Because he’s goofy as fuck.
Because she’s fucking epic beautiful in maybe a million or more ways.
Because he’s normal and nice and uncomplicated but complex.
Because I miss the hell out of him.
Diet Dr. Pepper Commercials
Because nothing is funnier (to me) than a little Prince-looking guy popping out of your washer.
Randy Orton “Outta Nowhere” Clips
Because I love Randy Orton and I love people who put him in other people’s videos of other people getting fucked up.
Tommy Hilfiger and Nautica Clothes
Because they fit me really well…and because I have this phobia about extraneous strings on clothes, like in the armpits, pockets, and crotches, and I never have to worry about these clothes having these feared strings (and the latter is the real reason I like them).
Staying Up Really Late
Because I can’t during the work week. So I fuck it all up by staying up almost all night on the weekends…and then complain about how tired I am all through the week…and then stay up late all over again…but it’s fun, right?
p.s. Hey. Today the upstanding and long term distinguished local of DC’s blog plus writer and just generally uniquely configured gentleman Misanthrope would like to share some things and folks he likes, really likes, and my educated guess is that he would like, really like you to take a gander and, in the indicated spots, listen to his things/folks then respond according to your own tastes and levels of interest in his outpouring via the comments. Can you do that, please? It would be awfully cool if you did, thank you. And thanks above all to you, Misanthrope. ** David Ehrenstein, Hi. That’s his real name? I did not know that. Gisele knows him, but I think he only lets her know him as Leos. What a lovely and informative story, thank you kindly. And … Everyone, Mr. Ehrenstein has wisely added to the Carax post yesterday by linking all of us up with this clip from ‘Holy Motors’ featuring international pop sensation Kylie Minogue. Check it. Oh, and also use this to read about and even purchase the new book by the fine author and expert/historian Bill Reed who also just happens to be Mr. E’s spouse. Bill’s new book is called ‘Perils of Prolificity: Sometimes When I Start Writing, I Just Can’t Stop’, and his books are always ultra-worthy treats. Awesome about Bill’s new book! I’ll get it. ** Tosh Berman, Hi, Tosh. Yes, indeed, he is indeed. And I believe the Maels are here in Paris working with him right now, as I saw a photo yesterday on Facebook of Russell standing in front of a restaurant that is but a swift 20 second trot from my front door. And some people who work with Gisele are working on the film helping design and build a puppet that is, as I understand it, the star of the film. ** Bill, Hi, Bill. Carax’s film productions are always fraught, so we’ll see how soon his new one gets made, but it is fully financed and soon to be underway, at the very least. Happy to have blasted some past at you. Ha ha, funny about your tag for them, poor things. ** Dóra Grőber, Hi! I did like it, and, after hearing it, I remembered it and that I liked it at the time too. Thank you! I almost fully believe my arm is improving now. It’s slow but steady. I hope those stores are selling your mom’s ceramics. They’re so beautiful. I’ve heard of ‘A Mother’s Reckoning’, but I can’t remember what it is. I’ll go find out. My day … oh, I looked at a couple of apartments, one of which was very eccentric in a curious way, but neither of which will work unfortunately. Zac and I have another big day of actor auditions on Thursday, so we started organizing that. I worked on blog posts, which I do every day but rarely mention because making blog posts isn’t very interesting to hear about. If you remember, I reconnected recently with my best friend from high school, and we Skype occasionally, and we had a long, great talk/visit last night. I think that was the totality of yesterday excluding eating and walking and boring stuff. What did your today involve? Have a swell one. ** New Juche, Hey. Work work work, I hear you. Huh, I might have to go back and search the archives for that filmmaker you mentioned. It rings a strong bell, but I’m not coming up with a name immediately. It’s not Kiarostami or Mohsen Makhmalbaf, right? Do you remember how long ago the post was? Was it on this new blog or on my murdered one? ** Chris dankland, Hi, Chris! ‘Holy Motors’ is very worth watching, yep. All of his feature length films are. ‘Pola X’ is really good too. Oh, man, thank you so much for devoting your time and thought to ‘Death Spiral’. I so very, very appreciate it. What I meant to say, if I didn’t, in those interviews, is that I think I might have taken the GIF novel form as far as I can. I could keep making them and refining them, but I don’t feel like I can necessarily push the form into a new, more advanced place, and it’s always been a rule for me with my fiction, written or GIF, that if I can’t do something that I personally believe is expanding what a novel can be within the strictures of my particular talent, I won’t write a novel. It’s also kind of deeply frustrating to me that the GIF novels are doing, or at least attempting to do, quite complex things with narrative and structure and content and stuff, and that so few people seem interested in engaging with them, with what they are and are doing and are about, other than to find their surfaces and the form itself fun or interesting or cool or not. So that probably plays into my ennui about continuing that work too. But as for the idea of the GIF as the language of a new literary form, I’m still very interested in that. ‘Death Spiral’ did advance what I’ve been doing, yeah. I figured out how to play looser with the images but remain tightly controlling of their sequencing/build at the same time, and the narrative in it is better/deeper overall, I think. It’s easily one of my best GIF works so far, I’m pretty sure. Hieroglyphics is a really good way to describe it, yes. I hadn’t thought of that, but, yeah, very much. Well, there are sequences in it that are ‘fucked up’ and kind of ugly in a way I hadn’t dared try before. Another big, overall thing in ‘DS’ that is more developed and ingrained than before is the way actual language works within it. I’ve started working more carefully with GIFs in which the person/face is speaking, and where, if you pay the kind of attention to the work that it asks, you can read the lips of speakers and understand/hear what they’re saying. What they’re saying both in the specific sequences and when added together into a kind of overall narrative ‘conversation’, advances the work’s narrative or trajectory almost the way dialogue does in written fiction, but in a more haunted way than is possible in text-based fiction. A specfic example in ‘DS’ that I’m very proud of world be the Bowie/ouija board/boy sequence, where, if you study the pieces — Bowie’s face and movement, what the ouija board is spelling out, the boy’s face/movement and what he’s mouthing, and the combined rhythm/movement/sources/etc. — you find this kind of very sad yet comical ‘scene’ that I think is beautiful in and of itself as well as servicing the whole work’s intentions both emotionally and in terms of ‘story’. Gosh, sorry to go on like that. That’s what I guess I’m saying: I take the literary GIF work very seriously. I know that what it and I are asking is very demanding, but I myself love demanding things, so shoot me, ha ha. Anyway, I so appreciate you thinking about that work and asking me about it. Everything you wrote about it makes total sense to me, and relates to what I hope/intend, and, yeah, it’s a joy to know that the piece is working for you in the detail that I’m trying very hard to make happen. Your response is very meaningful, thank you, Chris. Yes, me too, and probably everyone re: trying to negotiate the contant stress and scariness of the news and find what’s mine enough to work with, and how the effect of all of that can be useful or generative or something. Man, it’s insane out there, no? Wow, that quote. That’s not me. I never said or wrote that. I have no idea how that ended up being attributed to me. Not that it’s not an excellent quote, and not that I don’t agree with it, but that just isn’t my voice or language at all. How strange. You have a great morning too, my friend. ** Jamie, Very good day to you, sir! I’m not tired, no, and I’m sorry you were. Although you were perfectly cogent for a sleepy guy. As far as I know, no TV news, but I’m talking with Gisele today, so I’ll see what I can find out. I did enjoy ‘I Apologize’. It did seem early-on to me, like its seams showed, and it felt more like we were playing with the blocks of what we would later figure out how to represent in a much better way, but it does maintain this kind of punky, in-your-face thing that I think is appealing, and it got a great response, so I guess I’m good with it. I hope you have arrived safely back in Glasgow, and feel perky as hell. What happened? Love, me. ** Kier, Hi! Thanks about the gig, pal. No news on the TV thing as far as I know, but I haven’t had an actual conversation with Gisele in about a week, and we’re blabbing today, so maybe there’s some news I don’t know yet. John Tuite interviewed me for VICE about the GIF fiction and ‘Cattle’ a while back. Then he was in Paris recently for Fashion Week and asked if I wanted to hang out, and we did, and I liked him a lot, and we got along really well, and we became instant good friends. It’s cool when that happens. You want another trigger? Hm, what, what … I have to think. Oh, gosh, I’m blanking. Can I think about it today and give you a trigger tomorrow? Is that okay? I promise it’ll be a trigger-y one. Yeah, the auditions are in French. Zac does most of the talking, and I listen and chime in sometimes. I can understand the very, very basics, and it’s useful because can study the way they look and move and seem and so on without the ‘distraction’ of knowing exactly what they’re saying, and, given the way we work with performers, that’s actually very useful. So it works out fine. Nice that you get to go home for a bit. Cool, I’ll go look at the squeaky cat. I’m definitely intrigued by your description. Oh, the farm! Wow, the farm, I remember when you at the farm so much. That takes me back. Yes, weird, about the London phone call event. I forgot all about that. It was put on by Horse Hospital, and they made a phone booth, and anyone could go in the phone booth and call me in LA, and I would talk to them. It was weird, kind of obnoxious, but kind of nice. The only thing I really remember is these two guys who made me listen them having sex, or maybe pretending to have sex, who knows. Ha ha, weird to recall that. I’ll try to have a good Tuesday, and you too, okay? ** _Black_Acrylic, Hi, Ben. Yep, the Sparks/Carax is happening. ** Jeff J, Hi. I think the burning posters is from ‘Les Amants du Pont-Neuf’. No, I haven’t seen ‘Mr. X’. I forgot about it. I want to. I will. Thanks for the reminder. Team Dresch! That’s another band that were excluded only because of my having spaced out. Good call. I’ve only heard The Raymond Brake from that trio you listed. I’ll check the others. Thanks, buddy. ** Misanthrope, The man of the 24 hours! Hello there! Thank you mightily again for today’s enlightening entertainment. I hope that cold’s visit is very short. Like Bible salesman at the front door short. Uh, I have no idea about whether a Latin background improves one’s elocution. Let me … Everyone, While you’re exploring Misanthrope today, also see if you can answer this burning question he has posed. Here he is: ‘I’ve noticed in the reading I’ve done and the interviews I’ve watched and all that, that English speakers, writers, intellectuals, et al, with a good background in Latin seem to have a better command of English and its usage. What do you think?’ ** Steevee, I’ve heard that story about the reason why LES AMANTS DU PONT-NEUF had a weird US release too, and I think it’s true. Wow, that was a fast turn over on the Kristi Jacobson interview. Everyone, Steevee has interviewed director Kristi Jacobson about her film ‘Solitary’, which is showing on HBO tonight in the United States if you have HBO and are in the United States. In any case, here’s the interview. Thanks. Steve. ** Right. Be with and somewhat inside Misanthrope. See you tomorrow.