Standard time lapse clouds with a simple displacement map effect applied. The displacement map is a blurred version of the same clouds with a horizontal and/or vertical shift. More of these experiments can be found in my opArt loop collection on Vimeo.
As an exercise, I re-edited this Lost World wannabe mini-epic film from my childhood. I was able to truncate the running time to about 25 minutes (from 78 minutes). Then I decided to divide the film into 4 equal parts and display them simultaneously: the miracle of QUAD-o-RAMA !! Now, you can absorb the essence of the film in about 6 minutes. You’re welcome !
The Danish National Symphony Orchestra gives an awesome live performance of the theme from Sergio Leone’s classic western “A Fistful of Dollars” (staring Clint Eastwood) composed by the great Ennio Morricone. Is that great or what? Want more? Here’s a performance of the theme from “The Good, the Bad & the Ugly” !
For a time, I collected Mexican Lobby Cards, but lost interest after a while. I was thinking I could sell them, but realized I was still attached to them. De-cluttering is hard!
They don’t make car commercials like they used to.
From 1932 comes this pre-code (meaning it’s somewhat racier than the typical fare of the period, but innocuous by today’s standards) strange & weird film Island of Lost Souls featuring a hammy Charles Laughton in the role of Dr. Moreau, a “mad” scientist who conducts horrible, painful experiments on animals, turning them into human like beasts. His masterpiece is the Panther Woman (featured in the lobby card below). Needless to say, shit goes bad, and it doesn’t end well for Dr. Moreau. Atmospheric cinematography by the great Karl Struss.
This is a finished version of the “Cloud Mirror” post from February. Didn’t change much: extended the length of the cloud segments & added the rising spheres. Meditate on this, we are part of something greater !
A collection of photographic abstractions stemming from a disparate collection of nocturnal time-lapse shots collected over the last few years. Improvisations, if you will.
Forbidden Planet was MGM’s lavish entry into the pantheon of great 1950’s Science-Fiction Films. The plot was loosely based on Shakespeare’s “The Tempest” (I never read it either, but there’s a recent film version with Helen Mirren, maybe I should check it out). The film begins in space, aboard Starship C-57D as it approaches the planet Altair IV. The crew is tasked with determining the fate of a previous expedition to same planet (some 20 years before). Prior to landing, they are contacted by a survivor of that expedition, the scientist Morbius (one of the coolest Science-Fiction names, by the way, up there with Klaatu), and are warned not to land, due to some unspecified danger. Of course, they stubbornly land anyways, and are greeted by Morbius, his nubile young daughter Altaira and their super cool robot named Robby. They appear to be living comfortably in an ultra modern house beautifully situated in the alien landscape of Altair IV (sort of looks like the desert southwest but with green skies). But, there is a terrifying invisible monster lurking out there, which seems bent on killing members of the crew of C-57D (but does not seem to have a beef with Morbius & his daughter). Also, it turns out, Morbius’s house is situated above the remnants of an extinct civilization called the Krell, and in an impressive reveal, Morbius gives the Captain and a few crew members a tour of a vast (still functioning) underground Krell city which fucking blows their minds to say the least. Morbius demonstrates a Krell machine which sort of lets you fabricate shit right out of your own mind. Turns out, that machine, why the Krell went extinct, and what the hell the invisible monster is, are all related.
Here’s an interesting documentary on Forbidden Planet (in 2 parts):
One of the ground breaking things about the film was the the electronic “score” created by Bebe and Louis Barron (which is discussed in part 2 of the documentary). Here’s a great short video where the great Sound Designer Ben Burtt re-creates some of the sound for Forbidden Planet, explaining how it was done using 1950’s technology: