Steven Spielberg regrets not directing Rain Manpic.twitter.com/kzEC9Xy7tb
— Eyes On Cinema (@RealEOC) May 30, 2020
AC/DC – Highway to Hell (1979)
I’m on the highway to hell.
Steven Spielberg explains why he’s a “cinemaniac” while accepting the AFI Life Achievement Award (1995)
– full clip
I literally (and accidentally) walked passed the garage of Tasmania’s largest comic seller yesterday as I was waiting for my vehicle to be checked. This was the first comic that I saw from the road as it was displayed prominently in the center of the shop (see above.)
This is NOT an April fools’ day joke. See Dave’s card and auto receipt below left (both received within about 1 hour of each other):
Dave thought I was someone else and had another book waiting (some compendium about huts.) I asked how much was this one (the Indy comic we were speaking about,) and he said it was $5. I opened my bag and pulled a fiver straight out (the only note left.) “It was meant to be.” He said.
“The next Indy film may involve Indy’s quest for the fabled KING SOLOMON’S MINES, but with a twist – this time, INDY has to fight the DEVIL to get the jewels.” – Indy III comic (p4. 1985)
Based on the comic’s speculated “Indy III” to-be at the time (see quote and pic above), this is my extremely brief (and rough) visualisation of it, with the last act moving into how the expeditionary story is eventually monetised via film (a film of the expedition itself, within the film) in order to help sway public opinion to the true claim of King Solomon’s loot by Adrian Boron, but the filmmaker is actually an agent of Andy Barry and two versions of the film are made, with a battle as to which gets released!
Empire of the Sun – Boy salutes Japanese pilots (1987)
Empire of the Sun – Cadillac of the Skies (1987)
I rediscovered an essay yesterday accidentally while browsing old files.
It was July 2001, and I was staying at a backpackers’ hostel, most likely in Noosa, and I wrote an essay about my experience soon after I left. Here is a snippet from my 2001 essay Evolution Revolution:
It was during the night while I was sleeping at a backpackers’ hostel that I spoke to Steven Spielberg in a dream. We were at the summit of a mountain immersed in nature’s beauty. I could say anything to Spielberg and he would understand me compassionately and completely. We exchanged a few words. His use of silence was sublime.
I walked up close to him and asked straight out,
“Do you believe in G-d?”
“God is sensed by the brain and becomes apparent to those willing.”
His simplicity was unconvincing so I pressed on,
“So have you realized God?”
There was a pause, and then I awoke. It wasn’t the dream’s content that woke me, but instead it was the realization that I was dreaming which was awakening. This caused a fresh flow of vital force to penetrate my whole body and had become like an electricity generator.
Such was Spielberg’s answer.
The next day I was talking to a very hot German girl at the same place and saw a book on the table, and so in my essay I continue:
The book was called The Cosmic Serpent: DNA and the Origins of Knowledge and one thing it discusses is the spiritual discipline of Desana Shamanism originating from the ancient people of the Colombian Amazon [p57]. Their manuscripts reveal that the two main fissures seen in a cross-section of the brain represent the Anaconda and the Rainbow Boa serpents in binary opposition to each other. It is said that in the beginning of time, the ancient Amazonians arrived in canoes shaped like these serpents and today they live as metaphysical entities in the brain. The evolutionary challenge purported by Desana Shamanism is for Humankind to overcome the binary opposition of these serpents as they sway against each other. Such an achievement brings individual awareness and integration. This metaphor clearly shows that evolution begins with the creation of time and ends with the realisation of God, all as a result of two related serpent entities.
What happened next was that I didn’t see the girl, any snakes or Spielberg. I did go back to the dorm room and eventually drifted back to sleep, only to awaken to a strange vision:
The internal eye allowed me to view five different types of hologram-like visualizations of my brain. Furthermore the eye could rotate and see the brain from a range angles. As I relaxed and enjoyed the show it was clear that the brain’s creator certainly does not play dice. Einstein was right about God. One view showed a grid of grey and black lines carefully mapped over a glowing mass of neurons. Another view saw different chunks of the brain as different colours. A yellow region exploded and I felt some heat in the corresponding region in my head. Not only had the third-eye been activated but the brain was also being restructured by the increased cosmic energy as Gopi Krishna’s theories attest.
I didn’t see any Anacondas or Rainbow Boas. However, their mutual co-operation was being symbolised by the activity of the two opposing energies passing through my body. In the previous night theses energies were a bit strong but tonight they were perfect allowing for some 5-star evolutionary activity to occur. It is noteworthy to mention that at one point the brain stem looked like a funnel going into the body. I tried to peer into this funnel but only felt an explosion in my heart and saw a golden glow radiate out of the top of the funnel.
And that’s it really.
This story is now adapted for use in the Launchpad Israel story through Eve Seles.
From New Hollywood to Blockbusters (exhibit text)
Summer 1975 (USA) – Beaches were deserted and cinemas were full as America was gripped in terror by the attack of Jaws.
With profits dwindling, Hollywood studio moguls tried to reach out to younger audiences by recruiting a fresh crop of filmmakers in the late 1960s. These directors – Francis Ford Coppola, Martin Scorsese and others – made edgy, personal films that drew on European cinema earning the name ‘New Hollywood.’
As the New Hollywood filmmakers reached their prime, a young director named Steven Spielberg was assigned to a film called Jaws, which featured a killer shark. Spielberg worried that the film lacked sophistication, saying “Who wants to be known as a shark-and-truck director?”
Boosted by an unprecedented level of television advertising, it became the highest grossing film ever at the time: a record that was broken by George Lucas’ Star Wars (1977.) These blockbusters marked the end of an era for New Hollywood: instead of supporting the artistic vision of particular directors, studios focused on repeating successful formulas and appealing to the broadest possible audience.