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Saturday, February 6, 2010

Having a Bad Day

Watched Buffy The Vampire Slayer S5 E6 Family today as I noticed Amy Adams has a cameo innit.
She passes Jupiter in Night At The Museum 2 and plays in Junebug (June/Juno/Jupiter).
Buffy and friends were helping Buffy move out of her new dorm room just days after moving her in.
Why is Jupiter 214/BAD? Because its planet symbol contains all these numbers.

Its door number is 214/BAD/Jupiter above crowning Alyson Hannigan the Scarlet Woman Willow.
Jupiter has crowned Hannigan before as mentioned in the Scarlet Woman link above (Scarlet Dragon 2 at The Blob). This happens in How I Met Your Mother...
Nothing really stood out about the Amy Adam's appearance but it did seem to want me to notice the 214 dorm room NR. So I google "Buffy Dorm 214" and learn that apart from this particular room 214 Buffy was only briefly a tenant of, she and Willow shared another dorm room 214 for the majority of the series episodes where Buffy goes to uni.
Some stills from Hush S4 E10
Pretty weird that I had been staring at so many adventures of Buffy and Willow in this very dorm room now learning the potent resonance of its number.
Changes my perspective on stuff, ya know.
Then I head off this evening to catch Crazy Heart in the theater with some friends.
Only to see Jeff Bridges playing country music singer Bad Blake.
Susynctly Bridges has done the same trick as Alyson Hannigan, passing by Jupiter in K-Pax!

Ratte:

Big Bad Wolf Moon

Revelations 9:11 ... Abbadon / Apollyon ... the destroyer ... triliteral root אבד (ABD)
Abaddon gets people to where they need to be

Having a Bad Day

Watched Buffy The Vampire Slayer S5 E6 Family today as I noticed Amy Adams has a cameo innit.
She passes Jupiter in Night At The Museum 2 and plays in Junebug (June/Juno/Jupiter).
Buffy and friends were helping Buffy move out of her new dorm room just days after moving her in.
Why is Jupiter 214/BAD? Because its planet symbol contains all these numbers.

Its door number is 214/BAD/Jupiter above crowning Alyson Hannigan the Scarlet Woman Willow.
Jupiter has crowned Hannigan before as mentioned in the Scarlet Woman link above (Scarlet Dragon 2 at The Blob). This happens in How I Met Your Mother...
Nothing really stood out about the Amy Adam's appearance but it did seem to want me to notice the 214 dorm room NR. So I google "Buffy Dorm 214" and learn that apart from this particular room 214 Buffy was only briefly a tenant of, she and Willow shared another dorm room 214 for the majority of the series episodes where Buffy goes to uni.
Some stills from Hush S4 E10
Pretty weird that I had been staring at so many adventures of Buffy and Willow in this very dorm room now learning the potent resonance of its number.
Changes my perspective on stuff, ya know.
Then I head off this evening to catch Crazy Heart in the theater with some friends.
Only to see Jeff Bridges playing country music singer Bad Blake.
Susynctly Bridges has done the same trick as Alyson Hannigan, passing by Jupiter in K-Pax!

Ratte:

Big Bad Wolf Moon

Revelations 9:11 ... Abbadon / Apollyon ... the destroyer ... triliteral root אבד (ABD)
Abaddon gets people to where they need to be

Horimitsu TATTOO work today 龍


本日一件のみ。
龍。
順調です。次は三月ですね。お待ちしています。

Only as for the today work.
A dragon.
It is favorable. The next is March. I wait.

Sólo en cuanto al hoy el trabajo.
Un dragón.
Es favorable. El próximo es marzo. Espero.

Abra-Ham


Every element in Nature has its individual keynote. If these elements are combined in a composite structure the result is a chord that, if sounded, will disintegrate the compound into its integral pats. Likewise each individual has a keynote that, if sounded, will destroy him. The allegory of the walls of Jericho falling when the trumpets of Israel were sounded is undoubtedly intended to set forth the arcane significance of individual keynote or vibration.
Manly P. Hall

This is how the World Trade Center fell ... Judy Woods.

there can be only one

Ratte: felt like add this video after comment chatter with ~SE~

Abra-Ham


Every element in Nature has its individual keynote. If these elements are combined in a composite structure the result is a chord that, if sounded, will disintegrate the compound into its integral pats. Likewise each individual has a keynote that, if sounded, will destroy him. The allegory of the walls of Jericho falling when the trumpets of Israel were sounded is undoubtedly intended to set forth the arcane significance of individual keynote or vibration.
Manly P. Hall

This is how the World Trade Center fell ... Judy Woods.

there can be only one

Ratte: felt like add this video after comment chatter with ~SE~

PoPPin PurPle Pillz

Jem ... flip the M ... see the 24 and 42
beyond the visible spectrum
UP
Barney, Baby Bop, Bj and Riff
Barney is the one eyed Purple Monster. Baby Bop, besides being a 22, reminds me of Bee Bop cola from Sealab 2021 and Bee Bop from TMNT and BB King. Then riff is a chord (slice of a tree) that you play on 7 stringed turtle shell representing the Planets.


an anthropomorphic tastebud of the WE 3 oM franchise. Initially devised as "Evil Grimace" with two pairs of arms, later developed into one of the "good guys" ... Ronald's simpleton comedic foil. Winky is his PoPs ... his Uncle brings Shamrock Shakes once a year.


D12 = 412

U = 21, so U2 is either 212 or 2121 ... 21 + 21 is 42 ... you could also see a U rotated easily, it's a long C ... 2CU

PoPPin PurPle Pillz

Jem ... flip the M ... see the 24 and 42
beyond the visible spectrum
UP
Barney, Baby Bop, Bj and Riff
Barney is the one eyed Purple Monster. Baby Bop, besides being a 22, reminds me of Bee Bop cola from Sealab 2021 and Bee Bop from TMNT and BB King. Then riff is a chord (slice of a tree) that you play on 7 stringed turtle shell representing the Planets.


an anthropomorphic tastebud of the WE 3 oM franchise. Initially devised as "Evil Grimace" with two pairs of arms, later developed into one of the "good guys" ... Ronald's simpleton comedic foil. Winky is his PoPs ... his Uncle brings Shamrock Shakes once a year.


D12 = 412

U = 21, so U2 is either 212 or 2121 ... 21 + 21 is 42 ... you could also see a U rotated easily, it's a long C ... 2CU

MD Poll: If You Picked the Oscars 2009

It's that time of year again! Time for you to pick what movies and performances you would vote for if you were a member of the Academy and could vote for the best of film 2009 in the actual Oscars.

Last year, you correctly matched the real thing in four out of the five major categories: Best Picture, Best Actor, Best Actress, Best Supporting Actor and Best Supporting Actress.  But remember, this isn't about predictions, you are voting for who you want to win!

There are five separate polls, located in the right-hand sidebar, so be sure to vote in each one. The polls will run from now until Oscar Eve, March 6, when the winners of the MD Poll: If You Picked the Oscars 2009 will be revealed!

UPDATE: This poll is now closed; click here for the results, and click here to vote in the next MD Poll.

Horimitsu TATTOO work today 龍


本日三件目。
龍。
もう少しです。
今年もよろしくお願いいたします。
本日終了。

The third of today.
Dragon.
It is a little more.
My best regards this year.
Today's end.

The third of today.
Dragon.
It is a little more.
My best regards this year.
Today's end.

Horimitsu TATTOO work today 額 桜


本日二件目。
桜散らし。(吹雪ではなく)。
お待ちしています。(^-^)

It is second case today.
It scatter cherry blossoms.It is not stormy.
I wait to next time.

Es segundo caso hoy.
Esparce la cereza que blossoms.It no es tormentoso.
Espero a próximo vez.

Horimitsu TATTOO work today 龍


本日一件目。
龍の額。

It is first case today.
GAKU for Dragon.

Es embale hoy primero.
GAKU para Dragón.

MD Polls: Next Stop, Wonderland

When it comes to picking your "must see" movie of 2010, Movie Dearest readers proved their mad about the hatter:

Tim Burton's sure-to-be-trippy take on the Lewis Carroll classic Alice in Wonderland (starring his muse, Johnny Depp, as the hatter in question) came out on top in the latest MD Poll. In doing so, it soundly defeated another blockbuster-to-be based on a popular British book, Harry Potter and the Deathly Hollows: Part 1, which placed second.  The catch-all "other" rounded out the top 3.

See the comments section below for the complete stats, and stay tuned for our epic Oscar polls, to be posted later today.

Friday, February 5, 2010

Sketch Club + Shelf sketch

Book shelves; sketch assignment from a communal blog I'm part of with a couple of my friends, we're trying to get it started back up again.

Revisiting 1999: The Top Ten Films of the Year, #3 --- Magnolia (Paul Thomas Anderson)

Here's what I've covered so far...
 

The Top 10 Films of 1999:
5- The Insider (Michael Mann)
4- Three Kings (David O. Russell)


Paul Thomas Anderson's overblown, operatic, and Über melodramatic morality play was one of the most audacious releases of the 90's. It took balls for Anderson to put so much out there unapologetically and for him to make a film that relies entirely on an ensemble cast to understand what he's trying to say and how he's trying to say it. Like Anderson's two biggest masters, Scorsese and Altman, his film is dripping with religious allegory and tragic downfalls; however, unlike the downward spiral of Dirk Diggler in the extremely Scorsese-influenced Boogie Nights there seems to be genuine hope here for the majority of the characters. Like an Altman picture, Anderson zips his camera from scene to scene filling with it interesting dialogue and even more interesting characters, always with music in the background to keep with the operatic theme. The constant use of music not only alleviates some of the unease of sitting through a talky three-hour film, but it gives the film the same kind of energy one would find in early Scorsese. There's a sense that we don't know where Magnolia is heading, and when it finally reaches it's very literal biblical ending you're either smiling as you go along, or you're rolling your eyes in disbelief.




The cast is universally great. My favorites are the star-turning performance by John C. Reilly as a bumbling, but sincere, L.A. cop. There's a moment when he loses his gun and fears he'll be even more of a laughingstock among his peers, and for something that probably feels so insignificant to us Reilly does a phenomenal job of making us feel the cop's fears, turning it into a poignant scene. I also loved William H. Macy here as quiz kid Donny. He plays that kind "celebrity" we would find on all those VH1 specials. There's a great scene where he's in a bar trying to work up the nerve to hit on the bartender, only to be derailed by a richer, smoother man played by Altman regular Henry Gibson (in a nice bit of casting by Anderson). The speech Donny gives is both funny and powerful as we see a man who has never had control of his life, always doing what others want him to do and so desperately trying to please those people.

There are more characters of note, of course: Melora Waters as an abused drug addict who falls in love with Reilly's cop after he pays her a visit for being too loud in her apartment (this is one of Reilly's best scenes as he does so man y nuanced things for laughs that they slip right by the passive viewer); there's Tom Cruise's T.J. Mackey, of course, one of the only reason a lot of people saw this film to begin with (although to Cruise's credit he and Anderson didn't want his picture on the poster for fear that people would walk in thinking it was a "typical" Tom Cruise movie). He plays a foul-mouthed pervert who happens to make money off of his chauvinism with a stag-seminar entitled: "Search and Destroy". Cruise's seminars are some of the best parts of the film and some of the best acting Cruise has done.

I mentioned that the film is overblown and operatic, playing for big time emotions that leave a lot of people laughing because said emotions are so unbridled and unabashed. Take for example the scene where Julianne Moore is looking to get more drugs for her dying husband Earl (played by Jason Robards Jr.). The pharmacist thinks she's just some spoiled rich woman looking to party, and even though Moore is a user, there's an amazing scene where she looses it and in a flurry of expletives tells off the pharmacist. It's a polarizing scene as those who don't buy into what Anderson is doing here often think the scene is overblown and unintentionally funny. There's also the bedside redemption scene between Mackey and Earl. Cruise's acting here is, again, quite over the top, but what about Anderson's film hasn't been over the top? It's the right note for what Anderson was going for.

The film is an aesthetic treat, too, as Aimee Mann's beautiful music guides use through the city and the interactions of these people's lives. Anderson's film is one of the first "hyperlink" films (a phrase I first heard from Ebert)…films like Crash, Babel, and other films of their ilk. The editing by Dylan Tichenor is appropriately manic, the cinematography by the great Robert Elswit’s fluid and graceful camera (like any Anderson film there’s some wonderful tracking shots and push-ins mixed with kinetic flash pans and other camera trickery)films L.A. in an unassuming way so that when the more blatant visual correlatives occur they’re more noticeable, and the aforementioned music by Mann is one of the best things about the film…not to mention one of the keys to better understanding the characters and what Anderson is trying to say with this film (one of the most famous, and best, scenes is where Mann's "Wise Up" plays and all of the characters in their respective places sing along).

What makes Magnolia so brilliant though is the fact that Anderson sets up the theme of coincidence in the beginning in a brilliant little bit of storytelling and editing narrated by Ricky Jay. It's just one of many aesthetic choices that jar the viewer, and Anderson isn't afraid to throw everything he can think of into this film. That kind of attitude is what made 1999 such a memorable year for film. Along with Spike Jonze and David Russell, Anderson was an emerging and exciting filmmaker because we never knew what the next frame of his film had in store for us. There's was something liberating and anarchic in the air that year that even the old masters like Scorsese and Mann got into the act and made challenging films within the archetype of the Hollywood picture. Magnolia is one of those films that should I happen upon it on cable I can't turn away. Like the Coen's Fargo, there's something hypnotic about the film. It's a film that elevates me to a special place; a film that fills me with laughter and contemplation; a film that never feels its 188 minute running time; and most importantly a film that keeps me coming back to it because of its bravado and underlying themes that play out like modern version of the Hebrew Bible. The final shot of Melora Waters (with Mann's aptly titles song "Save Me" playing over the faint dialogue of Reily's cop) smiling is one of my favorite closing shots of all time; every time I watch that ending I smile with her, thankful for the exhausting, but exhilarating (and fulfilling), experience Anderson has given me.

 

  

 
I know there are countless more themes and metaphors in the film that I’m not covering here (I love all the literal Exodus 8:2 signs Anderson throws in..and in the screencaps above you enlarge them and look on the left side of the frame you'll notice a few examples of what I'm talking about), but I’m hoping those will be discussed more fully in the comments since a lot of writers better than me have already covered those themes. What strikes me most about Magnolia is how energetic it is, even in what the seemingly mundane details the film flows with exuberance that infectious. You don’t realize until the film is over that you’re worn out, not by boredom but by relentless energy of the film. It’s really something to behold.

Clearly Anderson is a fearless director. It takes guts to put a film so "out there" unabashedly and not be afraid of people perhaps thinking the film is pretentious and over-the-top melodrama. Time has been kind to Magnolia, though, and I think the recent love for another gutsy, overblown film that goes "out there" by Anderson, There Will Be Blood, has perhaps forced people to look at Magnolia with fresh eyes. I don't know if I'll ever think of There Will Be Blood the same way I think of Magnolia, but one thing they share in common and one thing that I admire the hell out of both films is Anderson's reluctance to pull back on the reins. So rare is it these days in the saturated and neutered Hollywood system to get a filmmaker who is willing to make films that feel more at home during the new wave of American cinema in the 70's. Anderson no longer has to think of himself as someone who aspires to be like Altman and Scorsese by fashioning his films after their style…he's now clearly on par with those two masters. Paul Thomas Anderson just may be the most talented and interesting American filmmaker to be unleashed on Hollywood since Martin Scorsese.

Extra Stills:

 

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

 
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