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@laztpictureshow
“This is that scene in the movie…”
#Magnolia
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Bert Hardy Young Boys Les Mason, left, and His fFiend George Davis, the Gorbals, Glasgow, Scotland 1948
Jennie said when she was just 'bout five years old You know my parents gonna be the death of us all Two TV sets and two Cadillac cars Well you know, it ain't gonna help me at all Naw, just a tiny bit Then one fine mornin' She turns on a New York station She doesn't believe what she hears at all Ooooh, she started dancin' to that fine, fine music You know her life is saved by Rock 'n' roll
"If I ever run into any of you bums on a street corner, just let's pretend we've never met before."
Sgt. J.J. Sefton, Stalag 17
Cocoa, FL
circa 2010
by me
notes:
this is a film photo from the first short i ever directed. we rented out these dingy hotel rooms in some backwater called cocoa, right next to cocoa beach—if that matters. needed space, so we yanked the bed and mattress into the next room where we did makeup, prepped, and drank. always drinking.
the cast? amateurs. just some bodies i’d picked up, like this guy here (name slips me now, yeah, i’m a bastard). the other was a kid i knew from high school in texas, of all places. he randomly showed up at some dive bar in orlando. fate, or just dumb luck, but who gives a damn.
day of the shoot, i woke up to brad, my friend and shooter, banging on my door. he brought me a red bull and some powder we’d scored in miami, and that was that—off to the races, no questions asked.
the film? who the hell knows where it is now. probably lost on some fried hard drive from 2010, like a lot of things. i’d still like to see it again, though. it was about these two idiots trying to pull off a drug deal, and of course, it all goes to hell because they’re a couple of amateurs—maybe a little too close to the bone. we used fake blood, tried to light it, made something happen.
godard said, "all you need for a movie is a gun and a girl."
me? i had a gun and a pile of real money. a classmate’s granddad was some hollywood big shot, and he yanked a stack of cash from an atm, handed it over. "don’t lose it," he said. sure, like that was even an option.
and that was it. i was hooked.
Panama City, FL
circa 2016
shot by my friend Chase
notes:
it was around 3am, maybe later, and we were shooting pool, buying weed at some rundown billiards bar his friend owned. the kind of place where the felt on the tables is worn thin and the lights buzz like they’re seconds away from cutting out. before that, we’d caught hell at a country bar for feeding the digital jukebox a pile of crumpled dollar bills, just to keep playing barter 6 on repeat. some old bastard in a cowboy hat spit tobacco in my direction—he didn’t have to say a word, but we knew we weren’t welcome.
an hour later, or maybe more—hell, who’s counting?—chase talked me into popping an adderall or two, like it was no big deal. “come on, man, what’s the worst that could happen?” famous last words, but at that point, i was already neck-deep in bad decisions.
by the time dawn started creeping through the cracks in the blinds, i was back in my hotel room, finishing off the last of the warm beer, the room spinning just enough to make sleep a distant idea. i had an 11am flight, and the bed felt like an insult more than a place to rest. no point trying, but i laid there anyway, staring at the ceiling, counting every minute that passed.
i don’t remember the flight at all. i must’ve boarded in some half-conscious daze, but what i do remember is sitting in the airport before that, saint pablo by kanye on repeat, trying to will myself into some version of confidence, or maybe just enough ego to keep my damn eyes open. i thought maybe if i channeled that energy, that delusional, misguided bravado, i’d make it through.
the thing is, there’s nothing lonelier than an empty terminal when your mind’s fried, and you’re running on fumes.