“Running away is easy, it’s the living that’s hard.” When will I ever again watch a creation and leave it on the shore complete-when will my feet dry? I’ve felt intrigued by the adopted editor, wanting to know how they could manipulate audio and visual to make me feel something for characters of whom I don’t know the name, places I cannot map, plots I may not discern. I’ve felt betrayed by the director for their failure of capturing one specific moment, from a different angle, longer, in varied lighting. All I think as I watch the lights and colours: How do I repackage this experience for the next viewer? How do I get a say in the story? Eyes fixed on the screen as the mind scrolls the Spotify playlist and punches up the quips of a Letterboxd analysis. My chest burns a fire of pain, a fire of passion.Ĭhronically online brain demands a filter in real-time. The novitiate nun cut between sensual gazes and Catholic relics. “The world was on fire and no one could save me but you.” I’ve been training in the Olympic pool with my diet of three-minute summations. An hour to read between the lines of a fraction of Anna Karenina is the same hour to watch the unresolved tension rise between Keira Knightley and Aaron Taylor-Johnson is the same hour to tap through 27 edits to narrative finale exhausting thousands of shots in varying sequence. As a McDonald’s society, our consumption defines goodness as dopamine yield per input and efficiency as caloric intake per unit.
#Teenage wasteland lyrics lana del rey free
One of the starkest generational divides is in the portionalizing of attention given to free time entertainment. Hands ripped from a pleading grasp on an eight-year marriage. “Will you hold on, my love, even in a time of trouble? The latter is no longer of the end credits but the channel handle-i’m cyborg but that’s ok, kindred spirit, Just Some Videos and Teenage Wasteland. A film is made three times-by the writer, then director, and finally editor. There’s a saying in showbiz, attributed to many names from Robert Bresson to Francis Ford Coppola. Two or more measures can straddle one clip but two clips cannot straddle one measure-unless those lyrics are relaying contrast or change, thus demanding a visual counterpart.Įvie’s facade of a confident and mature 13-year-old falls. Like any art form, beginner rules are broken. When is an edit good? The bass beat of the hectic instrumental syncs to the cuts, while the lingering shot is relegated for the slow buildup. But any editor worth their salt handles the creation of their videos with artistic care. As a labourer within the “pay by exposure” economy, your usual returns are not hard cash but constantly reanalyzing algorithmic relevance. This community creates not for the riches of percentage of cents per views, copyrighted well before such an honour. Holding hands in the final moments before the moon crashes into the earth. “Still wanna try, still believe in good days.” While the paraphernalia of wealth evolves by century, the upper classes pursue a timeless unashamed flauntation. While Ariana Grande flaunts modern luxuries not found pre-Industrial era in “7 Rings”, substituting the visuals with Sofia Coppola’s Marie Antoinette doesn’t feel misplaced. Ripley, Tom Odell’s “I Can’t Pretend” swears the opposite. As Matt Damon builds lies upon lies in The Talented Mr. Or rather, rely on the juxtaposition of lyric and cinematic intention to elevate a story’s objective. These freelance creatives may go for the obvious choice, coupling scenes with the hit song from the soundtrack (“Where Is My Mind” and “Mystery of Love” overlaying Fight Club and Call Me By Your Name, respectively). “Sunsets, we wander through a foreign town.”
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