Is Larry Clark An Auteur?

Auteurism is a French term that was derived from the 1950’s when discussing the author of a film. The author of a film is always said to be the director and he is given the credit for it as he sets everything up for a film and overlooks everything. But in some cases would it be the actor’s performance, or the screenwriter’s ability to write an outstanding script that makes a film what it is. Who is to say that the director is responsible for a great film when “An expert production crew could probably cover up for a chimpanzee in the director’s chair?” (Andrew Sarris, 1962). An Auteur by definition is what puts a director in to the category of an artist. By the director making all of their films using the same techniques, themes and style, and not just being a ‘Metteurs En Scene’, making many different types of film in different ways, and not establishing a particular style. In this essay I will be exploring the advantages and disadvantages of Auteurism in relation to the controversial, but truthful director, Larry Clark.

Larry Clark was born in Tulsa, Oklahoma, in 1943. His Mother independently ran a baby photographer business, which he became a part of when he was thirteen. This sparked a huge interest for photography inside him, and is what made him go to study it at school, where he discovered there was more to photography. He returned home and over a period of nine years took photos of his peers at the time, which covered topics ranging from drug taking (amphetamines) and underage sex. These photographs were then published in Clark’s first publication entitled Tulsa (1971). He went on to publish a similar book Teenage Lust (1983), which was more explicit and raw, including biographies of New York hustlers. Clark’s photographic work is very cinematic, and went on to inspire the film Drugstore Cowboy (1989) directed by Gus Van Sant. Being the only one doing what he done at the time Clark thought, "This guy is on my turf, I should be doing this." So he was determined to make his own film. At a social gathering he met Gus Van Sant, who approached him to praise his work. He said he would be an executive producer for his first film, so that Clark could achieve funding for it, this resulted in the cult classic Kids (1995). When Clark first stepped on to his film set he said “I’m Home.”

America in the 1960’s-70’s had a widely recognised image of “Mom and apple pie” (Larry Clark, Larry Clark, Great American Rebel (2003)), and even though some other photographers touched on the tougher, grittier subjects, in magazines such as Time, Clark felt that they always stopped at a certain point, and the dark truth was always hidden. His style was to try to break social taboos, and document things as they are, and showing the consequences of the things that the youth so freely do. The themes of his work consist of adolescent’s from different social groups, from skateboarders in Kids, to his latest feature length with punk rockers in Wassup Rockers (2005). The films focus a lot on drugs, sex and getting in to some sort of trouble. Clark uses actors and actresses that are the same age as they are supposed to be in the film, to help the audience relate to the characters better. As even though they may be getting in to more extreme situations that they would, they could look at them and think ‘that’s just like me’, unlike in a of films where older actors play much younger characters such as James Dean in Rebel Without A Cause (1955) where he plays an teenager but he himself was twenty-four.

As Clarks films can be clearly identified as his own style, especially as he has photography books that fit in with his genre, it is clear that he pushes the status of his films up to art. In his particular genre of films he shows the dark truths in films as well as showing the consequences. Kids, addresses the main character Telli’s addiction to taking away younger girls virginities, which he does to two different girls in the same day (one in the opening scene, shown on the left) that the film is based on by talking them in to it. Also in the film another girl Jenni, whose virginity was taken by Telli the year before, goes to the sexual health clinic and finds out she‘s HIV positive, even though she has only had sex with him. Meaning that he is not only just taking girls virginities but also giving them aids. This shows the truths of things that happen in the real world in an extreme case, to show teenagers that they should know who they are having sex with. So as well as being a shocking story, it has morals. In Bully (2001), all of the characters have been picked on, raped or abused by Bobby. After Bobby’s best friend Marty comes in to a relationship with another character who has been abuse by Bobby, Lisa, they decide they want to get rid of him somehow. So they bring in their other friends and all come together to devise a plan what to do about him. They decide they are going to kill him, so they do so and dispose of the body. After this, they are faced with the consequences and guilt, get found out and all sent to prison for playing their part in the murder. Again it shows the large consequences, this time of taking the law in to your own hands, but in an extreme case. Wassup Rockers is about some punk rockers that want somewhere to skate, so they go to the rich part of town and get in to a scrap with the law, where they steal the policeman’s lunch and eat it in front of him and then have to run to get home. Along the way they bump in to many different groups of people, including some gay people having a party, a couple of young rich girls and a woman alone in her house, all of who want to have sex with them. However, after causing so much panic within the community, when sneaking through one mans back yard, he think they are thieves, so one gets shot and dies. This again has an underlying moral of knowing limits of what you can do, but in an extreme case. All of these are of a particular style of film, and by dedicating himself to this, it pigeon holes him as a filmmaker. This is a big weakness of auteurship, as it doesn’t allow any room for diversification.


If Larry Clark had no room for diversification in his work, it make a lot of collaborations with other artist’s in the film industry impossible. However, for Larry Clark it meant that he got to work with people that wanted to do a similar thing to him. For example his first step in to the industry was through Gus Van Sant who used a lot of Larry Clarks photography work as influence himself and therefore was a huge fan. This lead him to produce his first film Kids, so that Larry Clark got to make a film as he wanted to see it done so he supported it to his full ability. This is a big opportunity and collaboration for Larry Clark and put him in to the eyes of a more popular medium in art, cinema. Other than this he also collaborated with Stan Winston, one of Hollywood’s biggest special make up effects artists (who worked on Edward Scissorhands (1990) and Terminator 2: Judgment Day (1991)) on Clarks TV debut Teenage Caveman (2002). A collaboration like this shows that even though Larry Clark has pigeon holed himself as a director of a particular style, he can still diversify it slightly (while still including sex and drugs) and work with big names that want to do the same thing as him, and be involved with his means of cinema. Even though it has brought him to work with actors with high acclaim such as James Woods in Another Day In Paradise (1998)), more importantly than this I feel is that his new genre and ways of working with young kids has helped discover new talent, such as Rosario Dawson whose first film was Kids has gone on to work in films such as Seven Pounds (2008) and Sin City (2005). Plus building up his own camp with actors that he uses over and over again, such as Leo Fitzpatrick who appeared in Kids, Another Day In Paradise and Bully.

By being an Auteur, Larry Clark’s films will appeal to the same audiences, as when they go to see a movie with his name on it they will already know what to expect. This is due to him choosing recurring themes in his films, such as the regular casual underage sex. For example, in Kids there are 3 sex scenes, which is over the period of one day in Telli and Casper’s lives. One of these scenes is at the end when Casper is drunk at a house party, and he rapes Jenni, who is HIV positive, while she is asleep on the sofa, knocked out from a drug she took earlier in a club. Also in Bully, when Lisa calls up Ali, she is having sex and still continues to do so while on the phone, and starts to pour hot wax on the boy’s chest. Another theme that appears a lot in his films is the use of drugs by young teenagers. For example, in Kids in the house party scene at the end, four children aged about eleven are sat on the sofa and smoking weed that one of them got off of their big brother, and speaking about it as if it is something that they do regularly. This is also shown in Bully, when Donny is talking to Cousin Derek about what he does and he says he plays Mortal Kombat and Donny says that he loves to drop acid and play, so the pair casually drop acid and head over to an arcade to go and play the computer game. Themes being repeated throughout his films is good for audiences as it gets across them what they can expect from the next and his others. However, on the other hand after a few films the audiences may get bored of the same topics, and it may be very difficult to keep their interest after a large amount of similar films. But his films document certain groups of youth in the correct way for history, with issues that are actually going on rather than sweeping them under the carpet, his photography work shows that without input like this that period of time would to us seem very innocent compared to what he has shown us (displaying drug usage and incest). I do not believe that the films will get repetitive for the viewers; because as the groups change, so will the films.

Ronald Barthes, has a post-structuralist approach to this subject and argues that there is no such thing as an auteur, he says “we know that to give writing its future, it is necessary to overthrow the myth: the birth of the reader must be at the cost of the death of the Author.” (Ronald Barthes, Death Of An Author (1967)), meaning that things are now made for audiences and no longer for the authors own wants. Therefore he can be influenced by anything and make something that is completely different to other tings that he has created as the issues risen are nothing to do with him. For example it has been argued in documentary Larry Clark, Great American Rebel that due to him showing a lot of underage sex that he is a paedophile, and they interview Tiffany Limos, Ken Park (2002), who says that he was in no way sexual with the scenes and wasn’t turned on by it all, or at least didn’t act that way towards her in the shooting of the film. This does support Barthes’ work, but as this was the life portrayed in his films, is the same sort of outlaw life that he led when he was a youngster (taking drugs and underage sex, that was displayed in his photography book Tulsa), and the fact that he hung out with kids for a long time whilst doing research for his films (therefore being in touch with the new ways of life) it is an expression of his own culture in a way. However, they are made for the reader, in this case those that are part of the cultures of teenagers he makes films about, which agrees with Barthes’ theory.


I feel that Larry Clark is a very strong auteur, of who has very clear outlined themes with in his films. He is deep in the cultures that he makes pieces about, and documents history well with the dark side of the unspoken life of teenagers day to day in America within many different social groups. Even though he is making things for audiences, and Barthes may rule him out as an author, I do feel that he does things for self-indulgence, even though his primary concern with his films is to shock adolescence with the consequences of their actions. His collaborations with other has led to a large contribution to the audiences and the film world, with his discovery of new talent and work with huge people in the business, namely Gus Van Sant and James Woods. He has broken all barriers that being an auteur can lead to and has not distanced himself from the film world and yet kept true to his original roots, and ideologies that he wanted to let loose with in his cinematic art, whether it be film or photography. He has his own style, and has shocked the world with the deep yet sincere consequences outlined in his films.

Does Silent Cinema Deserve Any Cultural Or Artistic Merit?

Silent cinema was created in France, by the famous Lumière brothers, who debuted the first ever cinema screening with their film La Sortie de l'Usine Lumière à Lyon (Auguste and Louis Lumière, 1985) accompanied by a pianist, this film was taken world wide and was famous in all of the big cities. Soon the cinema was the talking point of the general public across the globe. Sound was not a part of the film until 1927, when the first talking movie The Jazz Singer (Crosland, 1927) was released and was a big hit due to its use of newer advanced technology, which led to this type of film becoming more popular. Silent films are really overlooked in our modern day society, as they aren’t technologically up to date, and are considered as boring films, and are therefore given little or no credit for their contribution to cinema as it is today. In this essay I will discuss how the birth of cinema as we know it was bred, and whether or not it is worth any artistic and cultural merit. Throughout it, I will explore how silent film was used artistically and cleverly by some of the greatest directors and practitioners of film the world has ever seen, including George Méliès, Luis Buñuel and D. W. Griffith to name a few.

The Lumière brothers effectively created cinema, by having one of their films screened to an audience. The types of films they made were documentaries, but not as we know them today, it would just be a camera filming something that happened in real life. For example, their films consisted of things such as, people leaving the work place at the end of the day (La Sortie de l'Usine Lumière à Lyon) a baby eating its dinner (Repas de bébé (Auguste and Louis Lumière, 1895)), and a train coming towards the screen (Arrivée d'un train à La Ciotat, L' (Auguste and Louis Lumière, 1896)), which scared audiences and made them think that the train was going to hit them. All of these are things that happen in everyday life, that people from all different cultures would most likely have experienced prior to watching the films, therefore be able to relate to them. The films made by the brothers encouraged and started a new fad of cinema going, an activity that would continue to grow and turn in to one of the biggest industries in the modern world that we live in today. Even though the films that the Lumière brothers created would not appeal to audiences of today, by showing films in a cinema environment they introduced a new phenomenon that is still a huge part of our culture in today’s world.

Even though watching films in a cinema environment was very successful, the films had no narratives. However films started to work towards having specific narratives. George Méliès’ work showed this development clearly, ‘his model for them was the narrative mode of the legitimate theatre’ (Cook, 1981: 13). His main trademark’s were tinting his frames, so that they were colour before colour film existed, and using camera tricks, one of which the being the double exposure shot. But more importantly he put stories that he performed on stage, on to the screen, to create more of a variation within films, rather than there just being documentaries. By doing this he created the types of film that we are most familiar with, as they had story lines. An example of the type of film he made is his Le Voyage dans la lune (Méliès, 1902), which has thirty scenes, but however uses no edits between them and no movement of the camera is used. In one scene he even, ‘moved the papier-mâché moon on to a dolly into the lens of the camera… even though, as a practical matter, moving the camera would have been far simpler’ (ibid: 17). Even though Méliès was blind to these particular things, his background of stage work helped him see more potential to cinema, and diverted it ‘toward becoming an essentially narrative rather than a documentary medium’ (ibid: 19). This shows that films were watched for the same reasons in the silent period. Méliès by using optical illusions and tinting frames shows a lot of artistic improvisation and deserves huge praise for doing so in his work. However, unlike the Lumière brothers, watching his films is very interesting as to see what certain directors were able to do in such a primitive period in cinema.

But still no editing was used within films, and the only way cuts were made was by overlapping two reels which sometimes resulted in the same thing happening twice, for example in Le Voyage dans la lune the rocket seems ‘to land twice’ (ibid: 24). Another director Edwin S. Porter, a big fan of George Méliès’ work, was influenced by him, and therefore used narratives within his films too. In spite of this, he still had his own visions, and ideas of advancements he could make with cinema, and in The Great Train Robbery (Porter, 1903), Porter used the first panning shot, dissolve cuts and straight cuts between scenes. Although this may not seem such a big thing, it had never been done before, and obviously made the film look a lot more professional than anything else audiences had seen before. Even though ‘audiences understood none of this… they loved the dramatic excitement generated by Porters editing’ (ibid: 28). This was the first sign of edit to be used in a film, and with this new innovation it made many more things in film possible. With these techniques being put in place, it led to ‘one million patrons per day’ (ibid: 29) by 1907 and convinced ‘investors that the cinema was a money making proposition’. By using editing and panning techniques, it set a new standard for films, which no longer appeared in one shot, and films were starting to come closer towards being made the way we see them in our culture today. However, very unlike films in this day and age, The Great Train Robbery was only twelve minutes long.


D.W Griffith ‘understood that for the cinema to achieve the status of an art it would have to evolve a form commensurate with that of other narrative arts… The idea of a serious novel, opera, or play which takes only ten or fifteen minutes to apprehend is ludicrous, and Griffith reasoned that the same was true of cinema.’ (ibid: 71) This director showed an initiative to take film up to the level of being art, by making it the type of film that is involved within our culture in this day and age. He done this with his film Birth Of A Nation (Griffith, 1915), which ran at 187 minutes, which is over three hours in length, compared to the ten to fifteen that the audiences were used to at the time. It was praised by the critics and grossed ‘forty eight million dollars, or more than any other film up to that time had made’ (ibid: 77). The film itself however, was deemed racist against black people, and had to have certain parts censored, such as a scene where black men are raping a white woman. Nevertheless, Griffith single handily changed the way films were made and watched. Also due to the huge money he made, it tempted investors into putting money into making more films that could potentially make a similar amount of profit. This led to a new artistic type of cinema being formed and hailed as the new way.

Film stars in early silent cinema were non-existent, as anybody who appeared in a film would have been too embarrassed to put their name on to it. The actors played archetype characters (such as ‘the criminal’) and were never thought of as stars by the public. This was mainly due to the fact that the attraction of the cinema was the magic of moving images on the screen and that audiences requested films, in relation to the company that made them e.g. Biograph. Surprisingly, actors in films were never written about up until 1907, and by 1909 fans were asking for films by actors even though they didn’t know their names, so they would refer to them as ‘The Biograph Girl’. By 1910 actor’s names were published, due to the public demand to know who people such as ‘The Biograph Girl’ (Florence Laurence) were. This made fans more interested in their favourite stars, and magazines such as Motion Picture Story changed their approach away from strictly featuring ‘novelized versions of motion picture plots’ (Barbas 2001: 24) to ‘a hybrid of short stories, star publicity, and technical information about filmmaking, mixed with advertisements for face creams and screen-writing schools’ (ibid: 24). Fans were obsessed with the stars and their personal lives, and the magazines were bombarded with demands to know more about them, such as their marital status. But the magazines would not reveal these confidential details, as they wanted to keep the stars private lives private, up until 1915. By this time Motion Picture Story was no more and split in to two magazines, Motion Picture, which ‘focused on novelised plots’ (ibid: 28) and Motion Picture Classic, which was ‘devoted almost entirely to articles about actors’ fashions, marriages, and off screen exploits’ (ibid: 28). This obsession with stars was built during the silent cinema era, and is still nowadays in place with in our modern culture, of wanting to be like the stars, and watching movies because our favourites such as Robert De Niro and Will Smith are starring in them. This period paved the way for our celebrity culture, and shows that the people’s interests in those days were similar to what they are at this point in time.

During the First World War, many pacifists, revolutionists and anti-war protestors from over Europe went to Switzerland for refuge. In 1916 writers and artists in Switzerland founded a group named Dada, led by Tristan Tzara. They believed that the war contradicted itself and rather than saving Europe’s culture and morality it was doing the opposite by killing millions of people. Man Ray was a Dada director, and his first film Retour à la raison (Ray, 1923) according to Kuenzli was ‘five minutes in length… partly made without a camera by sprinkling salt and pepper and throwing pins and thumb-tacks directly on the film celluloid, a technique that he used for his Rayographs. Other short sequences resemble films of sculptures. But instead of the camera turning around the object, sculptural objects such as an egg crate and his Lampshade (1919) rotate in front of the static camera. Retour à la raison, commissioned by Tzara, expresses through it anarchic arrangement the Dada spirit of spontaneity and chance which were the Dadaists’ strategies for disrupting logic and rational order.’ (Kuenzli 2004: 80) As you can tell the films produced by this group were very art provoked, expressionist and far from mainstream cinema. The Dada films are an important artist impression of feelings about the war and fighting the powers that were against them at the time, protesting for what they thought was right. This shows that silent cinema is worth our artistic merit as it was used as a big input to the work of one of the most well known group of artists, so that they could get their point across to the world.

In 1922, some members of the Dada didn’t like the direction the group was going in, as they felt it was meaningless, so they went off and followed a member of Dada André Breton, who created a new group called Surrealism. He believed that it would be a good idea to play on dreams, and the subconscious to provoke the viewers mind more. They done this by ‘juxtaposing two or three objects that ordinarily are not grouped together… they achieved them by recollecting bizarre and haunting nightmares and dreams’ (ibid: 79-80). An example of this is the most famous silent surrealist film Un chien andalou (Dalí and Buñuel, 1929), it uses a lot more graphic imagery to create shock than the Dada films. In one scene in the film a man with a razor slices open a woman’s eye, described by Kuenzli as ‘one of the most horrific sequences in all of cinema’ (ibid: 88). The film has a series of events that don’t coincide with each other in anyway, or follow the narrative modes constructed by predecessors such as George Méliès. However, it uses it own style of shock cinema and created a new medium for the art. Surrealism got a reaction from the audience to get across its point in an artistic way, and got one of the most famous painting artists (Salvador Dalí) to be able to express himself in another way (through cinema).


I feel that silent cinema although not being up to date with our culture in the modern day certainly highly contributed towards what it is today. Without directors like Méliès, Porter and Griffith we would not have the films that we have today as nobody would have innovated and put the new ideas to use with in cinema, and without it our culture would not be the same as it is. The public received films through the media as the silent cinema era developed in the same way they do now, as they were interested in a film because their favourite bankable star appeared in it. Artists used abstract styles when creating their films, with shock (Un chien andalou) and optical illusions (Le Voyage dans la lune). With art, the films saw a lot of innovation, creativity soar within the industry, and the culture it brought has lived on for the past century, which the era deserves a lot of merit for whether it is artistic or cultural.

Short Film (Midgets In Cinema)

Over the past years I have found myself becoming fascinated by vertically challenged people in films. I say vertically challenged to include both midgets (who are just small, and proportionate) and dwarfs (who are small and not proportionate). So here I thought I would include some of my favorite little people.

Tony "Tiny" Cox aged 51, has hit our screen a whopping 63 times, usually appearing in comedies, his most "bad ass" role being santa's little helper 'Marcus' in Bad Santa (2006) (which is a typical role for small people with Danny Woodburn who plays one in Jingle All The Way (1996)). Cox is a veteran midget, who has shamefully been put in the spoof films of recent such as Date Movie (2006) and Epic Movie (2007), but alongside doing actual good comedies (and one of his latest features Midgets Vs Mascots (2009) of which the trailer below, where he is along side Jordan Pentice from In Bruges (2008)). I suppose that film is probably the best way to make money as a a midget, as your personality is what comes in to play with the audience. As in another work environment that is less creative prejudices are almost certainly likely to come in to play. This happens to be the same for others such as Gary Coleman the star of Different Strokes (1978-1986), however, it can't be too great to be laughed at because your little, after all they have feelings too. But if I was a midget I would get myself an agent and start to act, because at least then most people would see you in a good light, and no sitcom could have ever ran with a character supposed to be a kid for Twelve years. Other than comedies midgets are not used in too many other films, however fantasy and sci-fi are a good outlet for the vertically challenged to appear as actors in, such as Warwick Davis who has had the best of both worlds. As an actor he has achieved a lot appearing in the fantasy film series of Harry Potter (2001-), a sci-fi The Hitchiker's Guide To The Galaxy (2005) and a horror Skinned Deep (2004), which is also worth a look. Despite all of this he has still had the opportunity to work on the famous Ricky Gervais comedy series Extras (2005-2007), alongside Daniel Radcliffe who plays Harry Potter (who is a kid not a midget). Also Verne Troyer, who is well known for playing mini-me in the Austin Powers The Spy Who Shagged Me (1999) and Austin Powers in Goldmember (2002), also stars in Harry Potter and the Philosopher's Stone (2001) and Men In Black (1997). These two examples show that dwarfs and midgets aren't pigeon holed in to just comedies that we immediately associate midgets to.



In the Philippines a group of B-Movies have been made starring Weng Weng who plays an a spoof of James Bond named Agent 00, of which one of the films is named For Y'ur Height Only (1981). Agent 00 is effectively "the midget superhero" and even though it is a comical film, it shows midgets in a "cool" spotlight, being action heroes. Jason 'Wee Man' Acuña is an interesting character, a midget skateboarder who is well known from the Jackass (2000-2002) TV show. In the show he inflicts pain upon himself, and with him being a midget it turns into somewhat of a weird freak show. Midgets being abnormal makes them surreal when then do things, this also opens avenues for the little people to appear in films such as Charlie and The Chocolate Factory (2005) where Deep Roy (another midget who is also in Star Trek (2009)) plays the all singing and dancing Oompa Loompa's. This approach with short people as actors has been the case in many films by more underground, surrealist film makers such as David Lynch and Werner Herzog. In the Herzog film Auch Zwerge haben klein angefagen (Even Dwarfs Started Small) (1970) which stars an all midget cast, with a total of 14 midgets, which shows their isn't a shortage of midget actors out there!, and when the film was shot all of the midget were drunk and the whole thing is just them causing havoc in an institute for small people. Similarly in David Lynch's Twin Peaks (1990) season 1 episode 3, a midget (who I couldn't find the name of donations welcome!) starts to dance in a dream sequence which creates a very eerie scene (below).



However, none compare to Danny DeVito who is undoubtedly the most famous midget actor.


RELATED EXTERNAL LINKS
Clip From Even Dwarfs Started Small
Weng Weng Tribute Rap WIth Clip

Other Monumental Films With Midgets:
Time Bandits (1981)
Willow (1988)
Star Wars Series (1977-1983) Ewoks are played by midgets and R2-D2 is played by Kenny Baker, and doesn't say anything
Scary Movie 2 (2001) and Bubble Boy (2001) A midget called "Beetlejuice" appears in it.

Other Famous Midgets:
Bridget Powers
Bushwick Bill

CONTRIBUTIONS WELCOME!

Film Recommendation: Even Dwarfs Started Small - Werner Herzog
Album Recommendation: We Can't Be Stopped - Geto Boys

May Nineteen Two Thousand Nine

So today was the "real" start of me, my co-director Gustav Newby and our Bitch Ciaran O'Brien's first film as a team. Now I have made a shot list, a call sheet and a schedule for those involved we are ready to go. The protagonist was supposed to be played by Geoff Bell from Green Street, RocknRolla and Mean Machine, this however has fallen through at the last minute as we have been unable to contact him, but hopefully he will appear in a future production. But we feel we have a better actor for the role now anyway, so no loss at all.

The film which will be shot this Thursday, is a social realism film about South London culture, and how it has changed over the past 40 years. The film asks whether or not this is for better or worse but in the protagonists eyes it has left him in a lonely state, living in a world where so much has changed he no longer belongs.

The start of the film will contain a montage of shots of stills, showing what was the protagonists golden age. To get these shots we went to a museum of local history which ended up being useless, however while looking for it we did end up in an empty court room, which was strange. So we then went to our local library not expecting to find much and were amazed at how much archive photographs of the area they had. In the end we were spoilt for choice for stills to use, and ended up looking at our houses and the area we grew up in up to one hundred ago, which was very interesting to see. It is something I advise anybody to do so if they have some time to kill.

Anyway, I will upload the film in the next two weeks at some point, it should run at approx 3 mins, and I hope you enjoy our 1st official short, which is nameless at the moment... as well as us as a production team.

Film Recommendation: Stroszek - Werner Herzog

Wordle

This is my blog. I will update with things soon. It will contain things on music and films I like and dislike. General Interest stuff. Including updates on my music and my films. My name is Myles, hello.

Album Recommendation: We Are The Streets - L.O.X