by ideas, perhaps due to their namelessness, their Hooperian or Godardian ordinariness, but they are always real. Their emotions are real. They are the zero within which every point around them is infinite.<br />
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<i>Frankenstein</i>, the dichotomy between living and dead, a horror story of society and nature, in which living is the construct.<br />
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<i>What does your husband do?</i><br />
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<i>"He's just an individual." </i>Hooper's characters do not fit into the narrative like clockwork. They are flung and rapt by the waves of narrative. Their freedom predisposes them to their fatedness, their ability to be strangers to each other and an alienation to the things around them. They share their rebellion, which is automatically lost to them, as opposed to characters, within a narratology, who conform to narrative and thus steward their fate. This is counterintuitive and paradoxical, but necessarily so.</div>
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If subjects always seem familiarized to the narrative, if they have this
sort of "freedom," when in fact reality is a non-freedom, there is no image to
create (without reality).<br />
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<i>"Rodin's sculpture, </i>The Thinker<i>... you know it?"</i></div>
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Hooper literalizes the bouquet in human beings, when there are no flowers at his disposal. Godard literalizes in order to metaphorize.</div>
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With the introduction of Godard's scatological logic, we realize it is again all about human behavior and individuality, and we open it up to the world that is a dichotomy between the public and personal. We only need recall Hooper's bathroom scenes, from <i>Eaten Alive</i> to, yes, <i>Crocodile</i>, to <i>Djinn</i>, and we can zero in on Hooper and Godard's joint project of an "experiment in literary inertia." The world opens up at this point, and suddenly the scatological is surmisable to war.</div>
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<i>Dressing...</i></div>
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<div style="text-align: center;">
<i>And undressing...</i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfHtqdkQeyNuM4PxHkddVnBDj30hzcHqZC7dQIuSZORV-JSrEXxcBIbytFzLhkj5rUQFvX81tHBqOTJpLnhXLmq7GwwNus0Q17ZU8sePWrHjkxdltAfZvUSb4VyNux1fpgg0AJL8K0GZc/s1600/vlcsnap-2018-06-26-02h26m52s093.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="304" data-original-width="720" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfHtqdkQeyNuM4PxHkddVnBDj30hzcHqZC7dQIuSZORV-JSrEXxcBIbytFzLhkj5rUQFvX81tHBqOTJpLnhXLmq7GwwNus0Q17ZU8sePWrHjkxdltAfZvUSb4VyNux1fpgg0AJL8K0GZc/s640/vlcsnap-2018-06-26-02h26m52s093.png" width="640" /></a></div>
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A moment rivaling Hooper's grimiest moments. Death and conflict, degradation and humiliation - always based in relationships, in the ways we relate to each other or to things.<br />
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Dressing, undressing. Undressing, dressing. This is such a pivotal aspect in many of Hooper's films. It shocks that a genre filmmaker can be so interested in aspects of human behavior and activity, in the nature of humans as exhibits of ontological phenomena.<br />
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<div style="text-align: center;">
<i>"... paint not what we see, for we see nothing, </i></div>
<div style="text-align: center;">
<i>nor what we cannot see, for we must paint only what we see. </i></div>
<div style="text-align: center;">
<i>But paint that we don't see."</i></div>
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<div style="text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH_ReUtqcOssMi0T2SQYVWkI1CENHVe76s3d1VgXbQAgY5Mw7NQjj_-dQUBu7EVKsGtq9gwJ9g-TXOW_gGDy2UBxaCWgP2Mw6n724d0EiU6pN6sH0QbPpwsy8LXTjtsYZ2prDVcJ0SS40/s1600/vlcsnap-2018-05-04-01h39m32s849.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH_ReUtqcOssMi0T2SQYVWkI1CENHVe76s3d1VgXbQAgY5Mw7NQjj_-dQUBu7EVKsGtq9gwJ9g-TXOW_gGDy2UBxaCWgP2Mw6n724d0EiU6pN6sH0QbPpwsy8LXTjtsYZ2prDVcJ0SS40/s640/vlcsnap-2018-05-04-01h39m32s849.png" width="640" /></a> </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh66iNBWYpeU7ritOwuSSo7zAeF09uuOJnFNaMwr16tiDm4IV9dadlXFxewRCMECXSaCZFrqVZ2BObAOrtTgWd04_sN5Hf2_4DABviCrKouLceKrJrSNPgrIPVGLnhJKfatwtn11C2KIaY/s1600/vlcsnap-2018-06-26-03h15m37s841.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="669" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh66iNBWYpeU7ritOwuSSo7zAeF09uuOJnFNaMwr16tiDm4IV9dadlXFxewRCMECXSaCZFrqVZ2BObAOrtTgWd04_sN5Hf2_4DABviCrKouLceKrJrSNPgrIPVGLnhJKfatwtn11C2KIaY/s640/vlcsnap-2018-06-26-03h15m37s841.png" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_PqCTNqIsrc3IWdXm1mIf8a9niXnrV-xhifkG0lwxnxC-hiQeDAyaNzwb2u-hFofyUKUa_wUEVTMNMRA39HGtrA_tLgOs8XoRGpsF0B3P99xClCe78I-3GzHG2Z9tpi9MHkddDBrRKkk/s1600/vlcsnap-2018-05-04-01h44m57s510.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_PqCTNqIsrc3IWdXm1mIf8a9niXnrV-xhifkG0lwxnxC-hiQeDAyaNzwb2u-hFofyUKUa_wUEVTMNMRA39HGtrA_tLgOs8XoRGpsF0B3P99xClCe78I-3GzHG2Z9tpi9MHkddDBrRKkk/s640/vlcsnap-2018-05-04-01h44m57s510.png" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtCFtVgq5OoHYxCctTEs_NynGYnKF2L9H0Gxykvvne9aLvFliE1fDecSgyZsPXXrgnejkZTmffgWteBAWKYtu4xmSfSFfG7KjaHYWPyKDPjM_OrZniDl_UwP6q9tW9jSkbUvN1XTGLzwQ/s1600/vlcsnap-2018-05-04-01h45m03s011.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtCFtVgq5OoHYxCctTEs_NynGYnKF2L9H0Gxykvvne9aLvFliE1fDecSgyZsPXXrgnejkZTmffgWteBAWKYtu4xmSfSFfG7KjaHYWPyKDPjM_OrZniDl_UwP6q9tW9jSkbUvN1XTGLzwQ/s1600/vlcsnap-2018-05-04-01h45m03s011.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2Vj7cwe5CqwVyQVhjT0qdMROyNtXrYJ68I4rT3wHBJSvVnsIZp7ODvWG9Q-qjTUjn9mfLzCZJPid_8vvE6ufvB7ZGnuTwUDvSJqXtPuidy_zkf2C0GzCgr_a3rDiJOx1bgf1EkUXzrdc/s1600/vlcsnap-2018-05-04-01h45m05s047.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2Vj7cwe5CqwVyQVhjT0qdMROyNtXrYJ68I4rT3wHBJSvVnsIZp7ODvWG9Q-qjTUjn9mfLzCZJPid_8vvE6ufvB7ZGnuTwUDvSJqXtPuidy_zkf2C0GzCgr_a3rDiJOx1bgf1EkUXzrdc/s1600/vlcsnap-2018-05-04-01h45m05s047.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTjd7MpCzTzxjjeSFV2wtz8FzyoEYNh7zgaAsthaYZvR6Iw_BmnnO-u4O6p51q7NgjiZeKaNQmKfrK9tg7HPvSy6j0DrTQAIrszPl9WZXSA1AXDJj242qv4xPd2XYmkiMr45GUZpsO7vc/s1600/vlcsnap-2018-05-04-01h45m08s603.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTjd7MpCzTzxjjeSFV2wtz8FzyoEYNh7zgaAsthaYZvR6Iw_BmnnO-u4O6p51q7NgjiZeKaNQmKfrK9tg7HPvSy6j0DrTQAIrszPl9WZXSA1AXDJj242qv4xPd2XYmkiMr45GUZpsO7vc/s1600/vlcsnap-2018-05-04-01h45m08s603.png" /></a></div>
<br />
<i>Undressing...</i><br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4LB5GcfpMGhgZ8ikH-qvI56Xy6ODcCiyqTElcP_rK3fyEorA8GEDaqIrqtb8UoQFjxfjDuxivs1Pd61oLKPevhWzsO38jJ4onHEildNf95ePDupIaG_uIPNLqKyYu3V_0XdFf9lplcW0/s1600/vlcsnap-2018-05-04-01h45m14s556.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4LB5GcfpMGhgZ8ikH-qvI56Xy6ODcCiyqTElcP_rK3fyEorA8GEDaqIrqtb8UoQFjxfjDuxivs1Pd61oLKPevhWzsO38jJ4onHEildNf95ePDupIaG_uIPNLqKyYu3V_0XdFf9lplcW0/s1600/vlcsnap-2018-05-04-01h45m14s556.png" /></a></div>
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<div style="text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix_oQJ2gzj2nNMu7-nJq-d1Uv1MHszgcTdBvxzFY1kV-j_8-kpjPr_Veq81jbogsseHNm4E_FWNnCTmUaU0KgaKKvL1xWVhuBxWRgNXNMnh_QezOsAmL7f02dAl1ShIzdpQL7_H3JGL5Q/s1600/vlcsnap-2018-05-04-01h40m03s155.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix_oQJ2gzj2nNMu7-nJq-d1Uv1MHszgcTdBvxzFY1kV-j_8-kpjPr_Veq81jbogsseHNm4E_FWNnCTmUaU0KgaKKvL1xWVhuBxWRgNXNMnh_QezOsAmL7f02dAl1ShIzdpQL7_H3JGL5Q/s1600/vlcsnap-2018-05-04-01h40m03s155.png" /></a></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhegche2fQpnKuy3btiZzdngEc_uL600oPzr9houcnsaWJJcSnlVsPzxl-UIv6BLtnwlJ-ns1Cp38v_UNO0oltVOzJk5VnAxwZDcGWhMD69Rq6nEsJChIJBqK1bnoUz3VBCcAxdgHraA8o/s1600/vlcsnap-2018-05-04-01h40m07s417.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhegche2fQpnKuy3btiZzdngEc_uL600oPzr9houcnsaWJJcSnlVsPzxl-UIv6BLtnwlJ-ns1Cp38v_UNO0oltVOzJk5VnAxwZDcGWhMD69Rq6nEsJChIJBqK1bnoUz3VBCcAxdgHraA8o/s1600/vlcsnap-2018-05-04-01h40m07s417.png" /></a></div>
<br />
<div style="text-align: center;">
<i>And dressing...</i></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4LhvYeqHqyXIRVA-dVD7N4tg5vYKL2HJIqdCMmssQFVZVuJFfEooFPHjSCrjPPKD0-WpTR0cUP6pOvH97GXiFN8PNmwOIxJwVOWnAMOrZZnXTDUeQH3ZwDLUen7lBDwvJNn6u2MBZMkY/s1600/vlcsnap-2018-05-04-01h40m15s469.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4LhvYeqHqyXIRVA-dVD7N4tg5vYKL2HJIqdCMmssQFVZVuJFfEooFPHjSCrjPPKD0-WpTR0cUP6pOvH97GXiFN8PNmwOIxJwVOWnAMOrZZnXTDUeQH3ZwDLUen7lBDwvJNn6u2MBZMkY/s640/vlcsnap-2018-05-04-01h40m15s469.png" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDx_sodoVhgKLYz7zNfY5n7BXj8W2NAp4UlM3PEOyUxpANh_tE9zq43aplpr380DIPJJ0m0gdjwi51xn-hBtHQ2cKa1OfXTcasRjUsUTMlZM-p0OGhjRykGndW6tfPqToUusHqJgyfX3g/s1600/vlcsnap-2018-05-04-01h40m17s148.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDx_sodoVhgKLYz7zNfY5n7BXj8W2NAp4UlM3PEOyUxpANh_tE9zq43aplpr380DIPJJ0m0gdjwi51xn-hBtHQ2cKa1OfXTcasRjUsUTMlZM-p0OGhjRykGndW6tfPqToUusHqJgyfX3g/s1600/vlcsnap-2018-05-04-01h40m17s148.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6Ky4yW6PlHHKax7NWrQbIVPbKGGNNUwlUSYGLU2CpYtLn9Kwa9qYUSKVoMbq3BbefDG685pKtbqZNAQ9vm1YGJId8LhGSxYMviaAAm8EfwOwMpNXxFZ4O3piXHc0UWNCoUIQCqDDCw8E/s1600/vlcsnap-2018-05-04-01h41m57s323.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6Ky4yW6PlHHKax7NWrQbIVPbKGGNNUwlUSYGLU2CpYtLn9Kwa9qYUSKVoMbq3BbefDG685pKtbqZNAQ9vm1YGJId8LhGSxYMviaAAm8EfwOwMpNXxFZ4O3piXHc0UWNCoUIQCqDDCw8E/s640/vlcsnap-2018-05-04-01h41m57s323.png" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7NUTTUFhy_xiFymFq9mNpGtW_5A3zmO4QvjJe25d6kBXHwkH7hQ9an5B0lkd70LOrijdXeq3hS-9ij8g2CekvCN1O6EPBRKFcBlBuXmuFXkOBPM-TvEUHPNMGziXMQ7A0y4OIKkCUKMI/s1600/vlcsnap-2018-06-27-12h21m10s895.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="304" data-original-width="720" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7NUTTUFhy_xiFymFq9mNpGtW_5A3zmO4QvjJe25d6kBXHwkH7hQ9an5B0lkd70LOrijdXeq3hS-9ij8g2CekvCN1O6EPBRKFcBlBuXmuFXkOBPM-TvEUHPNMGziXMQ7A0y4OIKkCUKMI/s640/vlcsnap-2018-06-27-12h21m10s895.png" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcxAXZKf16LQMDQqf2vTco9pKeTxVXm24pC97tx9hRDXgfIeDKNZeYoaqgyxFpoNxrkU3bL-USwKOIodmK2Fn3qkIVBku4yzMfcTWqciGPIrc2X-Cs8EUYnPIxVXPd5vtn7rI9P3e6QoM/s1600/vlcsnap-2018-05-04-01h46m22s783.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcxAXZKf16LQMDQqf2vTco9pKeTxVXm24pC97tx9hRDXgfIeDKNZeYoaqgyxFpoNxrkU3bL-USwKOIodmK2Fn3qkIVBku4yzMfcTWqciGPIrc2X-Cs8EUYnPIxVXPd5vtn7rI9P3e6QoM/s1600/vlcsnap-2018-05-04-01h46m22s783.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinN1T5ua958xdfzU-JWBR5EJ0dNDFRQiM95yrZh8vluj6NJTCHSznfGv4vo8AppNDM-O0tHeiD5dk9mi4c8Jc_vBYDwRnY2Jn86r9OsriXXtAeVkLTrFyJMTe_xvJLwSvW1I2OHMssjm4/s1600/vlcsnap-2018-05-04-01h46m26s439.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinN1T5ua958xdfzU-JWBR5EJ0dNDFRQiM95yrZh8vluj6NJTCHSznfGv4vo8AppNDM-O0tHeiD5dk9mi4c8Jc_vBYDwRnY2Jn86r9OsriXXtAeVkLTrFyJMTe_xvJLwSvW1I2OHMssjm4/s1600/vlcsnap-2018-05-04-01h46m26s439.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeXg6DUeOLY7myIJTO56zhtVMPmlw6RWGQKv3Z_Elb8FdqXkdLqanau2EaOUi2Ug6OLC_WwAhifuFvXqviWcSydeuieQHxFC_LPAXlSz-cGH3fdFtApZ54DZPe6kyANhPHzoPl-VY3KNk/s1600/vlcsnap-2018-05-04-01h46m33s295.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeXg6DUeOLY7myIJTO56zhtVMPmlw6RWGQKv3Z_Elb8FdqXkdLqanau2EaOUi2Ug6OLC_WwAhifuFvXqviWcSydeuieQHxFC_LPAXlSz-cGH3fdFtApZ54DZPe6kyANhPHzoPl-VY3KNk/s1600/vlcsnap-2018-05-04-01h46m33s295.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd_diqhST8_eNE_-swwWYJkcbWi4XeWMkgTnZLMEfNGbzyCWnD-fxdE5So3PLpSoxLuVwfJcVjFUCm8LOU7pRazBlxjSkBdGMDdYNqN6aKC61-fIGtbdXNsaKE9Z8qHvFj6WyulXmRzd0/s1600/vlcsnap-2018-05-04-01h46m35s458.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd_diqhST8_eNE_-swwWYJkcbWi4XeWMkgTnZLMEfNGbzyCWnD-fxdE5So3PLpSoxLuVwfJcVjFUCm8LOU7pRazBlxjSkBdGMDdYNqN6aKC61-fIGtbdXNsaKE9Z8qHvFj6WyulXmRzd0/s1600/vlcsnap-2018-05-04-01h46m35s458.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj82MaspxyuwuYXYSinXBuV_JVU82rInODB9D2ZskuVgQtXWbcl8ebfgiTY4n6sg4PGYjHTSFF4vWhH8sA_1aa9ToLP8vcuphYvD2hcRB7WeLA4qy2N540XU9GEgfkYSAQ2_U7tRa3gimI/s1600/vlcsnap-2018-06-27-12h43m00s706.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj82MaspxyuwuYXYSinXBuV_JVU82rInODB9D2ZskuVgQtXWbcl8ebfgiTY4n6sg4PGYjHTSFF4vWhH8sA_1aa9ToLP8vcuphYvD2hcRB7WeLA4qy2N540XU9GEgfkYSAQ2_U7tRa3gimI/s640/vlcsnap-2018-06-27-12h43m00s706.png" width="640" /></a></div>
<div style="text-align: center;">
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<div style="text-align: left;">
<i>"... that men can be sincere with others
and even with themselves, when they glorify a woman's kindness toward
them. </i>Although, all in all<i> at the heart of their liaison
circulates, constantly, secretly, unavowed to others or unwittingly
revealed by questions, investigations, a painful concern. But this could
not have arisen without the previous gentleness."</i></div>
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<div style="text-align: left;">
At the heart of liaisons is a "painful concern." And so both Hooper and Godard constantly posit that these questions of freedom and communication are always tied to <i>relationships</i>. If Godard often emphasizes the typical gendered binary, decidedly non-platonic, Hooper's questions of interrelation and suffering have often branched out to mutants, children, family, property, etc. Simply, what is out there that can remove our autonomy?</div>
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<div style="text-align: left;">
<i>"No one could think freely if his eyes were locked in another's gaze. As
soon as gazes lock, there are no longer exactly two of us."</i></div>
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<i>Misery - Sadness</i> </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1KfUCX-OzuS1jDr7gyB8xO6Ce1jRDqsgyGFuTsItP2Q_hAFb0EuxaGPATbNniZD2zGg2jwqfVKqQihUL001Tfw4DrZPcaIJZWr1pUQHbOsqjjm8ZeAwUw8OikJe87wydTlxO9gcqXUzQ/s1600/vlcsnap-2018-05-04-01h55m31s613.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1KfUCX-OzuS1jDr7gyB8xO6Ce1jRDqsgyGFuTsItP2Q_hAFb0EuxaGPATbNniZD2zGg2jwqfVKqQihUL001Tfw4DrZPcaIJZWr1pUQHbOsqjjm8ZeAwUw8OikJe87wydTlxO9gcqXUzQ/s1600/vlcsnap-2018-05-04-01h55m31s613.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCSrBXdWSTmD4cuE5XLKozXs9KeKMC2bVgbrQfiLdEH6w350oBmDN3C-FmwhRzJacP9262u1RLqN4kw5bptmIqHdox1XKJItDzmBjqpCcDmRS3frx7uatUQ0olpl9brWafBpyLhm_dj90/s1600/vlcsnap-2018-05-04-01h55m34s634.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCSrBXdWSTmD4cuE5XLKozXs9KeKMC2bVgbrQfiLdEH6w350oBmDN3C-FmwhRzJacP9262u1RLqN4kw5bptmIqHdox1XKJItDzmBjqpCcDmRS3frx7uatUQ0olpl9brWafBpyLhm_dj90/s1600/vlcsnap-2018-05-04-01h55m34s634.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQbMYulVXkR0Xru_GY5t0C1dOcut63w2tAUjyhBl7s-jy18WWF0IHNPm0tjbHif8-PRWkDJaKPTetovgx6jYnKdx06ilEHHEDPmsmsAOtfz5yUeAAbyTwgSJPqIsBwaD1JZYHxnGtkuvI/s1600/vlcsnap-2018-05-04-01h55m35s859.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQbMYulVXkR0Xru_GY5t0C1dOcut63w2tAUjyhBl7s-jy18WWF0IHNPm0tjbHif8-PRWkDJaKPTetovgx6jYnKdx06ilEHHEDPmsmsAOtfz5yUeAAbyTwgSJPqIsBwaD1JZYHxnGtkuvI/s1600/vlcsnap-2018-05-04-01h55m35s859.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwD9fmKLc3Wrn9njN7ZPSJkkfT-LdMxq6OeycqRk_JZJz19tk-IcSgSgpBBraYMbdJoBoUrBZ6OMmrtQZA7Wv1-W0xIop_9XqSirJkBkZ9fOztK_24GNMWJMSJN7iF0AMOermJPJX_ojE/s1600/vlcsnap-2018-05-04-01h55m37s107.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwD9fmKLc3Wrn9njN7ZPSJkkfT-LdMxq6OeycqRk_JZJz19tk-IcSgSgpBBraYMbdJoBoUrBZ6OMmrtQZA7Wv1-W0xIop_9XqSirJkBkZ9fOztK_24GNMWJMSJN7iF0AMOermJPJX_ojE/s1600/vlcsnap-2018-05-04-01h55m37s107.png" /></a> </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiqYmyFF0AwbE7WANhdWmzjI5xuzMVwMrTCoVVbW3WebcBxNfQcjcl9tyA_aQWPFF7SsCaqwRMbMi8ZjlWMkm7EdJimyweebcRSVH07gWskUyYWFo9Vx1dnWQUss4qvpUVVycTtU5nYkk/s1600/vlcsnap-2018-05-04-01h55m38s329.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiqYmyFF0AwbE7WANhdWmzjI5xuzMVwMrTCoVVbW3WebcBxNfQcjcl9tyA_aQWPFF7SsCaqwRMbMi8ZjlWMkm7EdJimyweebcRSVH07gWskUyYWFo9Vx1dnWQUss4qvpUVVycTtU5nYkk/s1600/vlcsnap-2018-05-04-01h55m38s329.png" /></a> </div>
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<span style="line-height: 1.5em;">"What's difficult is to fit flatness into depth."</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9zXkIr8hatzAlOcBBu1ytZ8ULL8uVMRjm2yxH5iBoCRurCMUcW-Ek2LgUEBI5WCsGbgscm_9lO5KFuCYVwB9AuvqSEwjlDGp98TKagciM2zzr2crEYcKnT2sgav7HScd__mRo-MqH2sI/s1600/vlcsnap-2018-05-04-01h55m41s056.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9zXkIr8hatzAlOcBBu1ytZ8ULL8uVMRjm2yxH5iBoCRurCMUcW-Ek2LgUEBI5WCsGbgscm_9lO5KFuCYVwB9AuvqSEwjlDGp98TKagciM2zzr2crEYcKnT2sgav7HScd__mRo-MqH2sI/s1600/vlcsnap-2018-05-04-01h55m41s056.png" /></a></div>
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<span style="line-height: 1.5em;"> Hooper and Godard's materialism and streamlined interest in <i>things</i> shows a willingness to access the brash zone of inner life.</span> <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMCrNWMB0yzE8V-JXOvMt9LDE0uEbc1NesRK1pRe1NYLL4R4SDmmijaRxHxmW3QxyT8_4nnnEuuecx-XLS1TAF9LwabIm_IkSUjNekHNGrFZ0iaHbnluNvPGaoCmZL1CP-BlLc3DhrZF4/s1600/vlcsnap-2018-05-04-02h05m36s527.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMCrNWMB0yzE8V-JXOvMt9LDE0uEbc1NesRK1pRe1NYLL4R4SDmmijaRxHxmW3QxyT8_4nnnEuuecx-XLS1TAF9LwabIm_IkSUjNekHNGrFZ0iaHbnluNvPGaoCmZL1CP-BlLc3DhrZF4/s1600/vlcsnap-2018-05-04-02h05m36s527.png" /></a> </div>
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<i>"He says he's dying."</i> </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6ztqhSBaKUmg4tj9zbXVbCemnIK4kWKq5lb8-ALfKieK2_pn0x7G20Eh8oX4dRZ-RtWwjzuQspcGXj7Q7f0A9TSvfvRS_dR0r6Z7bo6jCT7y9sIIjxGgWAluSIGlFwBfyzm6xqXHCRCk/s1600/vlcsnap-2018-05-04-02h05m42s157.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6ztqhSBaKUmg4tj9zbXVbCemnIK4kWKq5lb8-ALfKieK2_pn0x7G20Eh8oX4dRZ-RtWwjzuQspcGXj7Q7f0A9TSvfvRS_dR0r6Z7bo6jCT7y9sIIjxGgWAluSIGlFwBfyzm6xqXHCRCk/s1600/vlcsnap-2018-05-04-02h05m42s157.png" /></a> </div>
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<div style="text-align: center;">
<i>"So let him die."</i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIgTz9yScFSfvn8EvQlwFS6xZNGDdQfhJreqUK6uxsTYwynsM28qIAFnQBJL0cnQEY-sBgawMLgYbDAFMT5fuWs-H4t7TjhJsOZ5vbaNGzJRmnjv6BeKZR5TAQxlecj4ffkkT0CUk06g0/s1600/Screen+Shot+2018-06-26+at+3.20.55+AM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="403" data-original-width="725" height="355" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIgTz9yScFSfvn8EvQlwFS6xZNGDdQfhJreqUK6uxsTYwynsM28qIAFnQBJL0cnQEY-sBgawMLgYbDAFMT5fuWs-H4t7TjhJsOZ5vbaNGzJRmnjv6BeKZR5TAQxlecj4ffkkT0CUk06g0/s640/Screen+Shot+2018-06-26+at+3.20.55+AM.png" width="640" /></a></div>
<div style="text-align: center;">
<a href="https://mubi.com/notebook/posts/adieu-au-langage-goodbye-to-language-a-works-cited"><br /></a>
<a href="https://mubi.com/notebook/posts/adieu-au-langage-goodbye-to-language-a-works-cited">audieu au langage</a><br />
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JRhttp://www.blogger.com/profile/15544454753709801525noreply@blogger.com0tag:blogger.com,1999:blog-3175631797077198516.post-5927199505536832122018-04-25T19:17:00.003-07:002018-04-25T23:18:52.147-07:00I think Spielberg contributed very little in terms of <i>Poltergeist</i>'s distinct stylistic elements. He may have suggested a two-shot or two and other standard practice elements of coverage, in coordination with the storyboards (in collaboration or not with Hooper), but everything in <i>Poltergeist</i> is well within Hooper's wheelhouse at the time, with the knowledge he is working in Spielberg's register. Probably exhausted my good will on Twitter (@jayjayabramzon) with the <i>Poltergeist</i> tweets, so I'm moving over here.<br />
<br />
Imagine a <i>Poltergeist</i> that felt as cartoony or comic-book-like or flippant as <i>Close Encounters</i> or <i>Raiders of the Lost Ark</i>. I could.<br />
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JRhttp://www.blogger.com/profile/15544454753709801525noreply@blogger.com28