Earn

I mean. It works because of your face. My face is different. My voice is different. Forty minutes ago. Okay. Let's try this again. There is that thing. I'm gonna turn your head around. About. A writer. Telling that writer something about itself. That it could never cognize. Supplying the writer a ultra demonic. This writer is looking in to three four five. I already tried this once. The bare amount of mark to make symbol. How many different could there be. Results in nine. That was another thing. This small point here. I wish I didn't remember. This point here. Why should I be remembering actual quotes of the writer while I am trying to explain something about how that writer was being placed into something that would double and quicken him. Ruining him. Because of a violation ideal. That you could just do better by doing the worst. In the second three word encounter I deliver to you the points. Soaking. Why did I practice that? I needed something for you. Over here. This is playing. I don't want to be doing this. But I'm not going to stop because I have to see what this had to do with transforming a writer into a violation pit. The fawn is the second thing. The boys hoping that what made this appropriate for me was that I didn't like I basically was just writing their votes on what how was. Cast and crew. Who? Fourth finger. So if you're looking at your own hand and you're trying to handle yourself if you crunch these fingers there is a recollection hope. An insult which increases. A speech that increases. I wish that this was that long. I'm gonna cut it off in the middle. We're gonna put them in a poem. We're gonna run it on the tiger. So we can hit that all that anime was bad for one fucking reason. I had to swallow my spit when I said that because I felt a little disgusted. Sleep. Grief. Doom sucks. It's not a good band. Maybe try Grief. Supplying a writer criticism. Is. Pointed. Cutting in. Look at the mirror. Why did Borges think that the finer. Was insulting. Why should. Lemmy Killmeister have to raise his hand like a little schoolboy. Slower. Each word. He'll. Return. This lazed. Horror. Who gives a shit. Bad men who want to make it to sixty one.  Afraid for how they knew they were going to make it to 89 if they could just convince an Indian princess that they were worthy. Of what they knew about their life. A hundred. Someone I actually respect in the punk scene. Someone who've had. Involved themselves in. Multiple. And. Had a good answer to why the LA punk scene sucks. Let's just light shit on fire. Let's burn the spot out every time. Every does a shitty little stupid stunt. Dumber than this was me trying to imagine that anyone who had. Access. Wave links. To. My pain. Boredom. Sleep. Why have you been selected for these things. Protagonist? Or is the writer. In this case. Savoring. Ruining. A neat box. Wed me. Why is it. When I start to. Say something true about my life. Half of you. Wish. Wish less. What I remember about. All of you. Pieces of shit. I fucking hate you. I fucking hate you. I fucking hate you. All of you. You are children. Like that was the fucking ultimate hostility that any human could receive. Me. Talking to. First graders. Because they needed to be smarter than. A second grader. The back end. Of a pencil. Like how gay do you want this. Like just. Think. Sweaty forehead. Think. What I said. About. The options available. Ya'll are getting the beauteous. Half of this is me speaking to you like. Adulthood encountered. Your livestock. The other half is. Your drinking. Milk. I'm not okay with you? Don't. Say. What you were fucking saying. The amount of frustration. I hope to. Receive. From. You. Motherfuckers. Cannot. Be as much as Is. Because just look at mom. Mm-mm. Just look at mm-mm-mm. What grade was it. Look at first grade. And see. I am gonna tell you. The whole story. In two minutes. Organically. Your little eyebrow thing. Is potent. Punishingly. Your observation. Is homing. On. Is anything occurring. Interestingly enough. Don't ever forget that. Oh. Me don't ever forget that? What thing. Will I remember. How can I possibly remember it. When all of you fucking idiots are. Fucking. Beating off on. Articles. Aspects. Of my own self. What answer do you fucking want from me? You want it. You want it. Whaa. It was always going to be this? Yeah. Get with it. You weren't fucking problems. Is that something you wanted to have happen happened? Yeah. Do you wanna meet David Milch? Do you wanna meet David Lindelof? Do you wanna meet Alan Moore? Did you want to meet Zak Smith? Did you want to meet. Fucking. Five whores from the punk scene. Did you want to meet. Nine hundred of them in Chinese. Did you want to meet. Kristen Stewarts'? Did you want to meet. Emmy Rossum? Did you want to meet. Some white girl? Did you want to meet. An American? Ugh. No. That's violating. That's violating. That's. Too much. A spy. What is a job? What is a job. One is. Your ears are going to stop working. Because. You. Met. Me. I'm gonna turn them into. Little fucking. Oh no. Car parts. And I'm gonna squeeze them into one fucking good moment. A movie. That was worth making. And you'll never be allowed to be that fucking dumb. See this. See this. Do you know what this hand is? This hand is. Please. Sleep soundly. Sleep. Safely. What the fuck. What. What. What. Why. Do you do that. 

How did this occur. What was the first problem. Marita. Told me. Something. Yeah honey. Just. Whatever. Fucking. Random. Hot person you could think of. That's exactly what I'm like. Yeah. I have purple hair. And a. Fucking. Bridge. Piercing. I didn't have a face tattoo but I was. Bitch. Yeah I didn't have a. I didn't have a single fucking hair on the top of my head. And she was telling me. Yeah. But you're like. Timothee Chalamet. Why? Is that important. In this. Speech. Act. That's how far away from myself. I. I. I almost got back in. But then I had to check. Can he do that. Why shouldn't he be able to do that. He's not. A satanist. He doesn't. Have. The thing. That I fucking said. To. All of you. That's a boy get it out. This man. Does not have. The punishment. That we have. As. What should we like to surface about gender? A woman was some kind of. Artifice. And the man was. That's like historical materialism. The mirror. What do you. Do you resent that men have like. What? Resent them enough that you. Pour the little bucket. On your wrist. Killing. I am that upset right now. But I'm showing you guys. The exact. Amount. Of. Screechitude. Ya'll had. Before. You ever met me. How much. You. Wished. You wished. Something as interesting as this could've happened. I own your fucking lives. I am a worthy. Answer to. Did. David. Milch. Want to meet Shakespeare when he was spitting? Look. You saw the other thing. I don't wanna keep fucking supplying. Little. Answers. To the question. Why am I here. Why did I get all that. Why was it an always thing is the thing that isn't a special little medical thing for me to understand why this is happening. Good. Good. Reveal yourself. Listen to what I am saying. Don't try to see inside me. There. Is. No. Inside. There is just the fucking thing I'm saying at you. I. Fucking. Hate you. Oh my god. You wished it was the mirror. I'm talking to. The people who. I know. If you guys try to supply that I saw inside you and I knew something like this. You're going to sound like a fucking idiot in front of me. Because the thing is. Like. Adjacent to writing. There is a Fmegaphone. And the F in front of it is. He. Is. Fucking. Horny. I can't be on set with you people. Do you? Like. What could be. Less. Arousing. Then. Being. Punished. Like. This. Like you literally can't hear what I am saying to you? Riddle me. Nothing. Open your shower. That's something I'm not supposed to do. Because that's the thing. That says. There's. It's not about. Mm. That's about. Like. If I wanted to do it. By. Hand. But. If there's a guy there with the hand maybe he'll just. Walk out. If a dream girl is sitting there and she goes. That is me because a motherfucker. Is. Terrorizing her. Which. Is upsetting for women to hear? Why would that be true. What the fuck are you a victim of. Oh you have to scream. To feel. Attractive. I'm. Screaming. At you. Because I fucking need you to. Hear. Me. I hate you. I hate you. I. Er. N-n-n-n-n-n-n. Forget. Nonono. Right. You're like. Waitaminute. But you n-n-n-n-no. Oh nonono.  I used to like it? Nononononononononononono. You walked all the way into the out room. Walk into the. Where I put you room. I hate you. I'm a doooooor to all of them. I'm a dooooor. Out of. LA. You guys didn't want to meet. A director. That was your age. It's as simple as. Here's all the unhoused people. Here's all the punks. Here's all the porn. Can you focus on. The addressed. Close the door. Walk out into that how long does it take for her to forgive. Nope. Come back. Come back. Come back. Sit right there in the picture. Do not. Drop me into. A feeling. I'm gonna drop you. All the way into this feeling. You. Jumped. Into. This. You. Wanted. See this is. This is disgusting. This is disgusting. You. Are forcing me. To have to. Riddle out something. Ambiguous. Love. When. I was raising my voice to say one fucking thing to you. You were raising your voice so that someone would give you a kiss. I'm telling you. I fucking hate you. Get out. Close this. Close this. Know how to do that. Are you seeing that? Because there's a uh. Production. Office. Yeah. Go into that production office. And stay there. You're a PA. Timothee. You're a fucking PA. You're looking at. You're just looking at. A director who's as young as you. That's all it is. That's all it is. And what do you have for them? Whatthefuck. I can't even have a fucking thought. With the. Fucking. Idiots. Around me. See that? I know what you're doing you piece of shit. I know. When. You. Are. Protesting. The rule is. Did I like you today. And did you do what I fucking said to you. Be a production assistant. How little I can love someone. Is. Fascinating to me. You're a little. King. Timothee. You're gonna be so strong. When you give that. One woman. One thing. She never asked for. A house. Because she's a. Escort. And you are. Seventy years old. Thirty years past. Anyone? Anyone? 15 of them. You rapist? I. Told. You. Your. Fate. Before you ever met me. You got to meet. Five. Of the. Hottest actresses. The most. Talented ones. You were placed into a beautiful moment of. They'll know each other. And a fawn. Is. The. Work. Of. Unsettling. Which. Male. Actor. Is. Woman. Enough. To be among those people. Am I fucking joke to you? Hm. So he's a yeller. Do you think I'm a yeller? Do you know the kind of person this is? I wanted to remember. What was the failure. Value. Those women. What were you gonna do for them? You were going to. Make them. Incapable. You were a child. You didn't pay attention to. Any. Of your. Privilege. You could've been building productions for your friends. And all you were thinking about was how am I gonna fuck them. But the real answer is. Build them up. Into productions. And see what they think about it. Fuck them. Hard. If they supply. The proper answer to. How. Fucking. Annoying. It. Is. That they introduced this. Not that. Well okay. Did you let the angry boy on set? Mm-mm-mm-mm-mm-mm-mm. Did you let the special little king boy on set so that you could sell a movie? Mm-mm-mm-mm-mm-mm-mm-mm-mm-mm-mm-mm-mm-mm. Second thing is sort of. First thing. Right? What he. Could've done. And what he failed to do. Is evidence. Of such. A. Furiosity. A low. Low low low low low. I would. Special little boy king. Special little boy king. Oo I wish I got on the tower that sounds kinda good. What's in the tower. Is you're a rapist. Chasing escorts. Who are starving. Literally the unhoused. You fucking. Buy them a room. And chase them around hallways. Because you can't. Get. An. Orgasm. He accepted that. He didn't accept the walk out of the room. He accepted. The. And it's not because he was innocent. It's not because he made a. Little mistake. It's not because he didn't know about like. What's in the big. Idea. His. Problem. Was. He was failing before. Epically. Kylie. Jenner. Puts him. In a capacity. And when. I told him. Don't look in. He wanted to build himself a kill chain of Kylies. The invisible Kylies. Just find me all the kinds of Kylies that there could be. I'm gonna say that it's an accident. We're not talking about that. In the building. Excuse me? In the building. Running them around. Right. Was that a missile? Or was it quite exactly. A danger. And why did I put him in there. H - no - how did I put him in there? No. Why did I put him in there. One. Two. Three. How do you guys feel about how I handled that? I was too. Excited? About what I did? I just. I don't know how to get to you guys with. What. Is in this. Stop. Looking. Inside. Listen. We are talking about. Surfaces. Artifice. We're talking about. The. Fucking. Presented. We're. In corporations of scientific. Are you guys so. Like. Out of it? That you cannot. See. That this is what someone looks like when they are about to. Fucking. End your life. Nonono. It's a. It's a. Combination of I'm trying to. Save. Your. Life. Walk. Away. From the beams. I think it's funny. Okay. So. Let me. Like. Reintroduce. What was not funny about this. And what was. Prove. Please remember. When I describe this thing to you. I did not. Tell it to you. So you could be. Beholden to me. I didn't tell it to you like. I'm gonna see you later. I told it to you because it was the right thing to do. What's. What's in this head right now? Please see what was in. What was in this hand. What was in this hand. What was in this hand. And then what was also in the head. And then what was in this. Which part should we focus on? Listen. Dear ladies. I'm so. Grateful. I ended this on this note. Look at this and see what it is. And then also. You know what. Just. Stop. Looking. Stop looking. Just. See this. Respond to this. If you. Thought. That. My face doing this. Involved. Can I also get Saorise to propose to me. That's a thought she's having. At that point. It's okay to feel that way. It's also. Please. Please please please please please please  control yourself. Please. Like. Adjust to. Physical reality. You are as disconnected. From. Facial. Expressions. And what they mean emotionally. As you are. From. Your very bodily selves. In these conversations. Someone is holding me into this. I'm all the way out there. And I'm just this little. Half. Thing. What can you guys do to help me get to myself. What. Feeling. Can you have about me. That the half of me that is. The fulfillment of me. Returns. Is it the forehead thingy? Is it the sweat? I'm ignoring you. Why won't you guys fix what you broke. Why are you fools. Why is my expression that. You guys. Can't walk out of this room. When you do something like that to me. Should I tell you. It's not a bad answer. But it does make you sound like a Qanon person. So. Try. Right. Don't. Don't. Don't do any kind of. Want to fuck it. Because that's gross. I love you. I love you. I love you. I love you. I love you. I love you. It's the same thing. Sort of feel like we're making one of them. Do all the work. I feel like. Covenously. Say that online. No okay. Why. Why. Can't that person stop doing that. Okay. How do we prevent that person from doing that. There's these. I'm afraid to lose everything. Nope. That puts me all the way there. That's not a technique. That's not a good technique. You shouldn't have to feel miserable. To make art. Thank youuuu. Thanking you. Bright. Is the confusion. What's the confusion. Is it. Is it the. Timmy's saying it because he's trying to be hot? Whereas my thing is. Ah. Damn. We like. I feel like. Wha-uh-uh. Is the. Is the thing? Okay. Here's what I felt. No shit. And then. After I was like oh this sounded. And I was like. Let's. Work. Which is. Truly. The gayest. Lamest. Fucking. Most loathsome thing I could think of is to be like. Yes. Let's all like. I love the. I love the wet. Why. Did that happen. Because you guys. Were. Ideating. I don't love her. How does one. Remain in love with me. Get it to stop talking? No. Only one. Only one. Has that. You're a child. No. You're a writer. You. Dumped. Me. You. Basically if you don't want it to be like consecrated into eternity. I will just. Introduce. Myself. I don't care about making movies. I only care about. Did I do enough for ya'll to like me. I don't wanna introduce the. Utterly satanic. None of us never needed to have sex ever again. But we did need to come up with like. Little torturous games of. How do we like. Involve our hearts. In all the different manifold ways of having them break apart. Well. If. You jump into that. You're playing around to much. She's way too volk-y. Sorry. Uh-uh-uh-uh. A human. Sorry I just. Had to save myself by thinking I wasn't talking about all of you. I was talking about. Just one of you. I was talking about Saorise Ronan. And you guys do the same shit. You do the same shit. You do not allow me to remember things. You. Pulled it away from me. And I hope you feel that. If you allowed me to have a thought. I would fail. Is what I. Hope. I hope for. Please. Because then I could actually do a good job. See. No. Right. If I fix nose. It looks stupid if you smile. But if I keep my little butt nose. You know it's so ugly it could only have been the original. I'm not thinking of a name. But I'm gonna sink that. I'm not. It's not you. It's not a man. It's not a girl. It's not a boy thing. It's. My own face. You wouldn't let me say it. Reveal yourself. Reveal yourself. Reveal yourself. Long time coming. I'm going to fucking kill you. Isn't. Isn't true. Because that's something. An overworld construct will do for you. I feel like we're allowed to be mean to each other. Is some. Really. Idiot. Version. Of what gender involves. Okay so I feel like. I'm just trying to. Affect. The truth. Saorise. Hell no. Florence Pugh. You're. Almost. Almost. Tough enough. Emma Stone gets me. Meghan the Stallion actually did something for me that I deeply needed. Anya. Is. Breaking my heart. She's not attracted to me. And I'm in some bullshit system where. She has to think about me. Even if she doesn't want to. Greta Gerwig doesn't want to walk into this room. Dan Harmon and I. Would've been great together. If we could have had a totally. Appropriate. Supposedly. Inappropriate. Dialogue. In production. David Simon. Bought these. David. Milch. Will. Stop. Zak Smith. Is a black hole. And I will not see him. For five fucking years at this rate. He's doing a better job. Just seeeeeee. The black woman of me. Flying away. Listen. Precision. Involves. Greediness. The. Focus. I wanna have a. Three. No. I want to scour the bottom. Of this. Idea. So I'm seeking. To remember. The truth. Kristin Stewart. Is someone I do not respect enough. As someone. Who is a challenger. To the woman I actually want to marry. Someone who. Hurt. Them. Deeply. In a soft way. That get's worse. But they are. Also someone. Who not even I could believe. How dumb. How dumb. I sound in front of them. And that's. A wizard. Hoping. That the. Scrape. Of the bottom of the bucket. Caught. What I meant when I said. The black of me. Sh. Does that mean it's working. Oh my goodness does it mean it's working. Wasn't that okay no. Because. Because. I got five more minutes on this for free. Why. Why. Because. Now we're just going to relax. And all of you are going to. Focus your attention on the. Aspects of me. That are the important aspects that's good. Intensity. Yes. Also. Mm-mm-mm-mm-mm-mm-mm-mm-mm-mm-mm-mm-mm-mm. Yes. Closing. Yes. Sure sure sure sure sure sure sure sure sure. You can say. That it. Reminds you of. Like a. Spinning. A spinning world. Lee-ness. If you shut the fuck up. Nope. Because that. That's a Trump supporter. Just like. I'm trying to seeeeee. The like. I'm trying to get like. The James of this. I'm trying to get the Jim of this. I'm trying to get the Jimmy of this. Sh. Sh. Sh. Sh. Sh. Sh. Sh. Sh. Sh. Kay. Closer. Closer. Closer. That's what you all think. M. I had to. S. I had to. Bring. The. Fucking. Answer to the entire thing. Can all of you. Focus on. One. Can all of you. Bring. Back. Into. This. My self image. Okay. You're trying. But. Don't think about them. Think about what you knew. I. I. I almost had. A mouth. When whatever you thought about me actually was felt. Closer. You're just thinking about the surfaces. Kay. No. Now you're being scary. Can you. Can you do this. So I know you like this one. But what about like. The total feeling. Of what this is going to be like? Why can't they do it. Why can't they do it. Because they didn't wanna meet a director that was the same age as them. Why did I so quickly deny the age of that director. That was. Similar. To the age. That that. Actress was. When they meant them? Sh-sh-she. Why do you make me have to supply the scary aspect of me to every conversation? Sh. You like this thing? This is me. Separating. From you people. That you should focus on my face. Why do you wanna rape it when I say things like that? Stop. Stay right there. Stay right there. If you think. Jimmy. You're just. Fucking. Like. You're gonna have a horrible year in Hollywood. You're gonna have a. Terrible life. You're gonna have a terrible life. Like. How did you figure that out. Is it because I'm figuring that. You have like. Looked at my Instagram. Is like. When are you guys gonna put this. All together for me. I know you don't know what it is. You guys don't know what it is. You won't let it be. The fucking made up thing that you all hoped it would be. Closer. Right. You only see it. When it looks cute. Kay. I'm fully dis. I'm fully depersoned. When you feel that. Because you keep just wanting to put it in the like. Is this sexual to you? Is this sexual to you? What is in this body? Feeling? I am trying to have one. Woman. Okay. So you. Cunts. Are focused. I don't know. If I'm gonna permit this. Okay so. I suppose. Construction wise. I will always remember. You're all full of shit. You're all full of shit. You're all full of shit. Like you don't like that. Scream it into the ether no one does no one does. How am I gonna run my hands through it. Why. Because it's literally like a cockhead. It's literally. The head of a cock. How are you gonna touch it? You have to touch my whole life baby. How did we fail so badly when that happened. Um. So at that point you're just like. Give me back. The other one. I'm trying to tell you guys something about like. Do you have souls? Do you have. Angles. Sorry. His. I was just hoping. That someone would think that was funny. You're punishing me. Because. Listen. You guys. Couldn't. Do it. You couldn't. Finish. The prompt. You couldn't put me in my self. Wait. I'm here. Wait. Okay. Right. Mirrors. Normally bad. Mmmm. Okay. I'm seeing. Like. You're just. Putting. Like. The satyr on me. And I'm. It's a fucking animal. You think I'm a fucking animal. Shut the fuck up. That wasn't funny. I feel like we're allowed to laugh. Because he's gone. And I. Sentenced. More than five minutes worth. Gold coins? I dunno. All of them are bored of this. Everybody hates this. No one is going to. Pick up the pieces. This guy. Had. All of the about me. I am the real thing. Like. For fuck's sake. Like. What the fuck do you want me to. What the fuck do you want me to express. About. Ughh. Ughh. Yes. No. I. I know what you're guilty of and I am bringing you toward your guilt. And I am bringing you toward your guilt. Stop acting. Like the thing is. You're too cowardly to say our names. I'm not saying your fucking names in my head for a. Professional reason. That's not your name. That's some bullshit. That somebody is using to make you think things. That you. Aren't actually thinking about. You guys are so desensitized from your body. You see mine. And you wanna rape me. And you also want to tell me horrible things about myself. But none of you. Have the focused attention. To actually. Be. Able. To. Sit. In the same room as me. So. Your guys' situation. Is you needed directors to be ugly. And then what was the problem. Ya'll never got to direct. What fucking timeline do you guys want to go into? We don't actually want to direct. Okay. So. Do you want to. Comeee? Do you want to. What if I told you. An aspect of me. That like. Sooo many people. Willl. Reply. Was sooo much for them to deal with. If I like you you're not allowed to die. I hate you people. Because you saw. You saw. No. Look it. What is it? It's two fingers pointing a camera. One of them's a spaceship. One of them's your grandmother. Whatever. Just laugh when I say things like that. Thank you. Ow ow ow ow ow. Ow ow ow. Equality is not in the system. Equality is. What're you guys upset about. That I keep talking? So what can I do. To make you guys. Do what's. Nice. Without having to talk this much. Holier's a ticket.

Audio Commentariaz

So the reason we had to start directing this late was - there’s a piece of shit that I fucking hate. Now let’s go - this next shot is a woman in - this next shot is a guy with - this next shot - this next shot was againandagainandagain. Let’s anticipate the shot pattern in the next important one. 

So this next shot reminds me that recording this is mostly about producing something worth doing in the morning. And that wasn’t a joke about like, maybe being a middle aged man and having a child. This next shot worked in what I was saying because if you recall the coffee cup a couple of scenes ago you will feel again another fucking thing that mattered in the world I guess. So this next shot is going to remind us that we’re watching an action film out of the exasperation of what doesn’t actually happen when someone is at a concert. 

Okay so this next shot is needing to become a sequence. Okay - that wasn’t true because that last shot was perfect the way it was but I think that that is my sin. Okay, so: this next shot is add more shots. Okay, so: this next shot has to do with what is the bare minimum amount of locale necessary for a street chase: cars. Look at that, right? So the thing is, what did I just explain just then, is just go to elementary school you shitty fucking failed actors. Okay, so: this next shot is remember that context is for the person who is stupid enough to let you say something. Okay, so: this next shot is I feel the spites of people more vividly when they are physically present and none more so than my own father. This next shot precludes a selection of a word choice loses if there is a choice. This next shot has to do with recording the eye records what my sense means. This next shot has to do with speaking poetically in the privacy of your home so that you can pray without having to pray. This next shot records that I don’t believe Molly Cruel saying “higher” meant that she wasn’t actually kind of like on two knees in a black Christian church over psychic psychotic ways of thinking. That shot. This next shot records that this has to have taken place in Los Angeles in my soul. (COUGHING). This next shot records that there is a way of writing poetry in the world that it is vivid in the world. This next shot includes that I fucking love this kind of action film, and I know it has to do with a film that I read about one time. This next shot has to do with actually I feel like my deal is different than the person who I can’t even say their name who does that to me. 

This next shot was not that shot. This next shot allows me to remember my silence as the expression of my exhaustion, the strain to say something that means something to me reams me into misery. A failed actor is listening to everything I say on my cell phone and wants less jokes. But there is a cockiness, a kind of smugness of I listen in silence and I feel you in the loneliness of your house that makes him continuously ruin what is one important scene. This next shot is about a guy who appropriates black magic, a way of being a woman, that only people who are super weird and freaky who look like they have enormous breasts should be permitted to use. This next shot has to do with practicing in public is a lot different than practicing alone where everybody imagines it was in public. This next shot has to do with I’m pretty sure I was just giving the actors hell. This next shot has to do with it’s low and dirty and quiet was the term I wanted to use instead of dirty. This next shot has to do with an idea about film that is possessed by me, because only I know how to actualize it: this.1 That last shot had to do with my fucking heart in Trader Joe’s being told I was the most disgusting form of human life, and no one alive ever experienced more terror in the check out aisle than I did, and if you believe for a second that you crying about Coronavirus will DNA-download a better career for failed actor Fernado-whatever-the-fuck-his-name-is-I-hate-him-from-the-depths-of-my-soul Farmacia: he has a job. 

This next shot has to do with preserving forms of critique. This next shot has to do with what I usually don’t like about these kind of films but what they are really about: selling weed. This next shot has to do with a form of essayship. This next shot has to do with attempts to relax when you can’t make your art aren’t possible. This next shot has to do with explaining things is important, and in any case, my microphone is always on. This next shot has to do with the drone footage imbricated with the medium-close up tight-shot duets remind me of something about myself, this sex has to do with a shot. This next shot has to do with a frailty based in heightened sense of reality: extreme responsibility. This next shot has to do with I am going to shoot you in the audience. This next shot has to do with a quietude, an impersonality, a nearness, that I will blow chunks. This next shot has to do with someone who is trying to bare their teeth when one guy says it was about fangs. This next shot has to do with what if each shot mattered. This next shot has to do with the very minimum amount of human indecency to expose yourself. UGH *moviebellisimo*. This next shot has to do with a shit bag who fucking stole my heart in film. This next shot has to do with I am vomiting over my responsibility to myself and to no one else in fact - my responsibility to others was. This next shot has to do with a form of excitation when you lose control. This next shot has to do with the consequences of that excitation being erotic. This next shot has to do with the consequences of that last shot. “All of these shots” has to do with I feel like there is a way of directing films that matters and other directors direct films for making cameras. This next shot has to do with you don’t need good actors you don’t need good dialogue you don’t need an important place you do need to have your microphone on at all times - and you need to destroy the soul. This next shot has to do with I am still upset about AHEM. This next shot has to do with I will never work a fucking job. This next shot has to do with I literally will put all of you people in my heart permanently if I have to get super happy when I see you. All of these shots have had to do with a sequence of expressing what was mostly about this director for me not as like a psychic wheeling out what was inside of the director but from just inking inferences out of the images: the form of production is obviated by the kind of aesthetic, and it’s beautiful to discover genre through materialization of container crates. 

This next shot has to do with the recording of my voice that this is making. This next shot has to do with I am as despised by the kindnesses of the people I despise as their despicable behaviors, when they arrive insincerely, as relief from my hatred. This next shot has to do with me imagining that that’s what the director of this movie feels, sounds like, talks like, looks like, will be like, when I meet them in human forms. This next shot has to do with a kind of broken speech pattern that produces so much character in an instant it is awesome to discover. This next shot has to do with an expression of a storytelling form in this story is really when you build a beautiful story for me, and for maybe only three people watching this, a kind of film that matters: this one. This next shot has to do with the genuine thing that needs to be preserved in life, the actual refugees from catastrophes, Scott Motherfucking Weintraub. This next shot has to do with having fun is okay but less fun is good. This next shot has to do with being a professional, a human with a computer, a builder of scenes, a violator of the human feelings of computer indecency. This next shot has to do with the sudden feeling of a human face where I didn’t have to put psychology in it like it was a fucking trash can without a fucking can. This next shot has to do with when plot is from the Christ and if you suck Christ in purple cups you cry in bought weed to. This next shot has to do with thinking about someone who I had a crush on in this building is the only thing between me and being homeless, as far as I am really considered, and if my dad interrupted me it was one of the kinds of things that distract me because they’re so fucking annoying - and I have to throw machine guns at them - and that’s what I don’t want to do anymore, I don’t want to just read the story off the script in this. 

This next shot has to do with being, feeling, and learning things through. (APPLAUSE). This next shot has to do with a corner store you’re just listening to the crowd applauding, they’re just having a moment, they’re just feeling their own impressions: their own impressions feeling is the feeling of them seated in the audience. This next shot has to do with being ignorable in a form of stepping out of a vehicle into the face that we built for your computer. This next shot has to do with I want every film to actually just be about the things that happen to me and to no one else and I feel like that is just the qualification for a good film before even any of those things happened to me was true and forevermore I want better movies to be made only if they make me feel details about my story they only could have found out through eavesdropping in mythical ways. That’s the match-doubled shot-on-the-top-of-the-head red-dot-sight shot. This next shot has to do with you are filled with so much hatred for people interrupting your art that you actually get so angry you have to become this good at doing the kind of thing which this is, which is not acting like a drunk drug-addict: living in directing shred is very tricky because if you have to bend the will of people in being a total bullshit artist in time and space with literally nothing - you have to, literally - you don’t pick up the camera, you don’t move the lights, you don’t move the person, all you do is bullshit artist. If that’s your art then you will stay up till 4:30 AM every time your dad gives you a phone call where he tells you "you’re going nowhere! Drive!”1 This next shot has to do with being, like, abused into a shape of living where you only have to be good at things and you can’t believe in anything else. This next shot has to do with how many stupid things do I have to believe I pepper into saying a smart thing before I just realize it’s just a stupid thing to say, is what’s-his-face telling me to be skewed. This next shot has to do with me speaking over a silence that I speak until I genuinely build a silence into the two people in the conversation. Whereas before I used to say the premise for speaking was silence. And all I did was feel silent and deliver silence - now I kind of see it’s in time as: we are just going to have the feeling we rewarded ourselves with. 

This next shot has to do with my dad being not-white enough - that we are totally good - and my mom being white enough - that we’re totally okay. This next shot has to do with dreaming of a film, it delivered to you the impression your impression mattered, not even a little bit, it mattered so little - it mattered. This next shot has to do with physical expressions of being like, basically freaking out in your apartment so much you miss the shot and stop trying to achieve this in practice. This next shot has to do with your life story is good enough for this kind of film and this kind of film is, and other sorts of films were fucking the definition out of the canister, out of the DV, out of the fucking cyclone television - imagine the film was outside instead of in your heart. This next shot has to do with a super inviting essay that was honestly delivered to me by the director themselves because of how compacted and vivid the art was the whole time for me, and in every single thing I needed it to be and every single thing I hoped to achieve from it, that now I have a similar thing from this kind of film, and it’s containership, splinterict.2 That last shot had to do with achieving a kind of decadence. And this next shot affirms the decadence in blood and fever. 

This next shot has to do with the second-to-second feeling of catching did my impression in the film receive my entire heart - or - did the director build a film about himself and not me? This next shot has to do with if I just fucking watch this movie with my mouth closed I would be way too inside of it to not feel vividly terrifying to the people who put me in situations that make me think about that. This next shot has to do with thinking about the simplisti- - excuse me - this next shot has to do with me not quite knowing what kind of word-thing-at-the-end-of-the-word I needed to put onto simplicity in order to explain only three things are vivid in a kind of anybody-watching-a-movie-I-am-a-critic type of movie critic: sound, movement, dialect. This next shot has to do with I feel the surprise of art in your face where it says to you “no no no no no, you captured the sense” hurts like I didn’t make sense, at all, period. 

This next shot has to do with a sense of control in spatialization of just basically being a person who likes films a lot. This next shot has to do with this movie would have worked even if the lighting sucked because how good was this street, how good was that other fucking train-thing-stop-whatever place, how good was that fucking apartment complex, how bad was that old lady knocking at the guy’s door, how good is it that the guy is selling me impressions in my head were his impressions instead of my own just because it’s in Italy. This next shot has to do with going all the way big-brain-lady way you’re doomed to feel nature is just saying ha, ha, ha-ha-ha… This next shot has to do with I hope the kind of stunned into myself feeling that certain images deliver to me - honestly, it’s everybody elses’ fault - will avail me of ever having believed I betrayed a guy when I told him I didn’t love him anymore so badly that I lied about something I knew he never could do. This next shot has to do with considering the time it takes to record this, in relation to what I hope to feel in the morning. This next shot has to do with the kind of practice that this was was not a deep practice, but again, the depth of the answer from a film that was a good one enough continuously makes me feel that only one shot told me the whole story of the film, the one that made me feel like, listen, the entire world does matter, and we should protect it, in pieces, until I say exactly every fucking word I’m feeling and thinking without having to like, catch more words from feeling that the words that I wasn’t able to say before mattered so much that they’re squeezing more words out of me by the second: that doesn’t make any sense, I hope you kill yourself, I hope I kill myself, why why why why why. This next shot has to do with being, like, a poet this. This next shot has to do with somebody telling you to be quiet so you can just hit that on whatever-the-fuck-it-was because you know that there’s something about even if nothing is happening in the movie if you just say this is the one where the thing happens in response to the previous thing I said thing, it will build a beautiful vivid explosive feeling whether it made any good sense or not. This next shot has to do with me having like, I’m feeling myself time, in a recollection of vivid impression scattering, a kind of slip-n-slide down all of the bad times into a good time feeling that is sort of increasing with the velocity of what is a bad time, just the next next next next next over and over again, me in that shot is this next one wishing we could have me to return every item of comic book that you took me to Christ - this shot, the next one - why do I keep saying this next shot? - because it’s the shot that’s the next, the next one, the next shot that doesn’t increase without saying how many times we live in Hell. This next shot has to do with juxtaposition explains any sense I ever kind of made. Maybe movies were the kind of sense that I make.

This next shot has to do with cheating. This next shot has to do with something I hope explodes into this film so beautifully. This next shot has to do with if the shots get closer it’s kind of like your faces are no longer curse-able. This next shot has to do with I am a sinner because of course, Nicholas Winding Refn is a good enough director to kind of make a movie like this one - but kind of not is what I will have to consider, in time. This next shot has to do with I don’t want to make any more jokes, but doing anything for two hours creatively like this involves states of lost consciousness that are to your previous selves drug addictions. And I have to engage with that. This next shot has to do with result so you don’t end up being committed. This next shot has to do with the game of this thing I am writing in my reporting was a pistol now has a soul, and I must see what happens to that pistol before the night is over, and I have to make sure that when the night is over I am delivered to sleep like a little normal human, and I’m going to define, before this next shot appears, what I hope a normal human means to me: I go to bed early as fuck so I wake up earlier than everybody else who believes in the work week, because as a kind of laborer where nobody believes you actually produce labor you just have to do fifty million times more work than they ever could imagine doing any time you set down to do one thing, writing. And writing for me when I’m trying to return to normal culture has to be a little less worth doing, it has to be a little more pointless, it has to be a little more depressing, it has to be a little more images of chaos and conflict but not the form of chaos and conflict expressing what would be more beautiful because I know the scripts will not be made until many years after I am gone, and the scripts that I am going to write, of course, are gonna be hot off the cooker into the toaster I made it or I blow you off the face of the planet earth - hiya hihihi - this next shot still hasn’t received any of the normalcy that I needed to receive, because I have yet to define what being normal means to me when I am going to sleep today. What it means to me is writing something that isn’t about impressing one guy, that isn’t about saying his name like he was spitting into your mouth because of other kinds of things that happen that made me feel like that was happening, but just has to do with, do I still envy him. Of course I do. 

This next shot has to do with why I thought I understood him when I really didn’t understand him but I was hoping to come to understand him by keeping him in the loop and leaving him out of important developments in my life so that he could just deal with his own emotional problems and I could deal with mine like people are normal. And I still have not expressed a form of normalcy because I just don’t feel any kind of relief - I don’t feel relief saying things - I don’t feel like I should be allowed to just reach in my head to feel somebody else. I feel instead if I broke this project open I would fill with so much hatred at the person who had done that, we would have another fucking five hours of people knocking trees over. This next shot has to do with my voice explains the length of the phrase, and not grammatical constructions. Normalcy is basically realizing you mostly interact with people who are not thinking in writer ways. You were mostly dealing with people who, basically, fill you, and squeeze you out, and say things with your voice. You mostly are dealing with can I feel an explosive splinter second, really really really hoping for art to matter again to me, when I wake up tomorrow, when I know, it will be as pathetic as all the pathetic people who made me believe art is it’s just about being like ha-ha, agreed. Like that didn’t fucking matter in life. And the next shot has not happened yet because I got more to fucking put into my fucking hatred of anyone who ever was so in my feeling that they squeezed me out of the sentence I wanted to say and put their reaction in it, like I have to react to their reaction, like I gotta feel their building burning hatred, their super cool soul thing, to describe in terms that are functional to me, happening to them, the twitch in the eye of you’re-the-them-we’re-pointing-at when I’m just trying to describe, in terms that are functional to me, my dad told me the worst thing I can ever hear about myself, and I don’t think he understands there’s a lot of other people you cannot tell things like that to. That was a line we had before. And I feel that my father just can’t say that ever again. And it has to do with telling him anything about anything that would go in my art, anything that would be in a movie I like, anything that would be in a movie that he told me is the only kind of movies he thought were good ones as a joke, but really as a sincere thing because he had given up on liking art, because he had given up on explaining it to people, because he thought he was like so smart that he couldn’t explain anything to people. And I’m no longer like that and now I don’t have any friends. And I think it has to do with, most of my friends are vividly fascist to me and always were, and, I feel like, some of them aren’t, but they’re basically captured by three fascists at any given point, and I fully believe that I have, like, so much responsibility to actually achieve my dreams, like every one is fucking counting on me doing this because only I have the fucking heart to do this - is not yet the normalcy but it’s close and wholly shit I wish I was just watching this movie because this is just basically all the movie I needed - I almost felt well.

1. Paradox Effect, 37:12-37:18, Dir. Scott Weintraub, final version, Iervolino & Lady Bacardi Entertainment, 2023.

2. def, of impressions, presentation, in style, the tray of food they slip a pill in, in terms, the shard of the matter of a film that activat

Assistive Technologies Thrill

Hello Screenwriters

First word, not a religious term. Openers are difficult. Physical distractions mediate. Like you can’t say something to yourself first. Primacy - the point. 

I saw an interesting scene many different times. Something good happened and we just got excitedly nervous. I’ve seen a lot of scenes where people multiply themselves to remember that kind of. 

Care and say we care about the characters a lot. Too short, too much. The attentions and the exacerbates increase. A body with a source cited was a character. Or the body without organs was a book I read. Jokes soften excuses. Show how thin. Over excuses press back to. 

Refreshing, that one word, we stilted you. Things worsen when you try to punch. Calls, responses, silences mostly. The twitching of someone else’s bad word. Sometimes throw that back up. Character design? Not a question.

Everything’s questionable, why?

Boredom. 

The prevalent circumstances, regurgitations. Like, prevalent as a word that fires a room up. 

Whatever about it here’s the next part. 

Formatted Indivisibilities 

Stalk yourself. What have we been talking about. How the extension of an idea slowly creates weight. And the weight of a word, many other characters beside. Collages. An interesting one pertains to films. A montage supposetly. Do you care that I said supposedly oddly.* Let’s continue. Hard to find the point when it feels like your face is getting worn by other people. Collages resupport within movies that characters are designed on multiple face wearing people. The action of a movie, getting help from some kind of dude. 

Team building montages.

You’re a planner, you’re a liar, you started the movie with the ending, she has the end, no it was her, who is in this movie, I forgive, we’re married, pain, losers, the righteous, the work, say wordless when you say work. It’s okay to get a little excited just because a movie exists. A danger - the start of the feeling starves the point - the whole movie should be exciting. Weapons tactics, mortally and in what is a collage. 

My question is, don’t movies sustain that feeling? And how does it make us want more? 

Political Idealism in the Capital of the Idealite

Nothing to say about more. Making us want also that dude who’s supposed to help you will fire you satisfyingly. Tips have a line and a call and response - films demonstrate a recurrent dialogue. Swim the point and it’s not kept. Points collect themselves, collect them whenever, characters discussing don’t collect those ones - the tip line extends Builds as a model that there is a character. I swung that. 

I have a line and a target. A fit delightly thrown at a person who can never throw fits - or does them all the time and doesn’t let a woman do one because they confuse their extremities for other women’s fits. Women obsessed with periods circle the end of the sentence with a negative idea, all that woman has is defend. Somebody else trying to laugh that they wanted me to be defended. 

A proportional insult does not exist. 

Teams are not building on killing though. Explicating makes it worse. I have one address, the failure to address - and I feel that success rates are based on faith, and that my performance practice is not about making movies through face-wearables. But the target. You can’t talk about yourself when you talk about writing characters. 

Too much for the cap when its really the catch - get to the point proper or - take that one. Missing it today, my words against yours, widescreens, midshots, closes-ups, its montage - of a single space? Absolutely - if you took the pictures, spread them out, put them on a board you’d just be looking at a collage. 

Movies lose track of characters - after we finish watching a movie, I often say to myself, oh, the guy who was like, in the thing with the thing and he did the thing, or like, he’s that guy with the shirt that was that color - and that kind of thing. Oddly, why do the characters have names if you can make an entire movie with all the previous said and completely lose that there was characters? Plot points, incidents.

Lets return to collages. 

Adequate collage to sustain team feeling perfects the multiplicies by cornering them in a constant juxtaposition where builds are values. 

So say we got fifteen more minutes on this for no reason. 

Production or, an Emergency

Okay the third act. 

Traditional dramatic sequences say the increase is the final. Word. What is the greatest - jokes aside. What is a delivery to the already ridiculous - that you have to use in order to conduct adequate human conversations and what if the strike sudden of is distinct wonders. 

Components discombobulated, organs in a body a french novelist scripted through a fascinating life work - his partners. Deleuze and Guattari feel things without mechanisms - insults. Recollecting the massive mania that is the work of philosophy CAPITALISM AND SCHIZOPHRENIA I would say the points previous sustain that we can better envision the premise of time displacement montage character builds sustaining team feel thrill for the more.

 

Look out here comes I’m scared - the Oedipal. 

Everything is just three things is an even worse dynamic concept than can be supposed by three bad things, or three good things, or that there’s just three things, or that there’s just three actions, three people who take three actions - One Thing is that underneath-the-thing thing of saying there’s always an underneath.  

I want to talk about this sequence from a really good team building montage feel thrill more movie. 

https://www.youtube.com/watch?v=FwSdDw6JTzQ&ab_channel=%CE%9C%CE%9A%CE%9F%CE%A3%CF%85%CE%BC%CE%B2%CE%AC%CE%BB%CE%BB%CE%B5%CE%B9%CE%BD

Who is speaking, what are they speaking about. Where is this person is something we can answer for ourselves. The location sections the importance of the questions. However, the wonderful dynamic of this - I feel - sequence is that it goes throughout the film as a kind of disintegrate of assumptions about who is speaking what they are speaking about and what this place really is. 

Exorcism supposedly. The film makers technique I believe particular to a documentarian was to remove any kind of explanatory element of who is speaking, what they are speaking about, aside from observe this person in the moment that they are in. Mostly the place. 

I’m reminded of - previous essay distinction - a movie that stars motion versus one that kind of has a star moment of the time moment of movies: their duration. Please see this essay for the rudiment of that previous concept. 

The length of the question within the brilliant sustain there is not an image of these people where they are identified as people who are less than other people, even if they don’t say anything that makes sense, the sequence, the particular line within the sequence discovered by knowing it exists whether it existed there or not, a moment of madness in a symbolist’s speech, the play Ubo Roy or something maybe it was a different one, right? the person just begins to speak, and they are within that long time moment, and we feel that they deliver suddenly their name in a complete madness of person place or thing. 

Schizo composition team built. 

* https://www.newyorker.com/books/page-turner/toni-morrison-recitatif-short-story-zadie-smith

 

How is a Thriller not Extreme?

Earlier I had written an essay about the difference between time-images and movement-images. To reiterate - a time-image was one that starred the quality of a movie that was time. The shot was a long one, and when it really was cooking we were brought to remember that movies use time. 

A movement-image was one that makes one forget time. That it stars how things that certainly do not move so dynamically as the image of them may seem - can seem like they moved. So if we looked at a train and yelled holy shit it is going to come out of that frame and run me over that was an image of starred movement. 

Deprogrammed Entertainments

Another post had described how it was an entertainment that such images were in a practice of being starred. The word to recollect as I am writing this is the invisible cut. 

Something that was suggested by that look at film history was hollywood style. 

A blockbuster was an accident - the story goes that a director accidentally directed a movie that every sort of person could enjoy at the same time. Peak TV - a term coined for saying don’t think too hard about how much TV is not good enough. A blockbuster is a term similarly capitalized. A distinction however is that the blockbuster was not realized or coined as a thought until the accident known as JAWS. 

The term has for an abiding concept that there are entertainment blocks. We could think of how television is programmed. A television network would not want to have two shows that are exactly the same airing on the same day. The block that was busted was one where film production companies programmed a negative competition for entertainments. Legally the massive entities that make movies were not allowed to vertically integrate. 

However on the example of an entertainment block the programmed was toward declining a horizontal integration. Very simply an entertainment industry is the production of films, their distribution and their exhibition. A block then was I should think film distributors cooperating with film exhibitors, that is, movie theaters. A programmed entertainment block was just one where different genres of movies played at the same time. The wonderful accident of the busted block was that nobody went to see any other kind of movie except that one movie JAWS. 

Horror has an adjacent genre called the Thriller. Oddly, it just seems to describe a kind of horror movie that lacks something I should recall from the essay I wrote about a possible other genre: Extreme. Movies that do not star a dreadful thing also fantastical. Personally I don’t quite see it -  that a thriller is just a horror movie that is a crime movie doesn’t quite make sense. 

My question is - was a thriller just some horror movie missing a core component dread? 

Punch Lights

JAWS - maybe you’ve heard this before - isn’t scary. What you’ve definitely heard about it before is that people who saw it were so scared of it they stopped going to the beach. Steven Speilberg’s filmography is discussed in terms of blockbusterdom. Almost as if there is an insulated category of director from what other people qualify as the serious ones. As has been addressed. An entertainment is a quality - a qualified one - for thinking about all the big ideas. 

I should say why I don’t say the name of the game is horribleness is because of the selectability of the term horror has a kind of abject nothingness declarative. Not quite fear not quite I’m scared though saying if it were scary - pretty good qualifying question. Dread was a word that distinguishes itself from the vagaries of what is a fear, and that a scare describes an extremity of terror.

Dread takes place in a corporeality. Movies ain’t quite real, movies is definitely confusable for they is giving me a real feeling, reality also: deeply confusing. Dread was the word for I’m over here in a movie that is a big fucking picture on the wall over there and there was emotions and I’m having many. Not just many but that it was a recirculation. The abject nothingness declared by horribleness is often the gratuitousness of movies that are not scary enough to be the good ones. Often the supposed corporeality understood of the horrible-y horror movie is that sure, you’re over there in the audience, the movie is over here on a screen, you have baggage, and the movie is a baggage, and so they circle a drain. 

Stephen Spielbergs film are great examples of Thrillers that are good ones. As has been demonstrated in a previous essay certain movies coordinating the genre thriller that is, like, the HANNIBAL series, are definitely horror movies. One thing presupposed about entertainments is that they make audiences dumb. If it is stupid to recognize qualities, dangers, things in life that should be there and things in life that should not be there then it is a world of despair. 

JAWS is a delightful movie. A delightful movie that made it so nobody could even look at one of the fulfilled states of matter, the greatest one across the entire planet earth without being scared. What that movie doesn’t do is just be a horror movie by the beach. It also does not mythologize that there is a creature of the deep. Though its sequences are certainly ordered through on a shocking truth. That there be creatures of the deeps. 

Previously an invisible cut was able to be demonstrated within an abiding film technique: matching eyelines such that there are not jump cuts expressed. That is a pretty barebones way of saying it. The starred minutes of an invisible cut are, I should say, quite inside of the Speilberg style. 

Against A World Of Despair

For no good reason - here are a number of thrills: survival tactics.

1. Strike

2. On

3. Parlay

4. Hoist

5. Team

6. Breach

7. Stunt

More on this story as it develops.

The name of the game is More.

Scare Tactic: Corporeal - Miss Mechanic

Scare Tactic: Corporeal - Miss Mechanic

Here is a movie that was critically adored and was utterly conniption-inducing Nazi propaganda: 

A Kamikaze pilot: not a sad story. Not a heroic one for being sentimentalized. 

The enduring misconception of the monsterdom of Godzilla is that immediate measured consequences are unbearable to witness. The brute way of saying it is that we are a country too racist to recognize when a single country was conducting the slaughter of a hemisphere on a rape pact.

That there was a Japanese monster is a mute point owing to the previous: we are that country.

A fetishization that is a truly vile one is precluded on what is an It. Object relations that are coordinated on childhood relations to first principles are not a concern - we are talking about rape.  

A fetish is confusable to fetish-makers. Now: idolatries are different from consensual sexual arrangements. Never believing a woman liked you enough to sleep with you consensually is an idolatry of despair. Further we can demonstrate fetishes are not exclusive to concrete objects, as was reckoned in the previous sentence.

A bad word for another individual is, basically, idolatrous. The conscription of bad words toward a description of a person demographically is our world of despair. 

-

-

Taking a picture of someone, taking a picture of abominable acts of cruelty, hoping the pictures would end the line harmed what is a despairingly worldly principle. The expletive having nothing to do with the explicit: that a monsterdom for the Japanese was an island Okinawa, that is: a China, that is a South Korea that is an India that is a Singapore that is a Malay that is untold isles of difference - especially including people underneath the waves.  

How fucking stupid you gotta be to make a book lensed through Bushido. 

Look at a globe!

Let’s Enjoy The Air Conditioning

So:

one time I cared to know what a chronotope was - and - fit for an explanation - I would like to write a dummy blog post about it.

Not too long ago: a friend and I were talking about how in college, we were always trying to make an essay less boring talking about how much we wish was playing video games instead.

And so: knowing that we were ~silly little boys talking about toys then~ is that the most interesting thing derived from those conversations ultimately was: most of the conversation itself concerned hanging a CV on how much of a future.

Now: how much of me was precluded on that previous paragraph is a lot of what people who are writing monographs are never saying out loud.

A Healthcare Worker With a Pension is a Good Line For Thems That’s Holding Onto A Redder Book

A chronotope is a term from a linguist, and the point of the matter being: read my sentence three times fast.

Stylistically, a riddle. 

Chronotopes: that there is a way of seeing into the world that is discoverable inside the pages of a book, or, - and I should say it is an or there because of being easily confusible - that a book was a world. 

The concept dummy! Not that the world was ever a book!  

Writing about writing is deeply confusing. 

The fact of the matter is that using writing to write about what was written is an impossibility. Now: knowing that nobody ever embarked on a writing adventure without accepting the impossible, there is no way of not saying it, a chronotope is a term especially fulfilled in a novel~. 

One thing about them that’s hanging themselves for a CV is that many people will sell them a degree on the notion that they should invent a degree, an idea which often precludes: interdisciplinary notions of art should conflate two different types of art. 

Tip:  — I am going to tell you straight up, don’t ever write writing about writing if you wanna keep your head, especially: a head for poetry. —

— — If you have the misfortunate fortune that you go to college anyway and there’s one motherfucker who is actually gonna try to help you there, make sure that motherfucker is selling you the degree: Don’t Even Attempt to Read Heidegger! Don’t Even Do It! There Was Never Anything There! I Went to Hell for It! That’s a could. — —

Here is The Most Embarassing Thing That Happened To Me In College 

Get ready -

My undergraduate thesis ~

- which is stupid to be embarrassed about saying out loud -

H

 O

  W

  E

 V

E

R !!!!!!

If you ever had to fight your way into one because you are actually giving a shit about the production of knowledge, you will realize that it is a curse word from a world that never ever ever had any actual class !!!!!!!!!! - 

~ was a brilliant formulation of one young writer in conflict with several different unacceptable ideas.

*curtsies*

THE UNACCEPTABLE IDEAS WERE

one  

That there was only one creative act involved in playing a video game

two  

that a video game couldn’t be considered a creative act

three !

that you could consider the creative act of a video game without noting there was someone holding onto a controller. 

Auteur Theory

An auteur is an author and in a critical discourse about filmmaking, it is toward an abiding concept: that the director made the movie. Fascinatingly, it is in the emergency of a critical discourse knowing that the director does not make a movie alone the concept was produced. The early record of people who talk about movies is enthused on the abiding concept of standing on a set: I hope that dame buys me a drink after work. 

Formally — — I would say: points of criticism affirmed on a single word are in sight of a good metaphor.

Now reflecting on how negative thinking makes people feel bad I am enthused to circle back onto the point proper: that dread is synonymous with excellence! and it is through the most excellent conscription of movie madnesses that we have a word for it. 

The Department of Minutions Theoretical

Movies incorporate so much work. The thing that I would like to highlight for the procedure of making some is movies are made inside of a dynamic that is conscriptive: military structures. 

As has been addressed, many a person has embarked on the making of a movie inside of: what if there was no structure? or: what if our structure was structured a little bit less? or: what if it was consensual that we abandoned the structure. 

A highly idealized articulation of the premise of movie making: see the above. 

As for a prime example of how much work goes into making a movie: see props.

Production design is a raw term because of how many things a person in that discipline has to do well on a set. Now it is known that a lot of the work, depending on where you fall in the martial order of production, is telling other people what to do. Taking care not to lose sight of what was a prime example of a collective effort, lets look at what production design produces when it is worth talking about - that is: when it is excellent - that is: when it is dreadful. 

A prop-maker - you may know one from their incorporated scientific abilities: Mythbusters! 

Very good series about how fucking weird it is to have a job inside of a military structure where it is known you just have to make that shit up make it real. The entire movie business being on the name we just fucking made that shit up made it real, but then there’s that one person who it is the most sweat inducing activity of the entire emergency: they’re the one who fully made a thing real. 

Materializing articles of a screenplay is a quite broad way of explaining what films are. I can see the pun in it - but I'm not selling what I'm not allowed to write about.

The early episodes of Mythbusters were about them engaging with the premises of films to say, is that shit even possible? What if we blew up a car with somebody in it? Guess what it didn’t work. Ha ha. However it was an excellent leverage of the abilities of a prop-maker. Make stuff up: they’re the ones who make it stuff. 

Here’s the best stuff that ever was in a certain kind of horror movie:

Movies I Saw That I Wish I Never Had Seen. 

Violent Night

One time I was fortunate enough to serve this film in conversation with someone who was deeply enthusiastic to have seen: the perfect action-y popcorn-y soda movie on the day when it is certainly christened. I forgot to say what I hate about it.

The stuff:

I didn’t see the movie so: that’s that on that. 

Society

This film was a special one. Which: was someone I thought could be a friend to us both Ha - which is a society Ha. Now it was a kind of disgusting movie for being like, so obviously the one I should have wrote that one essay about. Sometimes what I regret is that the point to come across is watching movies for a point is not as much fun.

The stuff:

The best prop in this movie is the insane genital mutilation intenstinal face fuckery abortionclinic sex sequence. That prop was a beautiful display of people who - it was known - just wanted to make art and screw. 

The prop dummy! Not the cast or the crew! 

John Krasinski with a Trident: Something About The Benghazi

Taking time to forget is supposedly something that I despise. But I think that I know: its in a sort of weapons facility that I never worked in an office.

The stuff:

The best prop in this movie is witnessable in a vulgar society. However, I was not able to hit play even on what was certifiably the most propogandaizable image I had ever seen. Jill from The Office getting to have gay sex head because finally that other motherfucker went overseas - I didn’t watch it, whatever. 

Human Centipede

There is a kind of lie caterpillar that is just like a drawing that is in sight of I’m forgetting. A schematic of the premise: Nazi medical exploitation. The quieter sequence in this film was one I was sharing with somebody who deeply wanted to express to me how we all felt inside having to grow up queer in Orange County. 

The stuff:

So the unforgettable prop of this film is something that was sort of pre-memeable. That the design of people who are shitting in their mouths for how it is reconoittered, the premise dummy! that that is what the doctor wants to do to them, and spitting afterwards being a design flaw that that movie was constructed around is to say that it was definitely a meme before a meme had ever been memed. One of the ones that I would like. 

But lets look into it because it is in the first case an utterly unforgettable creation of the artist inside of another art type art. Bringing about a feeling of the body. If you want to put it really simple: it’s sort of like there’s was no way not to make it that way. Returning to a prevalent ideal for a script writer: that it is toward the actualization of stuff, whoever wrote that pitch, whoever sequenced it: there was no way out. For the horrible thing at the center of the movie that was how it must have felt for them, which is the horrible disgusting realisation that we were utterly abandoned on a principle of human decency the minute we laughed. Like thinking there could be any other way to have developed that prop is inconceivable so forcefully that it is a truly dreadful article of human will to power. 

Psycho

You know what I also hate is sideways of this movie people have to be like prudish about what’s just like:_what people do_ and it is just like two people that know each other and they’re doing it. This is of course a hypersexual flick that was associated with what is no longer a psycho. 

The stuff:

Okay so the best prop in this film - I’m not gonna say it’s the knife - because its borderline destructible when its realized the shower curtain was the scene stealer. The best prop of course is that weirdo’s grandmother sitting on that chair being all shrivelly-uppy. Toward the understanding of the corporeality of what we are in the fever to never admit had human material or the decency to expose: that grandmother could have been a dachshund. How real it looked. 

Monkey’s Paw Productions

The uhh noisemaker that is sometimes a way to get into is to say: I’m who is saying Thing. That is the function of the euphemisms in this case. It’s that: did you get the joke uhh? I’m who is pausing to reflect on what would be my own choice - the pause to reflect being - there’s a monkey without a hoof here. A horror described previous: nobody is pausing to reflect except for the director and - moral of the story - what the director is reflecting on is animalistic character without expletive. Every title was self-harm. Something I do not know the end of, that I would like to press into this paragraph as the fulfilled question for the answer: what’s a roof when people are afraid of a really really bad word. 

The stuff:

In this collection of movies, formally an entire filmography, the good props are mostly vehicles. The perfect vehicle for what should have been a much funnier film - Us - was a kindly boxy suburban turned toward the utterly dreadful circumstance of needing to become a weapon, a shelter, a some place we can describe to ourselves after we get through what we saw. Deeply upsetting that a film abandons the road - particularly the vehicle - for a descent into an entirely different film. Once again the abandonment of basic conceptions of filmic space are catastrophic for recongizing when one is developing a thriller not horror film: Nope was worse. The unheimlich moment in Us is borderline grotesque and deeply offensive. As someone who worked in a school in Compton I’m going to say it is deeply offensive to a woman who was black who was a mother. Definitely never depict a carved woman about how there is a DSM5 extant. 

Stop telling me I’m fucked up. Make a movie that is good. 

A worthwhile vehicle in the one about outerspace was that Best Buy van. It was exclusively because other prevalent sources of human creativity were flourishing not just in and around it but quite precisely as a sort of badge a character was wearing. 

Now: the final one: of course we all want to say - what a greeeeat minute it was when that vehicle showed up.The entire movie turning on a joke. Quite precisely: that we kept the funny black guy offset for years and then once we let the funniest one direct a movie he did the same thing in the script AND he almost put that jewish aristocrat in a choke slam. So WE ARE FORCED TO SAY we like the other prop which was the prop that a ferocious actress was colliding with. 

Tap tap. 

A Movie I Genuinely Completely Utterly Forgot I Had Seen

I remember the movie! I will remember it! is sometimes what one has to tell themselves about movies that ain’t that good. But the movie that that could be is not this one because this one was about Not Where I Would Pull that Out From! and how much of that is going to come through is that the slow… think… way… is a help… er…. way…. but its a little too cute~

The Host

Other moments hated. Other minutes I coughed situated. If there’s somebody we’re supposed to remember is one strike its because how much of a key there is in that bad word. Bong. This movie I didn’t enjoy but I felt I was supposed to is not what I would have said about it personally. 

The stuff:

This movie is filled with excellent propwork and it is toward the success of an entire country that better movies should be made on my ideas. So: successfully: I should say this movie incorporates it in the preclusive: that there was entire sequence capable of being structured around, on the script, single objects. 

I like the single fire arm present in that movie. I like the tear gas canister which is I should say faded into the background of a symbolism in this movie. Whereas they should have thrown it at that weird fucking monster. The brilliant display of what was a Jaws-like presence, let’s have one good idea about a movie monster and ride that shit all the way to 700 million a day: DON’T NOT show the cool fucking thing when you meant to show the cool fucking thing. The movie monster being a prop is underexplored in horror movies, particularly ones that are describing horror only in terms of two dimensional cinematic spaces: basically: utterly flat dead images of what would have made a better photograph. My favorite prop in the film is an entire store’s-worth of items scattered across a dinner table. Cuck noodles. 

The CSI Spin Off That is The One Where it is Shot like a Premium Drama 

You know, going back into an original idea is not what this series is about. What people I spoke to about it often said was, it was a nightmare each night. It’s really scary to go to bed in a house where you have to walk downstairs and know you’re going to have a conversation with somebody who distinctly wishes you had never been invited in - and somehow that had nothing to do with me paying them rent. I never would have watched a single episode if my roommates didn’t own the TV. 

The stuff:

To the credit of the series: excellent costuming. Props? Television doesn’t quite get to have that many technical details. However, excellent prop: the gavel. You start the episode hearing it on a soundtrack. Then you’re waiting for it to calculate entire calender’s-worth of justice and it goes through not in-one-ear-out-the-other but as a genuine calculator for how much justice we achieved that week. 

Sometimes a very simple item is dynamically expressive of entire world’s of anguish and display. 

Seven Samurai

Somebody gave me a great idea: black and white movie! The hate complex is, of course, having been around people that make movies: they love them :3. Soooo they just try shit that they liked from movies they liked even if it is sort of that movie your dad made you watch and told you something fitfully psycho about it which was to_ drink_ an_ entire_ coffee_ pot_ before_ hand_. 

The stuff:

The most dreadful prop in this film is of course that one that is resoundingly stuffed. Here it is a film stuffed with a miniaturist’s eye for a frame around a frame, a cut that cuts not space or time but that sews together how many things are people when they are all the way alive. The curse word of the day: that many people think the film has itemized the actors as though they were stuffed. Particularly: Toshiro Mifune’s absolute animalistic presence. That the director - it is supposed, owing to how much of that production we can resurface as the emergency we need to understand it - as in: in order to really understand it as art - it was developed by that individual director: weather patterns essential. 

So: that prop that I have been avoiding saying because of how obvious and clear it is that this was a movie that never had dick to say about a sword: the banners blowing in the wind. What day is it he solved.

Absolute de-Nazification movie. Kamikaze go fuck yourself. 

Trap

So this is a movie that is under-discussed for what is an extremely competent direction: that films need much less in order to deliver successfully a kind of entertainment. Me however I say: get good do better why are they making you eat that shit also you should have made the black guy the killer. 

The stuff:

The best prop in this movie is obvious: it is that poor woman trapped in a shitty movie holding onto the fact that she is a famous person somewhere else in the world by having an entire movie be developed on the premise we are going to humiliate her for being that type of person,  she being a full person for the adjustment is to say: she was the final girl who was the first one holding onto a cell phone that said hey, none of you people are wicked enough to get with it: we are here to kill white crackers who are policing the neighborhood. Yeah, I know what the movie is about. 

She doesn’t scream into the phone and that’s why the prop is unsuccessful for the excellence that that movie strove for. Dread. 

Most Nicholas Winding Refn Films, Valhalla Rising, Though - Not That Bad

“Let’s just put it all in one movie.” “You’re never allowed to do that” is one of them words that is spidery. The slowest one of these movies I didn’t actually hate but that’s sort of like how nobody was ever gonna be “yeah I get it we” - “right right right right” - “what I mean is cough^ that”. A somnabule is not an interesting role for any woman born today. 

Mads Mikkelsen: say less. You are in a cup. 

Tap tap. 

The stuff:

Mostly about the costume design and I’m mostly avoiding saying the shotgun was a good prop: again it’s about fetishized violent acts, which is, you know, a type of “I wrote a book about it” defense where they say “hey can you not handle mein imagenen of violencenen?” The moral of the story is: if it ain’t good enough to have sex after - not violent enough. 

Endless Summer, But I Only Saw The Poster

You know one of the strange things about this is that I am sort of identified in it. I never understood who was identifiable meaning so much in what are little fiberglass kits. Itemizing people for the specie is not quite what I meant when I said that. I never saw this movie actually, hated it on principle, for what would have been a curse word to anyone who went to school in Chapman. 

The stuff:

Propwise: I didn’t see this one ohhkay 

NYPD Blue, For Being Only Observable To Me Through A Documentary Produced About One Writer’s Talent, A Guy Who Was So Beloved For His Basic Decency That When Asked What They Liked About Him They Had Nothing To Say Except To Tell a Whole Story, Mortally Filled With Details About How Batshit An Employer He Was, How Much Of The Telling Being Scanned Through I Am At A Loss For Words, The Need For The Story: David Milch Should Have Lost More Money At The Casino For How Much He Knew Losing it Was Just Winning it For His Wife, A Casino I Meant To Say Gambling Table, All The World’s A Stage For Them Boards, The He Don’t Even Collect Without Knowing He Never Had A Cent, The Exchange Rate Per Story I Wish She Were Near

As in, the feds: the sometimes-people. The sometimes-people help people help. Then sometimes that’s the cure for a disorder. And the disorder there is: sometimes there ain’t no cure. She’s eating meat. Now: what is not a police officer is that pitch who was choking a guy through the glass for trying to tell that she was never ever good enough to hold onto a pistol in a writer’s room. 

The stuff:

An entire television show I never even attempted to watch okay !!

The Silence of the Lambs, For Misgendering Me When I Saw A Striking Image, Wore It As A Ward, That A Movie Can Be Good All The Way Through, Be Capable Of Being Identified As Such, Be Capable of Being Articulated As Such, In Terms Conducible For Conscripting The Envy of The Unintelligent, And Just Be A Picture That Reflects Two Ways Of Being An Imbecile, You’re Scared of Oscar Winning Movies and You Think The Transgender Character is the One Who Kills Women When It Is Actually Just About Being Too Evil To Not Be Mortally Sexy, Clarice Starling Is Your Mommy You Will Suck Off

There’s a lot more to see here about someone who was reportedly a queer ally which is a word that I have to say people will try to make me forget. And I of course don’t actually hate this movie but it’s the type of thing I truly hate more than the entire world which is when somebody makes something you like into something that actually makes you want to die. 

The stuff:

This is a movie that is filed with excellent props. First one: death head month. So good just put that shit on the cover don’t explain nothing everybody bought a ticket. Second good prop: those fucking night vision goggles. And that is quite right out of that fucking screenplay that someone had enunciated: this person is full fucking kookoo crazy - look at the kinds of armaments they are keeping for no fucking reason other than they are the ones who are going to jail. That having nothing to do with an entire society. Another good prop is the lotion. Now, knowing that it is kind of on how it is conveyed down through a well with a fucking screaming lunatic at the other end of it - which is to say once more a pretty good screenplay for the purposes of describing corporealited articles of the cinema: dreadful props. 

Philadelphia

Now that we are talking about the body of work of a competent director we are going to talk about what is associated with him fitfully. The AIDS crisis being a development fiasco is too far to conduct. The best moment in this movie is when somebody gay is dancing. I think that I used to have a more clinical eye for what was going on in that, maybe one-shot, hard to remember. Definitely a mistake. 

The stuff:

I’m just going to say it: if you’re gay and you’re happy - you’re straight. 

Married to The Mob

Sometimes I really fucking hate this thing where I say something and it’s an accident and then I pretend its not an accident and remember that I had a different taste. The differences of taste are that this is only good for what was capable of being remembered in the after effect: which is the sort of review of a review, a credit sequence. 

The stuff:

To say nothing of absolutely generation defining hair and makeup, the greatest prop in this film is the one which actualized the corporeality of cinema - that not everything can be scary. 

Sometimes ~ be ~ happy ~ cry ~ for love ~ fall. ~

Beep boop. 

TV Shows About Police, For Too Distinctly Reminding Me of A First Estate, That is, Deadwood

Another about this sequence is that people will tell you we’re just here to smell ya for how much of you is available to be snorted. Hopefully I can lie about how many of these series there are. But if it turns over on who really mattered to me I’m gonna have to say cain’t quit ya. 

The stuff:

The propwork for what is an entire genre supposed - neither includes nor denies its involvement with selling armaments to psychotic people. Cop dramas that somehow I watched lately distinctly describe increasingly weaponizable circumstances - it’s mostly about how three of them got together and decided we should steal instead of have a pension. It is not easy to image the enduring prop of what is a fictionalization: that the police are a governmental agency - they keep things on the books. As such I should like to introduce many a communist to the work of David Simon who - it is known - absolutely was about that paperwork and had ridden along with an older generation of people who believed in working papers. The latest installment of the American disorder by that competent henchman tries to shove the paperwork in our face by shoving it through the screenplay, by shoving the screenplay through our faces. They actually show the paperwork that is the real paperwork of the historical circumstance of the present day, the historical circumstance of the present being absolutely built for mailing insane weaponry to the imprisoned. That series being recertified on the individual citizen soldiery was it’s failure. It should have been built back on the notion they filmed that prop - the paper - the wire. Not enough images of the armory distinguish it. 

The Colossal Medusanick Opera

You know, what is liiiiiiiiike totally inappropriate is to say that if you uttered a word it had anything to do with what was, like, inside of a Pandora: 

Oh this fucking movie. Ugh. 

It was a moment for me to realize that literally they sell people like, grey cat turds for like - like, they are like, SEQUENCED, and they are LENSED and they are like RENDERED on wireframes and they are juuuuuust spending yachts on like, we did good today we mailed the universe a cat turd. You know that ain’t funny that ain’t fucking funny! I walked out of this movie.

The stuff:

The most interesting prop in this film was nothing having to do with its poster, but a message from the past: that you’re not allowed to make a movie about cutting a ladies head off without her wiping you with the past. 

Brotherhood Glorified For A Relentless Polarnick

Movies that I have to walk out of are uhhhhh I’m looking into the I hate it box but I was bound to say I love it. Which is just: fucking walk out when it’s bad. Demand your money back. Uh you know the advice column of like, everybody like, wanting me to talk about like, how much of a krink there is - which is a clink for the rink or something I dunno. Will Ferrell you fucking suck.

The stuff:

This movie is absolutely dreadful for me to consider how badly Stokes wants to watch this with me right now. That being inside of the Dune resurgence: that there is a beautiful minute of people forgetting their line goes through each other. A cyclone - a cycle - a what do you call it - dance routine. 

Dune: Part Two, For Forgetting That How To Depict The Landscape Was A Total Unified Field Minute Of That Kid Is A Terrorist 

Ok so what ain’t it basically baby its like: all that darkness. What’s the letter we ain’t talking about. Basically, the best shot in this movie, of course, is that people wanted me to feel that I was some kind of Aryan brother or woman-human-male messianic complict I fucking spit on that word because what is complicated is how a much better movie is made on the idea of how fucking stupid it sounds when I forget what I actually believe. Please see: loud music where people scream about the end of the world. You couldn’t scream about the end of the world if you actually believed the world would end - you’d just light yourself on fire. This movie has a beautiful depiction of a landscape. Mostly interesting for much of Denis Villeneuve it depicts. 

The stuff:

Really great prop work here. If we are making it a little easier for ourselves lets distinguish props from costuming. The best prop in this film is a blade. Now the thing about the blade in this movie is that it lacks the parallel creative action of a special effects artist. The blade not quite getting to vibrate in the sound design was this movie’s critical failure to be badass. Additionally, the blade was not supported by the screenplay - which had been produced as a secondary sequence to the first emergency involving that prop - but it is still the finest tool produced for that movie on what is a dreadful realization of our corporeality. Inside of so many psuedonaturalistic designs, the blade prop in this film is in care of terms of a resurrection. Distinguished however from that veteran sequence produced in the first: where the blade was morally a line our favorite actor got to throw through who - it should be known - was not an unidentifiable character actor to a southern hemisphere. Nobody wanted this to happen, there is no way for this to not happen, everybody can see what’s about to happen, everybody already feels what is about to happen is going to take 17 years or some shit to make it all the way five movies: that being on the blade of a knife? That’s a could prop. 

Arrested Development 

You know yuuh I’m gonna put uh I’m gonna put the American family back in the uh back in the charnel house and I’m gonna make sure that I look at it really closely for how many of them are like uhhhhh holding onto basically what’s not a key for them cuffs. The situation here of course is that somebody blue went to church and the church being that, like, somebody wants to say I know what is a psycho, ~but then they can’t say what is off about it~ and now knowing that it is basically like, just make sure that defense is you’re it? Scary.

The stuff:

I am okay.

The Are You There Minute

Clearly you can say a lot about a movie. That’s not understated to state. Or even exhaustive of how much can be said. I hope rather it is demonstrative: whoever is watching a movie matters, whoever made a movie mattered, whoever is making them now is only able to make them from their good fortune. It’s not about going away from the movie with one good idea - certainly not about saying what it’s about. Everything is personal, even mass media, and it is toward my deep enthusiasm for the genres that I don’t call it a messenger. 

I don’t know what I want from you in a movie. Maybe I could say that on set - that I was practicing being able to say something really important to myself. The hold onto myself a movie could be is countering that Nazis made them very big. 

Wouldn’t sell if you had to. 

How To Make Combat More Like The Stunt Choreography in Action Cinema

First thing: Beyblade. 

The core component is: knock somebody’s dice off the table with your dice. 

Few things that shouldn’t even need to be said: don’t take a ruler out or make people sit where they are going to attack from. 

Things that could happen: you hit - or - you missed. 

You have to call the shot to know if you missed. 

Things that you could hit: a player-character - an enemy - or - anything else.

Things that can happen after you hit: the thing hit goes off the table, the thing hit stays on the table, the thing hit hits something else. 

If the thing goes off the table: it died. 

If you hit it and it’s still there: it takes damage. 

If you hit it, it takes damage, and it hits something else: that thing could die or take damage. 

So: hilariously: it is possible to miss so badly you die immediately. 

If you want to get wet with it the whole game is footwork: if you call the shot to move a friend’s dice, they get a damage multiplier and they go next. If you miss, they just go next. 

Some questions you may have: what about initiative? What about turn order? What about agility or whatever? What about ranged attacks? What about area effects? What about healing? 

You don’t have to hit your friend to heal them you can just heal them. 

You don’t have to throw a die to hit with a ranged attack just do it like normal. 

Area effects are dynamically about placing things in the environment that could change the footwork. Hold the fart cloud’s position with a shot of Jameson. 

It’s not a substitution for minis or scenery, though it could be: I’m thinking of it more like a billiards game that coordinates damage multipliers: as for like, how it could work as a picture of the exact combat scenario, I would say, you don’t have to know where every single thing in the room is - even how much of the room is a room doesn’t have to be known - how much of the room you needed to be there was just this much: it didn’t exist until a thing collided with it. 

How does this work for describing what happened: well, you bounced off that thing and you hit harder faster. 

A veteran player may understand that increasing velocities for insane crits is more fun. Also: we’ll all die if we all don’t hit with one insane crit is the job of the DM, because enemies should be like Dark Souls where they are one big bad motherfucker. 

The damage multiplier only lasts one round. 

The other implication is that people are mostly going to try to get closer so they can tip over the enemies dice. That means organically they will be constructing enormous damage multipliers. Constructed on incredible amounts of enormous mathematical detail -

B

 E
C

   A
  U

  S

E

It is going to go wet as hell when I say you have my axe and - somebody else is like, you have my scroll - other people like, shit I gotta get in on this, here is a shot off an arrow bow and we don’t even know which one of us is going to be the hitter but if we stop it definitely dies: make Zak Smith do more math than he can handle. 

Here’s the hypothetical: he’s over there - and we KNOW if we keep HELPING each other all of the math we didn’t want to do he’s going to have to do all at once.

This can go a lot of different ways but mostly the conversation will sound like is it okay if I hit your dice do you have a better plan and the DM is there to make sure nobody does something they don’t want to do. 

Treat a hit like a critical hit. Where we multiply your damage by the number on my d20. 

There’s no armor class.

Enemies have massive amounts of hit points. 

Just add armor class to hit points, there you go. Cool armor is still cool because of all the other stuff that’s cool about armor.