p.s. Hey. ** Continuing the recent spate of blog-shaped treasures sourced from heads other than mine, today I have the privilege of ushering you into this impeccable and generous guest-post by artist and distinguished local Marilyn Roxie, who invites you to consider and watch ten superb works by artists who create and practice within analog film and digital video. It’s a boon, and I hope you enjoy the show and exploration and will report back in whatever manner you see fit to Marilyn, and thank you very much in advance. Thank you so, so much, Marilyn! ** Scunnard, Hi, J. The mixtape is pretty excellent through and through, I think. Yeah, I’m not yet at least blown away by the new Crystal Castles album, but they’re playing here soonish, and I’ve never seen them, and I checked out some post-Alice live videos a la the one in the post, and the ‘new’ live show seems way good enough for me. I saw Alexis Arquette around over the years, but I didn’t know her/him. A close friend of mine was involved in an early, aborted attempt to launch his reality show series, so I heard a lot about him. And, again, when she was still a he, he played a role in that kind of terrible ‘Frisk’ movie, and his performance was one of the handful of good things about it. Those are my only connections. Fine Tuesday around and in you. ** H, Hi. Oh, I see. Very interesting. That sounds pretty terrific, context-wise. I got excited and felt a nice combo of free/structured just reading about it. Thank you! ** _Black_Acrylic, Hi, Ben. I didn’t know that about Levi. Is it for the Jackie O biopic that just premiered at the Venice Film Festival? I heard solid things about it. I have the Scott Walker soundtrack, but I haven’t spun it, or, rather, triggered it since mine’s a boring file. ** Julian, Hi, Julian! I’m really glad you overcame your previous shyness because it’s really good to meet you. May the meeting evolve. I’ve heard only little pieces of the NON Worldwide stuff so far. I only discovered Elysia Crampton’s work very recently and, mostly through her, got intrigued by the label. So I’m in the early process of exploring their stuff. Can you particularly recommend anything? Yes, totally, that explosion is very, very interesting. Thanks a lot for the comment and thoughts, and I hope to have to opportunity to talk with you further. ** Steevee, Yes, it’s good about the NY Times piece. When that journalist interviewed me, I thought it might be a more hard-hitting piece than it turned out to be, but still. Her surreptitious recording of my conversations and others, and the director using them willy-nilly is really gross. I just wish something would happen that could exhaust people’s curiosity about that whole thing. It’s true, even though France is no longer the France circa the Nouvelle Vague by any means, the anti-art/serious film reverse-snobbishness is still kind of marginal, at least among critics and buffs. It’s there, but I think it’s more a problem among film producers than adventurous viewers or consumers. When Zac and I were doing our run-through for our appointment for the funding committee meeting in front of a handful of Paris-based film producers that our film’s producer gathered to test us, two of them were very hostile to our film project’s ambitions. One of those producers kept referring dismissively to Gus van Sant and Larry Clark as points of reference incessantly, I guess just because I’m an American and because the film’s characters are young (in their 20s), and when I pointed out that our models weren’t their work at all, but rather French directors like Bresson, Rohmer, Dumont, Marker, etc, she said, ‘Bresson!’ incredulously, and then she and the other hostile producer rolled their eyes and groaned loudly. Weird. I have both of those records you bought back in LA. I was def. into them at the time. I can’t seem to draw up much interest in the new Nick Cave. I haven’t really been excited by his stuff for years. I am looking forward to the new De La Soul though. ** Dóra Grőber, Hi. I would be lying if I said I know what Caen looks like too, ha ha. I’ve never been there. I don’t think I’ve even looked at photos of it (yet). We’re just hoping that because it’s the biggest city in that region, it’ll have an area that’ll work for us. Oh, it’s the house you grew up in! That’s heavy, yes. When my mom sold the house I grew up in, it was very strange. I still drive over and look at it sometimes when I’m in LA. And it’s a very weird feeling to see how completely different it looks through the windows. Yes, but being in the big city its going to be great and really inspiring for you, that’s a guarantee. The animation film is very sensitive. And it’s totally silent, or I mean it has no dialogue. Very odd, very obsessive, very calm but trippy. Ugh, the administrative part. The ‘pencil pushers’, as administrators are sometimes called in the States. My day was okay, lots of getting ready stuff. Saw pals for dinner. Emails, some blog stuff. I don’t think there was anything interesting enough to spend a sentence describing, but it was fine. And Tuesday? Yours? ** David Ehrenstein, Hi, D. Sadly, I fear that the con’s end is not nigh now that Harper Collins has bought her forthcoming memoir to publish. I would really like to meet Todd, for sure. I’m surprised we haven’t met so far. The only exchange I’ve ever had with him was years ago when Spin Magazine asked me to interview him upon the release of ‘Safe’. I went to a screening, and then I foolishly told someone who I didn’t know was a friend of Todd’s that I thought the first two-thirds of ‘Safe’ were great but that I thought the ending was problematic. Todd heard that and then told Spin he wouldn’t let me interview him. I called him and left a long voicemail saying that I had no intention at all to say anything critical about the film or him in print — which was totally true because I definitely wasn’t going to interfere with what, at that time, was a big opportunity to expose his work to the public — but that didn’t change his mind. ** Thomas Moronic, Hi, T. I’m glad you liked the Katie Dey track. It’s a very good album. As is her first album on Orchid Tapes. Yay, I love Queen Mobs Teahouse! Everyone, the awesome author and fellow Thomas ‘Moronic’ Moore has a new piece up on the wonderful lit. site Queen Mobs Teahouse, and you are very highly encouraged to read it post-haste. Right here. ** Chilly Jay Chill, Hi, Jeff. Cool, glad the gig bore fruit in you. Thanks, man, about the film funding! We’re still floating about that. I can’t say much about the music video mostly because we’re still sorting it, and I think there’s going to be a lot spontaneous stuff about it that we will decide once we get to the location and explore the possibilities. Ugh, about your being swamped. I saw your props for Battle Trance on FB, and I have an inked note to investigate their stuff right away. I know of Robert Lopez but little of his actual work. Something I’ve intended to rectify for a while. I’ll move doing that up the queue. I hope you feel de-maxed asap. ** Misanthrope, Man, I have to get a better anti-spam Widget. They’re starting to colonize. I bet you’d feel differently if you wanted to fuck Britney. I don’t want to, obviously, let me add. I guess I’m just not interested in that idea of ‘authenticity’ when it comes to froth pop or something. ** MANCY, Hi, man! How’s it? What’s what? I’m glad the gig arrived at a good time. ** Slatted Light, Oh, man, I’m not even going to try to counter Coop-de-Loop. That’s a humbling marvel right there. Ha. No, no exasperation, no. I wouldn’t go so far as to say the new doc is superior filmmaking. It plays very conventionally trendy doc rules with next to zero investigative-ness or originality. His previous Daniel Johnston doc is pretty good. I got Shelley Duvall’s autograph once at an art opening. She was sublimely wonderful even in that context. Zac said, ‘None’. I kind of figured. Mm, interesting … I don’t think I would want to adapt any of my novels to film. Especially now that I’m writing for film and theater and have gotten a pretty good idea of how that works. In ‘LCTG’, there are bits of it that use slight revisions of some texts from my written fiction, and I think they work well, but those texts come from pieces that aren’t heavily structured and based in the premise of how written fiction works. I think my novels are entirely about the experience of reading, so I don’t think a transference world make much sense. I think I will just want to write new texts for film. Wow, I especially think ‘The Marbled Swarm’ is impossibly grounded in its book. Not to say I wouldn’t be fascinated if some director whose work I’m interested in wanted to try to do something cinematic with it. I can’t think of who though. I mean, if Lynch wanted to try, I wouldn’t say no. Weird choice but, based on ‘Fast, Cheap, and Out of Control’, I’d be curious what Errol Morris would do if he wanted to maybe. Yeah, I can’t think of current directors whom I think could twist that novel into something visual. You have any ideas on that? Of all my novels, I think that one is the very, very least adaptable. Sorry I’m not giving you more exciting answers. But I’m trying. Love, me. ** Kiersten, Speaking of. I need a spam filter. Gotta sort that out. ** Now, please, as I entreated above, spend time and brain cells, etc with Marilyn Roxie’s awesome guest-post. I will see you one more time pre-blog vacation tomorrow.