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!!!!
Saturday, March 28, 2009
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
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