A great story INSIDE a not so great film


I was instantly reminded of Bladerunner, and I see many references to it in the images, the tone, the setting, the music – all without the facade of larger-than-life storytelling causing the dream state that makes Bladerunner iconic.

LOVELAND or EXPIRED (a bad title, because it is neither fully correct nor a genuine mis-lead) consists of the grit of reality, even if a bit into the future – not social realism, just the unwavering loss of hope, the emptiness of existence, in the big city or simply among other people. In this sense it is almost merciless – the only redemption that which is given freely from one human to another, posing as the singular meaning of life. And then even that is taken away. Maybe. Possibly, Unclear

I can’t really feel it. Wish I could.

The problem is not exactly the acting, or the lighting, or the directing. It’s the voice-over, or rather the dramatic necessity of the voice-over. However similar to the 1st theatrical version of Bladerunner, which worked to ease the audience into what was seen as a dark story, to lighten the mood in the tone of snub-nosed detectives of the 1930s – but LOVELAND without the voice-over would simply not work. There would be no heart, because that text causes our lead to be human – except that the voice-over monologue describes a character COMPLETELY different from the one of the lead – as the filmed lead never says or hints at brain activity at a level of poetry approaching that of the voice-over. Unfortunately and incredible.

I do however love the theme. How a person can literally adapt to a life without feeling, because their hormonal cause of deep emotion is taken from them, and then – if attraction causes them to produce these hormones again – begin to die. But even if the TAKE on the old story of the price of falling in love is actually quite good, it overstays its welcome – as if the director does not trust his audience with the material. Yet another script treatment – possibly to integrate the voice-over – would have made it a greater story and possibly a GREAT film.

And what happened to Hugo Weaving? That was abuse of an interesting role as well as actor. Nasty to just turn a good actor into function. And worse if it happens in the cutting room.

I would love to give it a 10.

But I have to give it 6.4. And if I think more about it, that grade will drop further. But it IS a good story – inside all of the noise, the pretentiousness, the director’s fear, the length without real payoff, as I am left to imagine what kind of film it COULD HAVE BEEN.

[where to watch]

Quora Q/A: If somebody “largely agrees” with you, they’ve implied that your theory is at least 2 thirds correct. 2 thirds is equivalent to 66 percent correct. Do you agree or disagree?


= mostly
= in most parts
= more or less all parts
= almost all parts
= nearly everything
= all but very few things
= all but a few as yet unmentioned things of relevance to disagreement
= we are not really talking agreement here, but relevant disagreement as yet unresolved
= please understand that we have important things to talk about
= actually, screw blue, read my need
= I want red
= give me RED!




Source: https://www.quora.com/If-somebody-largely-agrees-with-you-theyve-implied-that-your-theory-is-at-least-2-thirds-correct-2-thirds-is-equivalent-to-66-percent-correct-Do-you-agree-or-disagree/answer/Kenneth-Krabat-1


Hemingway, objectively speaking…


“The closest thing I’ve found to a “formula” for good prose was laid out in an article titled “How Did Hemingway Write?” by Allen Josephs.

I would recommend that you read the entire article, but here is the gist of what he laid out as Hemingway’s methodology:

1. Invent from experience. Josephs argues, based on quotes from Hemingway, that all writing has an element of invention in it. He theorizes that writing from experience is essential, but even more so, the ability to combine that experience with imagination and invention to produce a “higher reality”, is what makes good prose.

2. Omit. Josephs describes this as the “iceberg theory”, or the “theory of omission”. He argues that what is depicted in the text should only be the tip of the iceberg, and that the rest of the iceberg, beneath the water, should only be known to the author. This forces the reader to actively engage and interpret the text, and he argues that this is the key to engaging the reader’s imagination, by leaving things out. Continue reading “Hemingway, objectively speaking…”

The logic to species advancement of PRISON.

Article 3(1) of Directive 2001/29/EC of the European Parliament and of the Council of 22 May 2001 on the harmonisation of certain aspects of copyright and related rights in the information society must be interpreted as meaning that the embedding, by means of the technique of framing, in a third party website page, of works that are protected by copyright and that are freely accessible to the public with the authorisation of the copyright holder on another website, where that embedding circumvents measures adopted or imposed by that copyright holder to provide protection from framing, constitutes a communication to the public within the meaning of that provision.

Source: https://torrentfreak.com/eu-high-court-embedding-protected-images-can-breach-copyright-law-210310/

This ruling closes a lot of doors between people.

It seems to me – increasingly – that what WAS about people wrongly monetising other people’s copyright, IS becoming SOLY about HOW to protect and exploit rights. I do realize that the legal systems and its defenders of the wronged replace open bloodshed of hence, but it is also a system eating away at the very necessary core of humanity: the ability to share information in order to deal with circumstance. And even if original thought does exist in more cases than simple ideal, the legal ownership of all patents and inventions and techniques and content and logos and brands and so on are building up to a Globe being darkened by long and short black border lines criss-crossing in every which direction to encompass and stifle the whole by preventing trespass without toll. 

Continue reading “The logic to species advancement of PRISON.”

PENicaragua tvunget til at nedlægge sig selv

PEN er en international organisation, som arbejder for at beskytte journalister og forfattere, ikke mindst i dikaturer og antidemokratiske regimer.

I Nicaragua gør en ny lov automatisk aktivister i organisationer med internationalt værdigrundlag til “udenlandske agenter”, der frit kan afhøres, forfølges og få deres bankkonti spærrede. Continue reading “PENicaragua tvunget til at nedlægge sig selv”

Tove på engelsk – book of the month

– says the happy reader

1. ‘People turn strange from reading. Everything written in books is a lie.’ Welcome to February. Our Book of the Month is Childhood, Youth, Dependency by Danish writer Tove Ditlevsen. Her life, as these memoirs attest, contained much in the way of genius and pain. She was described as ‘the Billie Holiday of poetry’. That quote is from her mother.

2. Childhood, Youth, Dependency is the title of the combined English edition of Ditlevsen’s memoirs. They also often go by The Copenhagen Trilogy but there’s something unsettlingly dry, yet compelling, about the three-word version; like the title of a brochure at the doctor’s surgery. The original Danish title of the third book is Gift, which adds a whole other layer of revelation, meaning both ‘marriage’ and ‘poison’.

Continue reading “Tove på engelsk – book of the month”

Quora Q/A: Var det svært at gå fra papir til computer-keyboard og skærm?

paper and pen/pencil/ball pen/ink/chalk/burned matches/coffee/blood – notebooks, notepads, free postcards residing in my jacket inner pocket, post-its, newspaper margins, “ANY piece of paper, please!” or “anyone got a PEN!?”

typewriter, manual – manual press, which took some INSISTING – there was one in particular, a Groma, which only wrote “gold” (still have it, afraid of using it, for fear of jinxing it…), and manual use of correction paper or fluid “paperwhite” to “delete” errors.

Svaret på engelsk: As an author, if you started writing on paper, was the transition to computer keyboard and screen difficult? – Quora