May 4th, 2004

elijah

tues.

Tossed and turned and got very little sleep last night. Apocalyptic dreams: giant cyclones whirling into Seattle, straight out of the previews for The Day After Tomorrow, followed by nuclear strikes. At one point I found shelter with other refugees in some kind of concrete tunnel that was piled with something, not sure what. Toilet seats, maybe.

LJ seems very quiet lately. I resist the impulse to quote my spam headers to the world or describe to you what's on my desk.

Last night in my head I cast Ving Rhames as an ex-NFL football player and bundled Spike off into his porny care.

Bored now.
elijah

rage, power, freedom

In the Harry Dresden book I'm reading, there's a reference to St. Giles as the patron saint of outcasts and the shunned, or somesuch thing. That might have been Giles Mary-of-Saint-Joseph, who is different from the better known St. Giles. Giles the Better Known happens to be a patron saint of noctiphobes, though--those who fear the night. Isn't that brilliant?

Nonsegue. That should be a word like non-sequitur. I just watched Hulk. I'm glad my cable package finally offered it. I had no intention of renting it, but now that I've watched, I can see why it got so much buzz. It did so many visually cool things in the style of comic books--that's old, old news, I know, but wow. It was a bit revelatory; I've seen a handful of editing techniques they used in other movies, but seeing them all together, flowing so quickly at times, with all sorts of interesting framing choices as well, made me think about how conservative most movies are in comparison. It makes sense. Film style choices parallel writing style choices and there are many fans of transparent style, one that doesn't call attention to itself, that is always in service of the story first and foremost. Here the style was perfect for the story actually, but it'd probably be distracting in other movies.

It was a great story too. Complex, different, and subtle in the way that allows an audience to make connections and inferences. It didn't spell everything out. And it was *amazing* how much backstory the credits conveyed. They were highly neat.

When Bruce was telling Betty how invigorating his transformation was, he summed it up as: rage, power, freedom. And I of course thought of vampires. I love movies like this--Frailty's another example--that inform my Buffyverse thoughts. Even if my thoughts only last for about six seconds on the average and don't go anywhere. I just liked "rage, power, freedom" because it seemed like something Spike would say. Bruce's issues and triggers were all about repressed memory and the Oedipal complex, which come to think of it...hey, look, Spike.

I wonder about William's father. But the gush from my brain tap is thinning to a drizzle so I'm just going to lie here and watch MST3K for a bit before bed.