The best way to describe it is like I’m Captain Kirk. That’s the way this movie was done. I’ve got a good crew, but if Scotty was all “Captain, we’re gonna blow! We don’t have enough lithium crystals and we can’t take it!” and Kirk is like “Warp five,” Scotty knows that even against all probability and physics, the ship should blow. But Kirk knows it’s either going to blow, or they’re gonna make it, and he decides to go for it. And they make it. These are the kinds of decisions I was faced with every day, and the kind of pressure I was under, but I always made the right decisions.
—RZA on his directing style
Click through to Apple to see the trailer for his new film The Man with the Iron Fists, read the rest of this interview at Noisey
Aerial view of Solar Field One at the Ivanpah Solar Electric Generating System (ISEGS) on October 27, 2012. Photo shows completed tower construction and heliostat (pairs of mirrors) installation. Mojave Desert, CA.
One big problem with renewable energy projects is that they have to go somewhere. They have to occupy a part of the very environment that their proponents are often trying to save.
Larry Clark has a new film called Marfa Girl and is releasing it in a unique way Come on Clarky knock together a trailer already.
I will put the film on my first and only website, larryclark.com, which is the only place one will ever be able to see the film…. It will stream for $5.99 for access to thefilm for 24 hours…. This is the future and the future is now…. Most and very soonalmost all the small theaters that show Indie and Art films will be gone….
Everyday another goes out of business because everything is digital now and it is quite expensive for the wonderful old smaller theaters to bear the cost of switching to digital…. Anyway I think I am one of the very first directors to release a new film this way, on a website who’s only purpose is to show his new films…. I think this could bevery successful and it also cuts out the crooked Hollywood distributors.
Did this feather head-dress really belong to the legendary Aztec Emperor Moctezuma II? How, why and with whom did the “Penacho” come to Europe? Today, many myths and legends are still linked to this magnificent artifact. In 1519, when Spanish ships reached the shores of what is now Mexico, they encountered the thriving Aztec Empire. Initial contacts were friendly, but soon Hernán Cortéz and his conquistadores vanquished the empire and took Emperor Moctezuma II prisoner. Countless artifacts were sent to Europe. The most magnificent is the early Mexican feather head-dress known in Mexico as “Penacho”. Called “ain mörischer Huet” (a Moorish hat), it was first mentioned in the inventory of the Armoury of Ferdinand II of Tyrol compiled in 1596 after the Archduke’s death (Ambras Castle). During the Napoleonic Wars parts of the collection at Ambras were removed to Vienna, where they were displayed at Lower Belvedere Palace. This is where Ferdinand von Hochstetter discovered the feather head-dress and recognized its importance. He had the precious object restored before showcasing it at the k.k. Naturhistorisches Hofmuseum (Imperial Museum of Natural History). Together with the museum’s other ethnographic holdings the feather headdress was eventually deposited in the Museum of Ethnology, opened in 1928. First identified as a “mörischer Huet“ (a Moorish hat) in the late 16th century, the feather headdress was listed as an „indianischer Huet“ (Indian hat) in later inventories; in 1788 it is called an “indianische Schürze” (Indian apron). This erroneous identification probably resulted from the loss of the original golden beak. This made it difficult to determine the object’s original function and how it was worn. In 1855 the green feathers were identified as those of the Quetzal, which, in turn, pointed to Mexico as the artifact’s country of origin. At the same time its original interpretation as a head-dress was once again accepted. Later, however, Ferdinand von Hochstetter suggested that it could have served as a standard from the time of Moctezuma. In the course of the Congress of Americanists held in 1908 in Vienna, an international commission ultimately accepted its identification as a feather head dress, which has remained scientific consensus until today. The early 20th century witnessed the first attempts to link the feather head-dress with Moctezuma himself. This sounded spectacular and enhanced the sensational fame of the artifact. The term “featherwork crown of Moctezuma” was first used in this context; it ignored the fact that rulers of the Aztec Empire were crowned with the Xiuhuitzolli, a tiara set with turquoises. Today, the “Penacho” is world-famous – celebrated not only as the last of its kind but also for the unrivalled iridescent splendor of hundreds of Quetzal feathers and its sumptuous gold appliqués. In the Penacho’s Shadow A number of other 16th century featherwork artifacts have survived. Featherwork objects played a seminal role for the Aztecs, the Mayas, the Purépecha and their neighbours. They were used to denote the rank and status of princes, dignitaries, priests and successful warriors. The exhibition includes a number of examples in excellent condition.
The Sandwich Nazi is about Salam Kahil who runs La Charcuterie, a Scandinavian deli in the Port Kells area of Surrey, BC. He is an art collector, a former male escort, an amateur piano player, and a supporter of the homeless in Vancouver’s Downtown Eastside but his true passion is talking about blowjobs.
La Charcuterie is located at 19080-96th Avenue Unit 8, Surrey, BC. Here is the Google map: goo.gl/maps/f78XZ
This short film won the Best Documentary Award at the 2012 Northwest Filmmakers’ Festival.