We continue to talk about the movies that bother us. World-building has been strangely silent since The Matrix (1999), a concept originally left for dead, pushed forward into standard by will, belief, and a corps of indelible artists. Geof Darrow and Steve Skroce - two craftspeople first to join the legion - assemble here to add their DNA to our dish. Filmmaking with vision is a winnable war-of-art; to wit, the great irony of a film is can’t know we need one until it’s been made.
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We continue to talk about the movies that bother us. World-building has been strangely silent since The Matrix (1999), a concept originally left for dead, pushed forward into standard by will, belief, and a corps of indelible artists. Geof Darrow and Steve Skroce - two craftspeople first to join the legion - assemble here to add their DNA to our dish. Filmmaking with vision is a winnable war-of-art; to wit, the great irony of a film is can’t know we need one until it’s been made.
Oh, f'it, let’s actually talk about the film FIGHT CLUB @ Twenty - still the smartest delinquent in the room - with the man whose book-as-rolling-ball-of-art-and-confusion began a movie birthed by an apropos society of full-throated artists: Chuck Palahniuk. The film still can’t drink, but it’s no less a danger to society. Its meta and mythos are more than meets the eye, and its fever-pitch lives in Chuck’s own agnostic baptisms. Write what you know, perhaps; film what’s to remain, please. Oh, and, slide.
Murmur Digital Radio
We continue to talk about the movies that bother us. World-building has been strangely silent since The Matrix (1999), a concept originally left for dead, pushed forward into standard by will, belief, and a corps of indelible artists. Geof Darrow and Steve Skroce - two craftspeople first to join the legion - assemble here to add their DNA to our dish. Filmmaking with vision is a winnable war-of-art; to wit, the great irony of a film is can’t know we need one until it’s been made.
