Bill and Ted 3

So Keanu has been talking here and there about possibly getting a third Bill and Ted movie off the ground for the last few years. It’s always seemed like a pretty far fetched idea, and it still seems like one, true be told.

I, naturally, am 100% behind this possibility.

Though I have to agree with my friend Josh who made a sad face (you know, internet sad face) at the thought of a Bill and Ted movie with no Rufus.

I think they’d have to forgo the time travel element entirely and just leave the whole Rufus angle out of the movie. I can’t fathom the idea of recasting someone else in George Carlin’s roll or coming up with some sort of replacement Rufus.

Hey Eskimo version of RAAAAAAAAndy

Yeah… okay, I’ll watch that

New Tron 2 trailer.

SON OF A BITCH

http://www.ticketmaster.ca/event/11004452D08EEC87

Alice Cooper (with Rob Zombie) is coming to Vancouver and no one told me. THIS SUCKS HARD.

I checked tickets and there are some left, but they’re butt seats and I can’t really spend that kind of money right now anyway.

Another reason I fucking hate living on this island. Going to see a concert wouldn’t be a big deal if it were just a matter of getting tickets. But because I’m on an island, I have to pay to take the ferry over, and because the ferries only run till nine or ten, by the time the concert is over we’re stuck on the mainland, so that means we have to get a hotel. So going to a concert turns into a three hundred dollar event.

Fucking sucks.

Hmmm

That guy still hasn’t sold the car I want. The ad on usedvictoria.com expired, but this one just popped up on craigslist.

1976 Ford Granada – $400 (Westshore)


1976 Ford Granada Ghia 110000 original miles
20000mi on rebuilt engine
Runs great
Must Sell! $400 obo
Call 250-588-9663
  • Location: Westshore
  • it’s NOT ok to contact this poster with services or other commercial interests

image 1633536389-0

If you could make God bleed, people will cease to believe in him

New Iron Man 2 trailer. Good times.

LOL Fuck you James Cameron!

You overrated fuck.

I see you… NOT WINNING SHIT!

I’m so glad Kathryn Bigelow won. Not only did she have a better seat in the audience than her pompous, self important, overhyped ex-husband, but her film destroyed his. The Hurt Locker was amazing, and even more importantly, she directed my all time favorite vampire movie.

So go Katherine Bigelow.

I thought this was a pretty solid year for the Oscars. For once, the Oscars pretty much matched what I wanted to win. Or, at least, what I thought should win. I would have liked to have seen some District 9 love, but I didn’t expect much there. I’m just glad it was nominated for a few things. Christopher Waltz was the only thing from Inglorious Basterds that I really expected to win, and I’m glad he did, though I did love that movie. Poor Katherine looked like she was about to pass out towards the end there. I <3 her.

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Considering how little interest I have in The Blind Side, I was glad to see Sandra Bullock win, if anything because I think she seems like a super cool chick, even if she typically stars in movies I don’t want to see. It was nice to see Jeff Bridges win, just because he’s awesome. I didn’t see Precious, so I had no real investment in Monique winning, but everyone I’ve talked to who has seen it said she was amazing in it. So sure, why not?

Avatar won the awards it should have won… production design, special effects and cinematography. Though I’m not entirely sure why it won for cinematography, considering that the movie was almost entirely computer generated. But whatever.

I found the tribute to horror movies (and the Roger Corman lifetime achievement award) kind of insulting considering that horror movies (and Roger Corman) are never nominated for anything, so where does the Academy get off paying tribute to them. I guess the fact that they had the stars of Twilight introduce the tribute gives some indication to why they don’t get horror over all. If they think Twilight is a horror movie, then that explains why horror movies don’t get nominated.

Steve Martin and Alec Baldwin were fine as the hosts, though I kind of wish NPH had hosted the whole thing instead of just doing the musical number at the beginning.

Over all, quite a solid year for the Academy Awards. Good show.

Mother is the name for God on the lips and hearts of all children.

Do you understand?

A little bit ago I posted about how I had the phrase “The Modern Prometheus” stuck in my head. That’s now transitioned to the phrase “Mother is the name for God on the lips and hearts of all children”. It’s a slight reworking of a quote by William Makepeace Thackeray. I know it from this scene in The Crow.

It’s been a really, really long time since I’ve sat down and watched that movie, but I’ve been thinking about it a bit lately, and I think it’s time to give it another go. I was really into it when it came out, but it didn’t take long before sequels and over saturation made it super corny. It was already a pretty fine line between awesome and totally stupid, but on it’s own merit, I think the first movie managed to stay on the awesome side.

I was on Xbox Live earlier playing Bioshock 2 multiplayer and after a while I realized I’d been muttering that line to myself over and over again. I don’t think my microphone picked it up, but if it did, I must have sounded like a lunatic to the other people in the game, chanting that phrase “Mother is the name for God on the lips and hearts of all children” while I 0wn3d n3wbz down in Rapture.

Those guys don’t talk anyway. It sucks. In Call of Duty and GTA4 there’s all kinds of people having conversations and socializing (and shit talking and running their mouths with some of the most ugly, racist, vile shit you’ve ever heard) but in Bioshock mutliplayer, people are just quiet all the time. No chatting or shit talking or calling each other nigger and faggot. While I find that sort of thing somewhat annoying (at least when it’s people I don’t know talking to each other and not me) I find that I miss it when it’s gone. It’s like the people playing Bioshock think that Bioshock is SERIOUS BUSINESS and are far too focused on their SERIOUS BUSINESS to bother chatting.

Fuck em, I talk anyway. And I mutter serial killer esque phrases to myself.

The Mother Prometheus.

Dear Cal Worthington

That’s not a dog. That’s a fucking elephant. You can’t fool me.

—-

This post was brought to you by Joe circa 1987.

The Modern Prometheus

I sometimes get phrases or words or a string of words stuck in my head. It’s almost the same way I might get a song stuck in my head. For some reason my brain will latch onto something and won’t let it go. A while back it was the phrase “Guitar legend Peter Frampton”. Just repeating over and over again in my brain like a skipping record. It gets to the point that it’s annoying after a while. I don’t know if it’s an ADHD thing or some sort of OCD thing (though I don’t have OCD as far as I know) or what, but once something like that gets lodged in my head, it takes a while to get out. I often find myself muttering the same phrase or words over and over and over again to myself.

All night tonight I’ve had the phrase “The Modern Prometheus” stuck in my head. Just repeating and repeating and repeating. I don’t know if maybe my brain just likes the sound of it or the way the words flow together. The phrase has no real relevance to me other than the fact that it was the subtitle of Frankenstein.

It’s starting to get old.

The Modern Prometheus.
The Modern Prometheus.
The Modern Prometheus.
The Modern Prometheus.
The Modern Prometheus.

If it were “All work and no play makes Jack a dull boy.” it would be an indication that I’ve lost my mind. Luckily it’s not that. It’s “The Modern Prometheus”. Over and over and over and over and over.

The Modern Prometheus. The Modern Prometheus.

I’m going to go to sleep. Maybe it will be gone in the morning.

Well fudge my bottom

GM to recall 1.3M compacts for steering problem

(AP) – 3 hours ago

DETROIT — General Motors says it is recalling 1.3 million compact cars in the U.S., Canada and Mexico to fix power steering motors that can fail.

Models covered by the recall include 2005 to 2010 Chevrolet Cobalts, the 2007 to 2010 Pontiac G5s, 2005 and 2006 Pontiac Pursuits sold in Canada and 2005 and 2006 Pontiac G4s sold in Mexico.

GM says the vehicles are safe to drive and never lose steering, but they may be harder to steer when traveling under 15 mph.

The automaker is getting parts to replace the electric power steering motor and will notify customers when to bring their cars to dealers

I have a 2005 Cobalt. Just got in like, a month and a half ago. I better get a kickass loaner. Like, a Corvette.

Well that’s a little anticlimactic

Carly Simon finally reveals subject of You’re So Vain
For years there has been debate about which of Carly Simon’s ex-boyfriends could have inspired the hit song You’re So Vain.
But while former lovers Mick Jagger, Kris Kristofferson, Cat Stevens and Warren Beatty were left wondering whether ‘this song is about you’, they have been proved wrong.

For the Seventies singer has finally revealed the real inspiration behind her hit track wasn’t a boyfriend at all – it was openly gay record producer David Geffen.
Simon, 64, ended the 38 year guessing game by whispering the name backwards on a reworked version of the song for her new album Never Been Gone, out next week.
Previously Simon had always claimed the song was a ‘composite’ of people she knew.
In 1972 when she wrote the song billionaire Geffen was the head of her Elektra record label.
It is thought she was inspired to write the damning lyrics after Geffen put all his time and energy into promoting her rival, Joni Mitchell, over her.
In the hit Simon sings that the man walked into the party like he was walking on to a yacht.
The subject of her wrath jilted her before going to Saratoga to watch his horse naturally win.
Beatty is said to have been convinced he was the inspiration behind the song.
Other suspects included Jagger, who sang backing vocals for the original song, and James Taylor, the American songwriter to whom Simon was married between 1972 and 1983.
Read more: http://www.dailymail.co.uk/tvshowbiz/article-1253964/Carly-Simon-finally-reveals-subject-Youre-So-Vain–record-producer-David-Geffen.html#ixzz0gf4kLaQf
Source: Daily Mail UK

Fucking sweet


A Nightmare on Elm Street Trailer 2 in HD

Trailer Park Movies | MySpace Video

This shit is going to be awesome. I’m WILLING it to be awesome.

Martin Scorsese’s Shutter Island

shutter-island

(This will be a spoiler free review. It would be a great disservice to the film to reveal pretty much anything about the story beyond the basic premise established in the trailer. So I won’t.)

1994 was a big year for me. A lot of things happened that year that changed and defined me both as a person and as an artist. A tormented singer from a band I didn’t particularly care about committed suicide, forcing me to not only rethinking my views of suicide (which, for me, was a deeply personal and frankly, ever present concept to ponder) but my views of what an artist is and how an artist is defined by his art.

More importantly than that, 1994 was also the year that I paid to watch the movie Pulp Fiction six times in the theater. There were three movies that I saw in 1994 that drastically redefined the course of my life.

It was Pulp Fiction that made me realize that I not only loved movies with every fiber of my being, but that I desperately wanted to be involved with the creation of movies. Pulp Fiction was the movie that made me consider what the role of the screenwriter actually is. What the role of the director is. I knew intellectually what those jobs were, but Pulp Fiction made me consider the actual craft behind it.

The second movie I saw in 1994 that changed my life was Clerks. Now, I’ve got my issues with Kevin Smith, but I’ll never deny that it was Kevin Smith who made me believe that not only did I want to be involved in movies, but that I actually COULD be involved in movies. I’d been tossing around the idea that I might want to be a special effects makeup artist or a production designer. Possibly a writer. It was Clerks that made me realize that I didn’t have to aim low and be content to just be there. I could actually DO it. I could be THE GUY who makes the movie. That I, Joe Humphrey, could take it upon myself to make a film. All I had to do was lower my standards. I could make a movie on credit cards with local actors and shoot on Super 16mm film. Clerks was the movie that made me want to not only be involved in films, but to make them myself.

The third movie I watched in 1994 was Taxi Driver. Now, Taxi Driver wasn’t my first Martin Scorsese movie. By that point I’d seen Goofellas, After Hours, The Last Waltz, The Last Temptation of Christ and Cape Fear. I was well aware of who Martin Scorsese was. What I didn’t know was what exactly he did in these movies. What his contribution to the film was. I knew it was his name associated with the movies, but I didn’t really understand what his actual job was. All I had was a basic understanding of what a director does, which came almost entirely from a video tape I had that came with my copy of Raiders of the Lost Ark. It was a video that showed how all the major stunts were put together and I watched it religiously.

There were two scenes in Taxi Driver that clearly and directly showed exactly what a director does. One was the scene where Travis Bickle (the film’s anti-hero protagonist/antagonist, played by Robert DeNiro at his absolute best) takes Iris (the teenage prostitute played by Jodi Foster) to a diner for breakfast and he’s trying desperately to talk her out of her life as a hooker.

taxidriver

There was that scene, but even more so, it was this scene where Travis is calling up the girl he’s desperately trying to impress (played by Cybill Shepherd) after a disastrous first date, and he’s practically begging her to go out with him again. It’s clear, just from hearing his end of the conversation, that she’s really not interested seeing him again, and when Travis asks if she got the flowers he’d sent her, the camera pans away from him and points at the empty hallway next to him. It was as though what we were witnessing was so pathetic and so sad and so embarrassing that we simply couldn’t stand to look at it.

taxidriver2 taxidriver3

I had to rewind and rewatch that scene again and again because I knew there was something very important and very special about it. Finally I understood that THAT is the director’s job. Up to that point I’d thought of film directors as kind of hired monkeys whose sole purpose was to put together images to tell a story. I thought of them as almost interchangeable, the only real defining characteristics between them were aesthetic. I thought that Steven Spielberg could have directed Star Wars and told basically the same story the same way. Or that Francis Ford Copella could have directed Goodfellas and told basically the same story the same way.

It was when I saw that camera pan away from Travis Bickle’s depressing, desperate phone call, that I realized that Martin Scorsese made that choice. We were seeing the movie through his eyes. We were seeing the movie in a way that was completely unique, because of the choices he was making with his camera. I understood that Taxi Driver wasn’t just a great story about emotionally disturbed cabbie, but that it was a masterfully crafted film that only exists because of unique vision of it’s director.

From that moment on, the name Martin Scorsese was (and is) synonymous in my mind with great filmmaking. As I’ve grown and become more and more obsessed with movies, I’ve come to revere Scorsese the way that most fans of this art form do, but all of that love and respect and admiration originates, for me, in that one panning shot in Taxi Driver. Had I not seen that movie at that time in my life, and noticed that particular choice he made, I’d probably be quite a different person today.

If Pulp Fiction made me want to be involved in movies (really, it made me want to write movies) and Clerks made me realize that I could make movies, it was Taxi Driver that made me  want to make good movies. Amazing movies. Movies with as much artistic merit as anything else out there in any other medium. Martin Scorsese and Taxi Driver made me love the art of filmmaking.

So when Martin Scorsese speaks, I listen. When he makes movies, I watch. I love and respect Martin Scorsese probably more than any other filmmaker out there, both for his overall contribution to the world of film, but even more so for that one scene… that one shot… that changed my life forever. Martin Scorsese isn’t my all favorite filmmaker, but he’s the one I respect the most. He’s the filmmaker whose approval I would most appreciate.

One of the things I love the most about Martin Scorsese is his ability to consistently impress me. Sure, there have been missteps along the way (Bringing Out the Dead is the only one I can think of off the top of my head) but even then, when he’s missed the mark, he’s done so while still being one of the best filmmakers out there. They were misfires, but spectacular ones by any other standard.

That brings us (finally) to Shutter Island, the newest cinematic offering from Martin Scorsese.

Shutter Island (1)

Martin Scorsese made a goddamned horror movie. When I said that he continues to surprise and impress me, this film is no exception. This was simply one of the most entertaining, interesting and well made films I’ve seen in years. And it was a goddamned horror movie.

Okay, that’s a little misleading. First and foremost, it’s film noir. It’s a hardboiled detective movie in every way, shape and form. It’s also an expertly crafted mystery. But it’s also friggin scary! It’s downright disturbing in a lot of places. Watching this movie made me long for a Scorsese directed HP Lovecraft story.

shutter-island (1)

The basic premise (and I won’t reveal any more than that, story wise) is that Leonardo DeCaprio’s character is a US Marshal sent investigate the disappearance of a patient at a mysterious mental institution located on a small island outside of Boston. That’s all you need to know about this movie before seeing it. In fact, that’s more than you need to know. If you hear someone talking about the story or plot points, I’m begging you to stick your fingers in your ears and go “LA LA LA LA LA” because this movie deserves to be watched completely unspoiled.

One of the things that was so refreshing about this movie, as a Martin Scorsese movie, is that it doesn’t feel like it has an agenda. So many Scorsese movies feel like there’s something in there that Marty wants to tell us. Gangs of New York, while being an awesome movie, also felt like a commentary about America. The Last Temptation of Christ, while also being an awesome movie, clearly had an agenda as well.

Shutter Island doesn’t have that kind of drive to it, and that’s surprising and refreshing. This is Martin Scorsese simply telling us a story the way only he can tell it. Like Taxi Driver or Raging Bull or Goodfellas, this was Scorsese doing what he does best, which is expertly visualizing a fantastic story in a way that no one else can touch. It wasn’t a huge epic like Gangs or The Aviator. It wasn’t a commentary on anything. It was simply a great story told by a master storyteller.

It reminded me of The Departed in that way, honestly. While The Departed isn’t one of my favorite Scorsese movies (I did enjoy it, but I would have enjoyed it more had I not seen the original film and knew all the twists and turns) it was refreshing in that it felt like just a movie for the love of movies. No agenda, no commentary, no social perspective… just an awesome story.

One of the things that defines Shutter Island as a Scorsese movie is that he tends to make movies about lonely, broken people who are desperate for approval and love. I’d be hard-pressed to think of a single Scorsese film (aside from his music documentaries) that didn’t center around a beaten down, desperate hero. Not just underdogs, but people who are genuinely destroyed by life. Shutter Island perfectly fits into this formula and it’s lead character makes a fantastic addition to Scorsese’s arsenal of damaged anti-heroes.

Something that really stood out to me about this movie were some of the little tricks he used to unnerve us. Subtle things that you may or may not notice, but that make us uncomfortable just because it’s just slightly off.

There was a scene in Stanley Kubrick’s film The Shining where Shelly Duvall’s character is explaining to a doctor how her son broke his arm. One of the things Kubrick did in that scene was he deliberately created continuity errors. The most obvious was that the length of ash on Shelly’s cigarette, and the level of water in her drinking glass kept changing from shot to shot. If you’re a casual film watcher, you might dismiss this as simply a mistake. If you’re familiar with Kubrick and how obsessively meticulous he is, it becomes clear that it was a very deliberate choice. Most importantly, if you don’t notice it at all, you’re more than likely going to find yourself uncomfortable watching that scene and don’t understand why. It’s because he’s taken something so quick and subtle that it barely registers, and you know, on some level, that it’s wrong, but you can’t quite put your finger on it.

Scorsese used the same kind of method in Shutter Island as well. In one scene, a character asks for a glass of water. One is put down in front of her and she picks it up and quickly drinks the water. The thing is though that when she brings the glass to her mouth, her hand is empty. She’s miming drinking water from a glass, then she puts the imaginary glass back on the table, and it’s a real glass again. It happens so fast that I almost didn’t catch it. Another thing he does is that there are quite a few shots of Leo smoking, and the smoke is going backwards. Rather than exhaling, the smoke is running into his mouth and nostrils. It’s subtle, and so simple, but it works.

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Something else that he does that’s so simple but so effective is that he casts actors known for having played murderers and child molesters other sorts of terrible people in the movie. He uses our own history with movies against us. We’ve got a security guard played by John Carroll Lynch, who played the primary suspect in the movie Zodiac. We’ve got Ted Levine playing the deputy warden. Ted Levine is typically best known for having played Buffalo Bill in Silence of the Lambs. We’ve got Jackie Earle Haley playing a patient in there, who famously came back from obscurity by playing a child molester in the movie Little Children. Another patient is played by Elias Koteas (who I will always think of as Casey Jones from the Teenage Mutant Ninja Turtles movie) who played the Rolling Stones singing/John Goodman possessing serial killer in the movie Fallen. I don’t think that the casting of these actors is a coincidence. I think Scorsese was deliberately playing on our preconceived images of these actors. When I see Elias Koteas, my brain instantly starts singing “Tiiiiiime… is on my side… yes it is!”. When I see Ted Levine, I think “PUT THE FUCKING LOTION IN THE BASKET!”. Even when these actors aren’t necessarily playing specifically evil characters in Shutter Island, it’s still makes those character seem shady and wrong, which just adds to the whole atmosphere of strangeness.

Another thing I loved about this movie was Michelle Williams. I’m so glad that of all the Dawson’s Creek alumni, she’s the one whose turned out to be respected and successful artistically. Because I’ve always thought she was really good. Even on Dawson’s Creek, I thought she was better than that show. She didn’t play a huge part in this movie, but the part she played was fantastic.

shutterisland_gawker.flv

Ben Kingsly is perfectly cast as the mysterious head of the hospital, perfectly balancing the sinister with the sincere. It’s the kind of role he’s best at, and he’s certainly not under used here.

If I have any problem with this movie, it’s a very small one. That’s Leonardo DiCaprio. Here’s my issue with Leo. It’s not that I think he’s a bad actor. I don’t. I think he’s quite a good actor. I just don’t buy him as a hardass. I can’t. It’s more of a personal hangup of mine than anything to do with his abilities as an actor. I just can’t see him as anything but a teenager. I’ve considered the possibility that it’s because I grew up watching Growing Pains on TV, and that was my first exposure. But I don’t think that’s it. I think it’s just his face. He LOOKS like a kid. He looks like a guy who could never grow a beard. So when I see him getting up in peoples faces and yelling and being Mr. Tough Guy, it just kind of makes me laugh.

Luckily, that also kind of works in this movie, because while his character wants to be a tough guy, it becomes clear pretty quickly that he doesn’t pose much of a threat to anything. It makes tough guy act almost pathetic and sad, like a little chihuahua growling and barking at you. So it’s not a big gripe, just more of an observation. I think we all have to accept that, for whatever reason, Scorsese has recruited DiCaprio to be his new De Niro.

The movie is visually amazing. I’ll take Shutter Island over Avatar any day of the week as far as visuals go. James Cameron may think he’s king shit of the universe when it comes to visual filmmaking, but he doesn’t hold a candle to Scorsese’s ability to tell a story in a aesthetically amazing, relevant way. That’s one of the things that sets Scorsese apart from other filmmakers who love to paint these broad, fantastic images. He only does so when it supports the movie. He’s not creating visually stunning images simply for the sake of looking pretty. He’s telling us the story and the visuals support the story. They convey emotion and history and mystery. Scorsese’s visually are both stunning and relevant. There’s one shot in particular that stood out for me, and it would be hard to explain it without giving away some of the plot, so I guess I won’t. But yeah.

Anyway, I’m getting pretty tired and I’m starting to ramble so I’ll wrap this up.

Shutter Island was a solid, fascinating, beautiful film. I would recommend it to pretty much anyone. Like Taxi Driver and Cape Fear and The Departed, it’s Scorsese doing what he does best… just telling a great story for the sake of great storytelling.

Coming soon

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Everything I’m reading about this movie from people who have seen test screenings basically says that every concern you may have about a Nightmare on Elm Street remake is completely realized and justified, and that the movie sucks hard.

But then again, it’s hard to trust the opinions of fanboys on the internet.

I don’t give a fuck, I’ll be first in line. GIMME THAT FREDDY, BEYOTCH!

This is the saddest dildo in the world :(

dildo2

Brilliant

 
Denmark Introduces Harrowing New Tourism Ads Directed By Lars Von Trier

The car I want has gone down in price AGAIN

1976 Ford Grenada



Price
$400



Description
Must Sell!!
Good Condition, Reliable, Needs nothing!
Runs very well. has a ‘91 302ci v8 engine with about 40,000 miles, not as bad on gas as you might think.
Automatic Transmission.
Light covering on rear left side damaged.
Come check it out.
 

I NEED FOUR HUNDRED BUCKS, BEEYOTCH!

Last night

I managed to get ahold of some of what the kids call “reefer” last night. Since I didn’t have anything else to do, I smoked it up and watched Spartacus: Blood and Sand for like, four hours.

I was mostly interested in it because I heard that Lucy Lawless gets her tits out in it. I’ve got a weird sort of relationship with Lucy Lawless. When she was Xena, I really didn’t like her. I didn’t have anything against her personally, but I didn’t find her attractive at all. I thought she looked like she smelled bad and she had man-face.

But after Xena, she got kind of hot. She dropped some of the muscle and changed her hair up and just got pretty.

So when I heard that there were Lucy Lawless naked scenes, I knew I had to check this shit out.

The show itself is pretty fucking silly. It basically uses a low-rent version of 300’s filming style, where the actors act in front of a greenscreen and all the backgrounds are put in during post production. It worked for 300, but I found this use of it kind of overkill. Plus, they’re constantly using CG blood effects, which really gets on my nerves.

And yes, Lucy Lawless does indeed get her tits out a couple of times. The show is basically softcore porn with a lot of gladiator fighting mixed in. It’s not innovative or really even interesting beyond just the trippy visuals.

But it did the job for me, given my state of mind.

Another thing that happened last night is that I was outside having a smoke and thinking about the solar system. I was thinking about what it would look like if you were to set up a time lapse camera just outside of the Solar System and filmed the planets for, say, ten years, as they spun around the sun. And then you got the camera home, sped it up to maybe ten or fifteen days per second. I was wondering if the solar system would just look like a bunch of spinning marbles swinging around the sun. Kind of like those charity whirlpool coin things, where it’s a big funnel and you drop a penny in at the top and it just rolls around and around and around until it eventually falls into the hole at the bottom.

Like, are we just rolling around the sun like that until we’re eventually sucked into it? I know very little about astronomy… or gravity for that matter. It just trips me out to think that all of the planets in the solar system are basically just random shit that’s been caught in the Sun’s gravitational pull. Like the dust that floats around Pig-Pen from Peanuts.

I was also wondering if we float on a flat plain. Like, if you picked a spot relative to earth on the sun and designated that as the bottom of the sun, would the earth float around it on a level, consistent plain, or would it be all over the place?

OH, and that’s another thing I don’t like about outer space… there’s no up or down. Fuck that. I don’t like that. I don’t like that if you’re in a spaceship, it doesn’t matter what angel you’re at, because down is always just going to be the bottom of the space ship. I need more than that to deal with shit. I don’t like that the Starship Enterprise can be cruising around upside down (relative to my position on earth) and it ain’t no thang. They don’t care, because that’s right side up to them. Fuck that.

I also don’t like the idea that I’m actually standing sideways, and that I’m only straight up and down relative to the center of the earth. That makes me uncomfortable.

This line of thought is pissing me off. I don’t like feeling small.

Anyway, it all seemed much more profound last night.

I love and hate other artists

I love the work they produce and their contributions to the creative landscape. I hate them for being far more imaginative and skilled than I am. I sometimes think I’m a lot more Cain than Abel.

http://www.behance.net/Gallery/Illustration/409135

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Wesley Eggebrecht

http://www.wesleyeggebrecht.com/