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"The Brain, within its Groove, Runs evenly - and true - But let a Splinter swerve ()" This line by Emily Dickinson gives the title to this horrid tale about madness, lust, and the dangers of exploring our darkest memories. Editorial Reviews. Review. "..) a fantastically deep story where every page is rich with imagery The Brain within its Groove: A Novella by [Nino, L. N.].
By Mr Robin Fisher [aqH. Hunley [ATJ.
Du Bois [B5k. Weatherill [BpX. Fletcher [BWU. Daems [cgP. Metzger [cUC. McAfee [d8R. Middleton [day. Lewis [DIT. Kitchen [EtY. Norman [Gn0. Avoid costly mistakes By Andrei Dan [h2C. Knox [HWS. Cook [i9N.
The Pathfinder adventure module Wake Of The Watchers features a "brain archive" containing several of these. I dreamed those dreams. CD: I had a great high school teacher that forced us to examine song lyrics as poetry, as art. You hope your reader feels moved and happy that they read the book. It was very dramatic. Just a quick tight squeeze and a good-job-today-see-you-tomorrow. As you know, writing is hard.
Meyer [IE5. Reilly-Harrington [IE5. Nino [IW5. Gail Kappenman [jaK.
Burton [JNa. Carignan [kEs.
Thomas [lco. It was actually inspiring. I remember one day, we were in prep, it was the fourth of July, and there were fireworks going on.
It was really intense, so I recorded it and played it for Joaquin. It was so grimy and hot, and there was almost an electricity in the air. But, in a way, some films just speak to you; they say, this is the way they are going to be, these are going to be the limitations. What were some of the limitations? For instance, the surveillance camera scene: Originally, that was a three-day sequence.
We only had 29 days, there were a lot of locations, so what was meant to be two or three days to shoot became a day. I tried to think psychologically, about who Joe is and how he operates. If Joe hits someone, they go down. So, I made the violence super mechanical as opposed to being very personal. And then, post-violence, it becomes more personal to him. So [in that sequence], I just showed the aftermath.
And that gave me a script for how violence and action work in the film. How much do you use storyboards? I try to make bold choices that feel instinctively right, and sometimes that feels quite risky. About the surveillance camera scene, I did a test and then I started cutting it to music, to the time slices. It becomes bigger and grander than we expect it to.
Where did you shoot that? He was kind of flabbergasted — we chose the place where he and his mom, who passed, used to walk. It was a pretty special place for him. So, you shot there and matched it with a tank or some kind of CG? I knew what I needed, and Joaquin was good enough to come to the U.
You do what are essentially matching singles of his gun, with a brief time cut in between, and then you cut to his face bisected by the door frame. And then the scene continues in this very unexpected way.
What if the information is almost like gobbledygook? The tone is totally mysterious. For me, [that sequence] was all about the layout of the space — it would have been dumb to have [Joe] running down the stairs — and the silence and the jump cuts. And I knew I wanted to use the sounds coming off the radio. So, there are two shots: You cut to the wide and then to the guy crawling [ across the kitchen floor]. It was the most economical way to shoot it but also the most powerful way; instead of having all those spaces in between, you know? And then somehow that cut to the door was important to me because it gives you the space but also cuts Joe in half.
Because I used to be a DP, I think in shots.