Withoutabox.com has this program where they select films to get IMDB pages. And yeah, uh - CHECK IT OUT!

Best part was filling out the form, e.g.:

For some reason they haven’t added our guides and some other people yet. And we’re still figuring out how to credit the movie’s crucial soundtrack contributors.
But, yeah.

L

Sometimes good friends know how you’re feeling better than you do. We were all watching Aa’s final set in the garden at 502 - all of us clearly up in our own heads - when Sarah touched my hand and said “It’s okay.” Only then did I realized how sad I was about all this.

Stephen testifies on his blog. And that reminds me, Billy made a movie about the 502 experience a few years back, set to Aa’s appropriately newgays Horsesteak.

Am I right to say Baumbach-ish? I guess I should see one of those.

L

All of a sudden we bring you our first internet art piece, The InterNEST.

Please enjoy and celebrate. http://www.balldeep.tv/google
L + W

secret google cheat codes when you see a ghost sign in

Something happens every time we make a movie. During early stages of post-production, we become convinced “man, we’ve really made an accessible piece now. This is so straightforward.” Then we finish, see what we’ve done and are like “oh, right. We’re WEIRD filmmakers.” All the mixed emotions of self-recognition follow.

Right now, we’re editing a piece of Blondes in the Jungle where a narrator takes the viewer through a book he’s read. The book has back information and asides and complicated setups. In the original edit of this sequence, the narrator talks the viewer through all of those.

I screened this edit with the actor last week and realized (duh) it is very hard to follow flashbacks within flashbacks - especially when they aren’t illustrated. At best you can visualize the narrative you’re hearing right now, not the frame story around it. At some point you are inevitably lost.

That night, I stayed up in bed for hours worrying and finally decided to suggest we pare down the sequence - just tell the most important story and not the framing stories around it. I made my case to Whit…

Then tonight I was reading Documents to Serve as an Outline, written by Raymond Roussel in 1932-33 (Why didn’t anyone tell me about this guy?!). It’s a truly internetty piece, where EVERY PARAGRAPH is a backstory to the paragraph before. Here’s a sample:

The autopsy furnished proof of a double poisoning.
An investigation of foodstuffs having led to naught, it became necessary to look elsewhere. Suspicion finally settled on the glue of a supply of stamps of touching origin.
Two years previously the American T… had attempted, on his vessel the B…, an audacious polar expedition.
When the anticipated time of his return had been largely exceeded, a public subscription drive to finance a search party was launched.
Notably a stamp was created which, showing theB… lost amid floes, accompanied the franking stamp on many an envelope.
More than one hand was forced by the ploy of sending out an unsolicited sheet of a hundred stamps - for which a canvasser soon appeared, to request either the return of the sheet or a contribution.

It’s impossible to read these stories and not get lost. Being lost is essential to both the pleasure of reading them and to their meaning (that Europe is so old that everything in it has a complicated, beautiful history.) And remembering back to writing the Blondes script, the maze-like texture of history’s provisional and incidental details was part what we wanted to convey. We wanted you to get lost.

Still - is being lost in a story as fun on the screen as it is in a book? After all, in a book you can reread, and with effort retrace your steps. But in films, you’re pressed endlessly forward (of course, if you’re watching at home, you can rewind, but that’s considered “cheating” in someway it isn’t with books). In other words, is being lost a rewarding experience only when you can find your way? Or is being lost in itself worthwhile? And even if so, is that right for this scene? in this movie? in this way? etc…

Um,
L

Last night, me and Whit and like 10 other people were held hostage on a subway car.

Whitney had a small chainsaw going. I punched the bad guy. He pulled out a revolver and pointed it at me and then the other hostages. I grabbed his barrel and he was like “Get real”.

I said, “Whit. GET REAL.” She sawed the dude’s hand off as I held on…

[Whispered] Was there blood? What color? Did it splatter?

Coming Soon: Secret Hollywood Cheat Codes

Its’ a totally stupid question, right? One’s the “King of the South” and the other’s “The Best Rapper Alive” and thats it. Separate spheres, separate criteria for success. It’s like comparing…oh…I dunno:

So why is this mixtape such a track-by-track emotional rollercoaster for me? Is it for you?

(PLEASZE ENJOY “WHO GOT THE CROWN PT. 2″ BY TAPEMASTERS INC. It got me through Russia.)

L

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Down

In gratitude for the disproportionate hours of sleep (and probably years of life) Whitney lost getting Jazz Christmas ready for last weekend’s premiere, Lev’s written her a poem. It’s loosely based on the “Because you took…” poem from Lolita.

Whitney
Hitney
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Ney
Ey
Y?

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also alienated Star movie criti
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Insisting on do actor/writer/dir looks at one of indi
Fine’s book tellcirrhosis in 198 oio of hard-drinking
Story of an incrmarried to act r savates, who died of
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    Caand father of d
films like Ak  c Marshal Cassavetes (T
the Influerok),  fathers in inspired directo
much of rtin  ector Johr Scorsese with
he process   Woman Under
ing things ce. He
is the fasci
edibly tale by
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  nating
  nted and difficult artist.  ****