tough day for the bird

what are you doing? it's me.

[rpfplatoniccave]

zapruder/ntb sideblog 😇🐁 url from this fic

real person fiction & real person facts, camera operator fanaticism (#jaredworld), operation avalanche enthusiasm, mattowen, & threats against jay mccarrol's life <3

biases: web matt, vice jay, movie jared

[uwantedahit]

mixed media/digital & physical collage covers for my matt and jay playlists :-)

[kewiztf]

Girls

[peanutlolxd]

Girlvanna but make it vampire au like I mean I guess

[rpfofficial]

jared the character vs jared the camera vs jared the audience vs jared the real guy

[rpfofficial]

really funny to imagine that, diegetically, there's always just another guy watching matt and jay act like they're all each other has. important to acknowledge the existence of andy as a character in this scenario as well. there's always two guys, presumably with their own lives and inner worlds, watching mattjay's endless devotion and tunnel visioned earth shattering homosexual romance play out again and again. but theyre only ever acknowledged when mattjay remember they exist or get paranoid or it's funny to address them. most realistic and applicable to operation avalanche.

the abstract of a machine-as-eye, kino eye, always trained on matt and jay, that is physical enough to be something that can be addressed as a character and given a name to give a sense of world building, but is ultimately nothing more than the medium in order for the world of matt and jay to reach the real world. more of a vessel than a character or a camera operator. probably most applicable to blackberry.

no in between, no character or machine. whatever camera operator is on the scene is a separate entity to the audience, and whichever is addressed as "jared" is the stand-in for the audience and the symbol for matt-the-character's genre awareness (or delusions?). most applicable to the dirties and hardest to think about

that's jared :) he's playing toys with his friends matt and jay he's in on the joke. zapruder filmmaking.

[rpfofficial]

long as fuck jared post under the cut, thinking about this again:

jared could conceivably be a character in any MJ directed project, mostly the fake documentary style ones like opav and the dirties, but he could also conceivably be anything. in the world of nirvanna the band, jared (and luca and andy and nikolay etc) is named and addressed, his hand appears in shots, even his face in the webseries. so if youre approaching ntb from a watsonian view, treating it as its own fully fledged fictional world with depth and scope and three-dimensional people, that begs the question of who the fuck is jared? how did these two idiots, matt and jay, convince any camera guy to follow them around forever, let alone two, let alone work with the same one across decades. that's why i love the inclusion of jared in fanworks, because no matter how you spin it, if he's here willingly or just for the pay, if he considers matt and jay his friends or just his subjects, if he's a pervert or completely uninterested in what matt and jay get up to when he's not there, no matter what: he's the voyeur. he's the primary audience. he's the camera. and who it's being filmed for is a whole other discussion left mostly unaddressed in fanfic (are matt and jay the characters also making a tv show about themselves? and what about the world of THAT tv show? how far down does the rabbit hole go? how many fictive matts and jays and jareds and lucas and andys are there?), but regardless of how you interpret the presence of the cameras in these characters lives, jared being the key operator (ie the one who is most often on scene) develops a character of his own, almost in the absence of his character (absences do imply presences after all)

but this is why i think the doylist approach to ntb and to all zapruder films projects is so important. because while operation avalanche and the dirties have a more "concrete" narrative, a more realistic story and setting that lends itself to a watsonian reading and can almost completely be separated from the context in which it was created and filmed, even those rich fictional worlds have a level of thematic representation to them, or just these wider more abstract ideas going on. the reason why i think jared as a character works best for operation avalanche is because... well... he is a character. he's an agent with identification and role to play in the story and spoken lines and everything, same goes for andy. but there's still moments in the film where the illusion of the film makes you forget there's a physical person filming right now, like at the end when matt gives andy the film reels, and andy drives off, and there's a prolonged shot of matt standing and watching the car drive off, completely still and alone. obviously, you recognise that if there's a camera showing us this moment, then jared is there filming it. but that doesn't negate the sense that matt is now isolated, abandoned, alone, on so many levels. and if the end of the film is when the cameras stop rolling and jared leaves as well, that's when matt is truly alone. but you never see it, so you never think about it. so in that way, jared as "jared" version 3: the kino-eye & camera is also interesting to think about. cos in some ways he (& andy) represents paranoia, he's a stand-in for this fabricated mediatic perspective, the whole concept of reality being documented but footage being manipulated to change reality. "movie special effects can be very convincing, especially if you dont know youre watching a movie". and it's jared's whole role to be the eye, the lens, of that movie. so he's both a character, and a figure of matt's ambitions & paranoia & craft.

and this goes doubly so for the dirties, where it's almost too implausible to imagine jared as a real person, watching and recording idly as this teenager spirals further and further into this dangerous revenge plan, pushing everyone away, except the guy (or guys, since there's also sometimes two cameras filming) whose job it is to record this all. which also makes it interesting to consider who it is when it's not just jared, since i'm sure if you went back through all the scenes in the movie you could easily point out the scenes that have no shot-reverse shot and no other angle to cut to and it's just jared, and even when there is another angle to cut to there doesn't necessarily need to be an operator behind the camera. which is why i think jared as an abstract stand in for the audience is so interesting for the dirties. i think the dirties is an interesting project when it comes to this diegetic/non-diegetic dichotomy in zapruder films stuff, because i do think of jared as version 1: jared the character, and i'm interested in people's interpretations of who he is as a person. but i'm also just as interested in jared version 2: jared as the manifestation of matt's audience, the people he's performing for, the movie he's always trying to make, so that even in the film itself it's unclear if there even is anyone there, with matt and owen, recording it all. like the scene on the cliff ("this is not a movie, this is just you and me!" "trust me THIS is a movie!"), is owen ignoring the cameras, is he not seeing them, is he choosing to just not perform despite knowing that whatever is recorded, matt is gonna use?

in this interview matt and jared talk a lot about the presence and use of cameras in the fake documentary style of nirvanna the band the show the movie, and how the rules are completely ambiguous, they use inserts of "other footage" but they also play hard and fast with the logistics of who's filming and why they're ahead of matt and jay and why they're standing there and filming that reaction, etc. it doesn't beg to be thought about too hard, but considering there's thought put into how it works artistically and mechanically, it's then fun to consider how it works narratively! and matt says something really funny which i thin draws together everything i think about jared and his presenc:

I always think that Jared is, yes, the operator and the character in the show, but I also think of him as a kind of Ed Harris style mastermind, controlling a fleet of people. And so when I watch the show and, let's say the scene where I jump on top of the street car and there's a camera in the street car, I'm not thinking, oh, this is cheating, that they have a camera in there. What I'm thinking is: Jared has got a live monitor in front of him and he goes, okay, I want to see my camera 6 in the street car. Go to camera 6. And it's just like he just controls Toronto and he's got like 10 or 15 cameramen, because he's slowly been telling people, guys, I really got a live wire on these two idiots who call themselves Nirvanna the Band and we are making the Truman Show with them.

so in this way jared is... all 3 versions of jared. character with a mind and motivation of his own, operating camera machine with an eye always trained on matt and jay, and the fabricated stand-in for the audience, us, the viewers, who want to know what matt and jay will do next!

basically this is my jared take: he can be anything you want him to be. whether he's an acknowledged and recognised and named presence or not, i think he perfectly encapsulates the blurred limbo that zap films projects exist in between diegetic and non diegetic, fake documentary and real filmmaking, watson and doyle etc etc etc. whether youre taking it all face value, as purely fictional, the place jared takes in every story does pose many interesting artistic and philosophical questions, such as "how far is too far?" and "how much of this is a performance?" and "how much of it is private?" and "why are we allowed to see this?" and "what are the biases and perspectives of the camera operators, the first audience, through whom we are seeing all this, and why are they choosing to focus on this?" there's another interview where matt talks about how everything we see in the show is being filtered through the intellect of whoever's filming, and i think that's always an aspect that we should be aware of when watching ntbts or any other matt projects (especially blackberry since that's categorically a "normal" feature film with documentary "aesthetics", and shot choices and angles etc are like. film analysis 101). because besides it being really fun and intellectually stimulating to engage with, i think that's the motive behind pretty much everything they make: to keep the audience conscious of what they're watching and why it's being shown to them. consciousness. and that's why you should read brecht on theatre thanks for reading.

[onlinewebseries]

happy song about the book

[consolehigh]

don’t worry everyone i got the answer to the question that has been haunting no one but me

[its-kinda-snowy]

Big day for Bird! 🐦‍⬛

[titanebaby]

me: can’t stand her 43 yr old ass

10 minutes later: me and the bestie!

[holisticcomedian]

viceland jay my lobotomized princess

[spingleberb]

pt 1 girlvanna requests from instagram

[consolehigh]

happy Jay bird b-day

[leoblooms]

weird that Matt mixed that up but he'll never turn down the extra attention

[onlinewebseries]

NTBTS website update as of August 9th 2010 – first and fifth links are to audio files, sixth link is to this gif, and then eighth link is to this youtube video (gif and image of video's archived webpage below)

[collectivesender]

jays cute jays cute.

[its-kinda-snowy]

Endless Summer.

[crumb]

“Basically Nirvanna The Band The Show is the PG Heated Rivalry”