Here is a job with Julian Totino (performed mostly) did for Bitt animation. It's crazy! If you watch MTV it shall have ever caught.
Sunday, December 14, 2008
Bugs That Live In The Human Stomach
MTV BUENOS AIRES
Here is a job with Julian Totino (performed mostly) did for Bitt animation. It's crazy! If you watch MTV it shall have ever caught.
Here is a job with Julian Totino (performed mostly) did for Bitt animation. It's crazy! If you watch MTV it shall have ever caught.
Monday, November 3, 2008
Seashell Plastic Plates
HURT MY Inspirational Art Inspirational
a little while ago we have been working with Nelson Luty , Karina Mariano Vidal and Charlemagne, in the short Caloi and Maria Veronica Ramirez "My Buenos Aires hurt. "
In these days we finished the draft of the story, which is buensimo! Meanwhile
I dared to take an illustration of Caloi, which is just a bar, where the story, and paint in three possible times of the day, the bar open at night and day, and the bar closed at night.
are just inspirational, first search.
I'm very excited about this work, and besides being a stimulant at Artisit, we had fun in our meetings (imagine that we meet on Sundays at 16hs and between mates and scones we spent more than good). 
a little while ago we have been working with Nelson Luty , Karina Mariano Vidal and Charlemagne, in the short Caloi and Maria Veronica Ramirez "My Buenos Aires hurt. "
In these days we finished the draft of the story, which is buensimo! Meanwhile
I dared to take an illustration of Caloi, which is just a bar, where the story, and paint in three possible times of the day, the bar open at night and day, and the bar closed at night.
are just inspirational, first search.
I'm very excited about this work, and besides being a stimulant at Artisit, we had fun in our meetings (imagine that we meet on Sundays at 16hs and between mates and scones we spent more than good).
Monday, October 20, 2008
Pillow For Cervical Spondilitis
Most Wanted
Freshly after screening "Wanted" saturated my black thoughts. If the material so the average, how pretentious and simple design cepa as Stupid Mark Millar's comics, you can do pretty smooth style movie Superbly seasoned with special effects and unpretentious dialogue, what is the chance that a good, original scripts float to the surface of the sea septic tank floods Every summer our cinemas.
doubtful consolation is the fact that the film is far, far in the safe center, in relation to the original comic. Well, for what the script adapted from the lion's share of renouncing the reference material? Or go after the gang, or do racing cabs. If the main character of "Wanted" is intended as Millar drunk impunity, violence and absolute lack of moral nihilist brakes, why turn it into a bit rude, but still a noble young man? Why do the politically incorrect villains gallery (comes to the fore at the same time endowed with superman strength and Down syndrome jełop) bełkocących redeemable for something mystical destination spindle-assassins?
Why linger if the movie I liked it quite? Well, because it irritates me uncritical use by Hollywood scriptwriters from, really, vulgarity quality foundations to build a scenario. Did you call the movie adaptation, which in addition to scratching the main thread and a few tiny borrowings, has a comic archetype in four letters? That's not apparent from the discrepancy between the language of cinema and comics. That's how much you can get closer to the original paper, while creating a great piece of cinema, Miller and Rodriguez have shown in "Sin City".
In "Wanted," the problem is that the comic is the work of a very weak one. Not find in the monologues Hartigan, or even substitutes emotional charge, which carries every scene from Marve in the foreground. "Wanted," Millar was the beginning of a career. Shocking, blazed the way for artistic development. In the film, Bekmambetov could not accept the mediocrity - it's the director has experienced and shaped. Even in the mega-Hollywood, "Wanted" easy to feel his willingness to mix almost ballet dance to the fight and special effects with the effects of painting.
After leaving the theater feeling unsatisfied quickly given way to hope ... If a cheerful teenager (or wczuwający in their needs California spec from promotion) took to be so weak and at the same time, "subversive" material, perhaps film will see a different, much better (and far more iconoclastic) comics. Dreamed up ... Jesse Custer and looked over his shoulder and threw the voice of James Purefoy'a --- "Do not fuck Almighty ...". 
Freshly after screening "Wanted" saturated my black thoughts. If the material so the average, how pretentious and simple design cepa as Stupid Mark Millar's comics, you can do pretty smooth style movie Superbly seasoned with special effects and unpretentious dialogue, what is the chance that a good, original scripts float to the surface of the sea septic tank floods Every summer our cinemas.
doubtful consolation is the fact that the film is far, far in the safe center, in relation to the original comic. Well, for what the script adapted from the lion's share of renouncing the reference material? Or go after the gang, or do racing cabs. If the main character of "Wanted" is intended as Millar drunk impunity, violence and absolute lack of moral nihilist brakes, why turn it into a bit rude, but still a noble young man? Why do the politically incorrect villains gallery (comes to the fore at the same time endowed with superman strength and Down syndrome jełop) bełkocących redeemable for something mystical destination spindle-assassins?
Why linger if the movie I liked it quite? Well, because it irritates me uncritical use by Hollywood scriptwriters from, really, vulgarity quality foundations to build a scenario. Did you call the movie adaptation, which in addition to scratching the main thread and a few tiny borrowings, has a comic archetype in four letters? That's not apparent from the discrepancy between the language of cinema and comics. That's how much you can get closer to the original paper, while creating a great piece of cinema, Miller and Rodriguez have shown in "Sin City".
In "Wanted," the problem is that the comic is the work of a very weak one. Not find in the monologues Hartigan, or even substitutes emotional charge, which carries every scene from Marve in the foreground. "Wanted," Millar was the beginning of a career. Shocking, blazed the way for artistic development. In the film, Bekmambetov could not accept the mediocrity - it's the director has experienced and shaped. Even in the mega-Hollywood, "Wanted" easy to feel his willingness to mix almost ballet dance to the fight and special effects with the effects of painting.
After leaving the theater feeling unsatisfied quickly given way to hope ... If a cheerful teenager (or wczuwający in their needs California spec from promotion) took to be so weak and at the same time, "subversive" material, perhaps film will see a different, much better (and far more iconoclastic) comics. Dreamed up ... Jesse Custer and looked over his shoulder and threw the voice of James Purefoy'a --- "Do not fuck Almighty ...".
Friday, August 15, 2008
Create Fake Abortion Papers
Why ... So ... Serious !??!!
A few days after watching the Dark Knight I gathered my thoughts. Normally I try to rate a movie right after I leave the cinema, but this time was different.
Nolan's vision of Batman left me stunned. Not Because it was extremely original (Because it was not for someone who read through all the important Batman Graphic Novels), but because Nolan treated DC's character like no other director before him. He went for depressive realism as the backlight for the movie's plot --- there is a scar on each soul. There are no heroes, no monsters, no innocent bystanders. There are humWhy...so...serious?an beings and every, each one of them has a flaw. A flaw so important, it prevents them from being average, ordinary, ...happy.
In a peculiar, subtle way, Nolan suggests that Batman, the Joker, Jim Gordon, Harvey Dent, even poor Alfred (with his pastime war stories), are all sociopaths. The one thing that separates them, is the "how", that allows them to exist in a dark and nasty reality.
Batman's has his surpressed anger, his need for vengeance, that he keeps in check only through following a rigorristic set of moral rules. The Joker could be Derrida's buddy - he deconstructs Gotham's network of societal correlations with methodical flare --- only to achieve pure anarchy (if you want this a little more "in your face' - read "Arkham Asylum"). Dent believes in black and white so much, that injustice makes him turn to blind chance as the only judge.
When you strip the "Knight" of FX, the chases, the booms and the bangs (which all are very entertaining I assure you) all thats left, are human beings trying to cope with a mean world, resembling the one from Rodriguez' "Sin City". However, Nolan knew, that what separates Batman from the "Sin Cities", the "100 Bullets" and the "powers" (all VERY neo-noir) are the gritty, down to earth characters.
If you read through "The Long Halloween", "The Killing Joke" or "Batman: Year One" comics you see people - no superheroes, no supervillains, but damaged, wounded, scarred human beings. Bale and Ledger (especially Ledger) both hit bullseye with their interpretation of Batman and Joker. Ledger probably nails a perfect 10 with his display distancing even Jack Nicholson.
Old Jacko's Joker was great - crazy, funny and never-boring, but because of Tim Burton's interpretation - one-dimensional. Ledger shows Joker as the ultimate psychopath - not a mastermind of crime. His Joker has no class, no manners, no masks (sic!). He, simply put, never pretends - he believes every word of his contradicting "smile" stories, because in a way, he lived through them all. He is Musil's "Man without qualities" who, in madness and anarchy, found the meaning of life.
Somehow, "the Dark Knight" seems a movie much closer to "L.A. Confidential" than any superhero flick. Maybe, because there is no black and white, and there are no winners and losers... In the end - everybody hurts.
The Dark Knight --- 8+/10 (two or three to many pompous tirades and oh my god who left the-Batbike-180degree-turn-on-the-wall-stunt in the movie had to be drunk-dead or an idiot). 
A few days after watching the Dark Knight I gathered my thoughts. Normally I try to rate a movie right after I leave the cinema, but this time was different.
Nolan's vision of Batman left me stunned. Not Because it was extremely original (Because it was not for someone who read through all the important Batman Graphic Novels), but because Nolan treated DC's character like no other director before him. He went for depressive realism as the backlight for the movie's plot --- there is a scar on each soul. There are no heroes, no monsters, no innocent bystanders. There are humWhy...so...serious?an beings and every, each one of them has a flaw. A flaw so important, it prevents them from being average, ordinary, ...happy.
In a peculiar, subtle way, Nolan suggests that Batman, the Joker, Jim Gordon, Harvey Dent, even poor Alfred (with his pastime war stories), are all sociopaths. The one thing that separates them, is the "how", that allows them to exist in a dark and nasty reality.
Batman's has his surpressed anger, his need for vengeance, that he keeps in check only through following a rigorristic set of moral rules. The Joker could be Derrida's buddy - he deconstructs Gotham's network of societal correlations with methodical flare --- only to achieve pure anarchy (if you want this a little more "in your face' - read "Arkham Asylum"). Dent believes in black and white so much, that injustice makes him turn to blind chance as the only judge.
When you strip the "Knight" of FX, the chases, the booms and the bangs (which all are very entertaining I assure you) all thats left, are human beings trying to cope with a mean world, resembling the one from Rodriguez' "Sin City". However, Nolan knew, that what separates Batman from the "Sin Cities", the "100 Bullets" and the "powers" (all VERY neo-noir) are the gritty, down to earth characters.
If you read through "The Long Halloween", "The Killing Joke" or "Batman: Year One" comics you see people - no superheroes, no supervillains, but damaged, wounded, scarred human beings. Bale and Ledger (especially Ledger) both hit bullseye with their interpretation of Batman and Joker. Ledger probably nails a perfect 10 with his display distancing even Jack Nicholson.
Old Jacko's Joker was great - crazy, funny and never-boring, but because of Tim Burton's interpretation - one-dimensional. Ledger shows Joker as the ultimate psychopath - not a mastermind of crime. His Joker has no class, no manners, no masks (sic!). He, simply put, never pretends - he believes every word of his contradicting "smile" stories, because in a way, he lived through them all. He is Musil's "Man without qualities" who, in madness and anarchy, found the meaning of life.
Somehow, "the Dark Knight" seems a movie much closer to "L.A. Confidential" than any superhero flick. Maybe, because there is no black and white, and there are no winners and losers... In the end - everybody hurts.
The Dark Knight --- 8+/10 (two or three to many pompous tirades and oh my god who left the-Batbike-180degree-turn-on-the-wall-stunt in the movie had to be drunk-dead or an idiot).
Thursday, July 3, 2008
Stoeffers Outlet Store Solon
Mic check one-two?
Ummmm...
So it works, well...
Let me introduce myself:
I am a movie freak, that sadly, proffessionaly has nothing to do with movies.
I watch and then criticize. I worship or banish.
I feel like I am God when I have watched a good movie (which sadly, is way too
seldom).
I feel this wonderful sparkling sensation in my head and in the tips of my fingers when
I am writing a review.
I generally detest people, but feel free to write something and then, maybe, I will change my mind.
(But honestly, don't bother if you don't feel like it)
The (Very) Silent Assassin
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