the motion-visual structure of a commercial movie form parapsychological sigils that, when viewed by a large number of unwitting ESPers, can induce large scale changes to the psychic framework of the earth. previous efforts in this direction have largely drained the shallow ley-lines of energy, so filmmakers have to embed ever more complex sigils in ever more complex films to get anything accomplished.
I mean, people whine about artsy films being too long, but when you barely have anything substantial to do or say with that time I think it's way fairer to call bullshit than on, I dunno, the long shots in Solaris.
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Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
☭ B̤̺͍̰͕̺̠̕u҉̖͙̝̮͕̲ͅm̟̼̦̠̹̙p͡s̹͖ ̻T́h̗̫͈̙̩r̮e̴̩̺̖̠̭̜ͅa̛̪̟͍̣͎͖̺d͉̦͠s͕̞͚̲͍ ̲̬̹̤Y̻̤̱o̭͠u̥͉̥̜͡ ̴̥̪D̳̲̳̤o̴͙̘͓̤̟̗͇n̰̗̞̼̳͙͖͢'҉͖t̳͓̣͍̗̰ ͉W̝̳͓̼͜a̗͉̳͖̘̮n͕ͅt͚̟͚ ̸̺T̜̖̖̺͎̱ͅo̭̪̰̼̥̜ ̼͍̟̝R̝̹̮̭ͅͅe̡̗͇a͍̘̤͉͘d̼̜ ⚢
Beats by Bruce
FORD is FRIEND, DODGE is ENEMY
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(also I guess because the 120 min mark extended towards 180)
I mean, people whine about artsy films being too long, but when you barely have anything substantial to do or say with that time I think it's way fairer to call bullshit than on, I dunno, the long shots in Solaris.