I was in a movie once…….
Enoc Pérez (Puerto Rican, b. 1967), Auto Conciente, 1993. Acrylic on canvas, 58 x 60 in.
Comic strip artists from the 40’s draw their characters while blindfolded
An adventure game set in post apocalyptic Eastern Europe with an ugly mutant protagonist, and an evil sloth antagonist.
I just launched my Kickstarter! Been a super crazy surreal experience finally letting it out in the world.
If you like Paradigm, please re-blog this, it really helps Paradigm become a reality and I’ll muster up all the internet high fives I can give you.
R.I.P. Donatas Banionis (28 April, 1924 – 4 September, 2014)
Brecht Evens draws Tintin for De Morgen
And as he wandered on, unconsciously heading in the direction of his apartment, he found himself not far from the dark, rather disreputable street where less than twenty-four hours ago he had followed that abandoned creature to her tawdry yet comfortable lodgings. But why should she particularly be thought of as abandoned? Or this particular street be called disreputable? Curious how, seduced by words, again and again one labels and condemns people, destinies and streets through sheer idle force of habit.
Orson Welles meets Jack Nicholson, circa 1976, courtesy of Will McCrabb.
In 1971, director Henry Jaglom was in hot pursuit of the legendary Orson Welles. Jaglom desperately wanted Welles to star in his feature debut, A Safe Place, opposite Jack Nicholson, and flew to the Plaza Hotel in New York to make his pitch. Welles agreed — the prospect of getting to wear a magician’s cape was the selling point — and a most unexpected friendship blossomed. —My Lunches with Orson: Conversations Between Henry Jaglom and Orson Welles
Peter Biskind records the exchange in his introduction to My Lunches with Orson. Welles came to Jaglom during a break:
“You’re the arrogant kid who pushed me into this. How’s your arrogance doing?”
“Not very well. The crew hates me. They’re totally negative. Everything I tell them to shoot, they say, ‘It won’t cut,’ or ‘it’s not in the script.’ I have to fight to get every single shot. I’m exhausted.”
“Oh my God, I should have prepared you. Tell ‘em it’s a dream sequence.”
“Just do as I tell you. Trust me. You trusted me enough to hire me. Do it.”
Jaglom took Welles’ advice and got results. He went back to Welles:
“What the fuck is this? Everything I want to do, I say, ‘Dream sequence,’ and they’re pussycats.”
“You have to understand, these are people who work hard for a living. They have tough lives. Structured lives. They work all day, then they have dinner, put their kids to bed, go to sleep, and get back to the set at five o’clock the next morning. Everything else in life except for dreams has rules.” —Henry Jaglom and Orson Welles, On Screen: A Safe Place and Someone to Love
Here’s a rarity: A Safe Place outtakes with Orson Welles; never-before-seen footage of Henry Jaglom’s feature debut featuring Tuesday Weld, Orson Welles and Jack Nicholson.
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