This is pretty rad.
Now... imagine if she went deer hunting, with nothing but a beer can as a weapon.
That's definitely something I can get behind.
Monday, February 25, 2008
A Hunter Getting His Ass Kicked by a Deer
I'm not real big on the whole hunting thing. Shooting animals for recreation strikes me as unfair. Antlers vs. an AK-47? Congratu-fucking-lations, Rambo.
However, if people went out and fought the animals hand-to-hand, that would be the most badass thing in the world.
This guy didn't mean to take on a deer with his bare hands. But he did. And that is awesome.
However, if people went out and fought the animals hand-to-hand, that would be the most badass thing in the world.
This guy didn't mean to take on a deer with his bare hands. But he did. And that is awesome.
The Cat
When I came in this morning, there was a cat in the office.
I didn't notice it until it peeked in my office. That whole curiosity thing, I guess. I stood up and it ran away. I went downstairs and held the door open and it left.
There are few things more surreal than finding unexpected animals in your work environment.
I didn't notice it until it peeked in my office. That whole curiosity thing, I guess. I stood up and it ran away. I went downstairs and held the door open and it left.
There are few things more surreal than finding unexpected animals in your work environment.
Friday, February 22, 2008
Query of the Day
Wowzers...
"Thanks to the machinations of the wayward pickpocket, Jennifer, Robin acquires the form of a skeleton. Skeleton in form only, Robin is capable of all normal human activities including walking, talking, fighting, eating etc. In short, Robin is a live skeleton. Mistaken for a ghost, Robin scares every one including his beloved Cleopatra, who settles for marriage with another man.
Jennifer, exploiting people's fear of the ghost, strengthens their fear of it through her stories in the electronic media. Persuaded that the ghost's threat as real the police and people prepare for putting an end to the ghost.
How does the live-skeleton-turned Robin wriggle out of the situation?
How is he reunited with his beloved?
How does he pay back Jennifer in her own coin?
How in the first instance Robin has been changed into a live skeleton?
Read screenplay all about these in the full-length suspense-romance that can satisfy to the full yours desire for thrill and excitement."
"Thanks to the machinations of the wayward pickpocket, Jennifer, Robin acquires the form of a skeleton. Skeleton in form only, Robin is capable of all normal human activities including walking, talking, fighting, eating etc. In short, Robin is a live skeleton. Mistaken for a ghost, Robin scares every one including his beloved Cleopatra, who settles for marriage with another man.
Jennifer, exploiting people's fear of the ghost, strengthens their fear of it through her stories in the electronic media. Persuaded that the ghost's threat as real the police and people prepare for putting an end to the ghost.
How does the live-skeleton-turned Robin wriggle out of the situation?
How is he reunited with his beloved?
How does he pay back Jennifer in her own coin?
How in the first instance Robin has been changed into a live skeleton?
Read screenplay all about these in the full-length suspense-romance that can satisfy to the full yours desire for thrill and excitement."
Thursday, February 21, 2008
Wednesday, February 20, 2008
Query of the Day
This is for a TV treatment:
"Pitch: A software programmer leaves his wife and two young daughters to marry an Asian Las Vegas stripper who is looking for the American Dream.
Brief Overview: I believe there are two central ideas (1) the Aretha Franklin song "Who's zooming who?" (2) what is love and relationships? The twist is that it does not primarily focus on the stripper life, but on her ability to fight prejudices and make it in suburbia. She is an immigrant from the Philippines who was forced into the stripping business by her first husband. She came to America for the American Dream. The other twist is that my software friend is slimy loser who uses people. He has been called "morally ambiguous." It becomes like the FX TV show Damages, where the audience is trying to figure out who to trust and what is going to happen in the end. My ideal actors are (1) Givanni Ribisi (or Paul Giamatti) and (2) Ziyi Zhang (or Kelly Hu)"
"Pitch: A software programmer leaves his wife and two young daughters to marry an Asian Las Vegas stripper who is looking for the American Dream.
Brief Overview: I believe there are two central ideas (1) the Aretha Franklin song "Who's zooming who?" (2) what is love and relationships? The twist is that it does not primarily focus on the stripper life, but on her ability to fight prejudices and make it in suburbia. She is an immigrant from the Philippines who was forced into the stripping business by her first husband. She came to America for the American Dream. The other twist is that my software friend is slimy loser who uses people. He has been called "morally ambiguous." It becomes like the FX TV show Damages, where the audience is trying to figure out who to trust and what is going to happen in the end. My ideal actors are (1) Givanni Ribisi (or Paul Giamatti) and (2) Ziyi Zhang (or Kelly Hu)"
Friday, February 15, 2008
More Proof DragonForce is Awesome
Watch this video.
This is one of the coolest things I've seen in a long time. It's a great song, and the video just rocks. The director is really good, very smart. He totally gets what makes DragonForce great -- check out the close-up inserts during the dueling guitar solos, Sam Totman casually drinking a beer between riffs... just fucking sweet.
DragonForce = happiness.
Oh yeah, I also saw There Will Be Blood. Modern classic, genius filmmaking, brilliant acting, etc etc... This is the kinda movie that makes film school types spontaneously ejaculate. So be careful if you're walking past Columbia.
This is one of the coolest things I've seen in a long time. It's a great song, and the video just rocks. The director is really good, very smart. He totally gets what makes DragonForce great -- check out the close-up inserts during the dueling guitar solos, Sam Totman casually drinking a beer between riffs... just fucking sweet.
DragonForce = happiness.
Oh yeah, I also saw There Will Be Blood. Modern classic, genius filmmaking, brilliant acting, etc etc... This is the kinda movie that makes film school types spontaneously ejaculate. So be careful if you're walking past Columbia.
Thursday, February 14, 2008
The Punisher
I finally caught up with The Punisher last night. Man, I really liked this picture. It seemed like they took a look at Mad Max and Taxi Driver and learned some lessons. It's not perfect -- Frank Castle's kooky neighbors are frequently painful. But they're no worse than the wacky sidekicks action heroes tend to get in Italian and French movies, so they didn't drive me crazy.
John Travolta plays the main antagonist. He is fantastic. Every scene with the bad guys elevated the movie. There's a really cool back-and-forth structure to the conflict between Travolta and Thomas Jane's character. Ordinarily in revenge pics, the hero is helpless in act one, he comes back and menaces the villains in act two, and the hero and villain have a showdown in act three.
In The Punisher, it's more about: Jane does something, Travolta gets him back worse, Jane responds, Travolta sends a killer, Jane survives and fucks with Travolta again, Travolta sends more/better killers, etc. It's a see-saw of dramatic stimulus and response, and I fucking loved it.
Here's something else: when Frank Castle survives the initial hit attempt that turns him into the Punisher, instead of putting on a mask and assuming a secret identity, he shows up on live television. Everyone seems to know where the guy lives. You can find him in the Yellow Pages. Watching this movie, and the way the bad guys show up whenever they want, you come to understand the usefulness of the whole superhero/mask/secret identity thing.
There are some great characters in this movie. The first killer Travolta sends after the Punisher is the "Man from Memphis." He comes into the diner where the Punisher is eating breakfast, sits down and plays a bluegrass song on his guitar about how he's going to kill Jane. And he leaves. It's a good song, and the guy just looks cool and sinister as fuck. He kinda reminded me of Robert Mitchum in The Night of the Hunter. I dug that guy.
This movie has lots of really smart, unexpected moments. I can't say all of the scenes are perfectly edited, and it looks kinda cheap sometimes -- there are a lot of sequences obviously shot on sound stages. But there was enough cool stuff going on that I thoroughly enjoyed it, and I can't wait for the sequel.
I was never a huge fan of the comic. I never thought it met its own awesome potential. The stories always seem to start off well with a lot of crime noir grit, only to inevitably jump the rails into the usual comic book silliness. Perfect example: the first few issues of Punisher War Journal got me excited when it came out in the early-90s. But, by issue ten, it was Frank Castle fighting weirdos with tight outfits and code names, like any other superhero. The Punisher ain't Spider-Man.
Maybe I'm wrong. There might be Punisher graphic novels out there that would kick my ass into the dirt and make me a convert. If so, I'm glad I didn't read them before seeing this movie, because that saved me from the knee jerk "this isn't like the book!" reaction a lot of comic-types suffer from.
John Travolta plays the main antagonist. He is fantastic. Every scene with the bad guys elevated the movie. There's a really cool back-and-forth structure to the conflict between Travolta and Thomas Jane's character. Ordinarily in revenge pics, the hero is helpless in act one, he comes back and menaces the villains in act two, and the hero and villain have a showdown in act three.
In The Punisher, it's more about: Jane does something, Travolta gets him back worse, Jane responds, Travolta sends a killer, Jane survives and fucks with Travolta again, Travolta sends more/better killers, etc. It's a see-saw of dramatic stimulus and response, and I fucking loved it.
Here's something else: when Frank Castle survives the initial hit attempt that turns him into the Punisher, instead of putting on a mask and assuming a secret identity, he shows up on live television. Everyone seems to know where the guy lives. You can find him in the Yellow Pages. Watching this movie, and the way the bad guys show up whenever they want, you come to understand the usefulness of the whole superhero/mask/secret identity thing.
There are some great characters in this movie. The first killer Travolta sends after the Punisher is the "Man from Memphis." He comes into the diner where the Punisher is eating breakfast, sits down and plays a bluegrass song on his guitar about how he's going to kill Jane. And he leaves. It's a good song, and the guy just looks cool and sinister as fuck. He kinda reminded me of Robert Mitchum in The Night of the Hunter. I dug that guy.
This movie has lots of really smart, unexpected moments. I can't say all of the scenes are perfectly edited, and it looks kinda cheap sometimes -- there are a lot of sequences obviously shot on sound stages. But there was enough cool stuff going on that I thoroughly enjoyed it, and I can't wait for the sequel.
I was never a huge fan of the comic. I never thought it met its own awesome potential. The stories always seem to start off well with a lot of crime noir grit, only to inevitably jump the rails into the usual comic book silliness. Perfect example: the first few issues of Punisher War Journal got me excited when it came out in the early-90s. But, by issue ten, it was Frank Castle fighting weirdos with tight outfits and code names, like any other superhero. The Punisher ain't Spider-Man.
Maybe I'm wrong. There might be Punisher graphic novels out there that would kick my ass into the dirt and make me a convert. If so, I'm glad I didn't read them before seeing this movie, because that saved me from the knee jerk "this isn't like the book!" reaction a lot of comic-types suffer from.
Wednesday, February 13, 2008
Altered/Altered States
I caught two flicks recently: Altered and Altered States.
Altered States is as brilliant as brilliant gets. It's based on a novel by Paddy Chayefsky -- the guy who wrote the script for Network -- and directed by Ken Russell.
It's about a Harvard professor (William Hurt, in his first major role) who has a theory that if you have strong enough visions, they'll actually change you into something closer to your real self. I'm wildly paraphrasing here -- the characters shoot massive reams to science talky-talk at each other. But it's never stiff or dull, the dialogue sounds like the converstions super-smart people would have while discussing out-there ideas.
Hurt is pretty insane, but he's such a genius everyone around him just kinda deals. It's hard to tell where the movie's going in the first act. We get a lot of scenes of tweedy East Coast professor types smoking weed and dealing with university politics.
But then Hurt hears about a drug South American Indians use in a ceremony to get a glimpse of their "earlier selves." He goes down there, fights through the Amazon, befriends the high priest, takes the drug... and trips his fucking balls off in a truly harrowing sequence. It's closer to Kenneth Anger than Ken Russell. It's some wild shit and, after all the New Yorky chitty-chat, it feels like a massive left turn. I was blind-sided in the best possible way. I was sitting there wondering how Wonder Boys suddenly turned into The Serpent and the Rainbow.
Hurt gets back to the States. Everyone thinks finding the drug is his big break. This is the kinda thing that would make a career for life for most professors. But those assholes are just looking for anything that'll score them a cushy tenured gig so they can spend their lives smoking weed and wearing tweed. Hurt's looking for the truth, man. So he strikes on an idea: what if he takes the drug while he's locked in a sensory deprivation tank? Wouldn't that be cool?
From that point on, the movie gets weird.
I won't ruin anything. The closest approximation I can make to describing this film is Woody Allen meets H.P. Lovecraft. There are a lot of Lovecraftian elements: the one-the-fringe professor doing unauthorized experiments with weird science, the ideas of time travel and genetic regression, the East Coast university setting, the bizarre shit, etc.
I'm always trying to catch up on older movies. I've seen a ton of stuff, but I'm still always tripping over flicks that make me slap my forehead and wonder why it took me so long to get around to watching them. This is one of 'em.
On the other end of the scale: Altered.
It's a horror flick directed by Eduardo Sanchez, one of the two guys who directed The Blair Witch Project.
I fucking love Blair Witch. Speaking of Lovecraft, Ramsey Campbell wrote in a forward to a collection of his short stories that he felt Blair Witch is on of the most Lovecraftian films he's ever seen. I totally agree. Not in a Mythos sense, but in the way we get very little of the menace in any direct way, it's all about inference. It's a movie about fear of the unknown, the core concept of Lovecraft's stories. And I'm not too proud to say I saw it twice in the theater, and it scared the living shit outta me both times.
Altered is a really good example of a lot of the horror movies that are getting made right now: high concept, single location, franchisable villain, direct-to-DVD release. It's a mantra I frequently hear and repeat at the day job.
It opens with three rednecks hunting an alien in the woods. This scene made me laugh, but only for my own, super-personal reasons... I used to play bass in a band called Joe Happy. We had a song called "No Such Thing As Humans," which was about a reverse alien abduction -- the rednecks abduct some frightened aliens -- including the, ahem, anal probing. It's the story of what would've happened if E.T. ran into the Deliverance crew. Fun stuff.
They capture an alien and take it to this dude's automotive garage in the middle of the night. Dialogue reveals that all four of these guys were abducted by aliens when they were kids. They had a friend who died. These four survived, but forever Altered, physically and mentally. Haunted for years by the memories, and derision of their fellow man, the rednecks decided to strike back.
They don't quite realize the shitstorm they call down onto themselves. The alien is one bad motherfucker. There's also a lot of the standard-issue internal dissention we've seen in movie situations like this since Alien. They yell stuff like, "Put the gun down, Cody!"
It's a cool concept, the story is nice and tight and full of clever double-tensions, and we get some truly fucked-up situations. But it's hampered by some shitty dialogue. Unfortunately, all of the characters are filtered through the Hollywood screenwriter idea of how lower-income white Southerners talk and act. They're all named stuff like "Duke" and "Cody" and "Wyatt" and "Otis" and say shit like "dad-gummit!" and "confoundit!" The guy who plays Duke is really good. But the actor who plays the ostensible lead, Wyatt -- he's got chops, but I never for a second bought him as anything but a New York actor doing a Southern accent. He looks like a guy who should be playing a detective on CSI, or flying a Viper in Battlestar Galactica.
I'm not such an asshole that I demand cinema verite low-budget horror movies. I mean, fuck -- it's not like Bobbie Joe in Evil Dead II is someone out of a Tennessee Williams play. But that movie is so over-the-top, you come to expect broad caricature. She fits the world and tone of the movie. Altered is trying to present an intense, locked-room situation. So when you get the male version of Bobbie Joe times four, it comes across as fakey and distracting.
That is, unless you've never been to the South, or encountered Southerners in real life. In which case you might think all Southerners act like supporting characters from Hee Haw and The Dukes of Hazzard, so you probably won't notice or care.
Altered States is as brilliant as brilliant gets. It's based on a novel by Paddy Chayefsky -- the guy who wrote the script for Network -- and directed by Ken Russell.
It's about a Harvard professor (William Hurt, in his first major role) who has a theory that if you have strong enough visions, they'll actually change you into something closer to your real self. I'm wildly paraphrasing here -- the characters shoot massive reams to science talky-talk at each other. But it's never stiff or dull, the dialogue sounds like the converstions super-smart people would have while discussing out-there ideas.
Hurt is pretty insane, but he's such a genius everyone around him just kinda deals. It's hard to tell where the movie's going in the first act. We get a lot of scenes of tweedy East Coast professor types smoking weed and dealing with university politics.
But then Hurt hears about a drug South American Indians use in a ceremony to get a glimpse of their "earlier selves." He goes down there, fights through the Amazon, befriends the high priest, takes the drug... and trips his fucking balls off in a truly harrowing sequence. It's closer to Kenneth Anger than Ken Russell. It's some wild shit and, after all the New Yorky chitty-chat, it feels like a massive left turn. I was blind-sided in the best possible way. I was sitting there wondering how Wonder Boys suddenly turned into The Serpent and the Rainbow.
Hurt gets back to the States. Everyone thinks finding the drug is his big break. This is the kinda thing that would make a career for life for most professors. But those assholes are just looking for anything that'll score them a cushy tenured gig so they can spend their lives smoking weed and wearing tweed. Hurt's looking for the truth, man. So he strikes on an idea: what if he takes the drug while he's locked in a sensory deprivation tank? Wouldn't that be cool?
From that point on, the movie gets weird.
I won't ruin anything. The closest approximation I can make to describing this film is Woody Allen meets H.P. Lovecraft. There are a lot of Lovecraftian elements: the one-the-fringe professor doing unauthorized experiments with weird science, the ideas of time travel and genetic regression, the East Coast university setting, the bizarre shit, etc.
I'm always trying to catch up on older movies. I've seen a ton of stuff, but I'm still always tripping over flicks that make me slap my forehead and wonder why it took me so long to get around to watching them. This is one of 'em.
On the other end of the scale: Altered.
It's a horror flick directed by Eduardo Sanchez, one of the two guys who directed The Blair Witch Project.
I fucking love Blair Witch. Speaking of Lovecraft, Ramsey Campbell wrote in a forward to a collection of his short stories that he felt Blair Witch is on of the most Lovecraftian films he's ever seen. I totally agree. Not in a Mythos sense, but in the way we get very little of the menace in any direct way, it's all about inference. It's a movie about fear of the unknown, the core concept of Lovecraft's stories. And I'm not too proud to say I saw it twice in the theater, and it scared the living shit outta me both times.
Altered is a really good example of a lot of the horror movies that are getting made right now: high concept, single location, franchisable villain, direct-to-DVD release. It's a mantra I frequently hear and repeat at the day job.
It opens with three rednecks hunting an alien in the woods. This scene made me laugh, but only for my own, super-personal reasons... I used to play bass in a band called Joe Happy. We had a song called "No Such Thing As Humans," which was about a reverse alien abduction -- the rednecks abduct some frightened aliens -- including the, ahem, anal probing. It's the story of what would've happened if E.T. ran into the Deliverance crew. Fun stuff.
They capture an alien and take it to this dude's automotive garage in the middle of the night. Dialogue reveals that all four of these guys were abducted by aliens when they were kids. They had a friend who died. These four survived, but forever Altered, physically and mentally. Haunted for years by the memories, and derision of their fellow man, the rednecks decided to strike back.
They don't quite realize the shitstorm they call down onto themselves. The alien is one bad motherfucker. There's also a lot of the standard-issue internal dissention we've seen in movie situations like this since Alien. They yell stuff like, "Put the gun down, Cody!"
It's a cool concept, the story is nice and tight and full of clever double-tensions, and we get some truly fucked-up situations. But it's hampered by some shitty dialogue. Unfortunately, all of the characters are filtered through the Hollywood screenwriter idea of how lower-income white Southerners talk and act. They're all named stuff like "Duke" and "Cody" and "Wyatt" and "Otis" and say shit like "dad-gummit!" and "confoundit!" The guy who plays Duke is really good. But the actor who plays the ostensible lead, Wyatt -- he's got chops, but I never for a second bought him as anything but a New York actor doing a Southern accent. He looks like a guy who should be playing a detective on CSI, or flying a Viper in Battlestar Galactica.
I'm not such an asshole that I demand cinema verite low-budget horror movies. I mean, fuck -- it's not like Bobbie Joe in Evil Dead II is someone out of a Tennessee Williams play. But that movie is so over-the-top, you come to expect broad caricature. She fits the world and tone of the movie. Altered is trying to present an intense, locked-room situation. So when you get the male version of Bobbie Joe times four, it comes across as fakey and distracting.
That is, unless you've never been to the South, or encountered Southerners in real life. In which case you might think all Southerners act like supporting characters from Hee Haw and The Dukes of Hazzard, so you probably won't notice or care.
Monday, February 11, 2008
Chemical Wedding
According to this article on dreadcentral.com, Bruce Dickinson wrote a horror movie called Chemical Wedding. It's about a guy who gets possessed by the spirit of Aleistar Crowley.
Sounds cool, but not nearly as cool as if he'd gotten possessed by fuckin' EDDIE!
Sounds cool, but not nearly as cool as if he'd gotten possessed by fuckin' EDDIE!
Rambo
I caught Rambo yesterday. It's good.
The story feels a bit slight. It's a short movie. While First Blood feels like a novel's woth of story (because it's based on one) and Rambo: First Blood, Part II is the same way because a ton of shit happens, I walked out of the theater feeling like I'd just read a really kickass short story. It's a ton of fun, but I'm anxious to watch the DVD in the hopes there's a lot of material they excised to get a short theatrical running time.
I think Sylvester Stallone looks more like an older Rocky than an older Rambo. The whole time I was watching Rocky Balboa, I totally bought this is what the guy would look like. While watching Rambo, I thought: "Why's Rocky in the middle of Thailand?"
Here's what you get: about an hour of backstory setup, a brief action sequence with some pirates, lots of scenes of the villains committing atrocities, another brief scene where Rambo shoots guys with a bow (awesome) and a tense rescue mission. After that, you get a full-on half hour climactic battle in which Rambo mows down a hundred guys with a giant machine gun. Y'know in the trailer, that jeep-mounted gun he commandeers? Yeah, he never really gets off that thing.
Don't get me wrong -- most action movies these days are pussified, PG-13 bullshit. So I'll take R-rated action any way I can get. But I don't want this side adventure to be Rambo's last story. I've heard rumors of a sequel.
Bring it!
The story feels a bit slight. It's a short movie. While First Blood feels like a novel's woth of story (because it's based on one) and Rambo: First Blood, Part II is the same way because a ton of shit happens, I walked out of the theater feeling like I'd just read a really kickass short story. It's a ton of fun, but I'm anxious to watch the DVD in the hopes there's a lot of material they excised to get a short theatrical running time.
I think Sylvester Stallone looks more like an older Rocky than an older Rambo. The whole time I was watching Rocky Balboa, I totally bought this is what the guy would look like. While watching Rambo, I thought: "Why's Rocky in the middle of Thailand?"
Here's what you get: about an hour of backstory setup, a brief action sequence with some pirates, lots of scenes of the villains committing atrocities, another brief scene where Rambo shoots guys with a bow (awesome) and a tense rescue mission. After that, you get a full-on half hour climactic battle in which Rambo mows down a hundred guys with a giant machine gun. Y'know in the trailer, that jeep-mounted gun he commandeers? Yeah, he never really gets off that thing.
Don't get me wrong -- most action movies these days are pussified, PG-13 bullshit. So I'll take R-rated action any way I can get. But I don't want this side adventure to be Rambo's last story. I've heard rumors of a sequel.
Bring it!
Friday, February 8, 2008
DragonForce is Awesome
To some people, this is a blindingly obvious statement.
To those for whom this is not an obvious statement, imagine Slayer, Maiden and Manowar genetically spliced together with a robot that shoots flames and goes a thousand miles an hour with excellent gas milage. I grew up on music like this, and I'm glad someone's still putting it out there.
DragonForce. Need a link? Here's their MySpace.
To those for whom this is not an obvious statement, imagine Slayer, Maiden and Manowar genetically spliced together with a robot that shoots flames and goes a thousand miles an hour with excellent gas milage. I grew up on music like this, and I'm glad someone's still putting it out there.
DragonForce. Need a link? Here's their MySpace.
Wednesday, February 6, 2008
You Think You're Having a Shitty Day
This goose got hit by a fucking meteor -- and SURVIVED -- but then got eaten by a fox.
Kinda puts a rude barrista into perspective...
Kinda puts a rude barrista into perspective...
Novel Update
I've been cooking right along on Frankenstein's Notebook. Hit 25K-words over the weekend. But I lost a couple of thousand as I fixed story problems. Two steps forward, one step back.
Man, novels take a long fucking time to write. I'm spoiled by scripts. The first draft of a script usually takes me 6-8 weeks. I've been banging at this novel since December, and I'm still only a quarter of the way through. Not a complaint, as much a statement of fact.
Man, novels take a long fucking time to write. I'm spoiled by scripts. The first draft of a script usually takes me 6-8 weeks. I've been banging at this novel since December, and I'm still only a quarter of the way through. Not a complaint, as much a statement of fact.
Tuesday, February 5, 2008
Query of the Day
Action/Sci-Fi
About: Origin Of Vampires
"Vampros! Please! I will take care of you, I will love you forever and ever, until the time ceases to be, until the Lord God Himself takes us apart, and then, I will love you some more." - Elizabeth, 1,500b.C
"Long time ago, we could make flesh and blood for ourselves, we could have human wives. But the privilege has been taken away, it is forbidden for us to love a woman, but it is also prohibited to hate the human race." - Zafael, 1,500b.C
"Even angels fell from heaven trying to part them, but it just could not be done. Finally one sword had its way into both bodies at the very same time and they were left there to die. The woman died some hours later, by the river, where she lost all the blood she had in her, but her man, he lasted many years, and killed many warriors after that. Until he found out... He found out that every couple of hundreds of years, she would be born again and she would have the exact same face." - Vampros, 1,500a.C
1,500b.C
A spiritual war is going on as the Israelites invade Jericho as part of the Land promised to them by their God. Two men and a Demon are in love of the most beautiful woman on Earth, leading to another war between Vampros, Drakos and the Demon, Zafael. Vampros is infected by a blood deficiency given to him by Zafael. Elizabeth dies next to a river and Vampros witnesses the fall of Jericho's walls.
32a.C
Vampros' curse is turned into a blessing when he meets The Man, and he receives the power to face his enemies, as long as he lives in the name of Love.
1,500a.C
Vampros meets once more with his beloved as she reincarnates, but his old enemies have lasted as long as he has, and war arises again amongst them.
Present time
Vampros is more powerful, rich and connected than ever, and although he is focused in finding his eternal love again the next time she comes to life reincarnated, he is forced to face his enemies one last time.
About: Origin Of Vampires
"Vampros! Please! I will take care of you, I will love you forever and ever, until the time ceases to be, until the Lord God Himself takes us apart, and then, I will love you some more." - Elizabeth, 1,500b.C
"Long time ago, we could make flesh and blood for ourselves, we could have human wives. But the privilege has been taken away, it is forbidden for us to love a woman, but it is also prohibited to hate the human race." - Zafael, 1,500b.C
"Even angels fell from heaven trying to part them, but it just could not be done. Finally one sword had its way into both bodies at the very same time and they were left there to die. The woman died some hours later, by the river, where she lost all the blood she had in her, but her man, he lasted many years, and killed many warriors after that. Until he found out... He found out that every couple of hundreds of years, she would be born again and she would have the exact same face." - Vampros, 1,500a.C
1,500b.C
A spiritual war is going on as the Israelites invade Jericho as part of the Land promised to them by their God. Two men and a Demon are in love of the most beautiful woman on Earth, leading to another war between Vampros, Drakos and the Demon, Zafael. Vampros is infected by a blood deficiency given to him by Zafael. Elizabeth dies next to a river and Vampros witnesses the fall of Jericho's walls.
32a.C
Vampros' curse is turned into a blessing when he meets The Man, and he receives the power to face his enemies, as long as he lives in the name of Love.
1,500a.C
Vampros meets once more with his beloved as she reincarnates, but his old enemies have lasted as long as he has, and war arises again amongst them.
Present time
Vampros is more powerful, rich and connected than ever, and although he is focused in finding his eternal love again the next time she comes to life reincarnated, he is forced to face his enemies one last time.
Monday, February 4, 2008
The King of Pumping Iron III
Over the weekend, when I wasn't writing I was watching movies.
I caught The King of Kong: A Fistful of Quarters. It's a documentary about a guy named Steve Wiebe. He gets laid off. To kill all the extra time, he starts playing the Donkey Kong machine in his garage. Whaddaya know, the kid's a prodigy. He beats the all-time high score set by Billy Mitchell in 1982. But Billy's been around for so long, his reputation and score are considered unassailable. Twin Galaxies, the organization that judges classic arcade game competition, throws out Wiebe's high score because it was proven via videotape, using a machine with what they consider to be a murky pedigree. Undaunted, Steve travels to Florida -- Billy Mitchell's back yard -- to take him on in a public showdown.
This doc is nothing short of phenomenal. I can't even begin to describe how wonderful and entertaining this movie is. At first, I was totally behind Billy Mitchell, this arrogant, over-the-top dude who has spent his entire adult life as the alpha male of this very tiny, very specific community of competitive classic arcade game players.
But, beat-by-beat, you fall in love with Steve Wiebe. He walks around all the time with a slightly befuddled look, like the world's told a joke he doesn't quite get. He's described as a guy who has terrible luck, who's kinda failed at a lot of stuff in life, but he's extremely focused and detail-oriented. They almost intimate that he might have a touch of Asperger's Syndrome, a condition I only know about because I subscribe to Wired.
Steve is the classic underdog, struggling against Billy Mitchell and his entrenched gang of hangers-on and yes-men. While Billy's getting his picture taken and acting as the spokesperson of competitive video gaming, Steve is just this dude sitting his his garage... who happens to be the better player.
Steve is a man with a good heart. He's surrounded by people who love him. He appeals to that Capraesque desire most people have to believe that, if you play by the rules, do your best and be a good person, no matter what the world throws at you, you'll still get a shot a coming out on top in the end. Steve undenyable ability is one thing. It's only when the talent is paired with his inherent goodness that Steve finally begins to sway the Twin Galaxies crew.
Director Seth Gordon is fucking INCREDIBLE. It's stunning, the shit he gets. Above all, he's a gifted editor. There are montage sequences in this picture that are jaw-dropping in their skill and power. This is FILMMAKING. I've often thought doc is where you go for some of the best editing in the world. In doc, you can't write what the characters are going to say. You have create what you need the audience to know via found words and images. I know I sound like I'm drifting into hyperbole. So be it: I was literally awe-struck by some of the shit I saw in this movie.
I laughed until I was in pain, and choked up a bit at the end. This flick is proof you can find some of the most powerful messages in the smallest of stories. To the world at large, Steve Wiebe is the subject of a brief human interest puff piece on the local news. But in his world, the guy is fucking Rocky.
By a total coincidence, Pumping Iron arrived in my mailbox at the same time, thanks to the magic of Netflix. I saw this years ago, I think when I was a freshman in high school. For whatever reason, I thought about catching up with it again and randomly tossed it in my queue. Boy howdy, am I glad I did.
This is 1977 doc about the world of professional body-building. It stars a 28-year-old Arnold Schwartzenegger. He's the undefeated champion. The doc tracks Arnold's defense of his title.
Pumping Iron is stunning to watch, mostly because the whole time I was watching, I couldn't shake the thought: "This man is my governor." It's back when Arnold's young and hasn't yet developed a PR filter. He has a monologue in which he describes why he loves bodybuilding: it makes him feel like he cumming all the time. "Like when you're with a woman... I'm cumming all day, I'm cumming all night." Arnold says he first got into bodybuilding back in Austria because he would "look at dictators... great men who would be remembered for hundreds of years..." and he wanted that. He comes right out and talks about how he fucks with the other contestants' heads to get an edge.
He's the arrogant, power-entrenched guy who wins every year. Arnold Schwartzenegger is the Billy Mitchell of Pumping Iron.
The scrappy underdog is Lou "Louie" Ferrigno. He trains in a basement in the Bronx. His dad quits the police force to become his son's trainer, manager and coach. They talk about Louie overcoming his hearing disabilities. Like Steve Wiebe, he's a slightly-damaged guy with a big dream. Also like Steve Wiebe, he's a little better and stronger than Arnold.
But, in this movie, that bad guy wins. Arnold wins yet again, and retires from professional bodybuilding on camera. Louie takes third. He's visibly heart-broken.
Even though Louie's bigger, Arnold gets under his skin. And he's clearly the better showman. He says in an interview that he "has no weak points. I had weak points two years ago, but I got rid of them." That may sound like arrogant posturing but, when you actually watch him in action, Arnold dominates the stage. His body's huge and defined, his poses heroic. Arnold even has a signature move: he stops to stroke his chin every once in a while, as if casually contemplating his next pose. Then he smiles -- that's a good one -- and throws it up. Arnold makes it look easy and fun, while the other guys nervously go through the motions. They've spent so much time in the gym that they're uncomfortable outside that little world, in front of people. They might be huge, but they're struggling with stage fright. Arnold never has that problem.
It's not just show. Arnold talks about the pain barrier you have to get through. He says he can't remember how many times he's vomited while lifting weights because of the strain. He tells the story of how he missed his father's funeral because going would have put negative thoughts in his head, with a competition coming up. This is a guy who has the goods -- the drive to succeed and win beyond what almost all of his competition. He wins because he gives up everything else in his life to make it happen. It's a philosophy very close to Hagakure.
The Arnold/Louie A-story is mirrored in a subplot among the amateur bodybuilders. We meet a guy named Mike Katz, who seems like a real contender. He's huge, and the crowd loves him. His main competition is a guy named Ken Waller. Before the match (or whatever you call these things), Ken jokes about how he's going to steal Mike Katz's t-shirt to fuck with his head. And he does. The camera crew follows Mike Katz around as he searches for his "lost" shirt. A minute later, we get the rankings: Ken Waller is first, Mike Katz trails in fourth.
It shows that bodybuilding is as much about the mental game as it is the physical. And it shows how the alpha males like Ken and Arnold get an edge on their competition by playing the mental game. In the course of the doc, it became clear that a lot of these guys are, despite their size and strength, very insecure. Some of them are making up now for inadequate feelings from their youth. And the Arnold Schwartzeneggers of the world smell that internal weakness and move in for the kill.
I remember when I was a really young kid and Conan the Barbarian first came out. This movie would go on to shape a lot of my creative life. At the time, though, I recall some attention on Arnold because of his bodybuilding wins. It was treated to a degree like stunt casting, kinda like when a pro wrestler scores a role these days.
Pumping Iron captures that tiny slice of time between his stardom in the microscopic world of exercise magazines and bodybuilding competitions, and his stardom as one of the biggest A-list stars in history, and eventual move into politics.
Now, juxtapose these two true stories with a fictitious: Rocky III, a movie I love. In this film, it's Rocky who's surrounded by a media circus while he trains. He's the entrenched power, the face on the magazines. The training sequence cuts against scenes of Clubber Lang, keepin' it real while he sweats in his basement, driving himself to be harder and better. When Clubber beats Rocky, you're thinking of course -- one guy's focused, the other guy's goofying off and acting like a rock star. When Rocky goes back to the hood and gets down and dirty, he gets his shit back together and wins.
In Pumping Iron, we get an almost-identical sequence. Louie and his dad screaming and grunting in this shabby little basement gym, while Schwartzenegger poses for magazine covers and does push-ups with giggling blondes riding on his back. But Arnold wins. And goes on to become a major movie star and governor of California, while Lou Ferrigno goes on to star in The Hulk on TV in the '70s, and now signs autographs at Comic-Con.
And another identical sequence in King of Kong. Steve plays in his garage, while Billy poses for pictures. Billy kinda wins in a way, but the movie definitely gives Steve his own win by the end of the film.
Is there a through-line? Is there a message? Or are these different plays on a central dramatic device?
Both of these docs are fascinating enough that I could write about them all night. But I'm not... I have to get home and work on my own training sequence.
I caught The King of Kong: A Fistful of Quarters. It's a documentary about a guy named Steve Wiebe. He gets laid off. To kill all the extra time, he starts playing the Donkey Kong machine in his garage. Whaddaya know, the kid's a prodigy. He beats the all-time high score set by Billy Mitchell in 1982. But Billy's been around for so long, his reputation and score are considered unassailable. Twin Galaxies, the organization that judges classic arcade game competition, throws out Wiebe's high score because it was proven via videotape, using a machine with what they consider to be a murky pedigree. Undaunted, Steve travels to Florida -- Billy Mitchell's back yard -- to take him on in a public showdown.
This doc is nothing short of phenomenal. I can't even begin to describe how wonderful and entertaining this movie is. At first, I was totally behind Billy Mitchell, this arrogant, over-the-top dude who has spent his entire adult life as the alpha male of this very tiny, very specific community of competitive classic arcade game players.
But, beat-by-beat, you fall in love with Steve Wiebe. He walks around all the time with a slightly befuddled look, like the world's told a joke he doesn't quite get. He's described as a guy who has terrible luck, who's kinda failed at a lot of stuff in life, but he's extremely focused and detail-oriented. They almost intimate that he might have a touch of Asperger's Syndrome, a condition I only know about because I subscribe to Wired.
Steve is the classic underdog, struggling against Billy Mitchell and his entrenched gang of hangers-on and yes-men. While Billy's getting his picture taken and acting as the spokesperson of competitive video gaming, Steve is just this dude sitting his his garage... who happens to be the better player.
Steve is a man with a good heart. He's surrounded by people who love him. He appeals to that Capraesque desire most people have to believe that, if you play by the rules, do your best and be a good person, no matter what the world throws at you, you'll still get a shot a coming out on top in the end. Steve undenyable ability is one thing. It's only when the talent is paired with his inherent goodness that Steve finally begins to sway the Twin Galaxies crew.
Director Seth Gordon is fucking INCREDIBLE. It's stunning, the shit he gets. Above all, he's a gifted editor. There are montage sequences in this picture that are jaw-dropping in their skill and power. This is FILMMAKING. I've often thought doc is where you go for some of the best editing in the world. In doc, you can't write what the characters are going to say. You have create what you need the audience to know via found words and images. I know I sound like I'm drifting into hyperbole. So be it: I was literally awe-struck by some of the shit I saw in this movie.
I laughed until I was in pain, and choked up a bit at the end. This flick is proof you can find some of the most powerful messages in the smallest of stories. To the world at large, Steve Wiebe is the subject of a brief human interest puff piece on the local news. But in his world, the guy is fucking Rocky.
By a total coincidence, Pumping Iron arrived in my mailbox at the same time, thanks to the magic of Netflix. I saw this years ago, I think when I was a freshman in high school. For whatever reason, I thought about catching up with it again and randomly tossed it in my queue. Boy howdy, am I glad I did.
This is 1977 doc about the world of professional body-building. It stars a 28-year-old Arnold Schwartzenegger. He's the undefeated champion. The doc tracks Arnold's defense of his title.
Pumping Iron is stunning to watch, mostly because the whole time I was watching, I couldn't shake the thought: "This man is my governor." It's back when Arnold's young and hasn't yet developed a PR filter. He has a monologue in which he describes why he loves bodybuilding: it makes him feel like he cumming all the time. "Like when you're with a woman... I'm cumming all day, I'm cumming all night." Arnold says he first got into bodybuilding back in Austria because he would "look at dictators... great men who would be remembered for hundreds of years..." and he wanted that. He comes right out and talks about how he fucks with the other contestants' heads to get an edge.
He's the arrogant, power-entrenched guy who wins every year. Arnold Schwartzenegger is the Billy Mitchell of Pumping Iron.
The scrappy underdog is Lou "Louie" Ferrigno. He trains in a basement in the Bronx. His dad quits the police force to become his son's trainer, manager and coach. They talk about Louie overcoming his hearing disabilities. Like Steve Wiebe, he's a slightly-damaged guy with a big dream. Also like Steve Wiebe, he's a little better and stronger than Arnold.
But, in this movie, that bad guy wins. Arnold wins yet again, and retires from professional bodybuilding on camera. Louie takes third. He's visibly heart-broken.
Even though Louie's bigger, Arnold gets under his skin. And he's clearly the better showman. He says in an interview that he "has no weak points. I had weak points two years ago, but I got rid of them." That may sound like arrogant posturing but, when you actually watch him in action, Arnold dominates the stage. His body's huge and defined, his poses heroic. Arnold even has a signature move: he stops to stroke his chin every once in a while, as if casually contemplating his next pose. Then he smiles -- that's a good one -- and throws it up. Arnold makes it look easy and fun, while the other guys nervously go through the motions. They've spent so much time in the gym that they're uncomfortable outside that little world, in front of people. They might be huge, but they're struggling with stage fright. Arnold never has that problem.
It's not just show. Arnold talks about the pain barrier you have to get through. He says he can't remember how many times he's vomited while lifting weights because of the strain. He tells the story of how he missed his father's funeral because going would have put negative thoughts in his head, with a competition coming up. This is a guy who has the goods -- the drive to succeed and win beyond what almost all of his competition. He wins because he gives up everything else in his life to make it happen. It's a philosophy very close to Hagakure.
The Arnold/Louie A-story is mirrored in a subplot among the amateur bodybuilders. We meet a guy named Mike Katz, who seems like a real contender. He's huge, and the crowd loves him. His main competition is a guy named Ken Waller. Before the match (or whatever you call these things), Ken jokes about how he's going to steal Mike Katz's t-shirt to fuck with his head. And he does. The camera crew follows Mike Katz around as he searches for his "lost" shirt. A minute later, we get the rankings: Ken Waller is first, Mike Katz trails in fourth.
It shows that bodybuilding is as much about the mental game as it is the physical. And it shows how the alpha males like Ken and Arnold get an edge on their competition by playing the mental game. In the course of the doc, it became clear that a lot of these guys are, despite their size and strength, very insecure. Some of them are making up now for inadequate feelings from their youth. And the Arnold Schwartzeneggers of the world smell that internal weakness and move in for the kill.
I remember when I was a really young kid and Conan the Barbarian first came out. This movie would go on to shape a lot of my creative life. At the time, though, I recall some attention on Arnold because of his bodybuilding wins. It was treated to a degree like stunt casting, kinda like when a pro wrestler scores a role these days.
Pumping Iron captures that tiny slice of time between his stardom in the microscopic world of exercise magazines and bodybuilding competitions, and his stardom as one of the biggest A-list stars in history, and eventual move into politics.
Now, juxtapose these two true stories with a fictitious: Rocky III, a movie I love. In this film, it's Rocky who's surrounded by a media circus while he trains. He's the entrenched power, the face on the magazines. The training sequence cuts against scenes of Clubber Lang, keepin' it real while he sweats in his basement, driving himself to be harder and better. When Clubber beats Rocky, you're thinking of course -- one guy's focused, the other guy's goofying off and acting like a rock star. When Rocky goes back to the hood and gets down and dirty, he gets his shit back together and wins.
In Pumping Iron, we get an almost-identical sequence. Louie and his dad screaming and grunting in this shabby little basement gym, while Schwartzenegger poses for magazine covers and does push-ups with giggling blondes riding on his back. But Arnold wins. And goes on to become a major movie star and governor of California, while Lou Ferrigno goes on to star in The Hulk on TV in the '70s, and now signs autographs at Comic-Con.
And another identical sequence in King of Kong. Steve plays in his garage, while Billy poses for pictures. Billy kinda wins in a way, but the movie definitely gives Steve his own win by the end of the film.
Is there a through-line? Is there a message? Or are these different plays on a central dramatic device?
Both of these docs are fascinating enough that I could write about them all night. But I'm not... I have to get home and work on my own training sequence.
World Zombie Day
It was only a matter of time...
According to this article at Dread Central, October 26 is the official World Zombie Day.
The main celebration involves over a thousand people doing a zombie walk. If that's not awesome, I don't know what the fuck is.
Add this to Ninja Day on Dec 5th, Halloween and that whole Thanksgiving thing, and the autumn becomes that much more awesome.
Good job, autumn!
According to this article at Dread Central, October 26 is the official World Zombie Day.
The main celebration involves over a thousand people doing a zombie walk. If that's not awesome, I don't know what the fuck is.
Add this to Ninja Day on Dec 5th, Halloween and that whole Thanksgiving thing, and the autumn becomes that much more awesome.
Good job, autumn!
Friday, February 1, 2008
I BELIEVE THIS IS TRUE (Part Three)
And now, for the thrilling conclusion of I BELIEVE THIS TO BE TRUE.
She repeats some stuff, but takes everything to a whole new level that's almost -- dare I say it? -- reminiscent of some Robert E. Howard stories. Though Howard never had Kull get rhinoplasty in Atlantis.
I Dreamt of the Divorce the night before it Happened. It was on the front page news. I told me flatmates, that Tom + Nicole would divorce today, and they commented as usual “you and you’re” dreams. But it did happen, and I had a newspaper thrown into my lap at the coffee shop, with the front cover displaying the “Divorce”. It was true. I was so happy, I called my sister in Cairns, Nth QLD, and said I told you so, for 6 months, when I was living in Cairns, I was dreaming of Tom + Nicole nearly everynite, in A Divorce. I was a CLAIRVOYANT.
Penelope came into the picture and that was it. I let go. Had to. It was another karmic experience. I just had to be patient with the lot.
I was living in a small unit, when I began to have more visions throughout 2001, about Tom. Also I knew those Black glasses he wore so often, not on the outside, were torn off him by some spiritual force. It Broke the Spell, my Handshake, over his subconscious. He was under Nicole’s Evil Eye and terribly subdued in that 10 year marriage to stay trapped and in love with Her. He never loved her, he loved somebody else and Nicole has never come to terms with it. Her twin, a past life, too late to look back.
I spent a lot of time alone, and would sing my favourite song “One Day I’ll fly Away” and also I would sing Children of the Revolution. [Here, she crosses out “When Moulin Rouge was being filmed in Sydney.”] When Moulin Rouge came out, those 2 songs were on the Soundtrack, and I was awestruck. It was clearly some thought transference while we were both in Sydney, she filming, me Dreaming of seeing Tom, for real, Again.
I Believe Now, Fully that our lives were switched. Our D.N.A. interchanged. I’ve had visions of past life recalls of me and Tom in Atlantis and Nicole involved in some wicked cruelty, MAGIC of a socerer’s kind. I saw Tom being damaged, tied to a table, his nose was being changed, hooked with instruments, and I too, was being changed, with utensils, metal things. My nose was pulled wide apart and my teeth were made, crooked and stuck on top of each other. It was a most hideous vision. I dreamt our D.N.A. was tampered with, by powerful BLACK MAGICIANS in ATLANTIS and of which one, was NICOLE KIDMAN.
Her Eyes Scare me. Eyes wide open, in search of real Evil to do. She isn’t a Human Soul in my eyes, she’s a girl with serious bad intentions to myself and to Tom. I don’t trust her, I never will. It’s all too uncanny and perfect. She stole Tom’s money in that Alimony suit, and I’ve a right mind, to sue her for “witchcraft” so has Tom, but only in PARIS. I wonder would they stand for it. I truly wonder, when I see her sad, in the papers, on T.V. is she really Happy she got all the money, or Tom”. All that power is Hypnosis and a very Dark myth, called the “wicked old witch”.
Tom Cruise in production 2002 “I married a witch”
Nicole Kidman in production 2004 “Bewitched”
THE WORD CHANCE IS DEVOID OF MEANING.
“VOLTAIRE”
life is myth. myth is reality.
[She signs the letter with her first name, mobile phone number and city]
She repeats some stuff, but takes everything to a whole new level that's almost -- dare I say it? -- reminiscent of some Robert E. Howard stories. Though Howard never had Kull get rhinoplasty in Atlantis.
I Dreamt of the Divorce the night before it Happened. It was on the front page news. I told me flatmates, that Tom + Nicole would divorce today, and they commented as usual “you and you’re” dreams. But it did happen, and I had a newspaper thrown into my lap at the coffee shop, with the front cover displaying the “Divorce”. It was true. I was so happy, I called my sister in Cairns, Nth QLD, and said I told you so, for 6 months, when I was living in Cairns, I was dreaming of Tom + Nicole nearly everynite, in A Divorce. I was a CLAIRVOYANT.
Penelope came into the picture and that was it. I let go. Had to. It was another karmic experience. I just had to be patient with the lot.
I was living in a small unit, when I began to have more visions throughout 2001, about Tom. Also I knew those Black glasses he wore so often, not on the outside, were torn off him by some spiritual force. It Broke the Spell, my Handshake, over his subconscious. He was under Nicole’s Evil Eye and terribly subdued in that 10 year marriage to stay trapped and in love with Her. He never loved her, he loved somebody else and Nicole has never come to terms with it. Her twin, a past life, too late to look back.
I spent a lot of time alone, and would sing my favourite song “One Day I’ll fly Away” and also I would sing Children of the Revolution. [Here, she crosses out “When Moulin Rouge was being filmed in Sydney.”] When Moulin Rouge came out, those 2 songs were on the Soundtrack, and I was awestruck. It was clearly some thought transference while we were both in Sydney, she filming, me Dreaming of seeing Tom, for real, Again.
I Believe Now, Fully that our lives were switched. Our D.N.A. interchanged. I’ve had visions of past life recalls of me and Tom in Atlantis and Nicole involved in some wicked cruelty, MAGIC of a socerer’s kind. I saw Tom being damaged, tied to a table, his nose was being changed, hooked with instruments, and I too, was being changed, with utensils, metal things. My nose was pulled wide apart and my teeth were made, crooked and stuck on top of each other. It was a most hideous vision. I dreamt our D.N.A. was tampered with, by powerful BLACK MAGICIANS in ATLANTIS and of which one, was NICOLE KIDMAN.
Her Eyes Scare me. Eyes wide open, in search of real Evil to do. She isn’t a Human Soul in my eyes, she’s a girl with serious bad intentions to myself and to Tom. I don’t trust her, I never will. It’s all too uncanny and perfect. She stole Tom’s money in that Alimony suit, and I’ve a right mind, to sue her for “witchcraft” so has Tom, but only in PARIS. I wonder would they stand for it. I truly wonder, when I see her sad, in the papers, on T.V. is she really Happy she got all the money, or Tom”. All that power is Hypnosis and a very Dark myth, called the “wicked old witch”.
Tom Cruise in production 2002 “I married a witch”
Nicole Kidman in production 2004 “Bewitched”
THE WORD CHANCE IS DEVOID OF MEANING.
“VOLTAIRE”
life is myth. myth is reality.
[She signs the letter with her first name, mobile phone number and city]
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