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grey afternoons are best

The characters of 888 are dexterous thieves let loose in world negation. They are recidivists concerned with the journey and not the goal. For the outcomes are the deep thoughts in the mind late in the evening and per chance on waking, the questions and fear of meaning and explanation of existence where no human has been given a trophy for calculating the cost and return of the antidote.

888 is a neutral equation. It exists on all levels by either a wrong or a right, a black or a white, a real or an unreal, a boy or a girl, an abortion or a birth, a drug or an abstinence, good or evil, pride or humility, flattery or detraction, beauty or vulgarity, haste or repose, kill or be killed.

I really like symbolism in any kind of art form and the vice and tricks which can be conjured by its implementation. Dualism, illusions and disorder. Superimposed images, one dimensional receptors creating multiple worlds of colours and images…. Sound………..Iconic storage, sensory confusions of the mind and eye, extrasensory perceptions.

One of my first kind of personal enlightenments came from seeing the Danish psychologist Edgar Rubin’s reversible goblet, the classic demonstration of figure – ground reversal whereby its appearance alternated between a goblet and a pair of facial profiles in silouette. From then I sought out the Freemish Crate, the impossible figure that could be drawn but that could not exist, the Margaret Thatcher illusion – the inverted face that appears normal but is hideously grotesque when reversed the right way (no puns intended), and then of course, amongst a multitude of others the famous ambiguous portrait of the young girl/old woman.

888 exists in an uncanny mindmap and landmind where all is not what it appears to be and to physically and visually manifest this on the screen in image manipulation. Not by the use of CG but by the more traditional crafts  of cinema aided by visual artists already working within the confusion of visual spectrum domains.

I would like to employ the work for instance of Julian Beever, a UK street artist, to be part of production and set design, working with the medium of chalk, creating optical 3-D illusions to bring images to life. Whereby the audience viewing a scene would assume a structure or prop is 3 dimensional but in the next shot seen from a different angle it would be revealed that it is merely a drawing on a flat plane. Using different angles, a false sense of depth and proportion to add visual disruption which translates so well within the ‘hereafter’ segments of the film. Similiar associations and themes can be found in Vertov’s The Man With The Movie Camera, to continually destroy the spectators sense of equilibrium and to subvert the experience which would translate beautifully with the suject matter that this film allows by its constant submersion into illusion and fantasy.

The repetitions of locations and their physical construction and reconstruction is a narrative tool which i employed whilst writing the film. Travelling through Berlin, 2 years ago, I was fascinated by the massive scale of new structures around the city and the use of skyscraper high visuals of what these potential buildings would look like completed – incorporating  much detail. So a true to life size picture of a church could be seen from the street but behind it would be a construction site. This fuelled much of the imagery in 888. The states of a false paradise, the levels of spectacle that 8 must travel through in death to find the truth are stronger when supported by sets which are in transformation themselves.

The quantum physics undertone to the script supports the ‘multi universe’ theory on screen, since we do only exist in 10% of what the universe is made of, the rest is duh dark matter. The reality and plausibility factor of 8’s journey could be supported by the explanation – storage of memory in sub atomic particles. A good example of this in 888 is the shooting up of the aborted fetus scenes. The sub atomic particles were perhaps able to retain information of possible future existences and were able to report back. Perhaps shooting up the fetus (Michelle) made it possible to even convey a message

before the shooting up occurred, so long as is did occur at some point. This makes possibly a weird and powerful statement: abortions may occur because the future entity (including all its sub atomic parts) decided it, not the mother. Remember the collective consciousness in the USA as the Supreme Court looked well on its way to over turn the abortion laws (Roe vs. Wade), at some point in the future.

The story is one whose framework borrows from Platonism, neo Platonism as well as Socrates and is highly influenced by Dante Alighieri and Artaud’s Cinema of Cruelty, negotiating between reality and surreality not only of subject matter but of the cinematic form itself. . The dialogue is filled with quotations both in and out of context from The Koran, The Torah and The Bible with intersections of script from ancient Egyptian papyri of the Book of the Dead, which the manic and pyschotic 88 uses to justify his obscene actions and protestations of divinity.

Submerged in the current climate,  I feel I touched the surface in the screenplay and execution of My Black Little Heart utilising a small town and its inhabitants as a metaphor for larger commentary on contemporary South African issues however my vision is broader and more universal in 888. Firstly Africa does not come into the content or question other than the geography of Egypt. However Egypt in my minds eye is more readily associated with the middle East thus the use of Islam and Judaism. The Chrisitan component is in this case more affiliated with the West ie. America as well as the employment of the celebrity and occult agendas. Conservatism in all three of these major religeons is under the microscope. How do these moral and ethical issues such as homosexuality and abortion survive and exist in a modern context? What are the new mass religeons? Well it appears to be that of fame and celebrity and the occult. We as a planet, as a body of conciousness are in constant conflict with our belief systems and yet it is the final frontier which would unite rather than destroy us. Morals can be complicated. The ssues that are seen as important can also vary from time to time and place to place. This would be a very different film if it was set in 1856. I have attempted an aggressive, ardent, zealous and theatrical premis to explore a multitude of relationships between mother and child, light and dark, self destruction and self preservation, middle east and west, right and left.

Characters whose hypocrisy masks intimate insecurities, scenarios where the violence of silence and the violence of speech are both balanced and impossible and trust the power of visuals and sound to suggest the change of equilibrium and the ultimate fear of death itself. Sound design would need to include binaural beats to alter audience mind states.

For me, 888, is a sexual thriller, the drama existing on a spiritual plane and unfolds via mythological reference and imaginative speculation. A modern day myth illuminating moral implications of the human experience and the sacramental visions of both reality and its hell.

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hare hare krishna krishna

hare hare krishna krishna

Oh how wondrously irresponsible we are. We traipse through the lounge ignoring the boy, forgetting the date, dusting at whim and browning with vim. I love it here in my little boho palace of misconduct, even the sweaty nights and gloom interludes cannot spoil. The buzz of the little dream that has manifested inside this hat, this heart, god its good to be back in the city. Be back in my spell, whilst the construction trucks and the taxis and the mad dealers and the even madder friends stop over and beckon my reckless nature with their sweet sweet scent of innocence, no mind how short the poison the present is always worth it. And who dare says that i am wrong. For i make my choices out of free will and the wind she bloweth and my longing closes, krishna rings and scarves still wet from the broken machine and a maid and a cat and a dog with herpes, and a robot and a trainer thats gnawed and a kitchen cupboard full of medicine and an ivory box filled with delights and a car and a bus and feeling of trust and the teepee in the garden was put up by me and the irreverent singing from the bedroom is some poor lost boy who found his way here last night but me and my friend we start drinking irish coffees early in th emorn and finish up late late into the night, passed out in the thrill of the catch and as long as the cash lasts i’ll be here in th e morrow