"On the surface, the 1920s were joyous years - the years of the Sunday drive and the big football weekend, the raccoon coat [compare today's platform shoes, nose rings, tattoos], the speakeasy [compare today's Starbucks (legal) and drug hangouts (illegal)], Rudolph Valentino and Clara Bow [compare Johnjohn Kennedy and Princess Di] and Lindbergh [compare today's highflying Bill Gates] - when, as Fitzgerald wrote, 'The parties were bigger...the pace was faster...the shows were broader, the buildings were higher, the morals were looser and the liquor was cheaper.'
"But this was only on the surface. The '20s were also a time when tens of millions of Americans - colored people, rural folk and intellectuals - felt profoundly alienated from the society in which they lived. Looking back on the decade, the nation seemed close to falling apart [cf. today's widening income gap] - not sharply and violently and painfully as in 1861, but fissuring and crumbling like some of the great empires of ancient times - a glittering surface covering deep fissures." (Life History of the U.S., vol. 10, p. 119.) "There wasn't any *work at home; there wasn't much work anywhere. My ambition was to somehow get to California. Everyone thought California was the place to go in the early 1920s." Bertha Parker of Arkansas, quoted in Lesley Poling-Kempes' The Harvey Girls: Women Who Opened the West (Marlowe & Co.: New York, 1991), p.69.
Lets face it.. The Economy isn't coming back. Right now we are in a period of purification time. This is where death and birth are in extremes. The Death of Elitism and the Birth of Survival will prevail. We were all drinking the kool aid and now those who continue to drink it will soon realized its been spiked.
If your in denial i must advise you that if you say that the 90's were the return of the roaring 20's which many experts are then what took so long? Even though we got out of the depression in the 1940's we then entered renewal time. This is where we got back to basics and back to principals. The horrors of war made everyone realize that being pure and love where most important. Artists have been calling for a love revolution for a few years now but artists are always 10 to 20 years ahead of the rest of the world in thinking...
After renewal time ran its course, Optimism sets in and the degradation of people begins to erode the foundations and principals. However, the return of roaring 20's were then met with with the fact that an ever increasing population and complexity in markets made it difficult to balloon the illusorary bubble of prosperity, thus the 90's were the return.
I don't know about you but i was in high school during the 90's. I had raging good times but unfortunately i wasn't rich. I graduated college in 2004 and have been working in the film industry which is one of the hardest industries in the world to find stable income. Everyone dreams of days like the roaring 20's where the party never ends and the money never stops flowing no matter how often you seem to screw things up.
However, for the illusion of the 20's to return again i should warn you that at the rate of population growth you could be looking forward to the year 2150. Enough time for purification time, renewal time, optimism time, degradation time, and the complexity of the system to run its course.
For all you people who enjoyed the prosperity of the 90's I hope you enjoyed it. I hope you got to taste the fruits of your labor. However, people are dying, people are becoming sheep who have lost their way, and the fate of the existence of the human race is ever increasingly becoming sown into the hands of a few people at the top whose family's created capitalism way back in greek and roman times.
The Great Gatsby is a novel by the American author F. Scott Fitzgerald. First published on April 10, 1925, it is set in Long Island's North Shore and New York City during the summer of 1922.
The novel chronicles an era that Fitzgerald himself dubbed the "Jazz Age." Following the shock and chaos of World War I, American society enjoyed unprecedented levels of prosperity during the "roaring" 1920s as the economy soared.
At the same time, Prohibition, the ban on the sale and manufacture of alcohol as mandated by the Eighteenth Amendment, made millionaires out of bootleggers and led to an increase in organized crime. Although Fitzgerald, like Nick Carraway in his novel, idolized the riches and glamor of the age, he was uncomfortable with the unrestrained materialism and the lack of morality that went with it.
One of the main symbols of the film was the Valley of ashes - the downfall of the American dream. Those of you who have been clutching on the American Dream since the 20's... please realize you've been living in a dream world.
So where do we go from here. Purification time is always a fork in the road. Either we expand our horizons or we destroy ourselves. Anyone still drinking the kool aid are clearly unwilling to change and presumably will become bait for the corporations controlled by the government. Countries, Cities, and Towns will become feeding grounds. Incredible but True.
Friday, May 1, 2009
Wednesday, April 15, 2009
The Maverick Kommandments
"Mav·er·ick"
a lone dissenter, as an intellectual, an artist, or a politician, who takes an independent stand apart from his or her associates.
(initial capital letter) an electro-optically guided U.S. air-to-ground tactical missile for destroying tanks and other hardened targets at ranges up to 15 mi. (24 km).
I had a dream last night where i saw the Eastern Sky Grow Dark and in the West a Pale light Lingered with voices crying.. "Doom is near at Hand"... and i was confronted with a sadistic choice... dye or dye trying... thus... There is only 1 real choice... Maverick's bane must be defeated before Zero Dark Can Prosper.
To do so i must re engrain in my heart The Maverick Kommandments
Today I shed my old skin. The career I have chosen is laden with opportunity yet it is fraught with heartbreak and despair and the bodies of those who have failed are piled one atop another casting a shadow down upon all the SkyScrapers of the Wold. Yet I will not fail because now I hold the charts that will ascend me like a jet pilot to the battlefield in the clouds!
Two years ago I failed to charge ahead in the trenches of Los Angeles. I left and retreated to the mountains of Pasadena then went back home for what I thought was going to be a week and turned into 8 months. Upon returning I became lost in those same mountains only to return to the fray. A year passed and i was sent back to the beginning once again. Each time i strike Hollywood i gain further into an industry that i consider the Vatican. One doesn't simply just walk into the Hollywood Vatican. Riddled with tradition and ritual that consumes the people creating a barren wasteland of fire, ash, and dust. The very air your breath is a poisonous fume and its black gates are guarded by more than just soldiers. The Collective Consciousness is a dense ether than inhibits the freewill of art and drives the artists to Lust, Gluttony, Greed, Sloth, Wrath, Envy, and Pride.
ONce again i must go to the front lines of the battle for the city of lost angels only this time I am returning with the Legions of Zeniths under the Flag of Zero Dark!
Way Back Somewhere along the way people began calling me "Maverick" I don't remember who where how or why to this day it sill makes me wonder never the less before I left I was known throughout the film industry as 'Maverick" It was in this moment that I picked myself back up and was born again with a new identity, a new purpose, and new troops to command. Somehow the name followed me back to l.a and I decided once and for all to embrace it rather than play it down.
On Dec. 25th 2007 while everyone was hanging with their family I was alone in the mountains so I decided to do something Maverick. I hiked to the top of Sierra Madre "The mountain mother' One of the tallest mountain chains in the L.A. area armed with only a camera.
6 hours later tired, starving but determined I made it to the top. Overlooking Hollywood from the distance I realized it was time to be a Maverick. Time to be the best, Time to live or die. It was time to go back! When I reached the bottom 12 hours after departure I brought down with me what I like to call the 10 MaVerick Kommandments. They are the Maverick habits that I will maintain, which will jet me off of the ground and back into the clouds.
Following the last crusade i became aware that a Maverick can't take on the world alone... Thus i created Zero Dark and now that Zero Dark is becoming what i envisioned, its time to re establish the Maverick Kommandments. These are the Kommandments of Maverick and Zero Dark that will lead us to Victory in the Hollywood Vatican and then onward..
Below is the video that came down with me from the mountain. Its also the video that inspired the Zero Dark Chronicles.
The MaVericK Komandments
MaVericK Kommandment I
Today I shed my former skin which hath, too long suffered the bruises of failure and the wounds of mediocrity.
MaVericK Kommandment II
Today I will ask the light to assign me tasks to which others have failed; yet guide me to pluck the seeds of success from their failures. I will ask the light to confront me with fears that will temper my spirits; yet endow me with the courage to laugh at my misgivings.
MaVericK Kommandment III
Today I am natures greatest miracle because no man in the city nor beast in the forest can create the same way I do. Value is placed to all things scarce: I am rare and therefore I am Extremely Valuable.
MaVericK Kommandment IV
Today I will multiply our worth a million fold. Today I choose to plant my dreams like a grain of wheat to multiply a million fold to feed all the people of earth.
MaVericK Kommandment V
Today I will Laugh at the world. We are the only beast in the forest given the gift of laughter and I will use it to ensure I continually rise from the ash of misfortune yet also use it to bring my inflated glory back down to earth.
MaVericK Kommandment VI
Today I will be the master of my emotions. Unbeknownst to most, but our moods are constantly churning in a cycle from happiness to depression and then back again. Weak is the one who acts in accordance to his emotions. Strong is the man who forces his actions to control his emotions. I will master my emotions through positive action.
MaVericK Kommandment VII
I will greet THIS Day with Love in my heart. Only the unseen power of love can melt all hearts and soften the hard edges of competition like rain upon the clay. Love will be my shield to thwart the arrows of hate and will forge my sword to slice through the negativity of the moment. Who can turn me down who's heart has opened to me.
MaVericK Kommandment VIII
Today I will persist until I succeed. Bulls are tested in the Orient by how many times they charge ahead despite the sting of the swords blade. Likewise i shall attack with the same steam. Always will i take another step for no one knows how many steps are required in order to reach my goal. I will always assume it lies around the next bend.
MaVericK Kommandment IX
I will Act NOW. Goals are Worthless, Dreams are but Dust. Only action will ignite the map's dashes to lead me to my treasure. Only Action can rip through the tide to take me to shores that only yesterday were but dreams. And if action is the principal by which my goals will be met then i will act NOW!
MaVericK Kommandment X
I will live THIS day as if it were our last. Today I realize that there were many who awoke believing it was just another day and before the sun set they lost their lives. Why have i been granted this extra day when those who didn't desearve to die fell and how many of those tragic stories were threaded with a mundane existance. If they only knew that today was there last day they would have lived it to its fullest. Therefore i greet the sunrise like a newborn given the gift of one more day and with this last precious day i shall rip and roar burning all the tires and lighting all the Fires!!!
Each week i am going to devote to one of these Kommandements and offer wisdom in my Dark Blast Newsletter for all the Zeniths to ponder and become stronger.
a lone dissenter, as an intellectual, an artist, or a politician, who takes an independent stand apart from his or her associates.
(initial capital letter) an electro-optically guided U.S. air-to-ground tactical missile for destroying tanks and other hardened targets at ranges up to 15 mi. (24 km).
I had a dream last night where i saw the Eastern Sky Grow Dark and in the West a Pale light Lingered with voices crying.. "Doom is near at Hand"... and i was confronted with a sadistic choice... dye or dye trying... thus... There is only 1 real choice... Maverick's bane must be defeated before Zero Dark Can Prosper.
To do so i must re engrain in my heart The Maverick Kommandments
Today I shed my old skin. The career I have chosen is laden with opportunity yet it is fraught with heartbreak and despair and the bodies of those who have failed are piled one atop another casting a shadow down upon all the SkyScrapers of the Wold. Yet I will not fail because now I hold the charts that will ascend me like a jet pilot to the battlefield in the clouds!
Two years ago I failed to charge ahead in the trenches of Los Angeles. I left and retreated to the mountains of Pasadena then went back home for what I thought was going to be a week and turned into 8 months. Upon returning I became lost in those same mountains only to return to the fray. A year passed and i was sent back to the beginning once again. Each time i strike Hollywood i gain further into an industry that i consider the Vatican. One doesn't simply just walk into the Hollywood Vatican. Riddled with tradition and ritual that consumes the people creating a barren wasteland of fire, ash, and dust. The very air your breath is a poisonous fume and its black gates are guarded by more than just soldiers. The Collective Consciousness is a dense ether than inhibits the freewill of art and drives the artists to Lust, Gluttony, Greed, Sloth, Wrath, Envy, and Pride.
ONce again i must go to the front lines of the battle for the city of lost angels only this time I am returning with the Legions of Zeniths under the Flag of Zero Dark!
Way Back Somewhere along the way people began calling me "Maverick" I don't remember who where how or why to this day it sill makes me wonder never the less before I left I was known throughout the film industry as 'Maverick" It was in this moment that I picked myself back up and was born again with a new identity, a new purpose, and new troops to command. Somehow the name followed me back to l.a and I decided once and for all to embrace it rather than play it down.
On Dec. 25th 2007 while everyone was hanging with their family I was alone in the mountains so I decided to do something Maverick. I hiked to the top of Sierra Madre "The mountain mother' One of the tallest mountain chains in the L.A. area armed with only a camera.
6 hours later tired, starving but determined I made it to the top. Overlooking Hollywood from the distance I realized it was time to be a Maverick. Time to be the best, Time to live or die. It was time to go back! When I reached the bottom 12 hours after departure I brought down with me what I like to call the 10 MaVerick Kommandments. They are the Maverick habits that I will maintain, which will jet me off of the ground and back into the clouds.
Following the last crusade i became aware that a Maverick can't take on the world alone... Thus i created Zero Dark and now that Zero Dark is becoming what i envisioned, its time to re establish the Maverick Kommandments. These are the Kommandments of Maverick and Zero Dark that will lead us to Victory in the Hollywood Vatican and then onward..
Below is the video that came down with me from the mountain. Its also the video that inspired the Zero Dark Chronicles.
The MaVericK Komandments
MaVericK Kommandment I
Today I shed my former skin which hath, too long suffered the bruises of failure and the wounds of mediocrity.
MaVericK Kommandment II
Today I will ask the light to assign me tasks to which others have failed; yet guide me to pluck the seeds of success from their failures. I will ask the light to confront me with fears that will temper my spirits; yet endow me with the courage to laugh at my misgivings.
MaVericK Kommandment III
Today I am natures greatest miracle because no man in the city nor beast in the forest can create the same way I do. Value is placed to all things scarce: I am rare and therefore I am Extremely Valuable.
MaVericK Kommandment IV
Today I will multiply our worth a million fold. Today I choose to plant my dreams like a grain of wheat to multiply a million fold to feed all the people of earth.
MaVericK Kommandment V
Today I will Laugh at the world. We are the only beast in the forest given the gift of laughter and I will use it to ensure I continually rise from the ash of misfortune yet also use it to bring my inflated glory back down to earth.
MaVericK Kommandment VI
Today I will be the master of my emotions. Unbeknownst to most, but our moods are constantly churning in a cycle from happiness to depression and then back again. Weak is the one who acts in accordance to his emotions. Strong is the man who forces his actions to control his emotions. I will master my emotions through positive action.
MaVericK Kommandment VII
I will greet THIS Day with Love in my heart. Only the unseen power of love can melt all hearts and soften the hard edges of competition like rain upon the clay. Love will be my shield to thwart the arrows of hate and will forge my sword to slice through the negativity of the moment. Who can turn me down who's heart has opened to me.
MaVericK Kommandment VIII
Today I will persist until I succeed. Bulls are tested in the Orient by how many times they charge ahead despite the sting of the swords blade. Likewise i shall attack with the same steam. Always will i take another step for no one knows how many steps are required in order to reach my goal. I will always assume it lies around the next bend.
MaVericK Kommandment IX
I will Act NOW. Goals are Worthless, Dreams are but Dust. Only action will ignite the map's dashes to lead me to my treasure. Only Action can rip through the tide to take me to shores that only yesterday were but dreams. And if action is the principal by which my goals will be met then i will act NOW!
MaVericK Kommandment X
I will live THIS day as if it were our last. Today I realize that there were many who awoke believing it was just another day and before the sun set they lost their lives. Why have i been granted this extra day when those who didn't desearve to die fell and how many of those tragic stories were threaded with a mundane existance. If they only knew that today was there last day they would have lived it to its fullest. Therefore i greet the sunrise like a newborn given the gift of one more day and with this last precious day i shall rip and roar burning all the tires and lighting all the Fires!!!
Each week i am going to devote to one of these Kommandements and offer wisdom in my Dark Blast Newsletter for all the Zeniths to ponder and become stronger.
Tuesday, April 7, 2009
NeoSurrealism
Where are you? Where am I? Where are we going? Will we ever meet? Will we ever see each other again? I love you regardless...
what is your state of being? Are you constantly in a state of here and now, or in a state of coming, or in a state of going. I personally am constantly in a state of going.. Where exactly am i going? why do i break the chains of now moment by moment. it is always in the next moment that glory is to be met with an eager eye and finger on the red button.
How can i be followed if i vanish before the tow rope can be tied. All this just spewed from my being while i ponder the direction of my direction. The film industry is changing and i am going to edge of where it will soon be. Before Hollywood was built the United Artists left New York looking for new ground and broke it in the valley of California that would become Los Angeles. They were escaping the rigid corruption of New York Cinema. Now Hollywood is the Vatican in a country that is on the verge of being "Compromised"
The state of America reminds me of the postwar Italian movement NeoRealism. this movement took its cue from the French New Wave and yet offered a distinct idea. French New Wave could be considered the equivalent of America's independent Film Movement and now that Independent film has been swallowed up by Hollywood.. What's next for Cinema?? Well if history rhymes could Neo Realism be reinventing itself in America. If so what would it be? For that lets look at the essence of Neo REalism
From WALT OSTRANDER
THE IMMORTALITY OF ITALIAN NEOREALISM
The influence of Italian neorealism in the cinematic world is extremely difficult to overstate. One can highlight its methods in American film noir of the late 40’s and early 50’s, its obvious links to works in the French new-wave, and its influence on international third world film of the time for its depiction of common people and its portrayal of the “real.” Vittorio De Sica’s Bicycle Thieves is certainly neorealist; every principle of the movement is utilized within the film. It is a quiet, tragic anthem to the poverty-stricken working class of postwar Italy, and a beautiful work that has been part of the pallet of the auteur in cinematic movements ever since. It is perhaps the very antithesis to Hollywood film in its subject matter of “life as it is,” as screenwriter Cesare Zavattini has put it.
The stylistic characteristics of what is known as neorealism are readily identifiable, perhaps one of the most important being visual representation. The most appropriate subject for representation (at least from a “pure cinema” point of view) is reality itself. This is achieved perfectly in Bicycle Thieves by its method of filming on location, out in the real world, outside of a studio – not a created world inside a studio as was popular in Hollywood films of the time.
As powerful and provocative a style as it was, neorealism was very short-lived from an historical point of view. Only twenty-one or so films were made in the vein of the movement in a course of seven years, mainly because the creative energy behind it all was completely due to a real historical crisis. By the time Bicycle Thieves was conceived in 1948, the “revolution” of neorealism had reached the end of its rope as a style in itself. Italy was reinvented after the war as a capitalist society stuck in a stasis of unemployment. The film (as noted by the previously mentioned facial expressions of the actors) is balanced on a thin line separating ever-looming melancholy and idealism.
---
They say that once you hear about something its already over. the Wave of Trends are only pure in their first light and their first darkness. Everything else in between are the shadows of the True Light that has already come and went.
I always believed that history doesn't repeat it rhymes. NeoRealism will always be the Italian movement we all remember yet within the economic crisis that is America after the fall of Independent film what could be the equivalent to NeoRealism. I desire so much to discover this trend that has yet to be born. Its emerging right now in the consciousness of all filmmakers here in America. Though those who later will provide the commentary for what is certianly emerging will eventually name the movement that is gravitating towards itself i wish to privide a working title to the wave that is forming. I call it NeoSurrealism.
Why be too realistic when we have Reality TV... Why be Hollywood, which never seems to truly change. Why be independent when the essence of independent is dead. This leaves us with what... A unique blend of gripping provocative relentless film that mixes art and provides a surrealistic approach to the NOW and the moments JUST BEFORE and RIGHT AFTER.
and to avoid the potential cheesy conclusions brought forth by all those Matrix fanatics. Yes Neo is an apt word for none other than the idea that if True Immortal Cinema is the Zion of Human existence and the machines are most certainly Hollywood. They have killed cinema movements many times before by swallowing them whole and are going to enjoy watching this new movement die. After-all didn't Hollywood swallow itself by doing a complete 360 degree turn and became the Oppressive New York Cinema Machine that in its inception desperately seeked to abandon. Could NeoSurrealsim be the final battle, the dawn of peace where cinema goers would accept it as cinema for the people and not entertainment to be "Compromised" and "Exploited"
Only the shutters of lenses and eyes will tell.
what is your state of being? Are you constantly in a state of here and now, or in a state of coming, or in a state of going. I personally am constantly in a state of going.. Where exactly am i going? why do i break the chains of now moment by moment. it is always in the next moment that glory is to be met with an eager eye and finger on the red button.
How can i be followed if i vanish before the tow rope can be tied. All this just spewed from my being while i ponder the direction of my direction. The film industry is changing and i am going to edge of where it will soon be. Before Hollywood was built the United Artists left New York looking for new ground and broke it in the valley of California that would become Los Angeles. They were escaping the rigid corruption of New York Cinema. Now Hollywood is the Vatican in a country that is on the verge of being "Compromised"
The state of America reminds me of the postwar Italian movement NeoRealism. this movement took its cue from the French New Wave and yet offered a distinct idea. French New Wave could be considered the equivalent of America's independent Film Movement and now that Independent film has been swallowed up by Hollywood.. What's next for Cinema?? Well if history rhymes could Neo Realism be reinventing itself in America. If so what would it be? For that lets look at the essence of Neo REalism
From WALT OSTRANDER
THE IMMORTALITY OF ITALIAN NEOREALISM
The influence of Italian neorealism in the cinematic world is extremely difficult to overstate. One can highlight its methods in American film noir of the late 40’s and early 50’s, its obvious links to works in the French new-wave, and its influence on international third world film of the time for its depiction of common people and its portrayal of the “real.” Vittorio De Sica’s Bicycle Thieves is certainly neorealist; every principle of the movement is utilized within the film. It is a quiet, tragic anthem to the poverty-stricken working class of postwar Italy, and a beautiful work that has been part of the pallet of the auteur in cinematic movements ever since. It is perhaps the very antithesis to Hollywood film in its subject matter of “life as it is,” as screenwriter Cesare Zavattini has put it.
The stylistic characteristics of what is known as neorealism are readily identifiable, perhaps one of the most important being visual representation. The most appropriate subject for representation (at least from a “pure cinema” point of view) is reality itself. This is achieved perfectly in Bicycle Thieves by its method of filming on location, out in the real world, outside of a studio – not a created world inside a studio as was popular in Hollywood films of the time.
As powerful and provocative a style as it was, neorealism was very short-lived from an historical point of view. Only twenty-one or so films were made in the vein of the movement in a course of seven years, mainly because the creative energy behind it all was completely due to a real historical crisis. By the time Bicycle Thieves was conceived in 1948, the “revolution” of neorealism had reached the end of its rope as a style in itself. Italy was reinvented after the war as a capitalist society stuck in a stasis of unemployment. The film (as noted by the previously mentioned facial expressions of the actors) is balanced on a thin line separating ever-looming melancholy and idealism.
---
They say that once you hear about something its already over. the Wave of Trends are only pure in their first light and their first darkness. Everything else in between are the shadows of the True Light that has already come and went.
I always believed that history doesn't repeat it rhymes. NeoRealism will always be the Italian movement we all remember yet within the economic crisis that is America after the fall of Independent film what could be the equivalent to NeoRealism. I desire so much to discover this trend that has yet to be born. Its emerging right now in the consciousness of all filmmakers here in America. Though those who later will provide the commentary for what is certianly emerging will eventually name the movement that is gravitating towards itself i wish to privide a working title to the wave that is forming. I call it NeoSurrealism.
Why be too realistic when we have Reality TV... Why be Hollywood, which never seems to truly change. Why be independent when the essence of independent is dead. This leaves us with what... A unique blend of gripping provocative relentless film that mixes art and provides a surrealistic approach to the NOW and the moments JUST BEFORE and RIGHT AFTER.
and to avoid the potential cheesy conclusions brought forth by all those Matrix fanatics. Yes Neo is an apt word for none other than the idea that if True Immortal Cinema is the Zion of Human existence and the machines are most certainly Hollywood. They have killed cinema movements many times before by swallowing them whole and are going to enjoy watching this new movement die. After-all didn't Hollywood swallow itself by doing a complete 360 degree turn and became the Oppressive New York Cinema Machine that in its inception desperately seeked to abandon. Could NeoSurrealsim be the final battle, the dawn of peace where cinema goers would accept it as cinema for the people and not entertainment to be "Compromised" and "Exploited"
Only the shutters of lenses and eyes will tell.
Saturday, March 28, 2009
CineModa Machine
what does CineModa mean and what is it all about? Without revealing too much about what's coming... I have this to say.
What we are about to do has something to do with Cinema and Style.. A clothing line never before attempted and hopefully never before replicated. We are currently building a machine to crank the CineModa concept out and put it in the palms of your hands. I am so utterly excited about this that i am struggling to keep my vocal chords from screaming out the secret of this new development into the wind for all to hear. However in the honor of my neighbors i will resist.
As the Machine gets cranking i will keep everyone absolutely 100% posted!!!!
What we are about to do has something to do with Cinema and Style.. A clothing line never before attempted and hopefully never before replicated. We are currently building a machine to crank the CineModa concept out and put it in the palms of your hands. I am so utterly excited about this that i am struggling to keep my vocal chords from screaming out the secret of this new development into the wind for all to hear. However in the honor of my neighbors i will resist.
As the Machine gets cranking i will keep everyone absolutely 100% posted!!!!
Tuesday, March 24, 2009
Zero Dark Chronicle: Operation Blades of G
Operation: Blades of G from Adam Arnali on Vimeo.
Zero Dark Chronicle Episode #4. @ The Social in Orlando, Florida. A notorious Band called The Gay Blades who's joyful blasphemy sways generation next into drooling love children. This Chronicle features Phoenix, Banshee, and Maverick. Filmed by Adam Arnali | gayblades.com | zerodarkcinema.com
Friday, March 20, 2009
Zenith Decree
The Zeniths
Zenith | noun: The point on the celestial sphere vertically above a given position or observer.
Want to get into the Field? Want to be apart of the sphere of influence that is Zero Dark? Do you want to be above the general melieu of Zero Dark Fly by's? Do you want to hear about what we're up to on a weekly basis and about the darkness we are spreading? Be apart of the Zero Point Field by being a Zenith. Zenith's get information about our wearabouts, events, discounts, happenings, and rants. To be a Zenith send your info here. Be a Zenith.
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Zenith | noun: The point on the celestial sphere vertically above a given position or observer.
Want to get into the Field? Want to be apart of the sphere of influence that is Zero Dark? Do you want to be above the general melieu of Zero Dark Fly by's? Do you want to hear about what we're up to on a weekly basis and about the darkness we are spreading? Be apart of the Zero Point Field by being a Zenith. Zenith's get information about our wearabouts, events, discounts, happenings, and rants. To be a Zenith send your info here. Be a Zenith.
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Thursday, March 19, 2009
New Wave Monsters in Hollywood
Are independents Dead?
www.zerodarkcinema.com
Independents used to be the films that couldn't but did anyway. Now a days, independents are as Independent as Alternative Rock. And the questions is... is the spirit of independent film dead?
Before i go into a small commentary of the reality of independent film i want to make the statement that I believe in the spirit of independent film rather than the word usage. The spirit of independent film is about to become reborn into a new Monster. A new violent force that will not only devour Hollywood films but the Independent films as well. Independents have been swallowed up by Hollywood. Those who originally began the movement are still fighting to go mainstream... and while doing so lost the essence of what made them great.
Hollywood is Vatican City and Indpendant film is the newly rebuilt Roman Catholic Church but a new movement is forming...
This new movement will look nothing like the independent film rise in the 1990's The types of films will look nothing like Sex Lies and Video tape and Pulp Fiction. The difference is as 180 as French New Wave and Film Noir. Both of those movements took place in different countries and at different times. Every 20 years a new movement begins just as the previous rebellion gets swallowed into high society with the dissenters fading into obscurity.
I'm not sure what these new films will be called but I believe that a new movement is forming using the Technology that is becoming available. How long can Vatican City and its new Roman Church withstand the circumvention with these new filmmakers with minds that blow tradition out the window.. only time will tell...
The concept that best describes independents in the l990s is that of institutionalization. Indies now form an industry that runs not so much against Hollywood as parallel to Hollywood. American culture has two legitimate film industries, mainstream and independent, each grounded in its own organizational structure. While audiences overlap for some Hollywood and indie fare, the core audience for each type of film is different too. ...
A decade ago, the idea that industry forces such as the Creative Artists Agency (CAA) or Twentieth Century-Fox would embrace fringe players was unthinkable. But CAA now represents indie cinema's guru David Lynch, and Fox established a division, Fox Searchlight, to produce artistic movies. The heavyweights' foray into the indie sector continues in full force. The big agencies now have officers who specialize in indies. The William Morris Agency recently restructured its independent film division, which has its own logo and is autonomous, with the goal of boosting the agency's status in the independent world.
Indies also have their own Oscars -- the Spirit Awards. Over the years, the Spirit Awards have grown from a small communal affair to a well-publicized event, televised on cable and attended by Hollywood's elite. The Spirit nominations are not just a kudo to caress filmmakers who work without the studio safety net. Good pictures do not always find their audiences, and one cannot trust that excellence will win out. Spirit nominations and awards can mean the difference between a career launch and a home movie.
A funny, violent noir action film such as "Pulp Fiction" didn't need the 1995 Spirit Award to avoid getting lost, but a Best Supporting Actress nomination for Mare Winningham in "Georgia" put the Spirit where it should be -- celebrating difficult fare that fights for commercial viability in a mainstream marketplace. The Spirit Awards have provided both prophecy and moral support: "Blood Simple," the Coen brothers' debut, won the Spirit Award before "Barton Fink" swept the Cannes awards six years later. "Drugstore Cowboy" put Gus Van Sant on the map long before his Oscar-winning blockbuster "Good Will Hunting" came out.
In 1983, when John Sayles's "Lianna" was released, Richard Corliss wrote in Time magazine, "Handicapped by budgets as low as $50,000, struggling with unknown actors and make-do shooting schedules, independents demand the viewer's rooting interest to see them over the rough spots and through the inevitable langueurs." For Corliss, the one thing independents were dependent on was adventurous audiences. At present, however, the range of indies is extremely wide and only a small proportion, the truly bold, require risk-taking viewers. The rest -- that is, the majority -- have gotten closer to the mainstream.
In the past, it was not hip to be in little independent movies; it was a signal that an actor's career was in trouble. But in the 1990s, acting in indies doesn't mean having to say you're sorry. Take Bruce Willis, one of the few Hollywood stars to command $20 million for his mainstream movies ("Armageddon"). In 1998, Willis made a little, quirky film, "Breakfast of Champions," an adaptation of Kurt Vonnegut's novel. Willis's company, Rational Packaging, bought the book rights and raised independent financing for the $12 million film. "The film is kind of outside Hollywood," Willis told the Los Angeles Times, stressing the gallows humor and oddball sensibility that define his character, a wealthy Midwestern car dealer who is losing his mind. Willis explained, "Every once in a while, I've got to satisfy myself. I can count on one hand, and not use my thumb, the number of films in the last couple of years that I looked forward to going to work every day [on]."
Big stars -- John Wayne, Clint Eastwood, Mel Gibson -- have tried before to exercise control over their careers, but usually did so by directing studio films. Willis, however, like Robert Duvall ("The Apostle") before him, avoided the studio interference altogether. Owning the film's negative, he enjoys the kind of creative control he has not had in his Hollywood pictures. Willis, who had previously appeared in character roles in other indies (e.g., "Pulp Fiction"), is not the only major star to appear in indies. John Travolta, whose career was resurrected by "Pulp Fiction," appears in indies ("White Man's Burden," "She's So Lovely") as well as studio movies ("Phenomenon," "Primary Colors," "A Civil Action"). Nicolas Cage and Nick Nolte also commute regularly between the two industries.
By and large, though, indies, like Hollywood, have their own hierarchies of acting and directorial talent. A dozen players dominate the field, going from one project to another, often making as many as three films a year. Among them are John Turturro, Eric Stoltz, Steve Buscemi, and William H. Macy. Lili Taylor is the indies' preeminent dramatic actress in the 1990s. Taylor appeared in three features that competed at Sundance in 1996, including "I Shot Andy Warhol." The following year, Parker Posey held the record with three films at Sundance, where she won particularly strong accolades for "The House of Yes."
Major Hollywood stars, like Julia Roberts, Demi Moore, and Goldie Hawn, rarely work in indies, unless it's a Woody Allen film. Allen may be the only major filmmaker to mix actors from both worlds. "Actors who want interesting careers have to make hard choices," said Julianne Moore, because for their work in indies they get paid union scale -- about $1,500 a week. Moore has moved back and forth between the indie and commercial worlds, appearing in some challenging movies, "Vanya on 42nd Street" and "Safe," for which she earned critical praise. After playing a paleontologist in Spielberg's "The Lost World," Moore was seen bottomless in "Short Cuts" and topless in "Boogie Nights," in a role that Paul Thomas Anderson wrote specifically for her.
When David Putnam was head of Columbia, he tried to create an ethos where turning a film with a potential $3 million net into a film with a $6 million net would be seen as a triumph. Putnam believed that "people create their careers in this industry out of their perceived successes at the box office." Needless to say, Putnam failed.
In the 1980s, "Liquid Sky," "Eating Raoul," "El Norte," "Stranger Than Paradise," "Blood Simple," and "Desperately Seeking Susan" showed that films can be independent and still make money -- not a lot of money, but enough to remove the stigma from the word "independent" -- and recoup their cost. In the 1980s, said indie producer Christine Vachon ("Velvet Goldmine," "Happiness"), "when you were working on 'Parting Glances' or 'Stranger Than Paradise,' you were just lucky to be where it was happening. You worked 16 or 17 hours a day, but there was a passion that trickled down. You cared about the movie and the director's vision." But in the 1990s, the definition of success has changed, as Vachon has observed: "Back then, we used to think a film was a success if it grossed over $1 million. Now, it's not even a success if it grosses over 5 or 10 million."
Indeed, John Horn has recently suggested "to retire the conventional wisdom on the differences between the independent film community and the big studio machines." While indies have typically been seen as "brassy innovators," and the studios as the "fortresses of corporate mediocrity," a role reversal is now taking place. The major studios are willing to invest in "edgy little films," allowing creative control to the filmmaker, whereas indies are becoming more concerned with "each and every detail." The reason for this is monetary. The typical indie-type film costs the equivalent of "pocket change" to Warners, Disney, or Paramount, but as independent outfits start producing movies that cost several million dollars, their executives become more frugal.
Reflecting these changes, indies are now no longer content with a modest profit, but instead want the next "Full Monty" or "The English Patient." Ironically, earning studio-level grosses has become a near necessity in the new economics of independent films, which now requires a significant infrastructure to accommodate increased demand (Miramax now has 300 employees). "The risk is that you become your antithesis," said Fox Searchlight's Tony Safford. The switch in indie philosophy has brought "corporate worries -- fear of embarrassing public relations and boycotts by intolerant activists." Some fear that this new environment will lead to a chilling of the creative environment associated with indie filmmaking.
For Vachon too, indies have become "more of an industry." It's almost impossible to get financial backing for a small film without stars. "You really need to have some good stock to get a role," Lili Taylor told the New York Times, "Everybody wants someone who can bring a little bit more money to the table. It's all distribution, and the distributor is saying you don't have a name." The trend of using name casts is part of a broader transformation of the indie industry. "It is virtually impossible to get movies financed unless you have some kind of star attached," confirms William Morris agent Cassian Elwes.
If you can do a movie with unknowns for less than $1 million, you might be able to get the financing. Otherwise you need stars. That's because the straight to video business is virtually gone, and to make money, you either have to sell the picture directly to Pay TV or release it theatrically, and you can't get either of those achieved without a star. HBO won't buy it unless there are at least two or three stars involved.
Hence, for many, "independent film" in the 1990s has become a euphemism for a small-studio production. As Paul Schrader explained, "The middle has dropped out. With a few exceptions, there's no place for a $20 to $30 million movie anymore. Hollywood has dropped the ball by leaving social issues to the independents. The movies that studios traditionally made for their prestige value have fallen to the independents, which of course are not so independent." The gap between indies and studio films has gotten more extreme -- a $40,000 experimental feature and a $40 million New Line film may have only one thing in common: Kodak film stock. Even so, a middle ground has grown up, populated with indie filmmakers who speak a language educated moviegoers can understand. It is to this middle ground that most independents aspire.
Robert Redford also feels progress has been made toward the goal of breaking down the distinction between independent and studio movies. For him, an independent film is "not necessarily a bunch of people running around SoHo dressed in black making a movie for $25,000. It's simply a film that stays free as long as possible to be what it wants to be. In an ideal world, there won't be a distinction between types of movies, just a broader menu."
www.zerodarkcinema.com
www.zerodarkcinema.com
Independents used to be the films that couldn't but did anyway. Now a days, independents are as Independent as Alternative Rock. And the questions is... is the spirit of independent film dead?
Before i go into a small commentary of the reality of independent film i want to make the statement that I believe in the spirit of independent film rather than the word usage. The spirit of independent film is about to become reborn into a new Monster. A new violent force that will not only devour Hollywood films but the Independent films as well. Independents have been swallowed up by Hollywood. Those who originally began the movement are still fighting to go mainstream... and while doing so lost the essence of what made them great.
Hollywood is Vatican City and Indpendant film is the newly rebuilt Roman Catholic Church but a new movement is forming...
This new movement will look nothing like the independent film rise in the 1990's The types of films will look nothing like Sex Lies and Video tape and Pulp Fiction. The difference is as 180 as French New Wave and Film Noir. Both of those movements took place in different countries and at different times. Every 20 years a new movement begins just as the previous rebellion gets swallowed into high society with the dissenters fading into obscurity.
I'm not sure what these new films will be called but I believe that a new movement is forming using the Technology that is becoming available. How long can Vatican City and its new Roman Church withstand the circumvention with these new filmmakers with minds that blow tradition out the window.. only time will tell...
The concept that best describes independents in the l990s is that of institutionalization. Indies now form an industry that runs not so much against Hollywood as parallel to Hollywood. American culture has two legitimate film industries, mainstream and independent, each grounded in its own organizational structure. While audiences overlap for some Hollywood and indie fare, the core audience for each type of film is different too. ...
A decade ago, the idea that industry forces such as the Creative Artists Agency (CAA) or Twentieth Century-Fox would embrace fringe players was unthinkable. But CAA now represents indie cinema's guru David Lynch, and Fox established a division, Fox Searchlight, to produce artistic movies. The heavyweights' foray into the indie sector continues in full force. The big agencies now have officers who specialize in indies. The William Morris Agency recently restructured its independent film division, which has its own logo and is autonomous, with the goal of boosting the agency's status in the independent world.
Indies also have their own Oscars -- the Spirit Awards. Over the years, the Spirit Awards have grown from a small communal affair to a well-publicized event, televised on cable and attended by Hollywood's elite. The Spirit nominations are not just a kudo to caress filmmakers who work without the studio safety net. Good pictures do not always find their audiences, and one cannot trust that excellence will win out. Spirit nominations and awards can mean the difference between a career launch and a home movie.
A funny, violent noir action film such as "Pulp Fiction" didn't need the 1995 Spirit Award to avoid getting lost, but a Best Supporting Actress nomination for Mare Winningham in "Georgia" put the Spirit where it should be -- celebrating difficult fare that fights for commercial viability in a mainstream marketplace. The Spirit Awards have provided both prophecy and moral support: "Blood Simple," the Coen brothers' debut, won the Spirit Award before "Barton Fink" swept the Cannes awards six years later. "Drugstore Cowboy" put Gus Van Sant on the map long before his Oscar-winning blockbuster "Good Will Hunting" came out.
In 1983, when John Sayles's "Lianna" was released, Richard Corliss wrote in Time magazine, "Handicapped by budgets as low as $50,000, struggling with unknown actors and make-do shooting schedules, independents demand the viewer's rooting interest to see them over the rough spots and through the inevitable langueurs." For Corliss, the one thing independents were dependent on was adventurous audiences. At present, however, the range of indies is extremely wide and only a small proportion, the truly bold, require risk-taking viewers. The rest -- that is, the majority -- have gotten closer to the mainstream.
In the past, it was not hip to be in little independent movies; it was a signal that an actor's career was in trouble. But in the 1990s, acting in indies doesn't mean having to say you're sorry. Take Bruce Willis, one of the few Hollywood stars to command $20 million for his mainstream movies ("Armageddon"). In 1998, Willis made a little, quirky film, "Breakfast of Champions," an adaptation of Kurt Vonnegut's novel. Willis's company, Rational Packaging, bought the book rights and raised independent financing for the $12 million film. "The film is kind of outside Hollywood," Willis told the Los Angeles Times, stressing the gallows humor and oddball sensibility that define his character, a wealthy Midwestern car dealer who is losing his mind. Willis explained, "Every once in a while, I've got to satisfy myself. I can count on one hand, and not use my thumb, the number of films in the last couple of years that I looked forward to going to work every day [on]."
Big stars -- John Wayne, Clint Eastwood, Mel Gibson -- have tried before to exercise control over their careers, but usually did so by directing studio films. Willis, however, like Robert Duvall ("The Apostle") before him, avoided the studio interference altogether. Owning the film's negative, he enjoys the kind of creative control he has not had in his Hollywood pictures. Willis, who had previously appeared in character roles in other indies (e.g., "Pulp Fiction"), is not the only major star to appear in indies. John Travolta, whose career was resurrected by "Pulp Fiction," appears in indies ("White Man's Burden," "She's So Lovely") as well as studio movies ("Phenomenon," "Primary Colors," "A Civil Action"). Nicolas Cage and Nick Nolte also commute regularly between the two industries.
By and large, though, indies, like Hollywood, have their own hierarchies of acting and directorial talent. A dozen players dominate the field, going from one project to another, often making as many as three films a year. Among them are John Turturro, Eric Stoltz, Steve Buscemi, and William H. Macy. Lili Taylor is the indies' preeminent dramatic actress in the 1990s. Taylor appeared in three features that competed at Sundance in 1996, including "I Shot Andy Warhol." The following year, Parker Posey held the record with three films at Sundance, where she won particularly strong accolades for "The House of Yes."
Major Hollywood stars, like Julia Roberts, Demi Moore, and Goldie Hawn, rarely work in indies, unless it's a Woody Allen film. Allen may be the only major filmmaker to mix actors from both worlds. "Actors who want interesting careers have to make hard choices," said Julianne Moore, because for their work in indies they get paid union scale -- about $1,500 a week. Moore has moved back and forth between the indie and commercial worlds, appearing in some challenging movies, "Vanya on 42nd Street" and "Safe," for which she earned critical praise. After playing a paleontologist in Spielberg's "The Lost World," Moore was seen bottomless in "Short Cuts" and topless in "Boogie Nights," in a role that Paul Thomas Anderson wrote specifically for her.
When David Putnam was head of Columbia, he tried to create an ethos where turning a film with a potential $3 million net into a film with a $6 million net would be seen as a triumph. Putnam believed that "people create their careers in this industry out of their perceived successes at the box office." Needless to say, Putnam failed.
In the 1980s, "Liquid Sky," "Eating Raoul," "El Norte," "Stranger Than Paradise," "Blood Simple," and "Desperately Seeking Susan" showed that films can be independent and still make money -- not a lot of money, but enough to remove the stigma from the word "independent" -- and recoup their cost. In the 1980s, said indie producer Christine Vachon ("Velvet Goldmine," "Happiness"), "when you were working on 'Parting Glances' or 'Stranger Than Paradise,' you were just lucky to be where it was happening. You worked 16 or 17 hours a day, but there was a passion that trickled down. You cared about the movie and the director's vision." But in the 1990s, the definition of success has changed, as Vachon has observed: "Back then, we used to think a film was a success if it grossed over $1 million. Now, it's not even a success if it grosses over 5 or 10 million."
Indeed, John Horn has recently suggested "to retire the conventional wisdom on the differences between the independent film community and the big studio machines." While indies have typically been seen as "brassy innovators," and the studios as the "fortresses of corporate mediocrity," a role reversal is now taking place. The major studios are willing to invest in "edgy little films," allowing creative control to the filmmaker, whereas indies are becoming more concerned with "each and every detail." The reason for this is monetary. The typical indie-type film costs the equivalent of "pocket change" to Warners, Disney, or Paramount, but as independent outfits start producing movies that cost several million dollars, their executives become more frugal.
Reflecting these changes, indies are now no longer content with a modest profit, but instead want the next "Full Monty" or "The English Patient." Ironically, earning studio-level grosses has become a near necessity in the new economics of independent films, which now requires a significant infrastructure to accommodate increased demand (Miramax now has 300 employees). "The risk is that you become your antithesis," said Fox Searchlight's Tony Safford. The switch in indie philosophy has brought "corporate worries -- fear of embarrassing public relations and boycotts by intolerant activists." Some fear that this new environment will lead to a chilling of the creative environment associated with indie filmmaking.
For Vachon too, indies have become "more of an industry." It's almost impossible to get financial backing for a small film without stars. "You really need to have some good stock to get a role," Lili Taylor told the New York Times, "Everybody wants someone who can bring a little bit more money to the table. It's all distribution, and the distributor is saying you don't have a name." The trend of using name casts is part of a broader transformation of the indie industry. "It is virtually impossible to get movies financed unless you have some kind of star attached," confirms William Morris agent Cassian Elwes.
If you can do a movie with unknowns for less than $1 million, you might be able to get the financing. Otherwise you need stars. That's because the straight to video business is virtually gone, and to make money, you either have to sell the picture directly to Pay TV or release it theatrically, and you can't get either of those achieved without a star. HBO won't buy it unless there are at least two or three stars involved.
Hence, for many, "independent film" in the 1990s has become a euphemism for a small-studio production. As Paul Schrader explained, "The middle has dropped out. With a few exceptions, there's no place for a $20 to $30 million movie anymore. Hollywood has dropped the ball by leaving social issues to the independents. The movies that studios traditionally made for their prestige value have fallen to the independents, which of course are not so independent." The gap between indies and studio films has gotten more extreme -- a $40,000 experimental feature and a $40 million New Line film may have only one thing in common: Kodak film stock. Even so, a middle ground has grown up, populated with indie filmmakers who speak a language educated moviegoers can understand. It is to this middle ground that most independents aspire.
Robert Redford also feels progress has been made toward the goal of breaking down the distinction between independent and studio movies. For him, an independent film is "not necessarily a bunch of people running around SoHo dressed in black making a movie for $25,000. It's simply a film that stays free as long as possible to be what it wants to be. In an ideal world, there won't be a distinction between types of movies, just a broader menu."
www.zerodarkcinema.com
Tuesday, March 17, 2009
The Rock Returns
The Rock Returns...
www.zerodarkcinema.com
and he is the real killer of the Watchmen....
In a bar brawl who's side would you be on... A bunch of actors in tights standing behind the visionary genius of Zack Snyder or a Real Super Hero... The Rock. Apparently it just doesn't matter that Disney and they're candy asses bought the Rock... The Rock Still Won... If you smell what the Rock is cooking!.... Apparently Zack learned his lesson... But wait.. what's the better movie? Its soooo Sad to me that America just wants to see the Rock after all this time when Watchmen was a masterpiece a movie that only comes around once a blue moon... and it just didn't matter...
It's official. With a staggering drop of 67% from last week, Watchmen, bedeviled by mixed reviews, a punishing running time of nearly three hours and an ad campaign that seems to freeze out audiences who don't know or give a damn about the Alan Moore comic book, took in a scant $18 million compared to last weekend's solid-but-not-sensational $55 million. Translation: the blockbuster train has left the station. To add insult to box-office injury, Watchmen got whacked by The Rock, the former wrestler who now goes by his thespian name of Dwayne Johnson. The weapon The Rock (excuse me, Mr. Johnson) used to pound Watchmen is a puny Disney adventure flick called Race to Witch Mountain, a chunk of family pablum that took in $25 million. Disney reports that 18% of the audience consisted of adults NOT attending with children, a factoid that scares me deeply. Get a life, people. Or at least a better movie. Couldn't you have joined the folks at Sunshine Cleaning, which did surprisingly well in a limited run? Hell, there was more action watching Jon Stewart ambush CNBC's financial guru Jim Cramer on Comedy Central than you'll find in all of Witch Mountain. More point as well. But the question remains: Who really whacked Watchmen? The movie's enemies accuse director Zack Snyder of arrogance in going his own dark way. Supporters say audience taste is currently so debased that anything smart and/or ambitious scares away the escapist-hungry public. What's your final verdict?
If you haven't seen Watchmen... What are you waiting for!!!!!! This movie is still stuck in my head. Its going to be a movie that echoes into eternity while the road to witch mountain will fade into obscurity... but at the end of the Day.. Its the Rock who's still standing tall
www.zerodarkcinema.com
www.zerodarkcinema.com
and he is the real killer of the Watchmen....
In a bar brawl who's side would you be on... A bunch of actors in tights standing behind the visionary genius of Zack Snyder or a Real Super Hero... The Rock. Apparently it just doesn't matter that Disney and they're candy asses bought the Rock... The Rock Still Won... If you smell what the Rock is cooking!.... Apparently Zack learned his lesson... But wait.. what's the better movie? Its soooo Sad to me that America just wants to see the Rock after all this time when Watchmen was a masterpiece a movie that only comes around once a blue moon... and it just didn't matter...
It's official. With a staggering drop of 67% from last week, Watchmen, bedeviled by mixed reviews, a punishing running time of nearly three hours and an ad campaign that seems to freeze out audiences who don't know or give a damn about the Alan Moore comic book, took in a scant $18 million compared to last weekend's solid-but-not-sensational $55 million. Translation: the blockbuster train has left the station. To add insult to box-office injury, Watchmen got whacked by The Rock, the former wrestler who now goes by his thespian name of Dwayne Johnson. The weapon The Rock (excuse me, Mr. Johnson) used to pound Watchmen is a puny Disney adventure flick called Race to Witch Mountain, a chunk of family pablum that took in $25 million. Disney reports that 18% of the audience consisted of adults NOT attending with children, a factoid that scares me deeply. Get a life, people. Or at least a better movie. Couldn't you have joined the folks at Sunshine Cleaning, which did surprisingly well in a limited run? Hell, there was more action watching Jon Stewart ambush CNBC's financial guru Jim Cramer on Comedy Central than you'll find in all of Witch Mountain. More point as well. But the question remains: Who really whacked Watchmen? The movie's enemies accuse director Zack Snyder of arrogance in going his own dark way. Supporters say audience taste is currently so debased that anything smart and/or ambitious scares away the escapist-hungry public. What's your final verdict?
If you haven't seen Watchmen... What are you waiting for!!!!!! This movie is still stuck in my head. Its going to be a movie that echoes into eternity while the road to witch mountain will fade into obscurity... but at the end of the Day.. Its the Rock who's still standing tall
www.zerodarkcinema.com
Monday, March 16, 2009
Revenge of the Fallen
Transformers Revenge of the Fallen
by Director Michael Bay
In the highly-anticipated "Transformers: Revenge of the Fallen," debuting June 24, 2009, Sam Witwicky (Shia LaBeouf) again joins with the Autobots® against their sworn enemies, the Decepticons®. Michael Bay directs from a screenplay by Ehren Kruger & Roberto Orci & Alex Kurtzman.
www.zerodarkcinema.com
I am sure the whole world is watching the every move of this monster film. I for one will be spying on it with a vengeful eye. I adore the masterpiece of the original, i watched it with Abysmal Entertainment at the IMAX theater the day it came out in Orlando, florida. I'm sure the second installment will be mind blowing. I read the original treatment for the second installment when i was in L.A... don't ask how i got my hands on that... Nevertheless... their is a strange vengeance stirring in my heart. I wanted to take a minute to shed some light on that..
The year was 1997 18 years after my birth in 1979... I grew up in the woods after my family relocated me there as a baby to escape the darkness that was kept from me my whole life.. I was forced and encouraged to play sports... as it was... a country boy who played sports... then came the year 1986 and i was 7 years old. Transformers the Cartoon Movie came out in theaters... Optimus Prime Died.... Children across the nation were crying... However I was exhilarated... cartoons on television annoyed me.. there was just something unhuman, ungripping about them. The morals were exploited, the bad guys never lost... the bad guys were always caught. For a strange reason my perception of the duality of good and evil was ripe. When optimus died i loved it.. It was Maverick to me! Yes... the good guys die fighting too...
Back to the year 1997 i had just graduated high school and finally escaped the woods. You see my family never traveled... Never took me outside the boundaries of the woods, i was there... A strange kid misunderstood with a false identity of a sports hick. college was liberating and in my first semester i was drawn to the extra curriculum class "History of Film." At the end of the semester i was to write a paper on a film of my choice. I decided to do something maverick.. I decided to write a Feature Film Treatment for reasons i could not explain... and what did i do??
I wrote a feature film treatment on Transformers the Live Action Film. After the papers were past in the teacher a waspy older woman who was an intense film snob, without a single cinematic talent in her blood, took me outside the class room and told me she was giving me an A+, but i must do one thing for her in order to earn it. She told me that in order to receive the + in the grade. I must pursue film. Apparently she saw something in me that was different than most kids in the class. I am not here to tell you what she saw in me but i accepted the challenge.
And so it was... i was a filmmaker with out a single class in film and excited about an off-base history class of low relevance. a country boy with no life experiences who just accepted a quest of magnitude that even to this day humbles me. But who was i to turn the transformers cartoon into a live action film. Back in 1997 when the dreams of the youth are too glorious for the mature elders to comprehend i set forth. In order to make this film i new well and good that i had to start making films and start breaking into the industry.
In 2007 ten years later. I found myself back in Orlando after a short stint in Los Angeles. I had made films, i had entered film festivals, i had made music videos, i had broken into the film industry. Yet i was no more closer to getting Steven Spielberg to believe in me than i was ten years ago. Well maybe alot closer but still very far indeed. There i was sitting in the IMAX watching Transformers the movie on the super large screen... Enjoying every second while my heart boiled in rage... Every step i had taken in my life mirrored back... I had fallen.. i had failed... or had I?
What made the experience more grueling was the fact that Michael Bay was directing. I despised his style in previous films and the multitude of people that i know who have worked with him will tell you the same... he's a sociopath bastard of film. I know why he wins... I grew up with a sociopath. I know his type.. My whole life was built around overcoming the venom of sociopaths. I am their antithesis. Michael Bay however, sadly couldn't be my arch nemesis because i am an ant compared to him. Yet i long for the day to shine next to him and smile as my love for people and love for the art of cinema defeat his raping of the art form and his lack of compassion for the people who create around him.
Every filmmaker has stories like these. Stories of Smashed Dreams and yet we continue dreaming. Every day its a new story-line that sparks our imagination. I haven't missed a beat since that disappointment and it is now in 2009. With my unveiling of Zero Dark Cinema where i am launching forth into the deep, I hope to one day give Michael Bay a run for his money and Create a film that rivals his rendition of Transformers.
www.zerodarkcinema.com
by Director Michael Bay
In the highly-anticipated "Transformers: Revenge of the Fallen," debuting June 24, 2009, Sam Witwicky (Shia LaBeouf) again joins with the Autobots® against their sworn enemies, the Decepticons®. Michael Bay directs from a screenplay by Ehren Kruger & Roberto Orci & Alex Kurtzman.
www.zerodarkcinema.com
I am sure the whole world is watching the every move of this monster film. I for one will be spying on it with a vengeful eye. I adore the masterpiece of the original, i watched it with Abysmal Entertainment at the IMAX theater the day it came out in Orlando, florida. I'm sure the second installment will be mind blowing. I read the original treatment for the second installment when i was in L.A... don't ask how i got my hands on that... Nevertheless... their is a strange vengeance stirring in my heart. I wanted to take a minute to shed some light on that..
The year was 1997 18 years after my birth in 1979... I grew up in the woods after my family relocated me there as a baby to escape the darkness that was kept from me my whole life.. I was forced and encouraged to play sports... as it was... a country boy who played sports... then came the year 1986 and i was 7 years old. Transformers the Cartoon Movie came out in theaters... Optimus Prime Died.... Children across the nation were crying... However I was exhilarated... cartoons on television annoyed me.. there was just something unhuman, ungripping about them. The morals were exploited, the bad guys never lost... the bad guys were always caught. For a strange reason my perception of the duality of good and evil was ripe. When optimus died i loved it.. It was Maverick to me! Yes... the good guys die fighting too...
Back to the year 1997 i had just graduated high school and finally escaped the woods. You see my family never traveled... Never took me outside the boundaries of the woods, i was there... A strange kid misunderstood with a false identity of a sports hick. college was liberating and in my first semester i was drawn to the extra curriculum class "History of Film." At the end of the semester i was to write a paper on a film of my choice. I decided to do something maverick.. I decided to write a Feature Film Treatment for reasons i could not explain... and what did i do??
I wrote a feature film treatment on Transformers the Live Action Film. After the papers were past in the teacher a waspy older woman who was an intense film snob, without a single cinematic talent in her blood, took me outside the class room and told me she was giving me an A+, but i must do one thing for her in order to earn it. She told me that in order to receive the + in the grade. I must pursue film. Apparently she saw something in me that was different than most kids in the class. I am not here to tell you what she saw in me but i accepted the challenge.
And so it was... i was a filmmaker with out a single class in film and excited about an off-base history class of low relevance. a country boy with no life experiences who just accepted a quest of magnitude that even to this day humbles me. But who was i to turn the transformers cartoon into a live action film. Back in 1997 when the dreams of the youth are too glorious for the mature elders to comprehend i set forth. In order to make this film i new well and good that i had to start making films and start breaking into the industry.
In 2007 ten years later. I found myself back in Orlando after a short stint in Los Angeles. I had made films, i had entered film festivals, i had made music videos, i had broken into the film industry. Yet i was no more closer to getting Steven Spielberg to believe in me than i was ten years ago. Well maybe alot closer but still very far indeed. There i was sitting in the IMAX watching Transformers the movie on the super large screen... Enjoying every second while my heart boiled in rage... Every step i had taken in my life mirrored back... I had fallen.. i had failed... or had I?
What made the experience more grueling was the fact that Michael Bay was directing. I despised his style in previous films and the multitude of people that i know who have worked with him will tell you the same... he's a sociopath bastard of film. I know why he wins... I grew up with a sociopath. I know his type.. My whole life was built around overcoming the venom of sociopaths. I am their antithesis. Michael Bay however, sadly couldn't be my arch nemesis because i am an ant compared to him. Yet i long for the day to shine next to him and smile as my love for people and love for the art of cinema defeat his raping of the art form and his lack of compassion for the people who create around him.
Every filmmaker has stories like these. Stories of Smashed Dreams and yet we continue dreaming. Every day its a new story-line that sparks our imagination. I haven't missed a beat since that disappointment and it is now in 2009. With my unveiling of Zero Dark Cinema where i am launching forth into the deep, I hope to one day give Michael Bay a run for his money and Create a film that rivals his rendition of Transformers.
www.zerodarkcinema.com
Monday, March 9, 2009
The Story of the Dark part 1 "The Vacuum of Void"
Darkness is not a void... Darkness is temporary Absence of Light. For the Dark is only what you put into it.
You must believe that the dark contains precisely what you believe. And if you don't believe in your own light the darkness becomes the imagination of your illusory fear. Don't believe me... Learn from Yoda.
Once long ago, before there was such a thing as time, the universe was shrouded in the vacuum of dark energy.
then came the splendor of light, bringing life and love into the universe. and the vacuum of dark energy retreated deep into the shadows of the subconscious and the subatomic, plotting to return to power once the splendor of light had loosened its rays...
Darkness is not the Enemy; however, the Vacuum Energy that crates the void of life that is nothingness. The sucking void eats the weaker splendors of light.
However, precious light is protected, harbored in the souls of those with a stout heart, a creative mind, an intuitive nature, and a blissful spirit. These are the Agents of the Zero Point Field. Those who feed off of the electromagnetic subatomic sea of light that permeates all reality.
However, their is a balance that must maintain itself. There can be no good with out evil. no love with out hate.. no heaven without hell... no light without darkness.
the harmony of the Universe depends upon an eternal balance. Out of the struggle to maintain this balance comes the birth of Legends.. However, now in this time.. the end of time. The Splendor of LIght has weakened to such degree that the Vacuum Energy is ripping matter apart sucking life as we know into the black hole and leaving the void...
The Vacuum can however be suppressed but only by your own belief in your own light. Because if you believe the void is nothingness in the dark then so be it.
This nothingness has been spoke of before in
THE NEVERENDING STORY
If you are a brave warrior then fight the nothing.
Atreyu: But I can't! I can't get beyond the boundaries of Fantasia!
[G'mork laughs and Atreyu gets a little angry]
Atreyu: What's so funny about that?
G'mork: Fantasia has no boundaries.
Are you a brave enough of a warrior to fight the nothingness and be beyond space and time to manifest infinite pure light. LImiting yourself sets in when you give up your dreams, thoughts, intentions, and beliefs. Those who wish to control do so with a limited amount of tools and suck the life out of you. If you give you up believing in your infinite self you shall become easily controlled giving power to those who wish to destroy this world.
In the next part we shall meet Agent Zero and Agent Dark. Two rag tag teenagers who are on a mission to use music, film, and fashion with Light and Shadow to generate the funds necessary to defeat the Vacuum of the Corrupt Military Industrial Complex.
For more on Zero Dark go here: Website
You must believe that the dark contains precisely what you believe. And if you don't believe in your own light the darkness becomes the imagination of your illusory fear. Don't believe me... Learn from Yoda.
Once long ago, before there was such a thing as time, the universe was shrouded in the vacuum of dark energy.
then came the splendor of light, bringing life and love into the universe. and the vacuum of dark energy retreated deep into the shadows of the subconscious and the subatomic, plotting to return to power once the splendor of light had loosened its rays...
Darkness is not the Enemy; however, the Vacuum Energy that crates the void of life that is nothingness. The sucking void eats the weaker splendors of light.
However, precious light is protected, harbored in the souls of those with a stout heart, a creative mind, an intuitive nature, and a blissful spirit. These are the Agents of the Zero Point Field. Those who feed off of the electromagnetic subatomic sea of light that permeates all reality.
However, their is a balance that must maintain itself. There can be no good with out evil. no love with out hate.. no heaven without hell... no light without darkness.
the harmony of the Universe depends upon an eternal balance. Out of the struggle to maintain this balance comes the birth of Legends.. However, now in this time.. the end of time. The Splendor of LIght has weakened to such degree that the Vacuum Energy is ripping matter apart sucking life as we know into the black hole and leaving the void...
The Vacuum can however be suppressed but only by your own belief in your own light. Because if you believe the void is nothingness in the dark then so be it.
This nothingness has been spoke of before in
THE NEVERENDING STORY
If you are a brave warrior then fight the nothing.
Atreyu: But I can't! I can't get beyond the boundaries of Fantasia!
[G'mork laughs and Atreyu gets a little angry]
Atreyu: What's so funny about that?
G'mork: Fantasia has no boundaries.
Are you a brave enough of a warrior to fight the nothingness and be beyond space and time to manifest infinite pure light. LImiting yourself sets in when you give up your dreams, thoughts, intentions, and beliefs. Those who wish to control do so with a limited amount of tools and suck the life out of you. If you give you up believing in your infinite self you shall become easily controlled giving power to those who wish to destroy this world.
In the next part we shall meet Agent Zero and Agent Dark. Two rag tag teenagers who are on a mission to use music, film, and fashion with Light and Shadow to generate the funds necessary to defeat the Vacuum of the Corrupt Military Industrial Complex.
For more on Zero Dark go here: Website
The Sea of Light
The Field: The Quest For The Secret Force Of The Universe
Its a bit like finding that there is such a thing as The Force in Star Wars. The Field tells the story of respected frontier scientists all over the globe who have produced extraordinary evidence to show that an energy field -The Zero Point Field - connects everything in the universe, and we ourselves are part of this vast dynamic cobweb of energy exchange.
The Field creates a picture of an interconnected universe and a new scientific theory which makes sense of supernatural phenomena. It offers a scientific explanation for many of the most profound human mysteries, from alternative medicine and spiritual healing to extra sensory perception and the collective unconscious. It could even answer some of the big questions: what is human consciousness and what happens when we die.
Here in so-called 'dead' space may lay the key to many of life's processes, from how cells communicate to how organisms actually take shape
1. What exactly is 'The Field'?
The Field is the Zero Point Field, a subatomic field of unimaginably large quantum energy in so-called empty space. If you add up all the movement of all the particles of all varieties in the universe, you come up with a vast inexhaustible energy source all sitting there unobtrusively in the background of the empty space around us, like one all-pervasive, supercharged backdrop. To give you some idea of the magnitude of that power, the energy in a single cubic yard of 'empty' space is enough to boil all the oceans of the world.
In fact, the work that Rueda, I and another colleague, Hal Puthoff, have since done indicate that mass is, in effect, an illusion. Matter resists acceleration not because it possesses some innate thing called mass, but because the zero-point field exerts a force whenever acceleration takes place. To put it in somewhat metaphysical terms, there exists a background sea of quantum light filling the universe, and that light generates a force that opposes acceleration when you push on any material object. That is why matter seems to be the solid, stable stuff that we and our world are made of.
The solid, stable world of matter appears to be sustained at every instant by an underlying sea of quantum light.
But let's take this even one step further. If it is the underlying realm of light that is the fundamental reality propping up our physical universe, let us ask ourselves how the universe of space and time would appear from the perspective of a beam of light. The laws of relativity are clear on this point. If you could ride a beam of light as an observer, all of space would shrink to a point, and all of time would collapse to an instant. In the reference frame of light, there is no space and time. If we look up at the Andromeda galaxy in the night sky, we see light that from our point of view took 2 million years to traverse that vast distance of space. But to a beam of light radiating from some star in the Andromeda galaxy, the transmission from its point of origin to our eye was instantaneous.
There must be a deeper meaning in these physical facts, a deeper truth about the simultaneous interconnection of all things. It beckons us forward in our search for a better, truer understanding of the nature of the universe, of the origins of space and time — those "illusions" that yet feel so real to us.
Free Energy Documentary: The Race to Zero Point
Its a bit like finding that there is such a thing as The Force in Star Wars. The Field tells the story of respected frontier scientists all over the globe who have produced extraordinary evidence to show that an energy field -The Zero Point Field - connects everything in the universe, and we ourselves are part of this vast dynamic cobweb of energy exchange.
The Field creates a picture of an interconnected universe and a new scientific theory which makes sense of supernatural phenomena. It offers a scientific explanation for many of the most profound human mysteries, from alternative medicine and spiritual healing to extra sensory perception and the collective unconscious. It could even answer some of the big questions: what is human consciousness and what happens when we die.
Here in so-called 'dead' space may lay the key to many of life's processes, from how cells communicate to how organisms actually take shape
1. What exactly is 'The Field'?
The Field is the Zero Point Field, a subatomic field of unimaginably large quantum energy in so-called empty space. If you add up all the movement of all the particles of all varieties in the universe, you come up with a vast inexhaustible energy source all sitting there unobtrusively in the background of the empty space around us, like one all-pervasive, supercharged backdrop. To give you some idea of the magnitude of that power, the energy in a single cubic yard of 'empty' space is enough to boil all the oceans of the world.
In fact, the work that Rueda, I and another colleague, Hal Puthoff, have since done indicate that mass is, in effect, an illusion. Matter resists acceleration not because it possesses some innate thing called mass, but because the zero-point field exerts a force whenever acceleration takes place. To put it in somewhat metaphysical terms, there exists a background sea of quantum light filling the universe, and that light generates a force that opposes acceleration when you push on any material object. That is why matter seems to be the solid, stable stuff that we and our world are made of.
The solid, stable world of matter appears to be sustained at every instant by an underlying sea of quantum light.
But let's take this even one step further. If it is the underlying realm of light that is the fundamental reality propping up our physical universe, let us ask ourselves how the universe of space and time would appear from the perspective of a beam of light. The laws of relativity are clear on this point. If you could ride a beam of light as an observer, all of space would shrink to a point, and all of time would collapse to an instant. In the reference frame of light, there is no space and time. If we look up at the Andromeda galaxy in the night sky, we see light that from our point of view took 2 million years to traverse that vast distance of space. But to a beam of light radiating from some star in the Andromeda galaxy, the transmission from its point of origin to our eye was instantaneous.
There must be a deeper meaning in these physical facts, a deeper truth about the simultaneous interconnection of all things. It beckons us forward in our search for a better, truer understanding of the nature of the universe, of the origins of space and time — those "illusions" that yet feel so real to us.
Free Energy Documentary: The Race to Zero Point
Friday, February 20, 2009
"The End of Night" Light Pollution
The Cause of Zero Dark…. We must stop Light Pollution.
Unlike astronomers, most of us may not need an undiminished view of the night sky for our work, but like most other creatures we do need darkness. Darkness is as essential to our biological welfare, to our internal clockwork, as light itself. The regular oscillation of waking and sleep in our lives—one of our circadian rhythms—is nothing less than a biological expression of the regular oscillation of light on Earth. So fundamental are these rhythms to our being that altering them is like altering gravity.
This kind of engineering is no different than damming a river. Its benefits come with consequences—called light pollution—whose effects scientists are only now beginning to study. Light pollution is largely the result of bad lighting design, which allows artificial light to shine outward and upward into the sky, where it’s not wanted, instead of focusing it downward, where it is. Ill-designed lighting washes out the darkness of night and radically alters the light levels—and light rhythms—to which many forms of life, including ourselves, have adapted. Wherever human light spills into the natural world, some aspect of life—migration, reproduction, feeding—is affected.
Linking Light Pollution to Human Health
The evidence that indoor artificial light at night influences human health is fairly strong, but how does this relate to light pollution? The work in this area has just begun, but two studies in Israel have yielded some intriguing findings. Stevens was part of a study team that used satellite photos to gauge the level of nighttime artificial light in 147 communities in Israel, then overlaid the photos with a map detailing the distribution of breast cancer cases. The results showed a statistically significant correlation between outdoor artificial light at night and breast cancer, even when controlling for population density, affluence, and air pollution. Women living in neighborhoods where it was bright enough to read a book outside at midnight had a 73% higher risk of developing breast cancer than those residing in areas with the least outdoor artificial lighting. However, lung cancer risk was not affected. The findings appeared in the January 2008 issue of Chronobiology International.
“It may turn out that artificial light exposure at night increases risk, but not entirely by the melatonin mechanism, so we need to do more studies of ‘clock’ genes—nine have so far been identified—and light exposure in rodent models and humans,” Stevens says. Clock genes carry the genetic instructions to produce protein products that control circadian rhythm. Research needs to be done not just on the light pollution–cancer connection but also on several other diseases that may be influenced by light and dark.
Travis Longcore, co-editor of Ecological Consequences of Artificial Night Lighting and a research associate professor at the University of Southern California Center for Sustainable Cities, suggests two ways outdoor light pollution may contribute to artificial light–associated health effects in humans. “From a human health perspective, it seems that we are concerned with whatever increases artificial light exposure indoors at night,” he says. “The effect of outdoor lighting on indoor exposure could be either direct or indirect. In the direct impact scenario, the artificial light from outside reaches people inside at night at levels that affect production of hormones. In an indirect impact it would disturb people inside, who then turn on lights and expose themselves to more light.”
“The public needs to know about the factors causing [light pollution], but research is not going at the pace it should,” Blask says. Susan Golden, distinguished professor at the Center for Research on Biological Clocks of Texas A&M University in College Station, Texas, agrees. She says, “Light pollution is still way down the list of important environmental issues needing study. That’s why it’s so hard to get funds to research the issue.”
In the end, humans are no less trapped by light pollution than the frogs in a pond near a brightly lit highway. Living in a glare of our own making, we have cut ourselves off from our evolutionary and cultural patrimony—the light of the stars and the rhythms of day and night. In a very real sense, light pollution causes us to lose sight of our true place in the universe, to forget the scale of our being, which is best measured against the dimensions of a deep night with the Milky Way—the edge of our galaxy—arching overhead.
Tuesday, February 17, 2009
Believe in the Dark
Believe in the Dark
This phrase is Zero Dark's New Slogan...Here's some quotes that inspired it.
Better to light a candle than to curse the darkness.
Chinese Proverb
What I give form to in daylight is only one per cent of what I have seen in darkness.
M. C. Escher
The woods are lovely, dark, and deep, But I have promises to keep, And miles to go before I sleep,
Robert Frost
As far as we can discern, the sole purpose of human existence is to kindle a light in the darkness of mere being.
Carl Jung
Everyone has talent. What is rare is the courage to follow the talent to the dark place where it leads.
Erica Jong
Fear is that little darkroom where negatives are developed.
Michael Pritchard
The jungle is dark but full of diamonds...
Arthur Miller
I will love the light for it shows me the way, yet I will endure the darkness for it shows me the stars.
Og Mandino
Even in the darkness, every color can be found. And every day of rain brings water flowing to things growing in the ground.
Joss Whedon
All growth is a leap in the dark, a spontaneous unpremeditated act without the benefit of experience.
Henry Miller
Duct tape is like the force. It has a light side, a dark side, and it holds the universe together....
Carl Zwanzig
Everything has its wonders, even darkness and silence, and I learn whatever state I am in, therin to be content
Helen Keller
You can't have a light without a dark to stick it in.
Arlo Guthrie
This phrase is Zero Dark's New Slogan...Here's some quotes that inspired it.
Better to light a candle than to curse the darkness.
Chinese Proverb
What I give form to in daylight is only one per cent of what I have seen in darkness.
M. C. Escher
The woods are lovely, dark, and deep, But I have promises to keep, And miles to go before I sleep,
Robert Frost
As far as we can discern, the sole purpose of human existence is to kindle a light in the darkness of mere being.
Carl Jung
Everyone has talent. What is rare is the courage to follow the talent to the dark place where it leads.
Erica Jong
Fear is that little darkroom where negatives are developed.
Michael Pritchard
The jungle is dark but full of diamonds...
Arthur Miller
I will love the light for it shows me the way, yet I will endure the darkness for it shows me the stars.
Og Mandino
Even in the darkness, every color can be found. And every day of rain brings water flowing to things growing in the ground.
Joss Whedon
All growth is a leap in the dark, a spontaneous unpremeditated act without the benefit of experience.
Henry Miller
Duct tape is like the force. It has a light side, a dark side, and it holds the universe together....
Carl Zwanzig
Everything has its wonders, even darkness and silence, and I learn whatever state I am in, therin to be content
Helen Keller
You can't have a light without a dark to stick it in.
Arlo Guthrie
Thursday, February 12, 2009
Butterflies & Hurricanes
This is my official song for my new company Zero Dark.. I want to thank everyone for believing in me and this dream that keeps getting crazier by the minute.. I love you all and promise to fight with my light until all other lights go out...
I wanted to share the lyrics to the song "Butterflies & Hurricanes" by Muse which resonated deeply with me and my new endeavor.
"I'm Changing Everything I am And everything I was. My number has been called
Now My Fights and battles have begun. Their Revenge will surely come. Foreseen hard times are ahead
Best, I’ve got to be the best. I’ve got to change the world And use this chance to be heard!!!!
My time is now!!!!
I Won't let Myself down. And I Won't let Myself go Down.. My last chance has arrived
Best, I’ve got to be the best. I’ve got to change the world. And use this chance to be heard
My time is now!!!"
I wanted to share the lyrics to the song "Butterflies & Hurricanes" by Muse which resonated deeply with me and my new endeavor.
"I'm Changing Everything I am And everything I was. My number has been called
Now My Fights and battles have begun. Their Revenge will surely come. Foreseen hard times are ahead
Best, I’ve got to be the best. I’ve got to change the world And use this chance to be heard!!!!
My time is now!!!!
I Won't let Myself down. And I Won't let Myself go Down.. My last chance has arrived
Best, I’ve got to be the best. I’ve got to change the world. And use this chance to be heard
My time is now!!!"
Tuesday, February 10, 2009
1st Blog
Just wanted to say welcome to the first entry of the official Zero Dark Blog. Here Zero Dark is going to post thoughts, coming soon blurbs, and updates on our projects. Zero Dark is going to be a wild ride and anyone who graces us with your presence we are glad to have you.
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