Slow West (2015)

Slow West (2015)This is one of those films that only come to town thanks to my local independent cinema which I have sadly and admittedly have under-used, Thankfully The Phoenix in Leicester gave me that opportunity to catch Slow West (2015). I am indeed being treated to a few westerns this year, whatever form they care to come in. Much like the previous The Salvation (2014) is European in tone, well more so the latter really. In terms of tone, Slow West has more in common with offbeat westerns made in Hollywood, the only one I can think of in The Missouri Breaks (1976) which I am still very unsure about. Maybe because it is played more for laughs before you get those twist that leave you in the cold.

Anyway coming to date here we have a splendid little film where not a lot really happens from the moment that young Jay Cavendish (Kodi Smit-McPhee) is bribed into being escorted by man of the west Silas Selleck (Michael Fassbender who also narrates) across the open country. We soon learn the motivation behind this gesture. As Jay is in search of his sweetheart who moved out to America, whilst not aware of her background as an outlaw who has escaped with her father in hopes of an easier life.

With the premise in place we set out, that’s not after the first draw of the guns which end quite surprisingly really. The language of the Western has been simplified and amplifying that fact to great effect. It’s having fun as this love-struck young man makes his way across dangerous open country. Getting himself in situations and growing up, making his first kill (not saying we should all do that). It’s full of surprises, taking heavily from the Coen Brothers style of twisting the plot at times to keep you on your toes. There was very little in the way of twists in their western True Grit (2010) finding more in common with Millers Crossing (1990). It is more authentic whilst also taking licence to be unique, as we meet Silas’s old gang lead by Payne (Ben Mendelsohn) who plays a very much larger than life gunfighter who plays is cool, trying to get Silas to once more ride with him as they are both after the same bounty. 

I’m also reminded of Clint Eastwood‘s nameless bounty hunter from the dollars trilogy, single-minded, out for himself and taking advantage of the situation at hand. I don’t think that Fassbender is doing this intentionally as he does grow to love the young man, developing a mutual respect for each other. You could say the events make no sense as one random thing moves the film forward or gives it a jolt in the arm. Things literally do come out of nowhere, making it’s a refreshing film to watch, not just as western but something that really does make you sit up and think “what just happened?”

It also comments of the aborignals if only briefly in prophetic form via Werner (Andrew Robertt) a travelling author who is documenting the Native American’s demise. Slow West is commenting on the genre and Anericas past without being giving us a lecture about it. Even when we see them they are treated with respect, yet they are still faceless and nameless bar one. 

Technically it’s unique, shot in an old screen ratio of 1.66:1 that really makes this something special to watch, not your stand 16:9 ratio, everything is carefully composed in this more confined space, pieces do fall out, yet it’s more intimate to watch in this format. Cinematographically there are some great compositions, especially at the end during the gunfight, making use of the landscape to really enhance the gunfight. All this before ending on a bombshell of sorts, here we don’t have that happy ending that we would have from Hollywood, as they embrace. Instead it more realistic, not in the face of our expectations for them to ride off into the sunset. Making this refreshing to watch and enjoy, a shot in the arm once more for a genre as one review (paraphrasing) says it not quite up there in boot hill just yet which is reassuring to know as new ways are found to keep it alive.

London Trip (4/7/15) Part 3

The third and final highlight of the day was unexpected really as I thought I had missed the show as we moved around London. Making our way to Islington to see work at the Parasol Unit, which is next door to the Victoria Miro Gallery where I found 10 bronze by Conrad Shawcross part of his show Inverted Spires and Descendent Folds, steel and mirror sculptures that were made as maquettes for larger pieces. Which as you can see are pieces in their own right.

Some of the pieces are asking to be explored more, as the defy gravity to stand upright. I really want to see them as finished large-scale sculptures now. It’s good to know that any part of an artist’s practice can be exhibited, not just traditional sketches from living practicing artists.

London Trip (4/7/15) Part 2

The next artist to inspire me today is Edwin Zwakman whose show is at Gimpel Fils I was really excited to see his installations after looking at the website. Sadly there was only one here which was more than worth it. Zwakman is a photographic artist who creates the illusion of something bigger using miniatures, with just enough detail to suspend your disbelief. Along the same lines as myself in terms of detail to an extent. I enjoyed his playful photographs, however it was the installation at the entrance that had my attention really.

The reduction in scale of the environment really grabbed my imagination, I was reminded of the cramped office in Being John Malkovich (1999) which I now have a better experience of today. The fact that you can see more of the environment than usual when it has been reduced into this confined form, makes you think of the world around you and how cramped we really are.

London Trip (4/7/15) Part1

It’s been a few months since my last gallery gorge so I’ve headed back down to London, and taken my sister around some galleries to see what’s on offer and hoping to find some work that will inform my practice. I didn’t have to wait long coming to my first of the day at the Alan Cristea Gallery which was exhibiting the last few years body of work by Julian Opie: Editions 2012 – 2015. Now I wasn’t really expecting to find any inspiration from this Y.B.A. whose work is completely different to my own. However with all the Lenticular acrylic panels (flat holograms) I was met by a piece in the next room Walking in the City (2013) a line of individual sculptures which are figures on their daily commute, classical in design and very much Opie’s style.

The way they inform my work is an idea for a western that will be truly my own, and this could be a way of representing the characters within that world. There may be multiples to suggest movement if I go down the animation route, the design is also very simple and stylized which does conform with my of visual style and code which could be adapted or inspire something new.

The Deadly Companions (1961)

The Deadly Companions (1961)Another Sam Peckinpah film in as many days, and one I was unaware that even existed, being a much earlier film in his back – catalogue of work. Probably made with more studio control, yet The Deadly Companions (1961) does have some of the hallmarks of his later work. I do feel it’s slightly more successful than his next film Major Dundee (1962), but that’s for another review.

Focusing on his debut film he has pulled together an interesting cast, with Maureen O’Hara who became synonymous with the Westerns, a woman who could easily stand up to men, one that even earned the admiration of John Wayne on and off-screen. It is also her Irish roots that makes her come across as someone not to cross. However I feel she was mis-cast in the role of dancer Kit Tildon who is  a social outcast, shunned by the other women in her town. Mirroring Claire Trevor‘s Dallas in Stagecoach (1939) a prostitute just trying to make a living, whilst also aspiring to be more. I feel age is the real factor as O’Hara  is clearly not in her 20s or 30’s who has a son of ten.

Looking at the rest of the cast we have recurring actor Chill Wills and Strother Martin who are strong and defined character actors in the genre. Also surprisingly for me as I have never seen Brian Keith  in a leading role delivers a strong performance, here as known simply by the name of Yellowleg after saving the life of confederate runaway Turk (Wills) and Billy Keplinger (Steve Cochran). Together they are an odd group, lead by the ex Union soldier (Kieth) who we are left puzzled by. Barking orders at everyone, joining these two men as they ride out to rob a bank. Always keeping his hat on, even in spite of the Parson (Martin), leaving us to wonder what is under there. It’s believed that he has been scalped during the war, and doesn’t want to show his scar. We fear him and don’t trust the man yet are intrigued as to his motivations as much as Turk and Billy are. 

On meeting Kit’s son Mead Tildon Jr. (Billy Vaughan) we believe that he maybe the father although this is never really made clear to us even as the film progress, and probably why its a much forgotten film of Peckinpah, because of the plot holes that leave is wondering what is his connection. We also learn that Yellowleg has been wounded by a bullet in the shoulder that effects his aim with a gun which sadly takes the life of Tildon Jr. filling him with guilt and a need to right his wrong towards the grieving mother (who should really have been played by someone younger, or cast an older son).

It’s the sense of guilt and obligation that comes with the guilt in hopes of redeeming Yellowleg in order to move on. To have that forgiveness from a social outcast who has been terribly wronged. He wants to escort Kit to the burial place of the son’s father, her husband that now lies within Apache territory, something that she is willing to do alone, probably why O’Hara was chosen for the role, her stubbornness and strength of character over the other aspects of the role. Heading off alone she is soon followed by Yellowleg and his two friends (I say that lightly) who are ordered as if they are in the military, They are more bothered about robbing a bank thank riding with him, They are seen was his troops or back-up that are obligated by association alone to follow him. Turk strangely has dreams of rejoining the Confederate army, carrying an officers cap with him which begins to consume him as the film progresses.

Where the film starts to fall down in the love interest that develops it doesn’t feel natural for Peckinpah to have that in his films. Of course having the only woman and lead actor pair-up is natural for films of that era, there are worse on-screen pairings. It’s the outsider element which draws them together, however it does detract from what the characters have, that dynamic of a mothers child killer escorting her to his final resting place, whilst also having his own demons. Also the added element of the Apaches is very unique and not really explored in great detail. They are seen as unhinged, effected by the western society as they play around with a stagecoach they have previously stolen.

On the face of it The Deadly Companions does have strong themes which seem to be lost along the way, with interesting casting that really doesn’t help the film. Still this is a debut film and very much not in the same vein as most Westerns of the day. No killer would be seen to wear his guilt on his sleeve as openly as Yellowleg who coming from civilised society maybe bring that sensibility with him to the west.

The Wild Bunch (1969) Revisited

The Wild Bunch (1969)Yet another western I have been meaning to revisit in order to better understand. My first reading of the film was completely off, as I realised after listening to a lecture from Richard Slotkin, now I really do have a far better understanding of The Wild Bunch (1969) which does indeed overshadow the rest of Sam Peckinpahwork, when he has so much more to offer to cinema. Instead of going over the plot I want to more analyse the film interns of how I read it, looking at certain elements and quotes which really do stand out for me, which probably shows why it stands out more so than others. It’s not just the violence that he wanted to amplify to the audience, Peckinpah, hated violence (not that you’d know it from his films) almost glorifying it, yet this has a knock on effect as we see the action, the deaths, the falls shot in slow-motions, we are forced to look at the image for longer, it’s a form of torture, you want violence, here it is, in all of its bloody form, you look on staring at this beautiful image not really comprehending that you are seeing someone die before your eyes. At full speed and on the streets we don’t have that luxury, our memory replays the moments of real-violence in real-time, or sped up we have no time to really process what has happened until it’s over in a flash. Peckinpah stretches those moments to allow us to process, to understand and if we want…enjoy the brutality.

With the more obvious element that stays with you long after the credits have rolled I want to focus on the Wild Bunch themselves, who in history were really Butch Cassidy and The Sundance Kid and their gang. Taking the title and placing it on to an equally dangerous group of men, lead by Pike Bishop (William Holden) and his right hand man Dutch Engstrom (Ernest Borgnine), playing old men who lead a bunch of gunfighter’s who we meet in the close of their era and the death of the West. Their time is almost up and they know it. Hoping that they will be carrying out no more jobs after the bank-robbery, which leads me onto my first quote which struck me.

 If they move, kill ’em! – Pike Bishop

To be honest Pike delivers most  of these lines, this one is lead with such military precision, there is no thought for the casualties. Those held up in the bank are collateral damage they just don’t matter in the mission, get the money and go. Its cold blooded. Yet we spend most of our time with these men, much like most westerns, focusing on the heroes, these are reversed, leading us to believe the heroes lead by Deke Thornton (Robert Ryan) who was once a member of this gang, given a chance to redeem himself. He is the anti-hero (of sorts) that are ordered to lead a gang of misfits, the scum of the earth in search of the wild bunch. Thornton has his own lines which such as

We’re after men. And I wish to God I was with them. – Thornton

Theres a yearning to even for him for the old days, for the male companionship he no longer has, surrounded by idiots who can’t even shoot the right men. Yet they are his only hope of ensuring his freedom which is in the hands of a railway man. He wants to feel alive, to be a man, to have some honour again.

I found that over the course of the film it wasn’t just a swan-song to the classics of the genre, such as John Ford’s, Hathaway’s, and Hawks etc that focus on the hero of the hour, there are no heroes here, their words and ideas are flawed, not those of men with honour that you would look up to. An argument between Pike and Dutch about a man’s words is a great example of this moral western that takes the violence by the throat and shakes it up.

What would you do in his place? He gave his word – Pike

He gave his word to a railroad. – Engstrom

It’s his word. – Pike

That ain’t what counts! It’s who you give it *to*! – Engstrong

The idea of a man’s word is a powerful masculine idea, a man’s word is worth more than a signature on a legal document to some people. It’s on the same level as the strength of a man’s hand-shake, a judgement I use myself, it’s a greeting with a stranger, or a positive start to an interview etc. A man’s word is a step further, a promise that binds two men together intrinsically. What’s being discussed here is who Thornton gives his word to, the enemy that is the railroad man (HarriganAlbert Dekker who employs him, making him a traitor to Dutch who was like a brother to Thornton, this is a betrayal much like a partner having an affair and living with them. You could say; sleeping with the enemy. Where it becomes blurry is Pike arguing the point of the fact he still gave his word, it doesn’t matter who to, he;s accepted that he has changed sides and has to live with that, respecting him. Giving your word and keeping it shows the sign of a strong man. 

Another quote to look at is

(talking about the railroad) There was a man named Harrigan. Used to have a way of doin’ things. I made him change his ways. A hell of a lot of people, Dutch, just can’t stand to be wrong. – Pike  

Pride. – Dutch 

And they can’t forget it… that pride… being wrong. Or learn by it – Pike

How ’bout us, Pike? You reckon we learned – vein’ wrong, today? – Dutch

I sure hope to God we did. – Pike

The glory days of their ability to strike fear into people, forcing them to change, to act fast. They are glorifying themselves as being almost gods, people to fear. Harrigan has become a man to fear as he has finally come after him, taking the law into his own hands, that at the start of the film caused countless innocent victims to be shot in cross-fire. Pike and Dutch are also reminiscing of better times, the height of the gunfighter that they were a part of it is no longer there. They encounter the latest vehicles that even out-mode the horse, a form of transport they have come to rely on and is synonymous with the western. Ironically used to kill Cable Hogue (Jason Robards) in The Ballad of Cable Hogue (1970) the good old days are over.

I want to touch one other aspect that is the US Army that is never portrayed in a positive light throughout the film. Traditionally the cavalry are seen as the trooping the colours, riding in, sounding their bugles before quelling and pacifying the enemy in no time. Peckinpah portrays them as incompetent, even the main men think little of them. This could easily reflect Peckinpah’s and many other liberal directors who wanted to hit out at the Vietnam War, a divisive war, reflected into the countries own domestic past we see a different army that is unable to get up and react to weapons being stolen from under their noses. An embarrassment for any army, filled with raw recruits unaware of what they have to do.

It may have took a few attempts to really understand The Wild Bunch  for me is a morality western, a Neo-wWestern if you want to be picky as its questions the genre and the countries past, taking it and reforming it to be viewed by an audience who is drawn by violence and the legend that has blurred the countries past, the two myth and fact are intertwined, only those who study American history (before 1900) really know what happened. I am slowly seeing the connections and the differences between fact and film fiction. I can see why this film overshadows the rest, the characters are painted on a wider canvas, morality is blurred and the violence is heightened. It’s a sweeping western that doesn’t even show a Native American, replaced with the Mexican Army who are more intelligently depicted than before, they are not just drunk gringos who sleep out in the afternoon sun with a sombreo covering their faces. They are fully formed people, which is something we don’t get from the Natives. The main cast is filled with actors who have hugely played the good-guys in westerns, here playing cold killers who have their own moral code that if you think about it would frighten you. Should we really listen to what these cowboy role models oft he silver screen have told us?


Nightcrawler (2014)

Nightcrawler (2014)Another film I have been meaning to catch for some time, after seeing Enemy (2013) a few weeks back I was spurred onto catch Nightcrawler (2014) a sure sign that Jake Gyllenhaal is hitting a stride of successful films, much like Matthew McConaugheywho knows it could be Gyllenhaal picking up a heap of trophies soon or is he just laying the groundwork for greater things to come. I was advised to watch Nightcrawler when it was dark, which is harder this time of year with the shorter nights I decided to just go for it. The whole atmosphere of this film makes things darker without the need of even drawing the curtains. The moment that you see Lou Bloom (Gyllenhaal) an unemployed internet educated loner tries to get a job, using unconventional methods that just alienates prospective employers.

He’s a creepy pasty looking guy who is driven to get a job, a head filled with business jargon. Not a guy you want to meet in the office and stuck in a conversation with. After a few failed job interviews (if you can call them that) more like sales pitches, finds his calling on the dark streets on L.A. when he sees a car crash being filmed by amateurs, known as nightcrawler’s, feeding on the suffering of the victims. He’s find his calling (if you can call it that) begins what is disturbing yet compelling film. Scoring his first scoop and selling to a local news station for the night-shift lead by Nina Romina (Rene Russo) who is grateful for the footage that is raw, unpolished. Even more scary is that Bloom shows potential which she encourages. Herself a rating hungry, a reflection of the modern media hungry for anything that grabs their audience’s attention. 

You could say Nightcrawler is a culmination a few a films film, or an extension of them. Going back as early as Peeping Tom (1960) that sees a wanna be film-maker taking the art of film to levels of voyeurism we had not seen on-screen. The desire to see raw emotion, to see the power of danger and the moment of death in the eyes of the victim. Moving forward we have both Network and Taxi Driver (both 1976) which have their influences. It took me a while to really see the connection between Lou Bloom and Travis Bickle (Robert De Niro) who travelled the streets of New York at night. However his aims were more honourable, to save those who had fallen into a world of despair, trapped you could say. He was an outsider who wasn’t really able to have a proper relationship, much like Bloom I don’t really see this as an extension, more a strange coincidence between both films. Moving onto Network the news station that is hungry for ratings, driven by a career hungry Diana Christensen (Faye Dunaway) now in the form of Romina who is at an equally struggling station, much more prophetic than Nightcrawler which reflects those ideas back in the 1970’s.

Moving away from the comparisons to the more technical aspects of the film, it’s visually a very striking film with the contrast cranked up reflecting the intensity of the film’s content. A fast-moving soundtrack to match how fast the amateur film-maker is improving, the lengths he goes to in order to get the best footage. With the aid of intern Rick (Riz Ahmed) the audiences way into the film and able to question Blooms motives and drives. Like many of us he’s also been out of a job needing something, anything to get him back on his feet. Able to maintain some level of morality which becomes blurred over the course of the film, when the drives of money, ratings and success. Something that really attracts Bloom as he gets better and better, using his police scanner and Rick on the sat-nab he’s on the tail on incidents that affect the white middle class, striking fear into the audience. Its something that is not immune to American audiences, I have seen myself people slowing down on roads to get a glimpse of traffic accidents, to see the damage, hopefully see some blood, cinema is no longer able to compete with this lust for danger that TV news can cater to, if you go for the lowest common denominator.

All this comes to a climax when Bloom gets to a shooting in an affluent borough, entering the house to capture all the gruesome detail. He crosses the line between us and the police, seeing what the public only imagine. Usually our imaginations are left to run wild. That no longer happened the footage is slightly pixellated and transmitted. Also crossing the line between news coverage and withholding evidence from the police, We know we shouldn’t cross into a crime-scene, Bloom allows us to do just that, like a video game brought to our screens. The line between reality is being blurred, no longer are we kept behind the police tape, we can breakthrough that to see all the gruesome detail we are hungry to see.

It’s an incredible film in terms of the lengths that the characters go to, none of them get away scot-free from the world of sleazy journalism is brought to life here. My experience of American news is pretty slim, I’m reminded of the poor coverage of Fox News when their expert of Muslims believed that there were no go areas for non-Muslims in Birmingham, all nonsense, but enough to engage the audience, playing their primal fears, getting them hooked and ultimately boost their ratings. Here we see the other side of the news world, as it gathers local stories, satirised by Anchorman 2: The Legend Continues (2013) that saw car crashes becoming leading stories. All part of cinemas comment of news media today. I was left shocked at what I had seen as it goes steadily worse, I was more gripped. Was I being pulled into that world, wanting to see the events unfold hungry for the story to appear on the news? I really don’t know and that what makes this film so compelling, the characters mostly immoral which allow us to question them and our own desire for stories, are we as desperate those in the media for stories or are we just programmed in a way now that want them, like a baby wants feeding?

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Meeting P.T. Anderson Update (27/6/15)

I’m really surprised by how much material I have been able to work with when it comes to Boogie Nights (1997) which has allowed me to produce 8 test video, with a few potential pieces in there for sure. The last three I have produced today are all very different. The first is very much a re-edit of the don-nut store robbery which left Buck Swope (Don Cheadle) is left alive after the incident. I wanted to speed that moment up, allowing you to see as much in as little time. Whilst also nodding towards Sam Peckinpah in terms of slow-motion before the sound becomes too obvious. I’m not sure there is really a piece in here, there is a fan-edit, the only one I think I will allow myself to do. It does allows the stranger with the gun who somehow saves the day is given more screen-time here. 

The second video is much more fun, taken from a long scene at the end of the film. I hadn’t remembered the scene since I first watched it, then realising that there is a lot of potential here to play with sound effects to increase the tension, whilst also allow the audiences mind to run wild. It’s a very masculine and silly sequence which really changes the tone of the scene of desperation into one of comedic danger.

The final test we have Dirk Diggler (Mark Wahlberg) being comforted by Amber Waves (Julianne Moore) who has grown to love him over the course of the film. Now she has her wish and is really enjoying the moment. I have tried to emphasise that, however I don’t think it really works. I was trying to recreate a moment in Just One More Game (2013) where Richard Burton is slowly stroking Elizabeth Taylor, there is more a sense of menace in that sequence, here it’s not even that sexual which is what I was going for. Still I can’t say I haven’t tried to see if it works.

There has been a lot of found footage which I have disregarded for one reason or another. My next film to look at will be Will There Be Blood (2007) which I will be sourcing found footage for. I’ll be starting test maybe after my trip to London, which I will be sharing with you.

Meeting P.T. Anderson Update (21/6/15)

I thought I could sneak a few more test videos out today from my found footage from Boogie Nights (1997) today, whilst still celebrating Father’s Day. Oddly enough my first video looks at a mother-son argument which I have cranked up in order to create more tension between the two people. I think I have been more successful here than my previous effort with an argument which was too long to be really effective, having to edit down more to have a chance of creating the same tension I have here. I think also the domestic setting has helped.

My last video of the day was a real spark of inspiration, a four channel video that makes use of Dirk Diggler’s (Mark Wahlberg) screen debut opposite Amber Waves (Julianne Moore) using the audio for a portion of the sequence before using any video, of the crews reaction, bringing them slowly into the video. I think it really work and is a funny piece, editing down the sequence to produce this piece.

I have a few more ideas to test out before I move on, I’m thinking next to look at There Will Be Blood (2007) I can’t seem to get the Milkshake scenes out of my head, they are incredible powerful so maybe I will be starting there. I am now halfway through Paul Thomas Anderson‘s films I am getting more a sense of what he is about as a director, everything is on a grand scale, whilst also able to have fun. Heavy of dialogue that is not so intelligent that you feel alienated by it all. I could go on forever, my test videos should eventually reflect my understanding of the directors work.

Meeting P.T. Anderson Update (20/6/15)

I thought I wouldn’t be making any work today, as I was going to Sheffield to check out the Degree Show, which I encourage you all to do by the way. After sourcing found footage from Boogie Nights (1997) a film I thought little of besides the comedy of it, I have come to see it in a new light, there are some incredible moments in there, some that you just can’t touch as they are perfect. However I still find a few bits to hopefully tinker with over the next few weeks. Coming back so early has allowed me to already produce 3 new test videos. I think because I had time to consider what I wanted to do and I changed my approach to the sourcing. Instead of looking at a character arc as I had with Magnolia (1999) which was more due to the films structure I have been able to find some scenes that I can use. I found even during that stage I was filtering and still am.

I started with the standard removal of dialogue idea which again is effective in bringing something different out in the scene. I also noticed the mise-en-scene of moment, it has since been repeated in The Master (2012) which I have also manipulated in a similar way. I am starting to notice patterns in his work beyond that of the male relationships and the heavy dialogue. Of course there are fan-made videos that demonstrate that, and there are loads of them.

Moving onto the second that reminded me of the classical lighting in film, when realism was not yet a consideration, more that idea of fantasy, the ideal woman was at the forefront. I have found a scene which is probably not what you’d even find in the early 1930’s films, however I wanted to see if I could add that extra lighting to the Roller Girl (Heather Graham) as she was checking out Eddie Adams/Dirk Diggler (Mark Wahlberg) before Porn director James Horner (Burt Reynolds) signs him up to his company as the next big thing (in more ways than one). It’s a fun scene that reminds me of classical lighting that was never really taken advantage of. You could say is misogynistic, however this is a film about porn so you can argue either way. I do however think that the effect is too subtle to really be noticed, the content does still overwhelm the piece so maybe lost. Still it was fun to do.

The final video is looking at using two channels again as I did before using found footage from Hard Eight (1996) which I believe was in-fact more effective (if we ignore the silly addition at the start. I have tried to extend the audio over at the end, which meant slowing down the last cut before I reached a point where it could loose its effectiveness.

I’m hoping to continue with another video that looks an argument between Dirk Diggler and his mum (Joanna Gleason) which I am hoping to intensify that sequence by removing the gaps, maybe even speed it up in places. In short Boogie Nights is in-fact a gold mine of moments that I can still explore and manipulate. It looks like I’ll have more test videos from a this film, one I had little hope for, a surprising end to the day.



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