Regardless of whether or not Chase chose his porn name from Hugh the Hostler in Barnaby Rudge, he would still make an excellent model for that particular character.
Saturday, January 23, 2016
Chase Hostler
photographed by Aaron Cobbett, Slick it up gear by Dave Mason Chlopecki
Regardless of whether or not Chase chose his porn name from Hugh the Hostler in Barnaby Rudge, he would still make an excellent model for that particular character.
Regardless of whether or not Chase chose his porn name from Hugh the Hostler in Barnaby Rudge, he would still make an excellent model for that particular character.
Friday, January 22, 2016
Blackout, Hotel Room
Teleplay by Barry Gifford,
directed by David Lynch,
Los Angeles, CA, 1993,
with Alicia Witt and Crispin Glover
In 1936 a twenty year old woman and her twenty seven year old husband come to New York from Oklahoma to see a doctor in hopes of healing her ailing mind following the drowning of their son. Lynch does old Philco Playhouse style television as well as any of its older masters. It’s a shame they didn’t do it live. I’m sure Lynch would have relished the challenge of it.
directed by David Lynch,
Los Angeles, CA, 1993,
with Alicia Witt and Crispin Glover
In 1936 a twenty year old woman and her twenty seven year old husband come to New York from Oklahoma to see a doctor in hopes of healing her ailing mind following the drowning of their son. Lynch does old Philco Playhouse style television as well as any of its older masters. It’s a shame they didn’t do it live. I’m sure Lynch would have relished the challenge of it.
Thursday, January 21, 2016
GRIMES - KILL V MAIM
Claire and Mac Boucher, Montréal, Québec, January 2016
In her newly released video for the second single off of Art Angels, Claire Boucher and her brother, Mac, film her and her retinue in a subway station and, presumably, other subterranean locales. This is Act Three of her drama following the first and second acts that made up her first video for the album. Where its predecessor was largely set outdoors this one will all be shot inside and far down below the surface. She begins with a shot of her and the gang in a roadster that may be a cross between one in Mad Max Fury Road and the Pussy Cat Wagon from Laff-a-Lympics (though that’s probably before her time.) Next we get the title, preceded by a little ding that seems to indicate that they’re speeding within a video game on an endless virtual road. What follows is the late night subway station empty except for Grimes and her entourage, all very much in a fighting mood, though there is one bearded fellow with a quill pen. Boucher has said that the song was written from the point of view of Michael Corleone as a sex shifting vampire. The video does rather well in fleshing out this purposefully outré concept. It all ends in a kind of blood bath orgy, far friendlier than anything in any of those Coppola staged for his trilogy.
In her newly released video for the second single off of Art Angels, Claire Boucher and her brother, Mac, film her and her retinue in a subway station and, presumably, other subterranean locales. This is Act Three of her drama following the first and second acts that made up her first video for the album. Where its predecessor was largely set outdoors this one will all be shot inside and far down below the surface. She begins with a shot of her and the gang in a roadster that may be a cross between one in Mad Max Fury Road and the Pussy Cat Wagon from Laff-a-Lympics (though that’s probably before her time.) Next we get the title, preceded by a little ding that seems to indicate that they’re speeding within a video game on an endless virtual road. What follows is the late night subway station empty except for Grimes and her entourage, all very much in a fighting mood, though there is one bearded fellow with a quill pen. Boucher has said that the song was written from the point of view of Michael Corleone as a sex shifting vampire. The video does rather well in fleshing out this purposefully outré concept. It all ends in a kind of blood bath orgy, far friendlier than anything in any of those Coppola staged for his trilogy.
Wednesday, January 20, 2016
Twin Peaks, Season Two, episode one
David Lynch, Los Angeles, California, September 1990
In celebration of David Lynch’s seventieth birthday, I considered constructing a post using images from his film about old age and family, the Straight Story, but, despite my admiration for its distinctive slow rhythms and the quiet and heartfelt performances of Richard Farnsworth, Sissy Spacek and Harry Dean Stanton, it strikes me as being far from his best work; and it has a precursor within one of his best works (an episode that he directed for the television series Twin Peaks,) which is more characteristic of his work as a whole. The beginning of the second season of the series was the opposite in tone and structure to that of the season one finale written and directed by Mark Frost, the co-creator of the series. Where Frost did his best to follow all the rules of conventional television drama in delivering a series of cliff hangers that would serve to draw the audience back in when the series resumed after its summer hiatus, Lynch seems to have done everything in his power to forestall the answers that its antecedent promised. Of course he did a great deal more. This particular episode shows respect for some of Lynch’s antecedents, especially in the casting of Hank Worden, who worked so often and memorably for John Ford, as the world’s slowest room service waiter, and reinforces that respect in the patience with which the injured Agent Cooper accepts his delivery. (Hallelujah!) It also deals with that very sticky issue of family, and in a far less sentimental and, yet, no less heartfelt manner than the Straight Story. Audrey’s unexpected meeting with her father in the brothel (which he owns,) and her strategic use of a mask, anticipates the revelations yet to come in the series concerning the identity of Laura’s murderer. Lastly, there is the matter of Major Briggs’s Vision that he reveals to his resistant son, Bobby. It’s one of the most moving scenes in all of Lynch’s oeuvre and, again, wholly unexpected.
In celebration of David Lynch’s seventieth birthday, I considered constructing a post using images from his film about old age and family, the Straight Story, but, despite my admiration for its distinctive slow rhythms and the quiet and heartfelt performances of Richard Farnsworth, Sissy Spacek and Harry Dean Stanton, it strikes me as being far from his best work; and it has a precursor within one of his best works (an episode that he directed for the television series Twin Peaks,) which is more characteristic of his work as a whole. The beginning of the second season of the series was the opposite in tone and structure to that of the season one finale written and directed by Mark Frost, the co-creator of the series. Where Frost did his best to follow all the rules of conventional television drama in delivering a series of cliff hangers that would serve to draw the audience back in when the series resumed after its summer hiatus, Lynch seems to have done everything in his power to forestall the answers that its antecedent promised. Of course he did a great deal more. This particular episode shows respect for some of Lynch’s antecedents, especially in the casting of Hank Worden, who worked so often and memorably for John Ford, as the world’s slowest room service waiter, and reinforces that respect in the patience with which the injured Agent Cooper accepts his delivery. (Hallelujah!) It also deals with that very sticky issue of family, and in a far less sentimental and, yet, no less heartfelt manner than the Straight Story. Audrey’s unexpected meeting with her father in the brothel (which he owns,) and her strategic use of a mask, anticipates the revelations yet to come in the series concerning the identity of Laura’s murderer. Lastly, there is the matter of Major Briggs’s Vision that he reveals to his resistant son, Bobby. It’s one of the most moving scenes in all of Lynch’s oeuvre and, again, wholly unexpected.
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