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from julie dash afi interview

AFI: What advice has helped you through challenging moments in your career? Do you have any advice for young filmmakers?

Julie: You just have to be authentic and tell your own truth and use your voice. Every project is not going to be a landmark film. I’ve directed television commercials, I’ve directed car commercials to make money, so I could fund and work on my passion projects. Everything is not a passion project, but you should pursue what your heart tells you where you need to go. And oftentimes your instructor, advisor, lawyer or accountant is going to tell you, “no, don’t go in that direction,” but you need to know ahead of time what your response to that is going to be.

Julie Dash (AFI Class of 1974) is one of the most well-respected and inventive visual storytellers of her generation. After attending AFI in

https://www.aav.org/news/615010/The-Hummingbird-in-Mexican-Culture.htm

Children across Mexico grow up learning the voladores ritual, where they fly around a 100-foot tree.

“which hurts us for some reason”

#metaphor

excerpt from “fragments from a midwest summer”

Under the scorching summer sun, Marcos’ ankle got stuck in a bike chain, riding on the pegs of a neighborhood kid’s rusty bike. His skin was shed right down to the bone, and his cries rang out like no other. Like he was crying for all of us. The neighborhood kids said they were going too fast. One said they could’ve sworn Marcos was flying. Another said Mexican kids can’t fly. Another said it’s just a miracle he made it that far. We wanted to call 911, but we knew better. We waited, hand in hand, on a dusty curb before my uncle could come pick us up. Marcos got a red, frozen Slurpee as consolation and had to go to the hospital. Mama made him stay inside the house for the rest of the summer, and I was left alone with the neighborhood kids. With no brother, all I could do that summer was keep biking around the cul-de-sac, until it became too boring. Until sitting inside the house with my mom, peeling potatoes in front of the daytime television became my favorite pastime. No one tells you how dry the starch from potatoes makes your hands until you feel it for the first time. Flaky, scaly, and white, almost like your brown hands are being stripped down to the bone.

#nonfiction #fiction #summer

snowfall

o California, don’t you know the sun is only a god if you learn to starve for her? i’m over the ocean i stood at its lip, dressed in down, praying for snow. i know, i’m strange, too much light makes me nervous at least in this land where the trees always bear green. i […]

it’s so sad, you know? you’re the only warm thing for miles the only thing that can’t shine.

somewhere, a sun. below, boys brown

if snow fell, it’d fall black. please, don’t call us dead, call us alive someplace better.

#living #death #the body #time & brevity #nature

most beautiful scene

Kishōtenketsu is a very East Asian way of telling a story in four parts. And why you should use this technique when you write copy.

https://wordsliketrees.wordpress.com/2019/01/27/is-conflict-necessary-kishotenketsu-and-the-conflict-less-plot/

atlanta szn 3

"we made the thing that only we could make"

Director: Billie EilishDP: Kevin HaydenProduction Designer: Pele KudrenEditor: John Paul HorstmannChoreographer: Matty PeacockVFX: Ingenuity StudiosListen to...

use of color, mundane, reminds me of the aesthetic and tone of dani pearce’s backpedal

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