Friday, May 20, 2016
1. Prince & The Revolution - Let's Go Crazy (Purple Rain)
2. The Police - Next To You (Outlandos D'amour)
3. DIIV - Out of Mind (Is The Is Are)
4. LNZNDRF - Kind Things (LNZNDRF)
5. Chance The Rapper - All Night (Coloring Book)
6. Aesop Rock - Blood Sandwich (The Impossible Kid)
7. Porches - Underwater (Pool)
8. Radiohead - Desert Island Disk (A Moon Shaped Pool)
9. Boris - Are You Ready? (Forbidden Songs)
10. Ty Segall Band - Diddy Wah Diddy (Slaughterhouse)
11. Daft Punk - Contact (Random Access Memories)
12. RJD2 - Smoke And Mirrors (Dead Ringer)
Rookies: Chance The Rapper, The Police
2016 music: Aesop Rock, Boris, Chance The Rapper, DIIV, LNZNDRF, Porches, Radiohead
Sunday, May 8, 2016
Decided to push this one out the door a few hours before the new Radiohead drops. Like Battles' La Di Da Di, I'll likely be breaking my rule of not having a band on two consecutive muxes, especially since I've got "Daydreaming" already queued up for the June mux. Here I've got a ripped MP3 from the "Burn The Witch" video, so if the album cut omits the heads and tails, apologies if you're offended by birds chirping and a fade out that is about half a second shorter than I wanted.
This is a bit of a frankenmux in terms of genres. It's mostly rock but it goes Top 40 with the new Justin Timberlake single, which is nowhere near anything on The 20/20 Experience Part 1 but will serve as a good earworm for the next two weeks. I'm sure it'll horribly date this mux, like the time I once put a song from Chinese Democracy on one as a non-joke joke. And then I push it even farther with the rave-y A-Track/Phantogram collab but, hey, people like this summery shit, am I rite?
1. Shearwater - Radio Silence (Jet Plane And Oxbow)
2. Radiohead - Burn The Witch (A Moon Shaped Pool)
3. Cheatahs - Freak Waves (Mythologies)
4. White Lung - Below (Paradise)
5. Holy Fuck - Tom Tom (Congrats)
6. Mastodon - Curl of the Burl (The Hunter)
7. Royksopp - Eple (Melody A.M.)
8. Santigold - Lights Out (Santogold)
9. Justin Timberlake - Can't Stop The Feeling (Single)
10. A-Trak - Parallel Lines (feat. Phantogram) (Single)
11. Sufjan Stevens - The Man of Metropolis Steals Our Hearts (Illinois)
12. Weezer - Endless Bummer (The White Album)
Rookies: A-Trak, White Lung
2016 music: A-Trak, Holy Fuck, Justin Timberlake, Radiohead, Shearwater, Weezer, White Lung
Sunday, April 24, 2016
1. Jamie xx - Gosh (In Colour)
2. Chvrches - Playing Dead (Every Open Eye)
3. M83 - Go! (Junk)
4. RJD2 - 2 More Dead (Dead Ringer)
5. Kanye West - Waves (The Life of Pablo)
6. Aesop Rock - We're Famous (Bazooka Tooth)
7. Prefuse 73 - Perverted Undertones (One Word Extinguisher)
8. Ty Segall - It's Over (Manipulator)
9. Parquet Courts - Human Performance (Human Performance)
10. TV on the Radio - Seeds (Seeds)
11. Deerhunter - Neither Of Us, Uncertainly (Microcastle)
12. Prince - I Wanna Be Your Lover (Prince)
2016 music: Parquet Courts, Kanye West, M83
Thursday, April 14, 2016
Download or stream. At least this still works!
1. Tame Impala - It Was Not Meant To Be [Innerspeaker]
2. Beach Slang - Dirty Lights [The Things We Do To Find People Who Feel Like Us]
3. Veruca Salt - I'm Telling You Now [Ghost Notes]
4. Radiohead - High And Dry [The Bends]
5. Sufjan Stevens - To Be Alone With You [Seven Swans]
6. Holy Fuck - Xed Eyes [Congrats]
7. EL VY - Sad Case [Return To The Moon]
8. Weezer - California Kids [The White Album]
9. Cheatahs - Murasaki [Mythologies]
10. The Mountain Goats - The Mess Inside [All Hail West Texas]
11. Santigold - Run The Races [99 Cents]
12. Shearwater - The Snow Leopard [Rook]
2016 music: Holy Fuck, Santigold, Weezer
Tuesday, April 5, 2016
I printed off a list from my screenwriting program. It's a list of sluglines for every scene for the rest of my movie. A slugline is on a script every time you change settings. For example, a scene could start EXT. THE COLLINS' HOUSE - BACKYARD and it'd be an exterior of the backyard of the Collins' house, and when our protagonist enters, there'd be a new slug with INT. THE COLLINS' HOUSE - BACK PORCH.
Some times it's seamless, and other times time will pass and you'll get INT. KITCHEN - DAYS LATER. Or there will be modifiers like INT. THE BASEMENT - MORNING or EXT. THE ROOF - NIGHT.
There are roughly 136 sluglines left for scenes I have yet to shoot and have or have not scheduled.
So I further break down those sluglines to groups something like this:
Proximity to other scenes happening before and after. Ease of shooting; cutting down time lugging gear to one part of a house just to bring it back to a former room. An increasingly-complex matrix of times actors are and are not available.
For the latter, it's mostly like this: Stephen can only shoot Sunday through Wednesday. Kyle is only available after six, unless he takes the day off. John's schedule is whim to, well, whims. Josh is only available October 3 (not gonna happen), October 10 (maybe), and October 17 (ditto).
But for those 136 slugs, each has:
An approximate time to shoot, based mostly on the standard that Dinner is in the uncertain light of 6:30 p.m. to 7:30 p.m., and anything after is Night and everything before is Day; also the stipulation that I hate shooting after midnight, though for some reason, there are no morning shoots. Also factor in that there are roughly twenty-four hours in a day.
The sequence name and formal slug number.
A brief description of the scene.
The shot list for the scene, which could be anywhere from 1 to 20 shots, initially based on some hazy mental imaging of the scene. Also, when factoring in time, assume that all dialog scenes will take a maximum of four takes. Anything past that is usually a waste of time. Usually I go for the first take. (Adding the rather-annoying fact that the very first thing I did after Draft 1 of Archetype was write the shot list for the entire film, which is now useless.)
Straightforward, yes? Then I line these all up, assign a usually-arbitrary time (how long will it take me to get on the roof? five minutes? fifteen? an hour?), work backward and forward from the Dinner Time and try to end it before midnight. Then I go through the script according to the slugs and write down all props used for the scene and write it on the master prop list for the day. Somewhere in there is the magical transformation in which I completely lose track of the script and work entirely off my shot list. This has gotten me into problems before.
And this is what I have been doing the past six days. Organizing 136 slugs. This used to be easier. That is, when I was shooting mostly in sequence. If nothing else, there wasn't the maddening task of keeping track of what outfits the characters are wearing based on what day it was. (Transmissions was easy - white dress shirt and khakis for 90% of the movie.) But we're shooting out of sequence, mostly since I have my parents' house to myself for two weeks and am using it for a location. And in said period, the script jumps ahead some time, so one character gets some scruff that hasn't been seen at any point prior in the film. It's to show time passing. But, jesus christ, it really throws things way the fuck off. The result is that I'm, begrudgingly, shooting the end of the film first, then going back and doing the rest.
Start to finish, scheduling one day takes about four hours of crunching logistics and then another two hours intermittently getting e-mails about wrinkles in availability.
It's the kind of thing you can't shake. It's like playing too much Guitar Hero and whenever you hear a song you envision the corresponding note chart. Your planned life is so regimented that normal life seems so sloppy. So you start regulating that: 7:30 a.m. wake-ups, schedule work until 11:30 a.m., lunch until noon, internet until one, then workwork until 6:30 p.m., dinner, cleanup, any lingering items from the day - invariably more scheduling problems via e-mail - and then 7:30 p.m. to 10:30 p.m. a crude joke of Free Time, when all you can think about are times, props, outfits, shots, and schedules. Sometimes I cancel out any of those non-scheduling activities and do another day's schedule anyway, with about the enthusiasm if I was instructed to removed my eyelids with razor blades.
I have to remind myself that I actually enjoy shooting Archetype. The problem is I'm not shooting at this exact moment.
Scheduling, though: I'm balancing on a bridge of toothpicks above a vortex that leads straight to hell. It's also very windy. But it's a special type of hell: it's Self-Loathing Hell. Like if I just couldn't get my shit together and Arc fell apart, well, it's pretty obvious it's my fault.
And the regimen, of course, doesn't bother to trade on pithy human emotions. It doesn't care if you're tired, or busy otherwise, or sick of this fucking bullshit, or goddamn it why isn't he available to shoot Wednesday?, or if your recent erratic behavior (sleeping twelve hours a night, not eating, feeling paralyzed, panic attacks at inopportune times, bursts of mania that usually make things worse, phantom sounds from sleep irregularities, zoning out into some Other Space that'd be an LSD flashback if I had ever done LSD) that points toward a gruesome DSM diagnosis.
It's the sort of thing that worms into your brain, in which sleep doesn't erase the stress of the day prior. It builds up the way erosion tears down mountains. It's beyond exhaustion. This is post-exhaustion. I'm living in a different dimension. Sunlight seems fake. So does night. It's like sometimes when I'm shooting something that, in the movie, takes place at daybreak and is shot at five p.m. There isn't a compass rose in the corner of the screen, so no one knows that those long shadows are a prelude to evening and not morning, that east and west are flipped or that, in dark basements, you can't tell anyway.
And nothing feels good about it yet. That will come (please, god, if only one thing...) Sunday, October 3. I'll drag my feet and kick and scream and probably spit, but this is one of those things that you make and then you're standing on top of the mountain looking down and you can't see the ground, down where it started. But I know where it started: writing three screenplays all at once on my Mac (literally three Words open at once), and each seemed a little too derivative or out of my range and I said, Fuck it, I'm going to write a sequel to Transmissions, and then I hashed out an outline (or maybe not; I don't remember) and just ran with it.
But that doesn't matter. It's more a matter of principle. Everything is.
Friday, April 1, 2016
"Switching to Gamma in the Fleet, there's some hardcore bromance about how he both hates and respects Christoph. I bounce back planetside to Christoph and he thinks the same of Gamma. In a single cycle they could just end the war with a warm embrace and a soft kiss in the sunset."
I guess I just keep thinking of the press still for Batman V Superman where Superman gets a chub touching the Bat's armor:
Saturday, March 26, 2016
1. LNZNDRF - Beneath The Black Sea (LNZNDRF)
2. Junior Boys - What You Won't Do For Love (JDK Heads And Tails Edit) (Big Black Coat)
3. Michael Jackson - Rock With You (Off The Wall)
4. Porches - Mood (Pool)
5. !!! - Bend Over Beethoven (Myth Takes)
6. Spoon - My Mathematical Mind (Gimme Fiction)
7. The Thermals - My Heart Went Cold (We Disappear)
8. Ty Segall - Candy Sam (Emotional Mugger)
9. Aesop Rock - The Harbor Is Yours (None Shall Pass)
10. Royksopp - Monument (feat. Robyn) (The Inevitable End)
11. Ride - OX4 (Going Blank Again)
12. Jens Lekman - And I Remember Every Kiss (Night Falls Over Kortedala)
2016 music: Junior Boys, LNZNDRF, Porches, The Thermals, Ty Segall
Sunday, March 13, 2016
1. The Go! Team - Panther Dash (Thunder, Lightning, Strike [UK Version])
2. Neon Indian - Annie (VEGA INTL. Night School)
3. Cheatahs - Channel View (Mythologies)
4. Hop Along - Tibetan Pop Stars (Get Disowned)
5. The Hold Steady - You Can Make Him Like You (Boys And Girls In America)
6. Jamie xx - Girl (In Colour)
7. EL VY - It's A Game (Return To The Moon)
8. Joy Division - Day of the Lords (Unknown Pleasures)
9. Santigold - Before The Fire (99 Cents)
10. HEALTH - Life (Purity Ring Remix)
11. Shearwater - A Long Time Away (Jet Plane And Oxbow)
12. Sufjan Stevens - Chicago (Demo) (Illinois)
2016 music: Shearwater
Saturday, February 27, 2016
1. Hot Chip - Thieves In The Night (One Life Stand)
2. DIIV - Under The Sun (Is The Is Are)
3. Royksopp - Poor Leno (Melody A.M.)
4. Porches - Shape (Pool)
5. Prefuse 73 - See More Than Just Stars (feat. Helado Negro) (Rivington Nao Rio)
6. Taylor Swift - Blank Space (1989)
7. Ty Segall - Feel (Manipulator)
8. Wilco - Pickled Ginger (Star Wars)
9. Mastodon - Creature Lives (JDK Intro Cut) (The Hunter)
10. Deerhunter - Carrion (Fading Frontier)
11. David Bowie - I Can't Give Everything Away (Blackstar)
12. Broken Social Scene - KC Accidental (You Forgot It In People)
Rookies: Porches, Taylor Swift
2016 music: David Bowie, DIIV, Porches
Saturday, February 6, 2016
Digging into the vault with some older cuts by Caribou, !!!, Boards of Canada, and Radiohead. Some new and newish stuff as well. And after last mux's briefness, this one hits 58:46, but that's mostly because of a nine-minute closer. Well, it can't be nearly as bad as that time I put Fucked Up's 22-minute "ONNO" on a mux.
1. Caribou - Yeti (The Milk of Human Kindness)
2. !!! - Yadnus (Myth Takes)
3. Michael Jackson - Get On The Floor (Off The Wall)
4. Boards of Canada - Telephasic Workshop (Music Has The Right To Children)
5. HEALTH - New Coke (Death Magic)
6. Tortoise - Hot Coffee (The Catatrophist)
7. Radiohead - Bullet Proof... I Wish I Was (The Bends)
8. Shearwater - Prime (Jet Plane And Oxbow)
9. Cheatahs - Reverie Bravo (Mythologies)
10. Wolfmother - Where Eagles Have Been (Wolfmother)
11. Neon Indian - News From The Sun (Live Bootleg) (VEGA INTL. Night School)
12. Brian Eno & Karl Hyde - Return (High Life)
2016 music: Shearwater, Tortoise