A MESSAGE TO THE SQUIRRELS AT MILE END PARK

Sunday, 8 May 2016

Why I want to have Wes Anderson's babies


I mean, if he wasn’t already dating Juman Malouf, I totally would



There are many reasons as to why I think Wes Anderson is the Jesus of modern day cinema. I reckon I can easily write a 10,000 word essay on how Wes Anderson films are so visually stunning they make me want to lie down and cry for 3 days, but I’ll probably save that for another day.


So as we know, Wes Anderson films aren’t just notorious for their bright colours *cough* The Grand Budapest Hotel *cough*, but they also encompass a quirky sense of order. Things are centered, squared, and balanced. It’s fairly safe to say that symmetry comes naturally to his style. When watching his films, one might notice that every shot resembles an illustrated page of a book. I mean, every scene is perfectly focalised and positioned with such stunning consistency, which probably can only be pulled off by an eminently dexterous superhuman or God himself/herself (I believe in equality).

So this extremely adept asshole employs the coupling of handsomely coloured scenes with an unmistakable emphasis on equilibrium, which stylistically epitomises a real life picture box in the best way possible. Anderson’s inherent love of symmetry is evident in all of his shot compositions. Elements of this can be noted in all of his early films, and this initial obsession has -cut to present- unquestionably flourished into a full-blown mania. I mean, you damn well know that this guy can’t thwart the cold embrace of bilateral prop and character arrangement. In fact, this is fairly apparent in Bottle Rocket and Rushmore, and has progressively become more and more prevalent as Anderson’s inhuman filmmaking prowess blossoms more and more each day. (Can you tell how in love with him I am?)

To illustrate my point, I found a video by filmmaker , who put together a supercut of nearly 100 scenes from Anderson’s films, and edited in a dotted line down the middle of the screen to show how Anderson has framed everything symmetrically. You can clearly see how half the shots Anderson uses are roughly symmetrical, and the rest that aren't have a symmetrical central point. I love the balance that he incorporates in every still (i.e. if a character or piece of furniture is on the left, there's another character/piece of furniture on the right) He rarely shoots at an oblique: everything's almost entirely at a 90 or 45-degree angle, which pulls beautifully together stylistically.


And if this isn't reason enough to want to bare a middle aged Texan's child, then I really don't know what is.

-Alysha x

Tuesday, 20 August 2013

What I take away from all of this




Remember warm weather and that particularly long road trip to Jennie’s beach house? We were all cooped up in the back of my Chrysler watching Silence of the Lambs, making jokes to take away from the seriousness and suspense of the film. It was bright that day, sun beams flickering through the window and sunshine spilt out all around us. We were all smiles and laughs and "oh don't go down in that basement alone you stupid bitch!" and I'd hate to remember it any other way.


Or perhaps you might remember going to Rockwell’s cinema together every Friday back in year 9. I think we called it our “Friday Night Tradition” or something. 
I’ve always liked the idea behind Cinemas. A group of people sitting in a room, laughing and crying at a movie together. 
The comfort of strangers. 
And to this day, the smell of freshly buttered popcorn and overpriced coke is still my favourite. Because it reminds me of the time we had to lie about my age so that I could be allowed in to watch American Virgin, and that time Helena had to buy new shorts because she saw someone from our school (I still don’t get it). And let’s not forget that time we watched the Last Exorcism only to realise what a horrible mistake we’ve made 4 minutes into the movie.

But really, because it reminds me of all of us, together, and how we just started out as a bunch of strangers.

Thanks for giving me so much to remember. 

Tuesday, 19 February 2013

Flashing lights and loud music.


My friends and I recently went to a bigfish event & I'm quite impressed that I managed to actually take some decent shots of the night. *Pats self on back* The effects on the photos came out pretty cool as well, if I do say so myself. I only needed to edit them a bit.  

Contemplating on getting these developed. 

On a side note, it was such a fun night. Well, the parts I remember were fun anyway. 

-alysha.

Tuesday, 4 September 2012

Future



So I have been very busy with school lately. Apart from the colossal amount of schoolwork and projects, I went crazy and signed up for 3 extra-curriculars, not counting Drama. Lets just say it’s all very hectic for me right now.

So anyways, today in art, me and my friend Kathy were talking about our future. About what we wanted to do. Who we wanted to be. Where we wanted to go. It was all good fun, planning out the rest of our lives at the back of our sunlit art room, where we have this huge table all to ourselves. I was talking to her about a Drama school that I wanted to attend and what I was taking for my A-Levels. And she was talking to me about her animation course and the university she was going to next year. 

We're both 15. And we are so sure about what we want to do. But at the same time, we aren't. And that is what confuses me so much. There are too many things that we don't know about ourselves, too many things that are left undecided. And yet, we are all still expected to step out of our nests and grow up. Its all just happening too fast for me. 

Because, secretly, I don't want to go to University or New York. And I don't to take my A-levels. And I don't want to take film acting and photojournalism. I just want to stay in the present, and never leave. The future is foggy and hazy. Everything is so ambiguous, so unknown. Whereas in the present, I am sitting on a table overlooking my garden. When I look out, I see the bright summer's sun, sending beams of light that flicker and bounce off the roof of my neighbour's house. There are birds chirping away cheerfully. And both my dogs are outside, resting away by the shade. Their eyes are full of sleep as they lightly doze off. 

I hope you can understand why this is so hard and confusing. Right now, I live in the Philippines. Everything is warm and wonderful, which is why it is so difficult to leave. I don't know what will happen in 5 years time. Whether I'll be in University or working as an actor or homeless. I want to know, but I'll never be able to find out unless I actually live through the next five years (which is what I see now as 'the future'). And that's the scary part. 



But at the same time, I am so so excited. 



All I know is.
I'm going to make the most out of my life. 
I'm going to be an actor.
I'm going to help people to the best of my ability.
I'm going to make a positive impact.
I'm going to accomplish amazing things. 
I'm going to be happy.

Hopefully this all makes sense. Because I don't even know anymore. 

love, 
alysha