Okay, my Angel, I see that we both like Fursy. I know that is one of our methods of communication, when we both like the same post, so I guess everything is good. Fursy always means good vibes, every time. I have to go pick Pearl up from the hair salon in a few minutes, but I will be home from about 1:30 until 4:15pm and I will write more then.
You are so special to me, Elizabeth. And you know I love you, every minute, every day.
I will be back in a little while. xoxoxoxoxoxo :):) < from the heart.
2:40pm : I am just finishing up "Doctor Sleep". It was a great book, reminiscent of classic King from the 1980s, and all the stuff dealing with esp and thought transfer and even personality transfer was fascinating. SK is so much more than just a "horror writer". He is that, but he's also a man of tremendous insight.
Well, it's a weird day here. I am actually running my air conditioner because it's about 90 degrees outside. Real dry, too. Normally I wouldn't complain about it - the sun is out, after all - but it's just a little weird to still be experiencing Summer when we're halfway through fall. But I guess our seasons have been rearranged somewhat, probably because of global warming. So now, our Summer really doesn't begin until August and continues until Thanksgiving.
If I recall correctly, you guys had a ton of snow last year, so this year I wish you a perfect Winter, with just the right amount of snow to make a beautiful holiday season, and nice days to enjoy the landscape.
Tonight is movie night, we will be seeing Fassbinder's most well-known film, "The Marriage Of Maria Braun". I will be home about the usual time, 9:30 to 10pm.
I am thinking of the King book, and it is now lingering the way a good story does, and because the primary form of communication between the two main characters is telepathy, it makes me think of us. Now, telepathy is not our main form of communication (or maybe it is!), but we certainly do share it, and I think back to some of the short trips I have taken these past couple months, and the way I felt inside when I was at Garden Of The Gods, or Corriganville, or any of the others. Especially those two. It was like you were with me, and I don't mean just in spirit, but in a larger way. Can there be a larger way, larger than in spirit? Well, if there is such a thing, that was what it felt like. So that is part of our telepathy at it's most wonderful, it's most magical. It means everything to me, my Angel, to have good communication with you, and to share wonderful things together. It can be just little things, too, even ordinary things I do every day, like going for my walk. I like to feel you beside me.
Anyway, I'm just sayin'. I know you get busy sometimes, and going to school and working is a hell of a schedule to keep. Still, I'm always interested in what you're thinking, what you're feeling. And that's because you are a part of me, or more than that, we are a part of each other. That's what happens when two people love each other, they blend, they become One. Hence the telepathy and other feelings of shared experience.
Just remember, I'm always here for you, always interested in how things are going........you know : it's just like it would be if we were married - one of us would come home and say to the other, "Hi, Honey. How was your day"? And because we are an Art Couple, we would also be one of those couples who could both be in the living room, each working on a project, and at those times we could be silent or just telepathic, because we would feel each other's presence and love, we would feel our compatibility with one another.
That is something I can always picture, like a premonition : both of us in the same room, one playing, one writing. Or maybe one reading. But both in the same room, an Art Couple, communicating in so many subtle ways.
So we have that method, too. But it's all because we are so compatible, and because we share love, and we do it intuitively. So that's all I wanted to say for now. I am always interested in you, in all ways, because with you, there is Us. Nothing in this world could be more special.
I Love You, Elizabeth. xoxoxoxoxo :):)
(back this eve after the movie)
11:20pm : Sorry I'm so late, but I needed to finish my walk after the movie. This week's film was a good one, as opposed to last week. A commentary on post-war Germany and that society's effort to re-establish itself and to immediately forget it's Nazi past. Fassbinder has a style that gives all his films a similar quality, like a "career theme", and I think that's true of all the best directors. Every artist, in any field, has something they want to express - something specific - and no matter how many forms that expression takes, there is always that theme present. In the work of the post-war European filmmakers, there was often an aspect of "home movies" to their work, meaning that, though the films were always professional and often artistically superior, the director (and especially a guy like Fassbinder) operated with no oversight, no pressure to make a polished "studio picture" ala Hollywood. Now, I love Hollywood (at least the Hollywood of old), and I love studio pictures of all kinds. But, when you look at the films from the classic European era, from the late 40s to the early 80s (and most of the classics were produced in the 50s and 60s), there is an emphasis on the underpinnings of a story, the psychology behind it, as interpreted by one person : the Director.
And the technological aspects are secondary, though not neglected. The photography is often first rate, yet not tricked-out with overly saturated lighting, the sets look like "real life".
In the films of Fassbinder, or Jean-Luc Godard, there is much to observe about pure artistic filmmaking, where the director is working for himself. That is called the Auteur Theory, the idea that a film is, and should be, entirely the vision of one person - the director. Many people don't care for European films (and I am talking mostly about the classic Auteur period), but if you develop an appreciation for them, they can show a whole new way to think about creativity, from an inner viewpoint. In a way, it goes back to my own Emily Dickinson theory of creativity, the idea of creating for one's self, first and foremost. She wrote, and then put her poems in a drawer. They were always destined to become known, but that wasn't the point. The point was that she had total control over her art, and by locking herself down in that way - by staying within herself - she remained in control with no interference. Then she stuffed the poems in a drawer.
Fassbinder (and Godard, and others) knew they'd have their films in theaters (at least a few art houses), but they made films the same way Emily Dickinson wrote poems, by placing the inspiration at the forefront of importance.
Inspiration is all-important, and it only lasts as long as it is being felt. You can't re-create inspiration.
It's an impulse sensation, and that's why, so they say, Fassbinder worked so quickly, making 2 to 3 films per year, and in one stretch, 14 films in three years. Now, some could do that just for the sake of doing it, and the films would be junk. But Fassbinder was working from inspiration . He had many things he wanted to say (all conforming unconsciously to a single theme), but he knew that to capture the essense of these stories, they had to be filmed immediately, while the inspiration was still being felt. This is the sense one gets when one watches the films of the classic European period. You may or may not appreciate any given film, but you can see the inspiration present, and it is a singular inspiration. One person's vision, distilled.
So, my Angel, that's all I know for tonight. When in creative mode, let your innermost inspirations and impulses guide you.
I Love You. xoxoxoxoxoxo :):)
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