Showing posts with label moon. Show all posts
Showing posts with label moon. Show all posts

When a month is graced with two full moons, the second one is called a blue moon...the once in a blue moon blue moon. The blue moon cycle is 2.72 years, making it a special, if not rare or unexpected occasion. The last blue moon month was May 2007 and the next will occur in August 2012.


So, it's particularly cool that we had not only a 100% full moon for New Years Eve moving into 2010, but it was also a Blue Moon. For those of us who have spiritual or ritualistic leanings, this was "meaningful" in whatever way our heart or mind took us to it. I like to leave occurences like this filled with meaningful mystery. It appeals to my sense of wonder at the convergence of nature and coincidence (co-incidence,) Nothing being a coincidence. Oracles.On a big scale, like full blue moons on New Year's Eve, and on the small scale, like the way it works in our day to day lives....if we pay attention to it. More and more I'm noticing the way moments and experiences seem to have a lovely connectedness or flow to them. The outcome of watching life on earth more as an ever mysterious, wondrous dance, is allowing me to feel freer within my skin and heart. Breathing easy. In and out...out and in.

On a practical note, this photo was taken on the night of 1.1.2010. There was a cloud cover here on NYE. I photographed the rising moon just outside my front door, looking over the fence to my left. With the naked eye, the ring was slightly visible, but leaving the shutter open for about 30 sec. gathered it into it's present form in the image. I did a second frame at a much shorter exposure to define the moon's shape, and layered into the final picture.

Well, sir (not using the term lightly), the time has come for smack to be laid down, and I first and foremost wanted to congratulate you on completely missing that day in Dr. Lerner's Film Music lecture (oh yes, people, we have history) where he discussed Alfred Hitchcock's North by Northwest. I say this because I was expecting you to out Jones's use of technology as the giant, stained, monochrome MacGuffin that it was.


While I agree with your observations concerning Sam's isolation at the hands (or buttons, as it were) of his electronic referees, I'm gonna put myself out there and say that it does not, and never did matter how shitty his technology got, because our focus was always supposed to be on Sam's journey toward the end of his tolerance for company lies.

In fact, the his technology problems should have been worse to further drive that point home. How much more frustrating would it have been if 50% of the time he couldn't even communicate with Gertie normally, like if the robot's language processor started wigging out, and he could only communicate in inflected musical notes? Because really, how impractical is the Han-Chewie/Luke-R2 relationship? I'd wanna punch that damn droid in the face after a while.

In the bigger picture, the extra troubles would give the audience further insight into just how much Sam had to tolerate living up there, in addition to provoking us to wonder just how much more abuse he would allow.

And in terms of initial practicality, why wouldn't the company make the base a one-man/one-droid operation? Theoretically, Gertie could have had most of the base functions on autopilot; Sam wouldn't have even had to touch most things beside his refrigerator. Something a little heavy to move? No problem. He would've been working with 4 times the normal strength and stamina of a normal human, thanks to the Moon's low gravity, but that's just nerd minutia.

What say ye?


Hello friends,


This week, JDub and I are duking it out over Duncan Jones' Moon, starring Sam Rockwell as a lonely astronaut trying to keep sane (and alive) on the final days of his three year term mining Helium 3 residue from moon rocks. If there was any consensus amongst the sci-fi bloggers this summer, it was that Jones' directorial debut could potentially be both a brilliant stand-alone film, as well as an amazing homage to major sci-fi benchmarks which preceded it.


While "Moon" wasn't the self-referential game of Where's Waldo? that, say, Wes Craven's "Scream" was, it kowtows pretty hard to the genre that fostered it. Jones' big three influences, of course, are "High Noon" (1952), "Outland" (1981), and "2001: A Space Odyssey" (1968). I'll pair "Outland" with "High Noon," since its story of a mining colony marshall out to round a posse before the big killers arrive is effectively just High Noon in Space. "2001" hangs heavy in the robot Gertie, the AI-gifted superintendent a la HAL 9000.


"Moon" largely succeeds at all its goals. Rockwell's performance is solid, and Jones does wonders with his sub-indie budget and attention to pacing. The real question for me, then, is why does Moon get so much love if it pulls so heavily from the genre parts bin? In the decade of really, truly shitty parodies (Meet the Spartans), remakes (Fame), and "re-imaginings" (Transformers 1 and 2...shit), should this pastiche get a pass?


Artists rip each other off all the time. Most people know about Monet vs. Manet, and literary critic Harold Bloom explicitly advocates in his essay "The Anxiety of Influence" that if you see something that inspires you, then give nary a second thought to unoriginality:


"weaker talents idealize; figures capable of imagination appropriate for themselves."

Translation: take that shit.



I'm not denying "Moon" its status as a great film. I love the damn thing, and I'm going out for the DVD as soon as its available, but what if -- playing devil's advocate -- this is what we've been afraid of this whole time? If the indies could find a way to do a pastiche so well, what happens when Hollywood finally does? Then they'll truly give up any desire to create new and original product. Shit, even "Avatar" -- James Cameron's magnum opus, "the likes of which we've never seen before" -- reeks of "Fern Gully." Maybe we have a moral obligation to ignore "Moon" from this point forward, if only to guarantee our children have a future before the silver screen that isn't dripping with 3D CGIgasms that clearly just photocopy Pixar movies (hey, Dreamworks), minus the wit, humor, heart, and quality?


What's a man to do?

It's New Year's Eve and I was hanging out in my digital "dark room" as usual, but thinking about what movie to watch a bit later with some vodka concoction...yum, when my friend Eric called to tell me I had to go look at the moon, how beautiful it was with the whatever planet below to the side, and if he had a tripod, he'd photograph it probably surrounded by trees, and would I pleeeeeze go out and shoot it. He's a good friend, and I have a heavy coat, so here is what turned out to be my last photograph of 2008.
I'm glad he called.

Happy New Year to everyone.
May all your good dreams come true, all your creativity be flowing.

A friend of mine who lives out in the boonies told me how cool his pasture looks when the moon light is spilling everywhere, and I should come out to shoot during some full moon time. So I went this month. On the way out there, I had to stop when I noticed the clouds were swooping so dramatically around in the sky. As usually happens, I couldn't quickly find a road or driveway to pull over into that gave me a full view of the sky and wouldn't get me killed by passing cars. The twilight faded more than I hoped when I finally found a spot, but it still was worth the hassle, I think.

My friend was right about the moonlight on the pasture, and said the view from the barn was good; he and his friends sit up there, have a few beers and watch the moon rise sometimes. (The other side of the barn was set up to watch the sun set, by the way.) Anyway, after noticing the scene in front of me while he got absorbed in the moonlight, I asked him to just stay there and stop breathing when I said,"Now." I'll be damned, his torso is still a little soft focus. I still haven't figured out how to pull this off, but I like how it turned out having a figure in the composition.

While stumbling around the barn with only a small flashlight on the way to the doors, I noticed, well, more like almost fell into, a hand made boat that the owner of the property was storing there....I love when you find stuff you never in your life would think to bring to a shoot. It's that serendipity that the universe loves to toss into the mix and you can decide whether or not to go with it. Of course, sometimes what crosses your path is just something to step over and walk on by, but I loved the idea of a boat coming into the composition to add a bit of mystery.

"A few days after that night, Jean emailed me:

About half an hour after you left, the nightly barred owl chorus began with an intensity befitting the full moon. As if on cue the coyotes (apparently the teenagers from the spring litter) joined in for one of the most delightful and bizarre choruses I've ever had the hair on my neck stand up to."


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