Here is a fun little guide I've put together for those who might be a little curious as to how to perform a lap dance for your special some one. Feel free to add your own tips! A guide to the ultimate lap dance: If you’re looking to heat up your relationship, or to try something new for your guy... more

Here is a fun little guide I've put together for those who might be a little curious as to how to perform a lap dance for your special some one. Feel free to add your own tips!


A guide to the ultimate lap dance:

If you’re looking to heat up your relationship, or to try something new for your guy or girl, a steamy lap dance is a great way to get both of you geared up for some fun between the sheets!

Step 1:
Confidence is pivotal when performing a lap dance. To help you gain confidence, choose an outfit that is flattering to your shape. If you have a butt like Amber Rose, wear a thong so your lover can appreciate those cheeks! A curvy gal like Christina Hendricks? Then flaunt it darling! If your special someone has a crush, don’t be afraid to role play either (Princess Leia, always a winner!).

Step 2:
Music. You want to move slowly and seductively. The more of a playful tease you are, the better. Choose music to reflect that. Stick to songs you know and love. Marilyn Manson, Prince, Massive Attack, Nine Inch Nails, Lil Wayne. They all have some beats that are pure sex.

Step 3:
Eye contact. Don’t underestimate the power of eye contact when it comes to seduction. Looking deep into his/her eyes shows they have all of your attention. Dull eyes aren’t sexy. Be sure to not only look at them, but look at yourself too. Touch yourself where they would like to.

Step 4:
Slow, sensual hip movements. This isn’t a race, there is no million dollar prize, so take your time. Your reward is making your partner want you.

Step 5:
Breath. Gentle panting in his/her ear along with a bit of gentle hair pulling goes a long way. As does a little bit of nibbling on the ear.

Step 6:
Floor movement. Make use of your space. This allows you to show off. Do some poses so your partner can see just how gorgeous you are! And if you can, twerk. Get that booty clapping!

Take an item of clothing off whenever you feel comfortable. All these steps add up to the ultimate lap dance that is guaranteed to get your partner hot and begging for more.

by Blogbot (image) [Above: Exning Suicide in In My Place] (image) Chai Cupcakes Recipe (makes approx. 2 dozen) 1 1/2 sticks butter 2 1/2 cups flour 2 3/4 cups sugar 1 1/4 cup milk 3 eggs 2 teaspoons baking powder 1 teaspoon baking soda Pinch of salt 1 tablespoon chai tea Frosting 3 cups powdered sugar... more

by Blogbot


[Above: Exning Suicide in In My Place]

Chai Cupcakes Recipe (makes approx. 2 dozen)

1 1/2 sticks butter
2 1/2 cups flour
2 3/4 cups sugar
1 1/4 cup milk
3 eggs
2 teaspoons baking powder
1 teaspoon baking soda
Pinch of salt
1 tablespoon chai tea

Frosting

3 cups powdered sugar
1 stick butter
2 sticks cream cheese
1 tablespoon chai tea
A couple teaspoons of milk, depends on your preference of consistency

Directions

Preheat oven to 350. Mix butter and sugar together first. Add in dry ingredients with wet. Bake for 16 minutes or until toothpick comes out clean. For the frosting, sift the powdered sugar into the softened butter. If it’s not softened, you must be patient and wait! Mix the rest of ingredients and put into a piping bag and tip. Decorate however you please! I like to add dark chocolate for a garnish.





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I think it'd be fantastic to see some of you folks in our fabulous SG gear. Take a snapshot, post it here, and each week, we'll choose our favorite pic and send the winner an item from the SG SHOP. Make those pics look fantastic and they may even end up in the SHOP! Happy snapping! more

I think it'd be fantastic to see some of you folks in our fabulous SG gear. Take a snapshot, post it here, and each week, we'll choose our favorite pic and send the winner an item from the SG SHOP.

Make those pics look fantastic and they may even end up in the SHOP!

Happy snapping!

Sid and Marty Krofft haunt my nightmares. Well not so much them personally, it would be weird if two AARP members bedeviled me in my sleep. But I saw some show of theirs where some fat dude got stuck with porcupine quills and now for some reason that makes me wake up in a cold sweat. Now that Rhino Home... more

Sid and Marty Krofft haunt my nightmares. Well not so much them personally, it would be weird if two AARP members bedeviled me in my sleep. But I saw some show of theirs where some fat dude got stuck with porcupine quills and now for some reason that makes me wake up in a cold sweat. Now that Rhino Home Entertainment is releasing the Krofft’s second show, The Bugaloos, on DVD, I can watch those episodes and see if that porcupine thing is in there. But besides being a seminal part of so many childhoods, The Bugaloos is still some seriously tripped out madness. From the very first episode the viewer is dropped into this wild world of British kids with wings singing songs and old school Hollywood types driving tripped out cars and hanging with giant yellow dudes with no teeth.

Buy the DVD of The Bugaloos

Daniel Robert Epstein: I believe The Bugaloos was your first project after H.R. Pufnstuf.

Marty Krofft: It was right after H.R. Pufnstuf. We went to England to get The Bugaloos; just like we went to England to get Jack Wild after he was The Artful Dodger in Oliver. That was right when The Beatles and everything was happening. So we went and we did auditions for The Bugaloos in London and we must have had about 4000 kids standing in line.

DRE: How did you end up casting Jack Wild in Pufnstuf in the first place?

MK: We knew Lionel Bart who wrote all the music for Oliver. We went to the premiere with him and when we saw Jack we said, “Oh my God that’s the kid.” We didn’t have any intention of picking up somebody with a cockney accent because we were afraid nobody would understand them. But when that worked, we did the same thing with The Bugaloos.

DRE: I’m a bit young, so I wasn’t around when these shows first aired, was Pufnstuf a big hit right away?

MK: Yeah it was. By the time I showed it to the president of RCA and NBC, they all knew this was happening. Before that we did The Banana Splits. So Hanna Barbera came to us before we did Pufnstuf and they asked us if we could help create the Banana Splits. At that point, when we were building the Banana Splits we saw that the head of programming of NBC was coming to see us. They said, “Next season, why don’t you create your own show.” Then we did Pufnstuf and we immediately created The Bugaloos.

DRE: Were you and your brother given more freedom because Pufnstuf was a hit?

MK: I think we were given freedom on both because I don’t think anybody at the network knew what we were doing. So they trusted us. We’d already had a reputation doing our big puppet shows. Before we ever had done Pufnstuf, we did puppet shows as opening acts for stars Judy Garland, Sinatra and Liberace. Then we did an adult only puppet show called Les Poupee des Paris which was a big hit in the 60’s. So it isn’t like we were an overnight success.

DRE: I’ve been very excited about doing this interview for about a week so I’ve been telling a lot of people about it. Then when I tell people that it is for The Bugaloos and they all start singing “The Bugaloos, The Bugaloos.” Who created that song?

MK: It was Charles Fox. In fact I’m still talking to him. Charles Fox also wrote the song Killing Me Softly for Roberta Flak. We’re thinking about doing a Broadway show on Pufnstuf and we’re doing something new with The Bugaloos as we speak. Even though we only did 17 episodes of the Bugaloos.

DRE: What’s going on with the Bugaloos now?

MK: We had developed it once for Jersey Films, which is Danny DeVito’s company at Universal. But it never got off the ground script-wise. So because we have Land of the Lost and Pufnstuf in more than development at Universal, we decided we’re going to do a Bugaloos preschool show, like the Mickey Mouse Club, and cast new Bugaloos that are around 13 and 14 years old. In the old show, Benita Bizarre [played by Martha Raye] lived in a jukebox. Now since kids don’t know about jukeboxes anymore, they will live in a giant iPod called an Eye-pod, so we don’t get sued.

DRE: Is your stuff being remade because everyone that grew up on it is now heads of movie studios?

MK: Yep, you got it. Ron Meyer, who’s the head of Universal, was our agent when we were the first clients at CAA, Creative Artists. I guess we messed with the heads of kids in the 70’s because they’re still into us in 2006. They now have children, nieces and nephews. Monetarily we thought of the preschool shoe because last year The Wiggles made more money last year than Mel Gibson. We’re working with a guy named Savage Steve Holland [writer/director of Better Off Dead and creator of Eek! the Cat].

DRE: He’s a genius.

MK: What we always did was go after young talent. Now that we’re old, we’re still going after young talent. We have belief in the newcomers.

DRE: Isn’t Savage Steve Holland about 50? [laughs]

MK: That guy has experience. I don’t think he’s 50 but he looks about 38. But you could be right. His motorcycle and helmet don’t make him look like that age.

DRE: In Hollywood working with older people is verboten. You and your brother are pushing 70, is there resistance on the studio’s part to having you involved?

MK: First of all they want to see us because they want our autographs so we get in the door. We were always ahead of our time and no matter how old we are we’re still ahead of our time with what we’re doing. We still get goose bumps, things still excite us and we know that if we’re not working we will have to watch daytime television which could kill us immediately.

DRE: I’m a big fan of Billy Barty’s who you worked with quite a lot.

MK: We probably worked with more little people than anybody in recent times except for The Wizard of Oz. Billy Barty was in most of our shows and was one of the great people to work with. He was so talented and such a great guy.

DRE: Mel Blanc revealed in his autobiography that Chuck Jones and the other Warner Bros. cartoon directors would go up to the top of Termite Terrace [the building on Sunset Boulevard where Looney Tunes cartoons were created], get high, come back down and storyboard.

MK: Really? Well, I never was invited.

DRE: [laughs] I’ve read that you and your brother have said that you never did drugs when you’re doing the shows. But how can you not when you got a show called Lidsville?

MK: Well, you don’t have to have a show called Lidsville to do drugs. We were just smart. We had The Beatles calling us for our shows every week. Brian Epstein asked for all the Pufnstuf 16 millimeters and all The Bugaloos 16 millimeters to be sent to London every week. We knew we had something when that was going on. When we did those shows we weren’t thinking about college kids.

But we always did big shows and we always spent more money than any network gave us. For these shows we only got like 50 to 60,000 dollars an episode but we spent $100,000 on each one. Today that $100,000 would probably equal $350,000 but we put everything on the screen.

DRE: But would you guys get high?

MK: Now we’re back at the drug thing.

DRE: Yeah, I only want to follow up.

MK: It’s true that we weren’t doing acid and drugs when we were doing shows. Fortunately we’re not drug addicts or alcoholics. But I know many of them.

DRE: What was the writing process between you and your brother on these shows?

MK: We didn’t write the shows but we hired the best people we could find to do this. On Pufnstuf we had Lennie Weinrib, on The Bugaloos we had several writers and Si Rose who had done shows like McHale’s Navy. We called him up one day and said, “look, we’ve never done a TV series, could you come in and help us?” So he became the exec producer and head writer on a number of our shows.

DRE: What was your process of creating something like The Bugaloos?

MK: We drew the rough stuff but we had artists, in a place we called the show business factory. It was a 50,000 square foot building where we created everything. Then we had a shop that was about 25,000 square feet where we built everything.

DRE: Were you guys competitive with places like Disney and Jim Henson?

MK: Well late in life I met [daughter of Jim Henson and co-chair and co-CEO of the Jim Henson Company] Lisa Henson and she told me that she would always go to her father and say, “How come the Krofft’s have so many shows and we only have one show?” I think Hanna Barbera felt that we were coming in on their territory so they were always worried the most.

DRE: [laughs] As they should have been.

MK: Right.

DRE: How many shows have you done?

MK: We did 13 kids shows. But the big thing is we’re still independent. We’re probably the only independent left in the business. We own everything we ever did. We never made the mistake of selling everything to the majors. Our library is valuable because most of our titles are going to be made into movies. If we’re still around we’re going to enjoy it. If we’re not, I’ve got three daughters, three grandkids who are talented and could take over. Right now I’ve got one daughter that runs everything in the company as far as the administration. My brother and myself are still very active, of course I show up every day. My brother never showed up every day. So nothing’s changed just because we’re old.

DRE: How was it possible that you didn’t sell it all over the years?

MK: We’ve gone through a lot of pain because we never did. When you’re an independent, you’re struggling all the time financially. So as of this date and this phone call we’re still independent. By two o’clock today, things could be different.

DRE: [laughs] What’s the dynamic between you and your brother?

MK: My brother only deals in creative areas and mostly my creativity is to take some of his dreams and make them come true and take some of my dreams and make them come true. So I really run the place and I make it happen. It is one thing to have an idea, it’s another thing to get it to happen. That in itself is creative.

DRE: Have you guys seen a lot of the satires of your work?

MK: Yeah I saw Mr. Show. They thought we were going to sue them.

DRE: Did you guys ever meet Bob Odenkirk and David Cross?

MK: Of course. They have come over to the offices over the years to talk about ideas.

DRE: Have you heard about this new one called Saul of the Mole Men that’s going to be on Adult Swim?

MK: No, I haven’t. That’s live action?

DRE: It’s a live action but with greenscreen and very low budget effects. But it looks hysterical.

MK: Have you seen it?

DRE: I’ve seen a clip of it and it looks great.

MK: Is it a Krofft look?

DRE: Oh yeah.

MK: Of course.

There’s a guy who does a preschool show out of Iceland called LazyTown, who says his show is like Land of the Lost on acid.

DRE: How far along is the Land of the Lost movie?

MK: The second draft of the script just arrived in my office so we’re moving along pretty good. It will probably get released sometime in 2007. Chris Henchy, who’s married to Brooke Shields and Dennis McNicholas who was the head writer on Saturday Night Live wrote it. Will Ferrell is attached to star with [Anchorman director] Adam McKay set to direct.

DRE: How close are you with the Pufnstuf Broadway show?

MK: That’s not close at all. We’re first developing a Pufnstuf movie at Sony. Julian Fellowes [Oscar winning screenwriter of Gosford Park] will be writing the Pufnstuf movie. He also wrote the London stage version of Mary Poppins which is coming to Broadway.

by Daniel Robert Epstein

SG Username: AndersWolleck

by Brad Warner Last week a friend of several friends of mine back in Akron killed himself. His name was Tyler. I probably met him or at least saw him around Angel Falls coffee shop or at one of the Akron Cooking Coalition’s vegan dinner parties. But I didn’t really know him. A lot of my friends did,... more

by Brad Warner

Last week a friend of several friends of mine back in Akron killed himself. His name was Tyler. I probably met him or at least saw him around Angel Falls coffee shop or at one of the Akron Cooking Coalition’s vegan dinner parties. But I didn’t really know him. A lot of my friends did, though. And they’re pretty sad that he’s gone.

In connection with this I was asked what the Buddhist view on suicide was. It’s kind of like what I said in my book Sex Sin and Zen about the Buddhist view on abortion. I don’t really know. But the fact that I don’t really know says a lot about the Buddhist view. Imagine a person who had studied and practiced Catholicism for nearly thirty years, for example, not knowing what the church’s position on suicide or abortion was. It just wouldn’t happen because these are very hot issues for Catholics. That I don’t have a ready answer to the question tells you that these are not hot issues for Buddhists in the Zen tradition. I can’t recall a single instance of Dogen mentioning suicide in any of his many writings. I’ve decided not to Google the answer before writing this piece because I think my raw non-Google-informed opinions might shed a different light on things than the factoids any random person could find after searching the web for three minutes.

The very prominent suicides by self-immolation (setting oneself on fire) that have been carried out by certain Buddhists in Vietnam and elsewhere have led some people to the mistaken conclusion that Buddhism sees suicide as a noble act. This isn’t true. Suicide is generally frowned upon by Buddhists as something to be avoided because it is thought to be an act that tends to lead to a less auspicious rebirth. I believe it is counted among the “actions that are difficult to overcome” in one of Buddha’s recorded talks. It’s not believed that one is condemned to Hell forever for killing oneself the way the Catholic tradition has it. But it’s thought that one is setting up conditions that will make one’s next birth more difficult than the life one chooses to end prematurely. This is because committing suicide causes so much pain and suffering to those who know and love the person who chooses to take their own life.

I take all that stuff about rebirth with a big grain of salt, myself. Even if we really do get reborn after we die, how can anyone can say what sort of next life a person is likely to have knowing only the fact that the person killed himself? There’s a lot more to any individual’s life than just how it ends. For those that believe in rebirth, the entirety of the person’s life determines how he or she will be reborn, not just the last thing the person did.

When dealing with suicide, vague speculations about rebirth don’t really help. It’s a way to avoid the real question of what do we do when faced with the fact that someone we cared about killed himself. No one ever knows the right thing to do or to say when something like this happens. It’s more important just to be supportive. In fact, I’d say that discussing what sort of next life the person is likely to have is one of the least supportive thing you could do.

I came precariously close to killing myself one sunny day in the Spring of 1992. My life was shit. I was living in a decrepit punk rock house in Akron, Ohio. My girlfriend had dumped me. I had no money, no skills, no prospects. I’d released five records on an indie label that had gotten some good press but had gone nowhere in terms of sales. My dreams of making a living as a songwriter and musician were obviously never going to come true. I felt like all I had to look forward to was eking out a meager existence in the muddy Midwest.

I put a bunch of rope in the trunk of my car and drove out to the Gorge Metro Park, just down the street from where I lived. My plan was to carry that rope out as far away from people as I could, find a sturdy tree and do the deed. But when I stepped out of my car I saw some kids playing in the field right near the parking lot. I realized I could never find a spot far enough off the path where there wasn’t some chance a little kid out for a hike, or a young couple looking for a make-out spot, or an old man with a picnic basket and a picture of his late wife might find me. Then I thought about my mom and how bummed out she’d be if I killed myself. And I thought about my friend “Iggy” Morningstar who’d killed himself about ten years earlier and how I was still not over that. I put the rope back in the trunk and went home.

That day changed me forever. I decided to live. But I also decided I was no longer bound to anything that came before that day. I decided that conceptually I had already killed myself. Now I could do anything, absolutely anything at all.

All the greatest things that have happened to me in my life have happened since that day. Things have been so incredible since then that I sometimes wonder if I’m the main character in some weird existentialist movie and that there’ll be a twist ending in which the audience will realize that I really did kill myself that day.

If you’re contemplating suicide, my advise is go ahead and kill yourself. But don’t do it with a rope or a gun or a knife or a handful of pills. Don’t do it by destroying your body. Do it by cutting off your former life and going in a completely new direction. I know that’s not easy. I know it might even seem impossible. If you’d have asked me before that Spring day in 1992 I would have told you it was absolutely impossible for me to do any of the things I’ve done since that day. At first it seemed like I was right, that it was futile to even try to get out of the morass I was in. It took more than a year of very hard effort before things started to change even a little bit. But when they did, they really changed.

Maybe that’s not where you’re at, though. Maybe you’re just stuck there trying to figure out how to respond to the news that someone you cared about decided to end her own life. Maybe you just want an explanation. Maybe you just want it to be like it was before. Maybe you wish you’d done something different, said something different, been somewhere where you could have prevented it.

You’re not alone. Everyone who has ever known someone who killed themselves had the same questions and second guessed themselves the same way. But know that those are just thoughts. They’re not real. They don’t mean much. The human brain likes to organize things. It tries its best to make sense of whatever it encounters. But some things just don’t make sense. We don’t like that. But it’s the truth.

It’s hard to let go of these kinds of thoughts. But it’s the only way to deal with them. They don’t lead anywhere. They don’t help. Letting go is easier said than done. If you find that you can’t let go even though you want to, then just let go of letting go. Just leave the fact that you can’t let go as it is and do something else anyway. Whatever you do is probably fine. See a movie, take a walk, watch the ducks, go to work. It’s all fine. Just because you’re not grieving in the stereotypical socially approved ways doesn’t mean anything.

Take care.




***


Brad Warner is the author of Sex, Sin and Zen: A Buddhist Exploration of Sex from Celibacy to Polyamory and Everything in Between as well as Hardcore Zen, Sit Down and Shut Up! and Zen Wrapped in Karma Dipped in Chocolate. He maintains a blog about Buddhist stuff that you can click here to see.

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SO TGIF... Totally. Phew week 2 almost complete with the new job. I'm feeling pretty excited today. My good friends son is a photographer here and I just set up a lunch date with him for the end of the month to discuss working together for my first SG set! I've only seen a few pictures... more

SO TGIF... Totally. Phew week 2 almost complete with the new job.
I'm feeling pretty excited today. My good friends son is a photographer here and I just set up a lunch date with him for the end of the month to discuss working together for my first SG set! I've only seen a few pictures from him on his newly developed website, but his vision is undeniable and when they are still newer they are also really hungry. That's what I want. Someone that wants to expand and has tons of ideas like me. :}
It is a lot harder to make excellent pictures when one has to keep running back and forth from the camera :/
This is his new website. Check out the few pics and tell me what you think
Shane Baker Studios
With all this said, I would say we are within 6 months of me posting my first set! Woop Woop

UPDATE!! I have been talking with a few more ladies about shooting a set for SG. One is this little beauty! (image) (image) (image) Isnt she so ADORABLESSS!! She was nervous about not having enough tattoos, so we decided to add a little colors to her hair to give her more of an alternative look! (image)... more

UPDATE!!
I have been talking with a few more ladies about shooting a set for SG.
One is this little beauty!



Isnt she so ADORABLESSS!!

She was nervous about not having enough tattoos, so we decided to add a little colors to her hair to give her more of an alternative look!

Cute, HUH!!??
We shot her set shot this weekend!!


Her date for MR is March 13th!!
Her name is BelleRose.
It came out so AMAZING IM SO EFFING excited!!

Im making the trip back up north this coming week (be in Kansas on the 21st), if there are any hopefuls, or Sg's in between Alabama and Kansas, message me and lets see if we can shoot a set!!



---------------------------------------

Hello My Lovelies!!
I am so excited I shot a few sets for the Amazingly Beautiful Adrastea!
Totally rad chick, and sexy to boot!
MR Date is March 1st! Hells Yea!


And these are from her set 'Under The Boardwalk'


I also have a set in MR for Feb 9th shot by the amazing _Miked_
Azera: Blue Skies


I am so excited about this set!
Thank you _Miked_ for the amazing job!
MR date is Feb 9th! Woot, Woot!!


Until next time my lovies!
XOXO's
Azera


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Man I love this job! After three long years of wooing I finally got a chance to talk with the legendary comedian Al Franken. After many successful years as a standup comedian and Saturday Night Live writer, Franken has released a number of hysterical and popular books such as Why Not Me? and Rush Limbaugh... more

Man I love this job! After three long years of wooing I finally got a chance to talk with the legendary comedian Al Franken. After many successful years as a standup comedian and Saturday Night Live writer, Franken has released a number of hysterical and popular books such as Why Not Me? and Rush Limbaugh Is a Big Fat Idiot. When Franken released Lies and the Lying Liars in 2004, esteemed filmmakers Nick Doob and Chris Hegedus followed and him and documented the experience. Now it’s all been put together in the film Al Franken: God Spoke.

Check out the official website for Al Franken: God Spoke

Daniel Robert Epstein: What did you think when such prestigious documentary filmmakers wanted to do a film on you?

Al Franken: I was very excited because I liked their work.

DRE: Did you ever feel pressure to be on for the camera?

Al: No, I thought that would be a bad idea. There were certain things I know I did that I wish were in the movie but it’s their movie [laughs]. You know that party where the Republicans all are?

DRE: Yeah, the Newsweek party.

Al: Yeah, I saw Charlie Rose at the party and Charlie sees the camera and he goes, “How long have they been following you?” I said, “Like a year.” He goes, “well, how are you going to end it?” We didn’t know at the time and I said, “you know what, if we can’t find an ending I may have to murder someone and Charlie, it could be you.” Then a couple months later, we’re in Minneapolis and I was saying something like, “Why don’t we just end the movie by including that clip in earlier and then have me murder Charlie Rose.” They would follow me as I go into his apartment building, go up the elevator, knock on his door, Charlie answers and then you cut to me pistol whipping Charlie while he is on his hands and knees begging for his life. Charlie is doing a terrible job of acting and then we cut to Kevin Spacey as Charlie Rose and me pistol whipping him and killing him. Then we cut to The Charlie Rose show with Charlie, [director] Nick [Doob] and me asking why we put Kevin Spacey in. Now I knew they weren’t going to end the movie like that but I thought it would be very funny to put that in. But they decided otherwise.

DRE: Is this the closest we’ll get to an HBO type special from you?

Al: I’m not ruling out an HBO special for me in the future.

DRE: It was a lot of fun for me to see you interacting with all your “enemies.” Is it difficult for them to attack you because you have years of comedy experience so you could snap back at them?

Al: They can certainly attack me when I’m not there. They do that all the time. I was with Mark Luther who is our resident dittohead [a fan of The Rush Limbaugh Show] on my Air America show. He’s the guy we have on like once a week and we play Rush Limbaugh and Mark has to try to defend him. Mark has known me for 39 years. He said he was listening to some right wing show and this guy said he was at a hot dog stand with me at the Republican convention in San Diego and this guy tried to say hi to me and I was really rude. I said to Mark, “Does that sound like me?” Mark says, “you know that doesn’t.” I got to put up with that crap.

DRE: How important is it for you to never lie?

Al: It’s really important to me not to lie. It’s real important not to make mistakes. But you make mistakes. There’s a difference between making a mistake and lying. We had one mistake in [the book] Lies and the Lying Liars. We included a preliminary report on the damage that was done when the Clintons left the White House. The report said there was no damage done, [laughs] but remember Arie Fleischer [George W. Bush’s press secretary at the time] and all these guys were saying there was all this huge vandalism that was done by the Clintons as they left but that was just a big myth. The second report came out and said that there were some W keys removed from the computers. There was also some incredibly minor stuff that might have occurred when a rug came up or a phone line got ripped out. But that was a mistake because we used a preliminary report but that happens. There’s a big difference between that and then doing the painstaking lying that Ann Coulter does, where you just have to labor and labor just to make a lie.

DRE: In the movie you say she’s a smart lady. Is she smart enough to delude herself or does she know she’s lying?

Al: I think she is deluding herself some of the time and she knows she’s lying some of the time and justifying it. I did a debate with her which I will not do anymore because it is not any fun. I repeated a litany of lies that she’s done and she just wouldn’t respond. She’d go, “This can’t be about Ann Coulter. Ok, I’m a flawed person.” I think there’s something desperately wrong with her and I think that there’s a self-esteem issue there. Most of us try to do our best work and see our work as an extension of ourselves and try to do something that is good.

DRE: Are you serious about running for senate in Minnesota?

Al: I’m serious about it but I don’t know if I’m going to do it. Obviously it’s a big personal decision and also I don’t know what the rest of the DFL thinks. I’m getting an idea that a lot of people want me to do it [laughs]. I told myself I don’t have to decide until next year.

DRE: What’s it take to get young people involved in politics today?

Al: They just got to feel that it means something, that it means something to their lives. Our politics has to be more about the future than it is now. Look at these huge deficits and look at the investments in prisons and weapons as opposed to investments in education.

DRE: It’s all short term.

Al: Very short term thinking. But we also have to convince kids that it is worth the work and it is actually a lot of fun and also real important at the same time. How many things are fun and important at the same time? [laughs]

DRE: Just to talk about comedy, Harry Shearer said that everyone who’s ever worked on SNL secretly hated it.

Al: No, there were times when I hated it. There were times when it drove me nuts, especially toward the end where it was getting unwieldy with all the cast members. There was just a tendency to start getting too many people. It started to get frustrating to me because we would produce too much and I had kids and we were staying there way too late at night. But mainly I loved being there. The best memories of my life are always going to be rolling on the floor laughing up on the 17th floor on a Tuesday night and writing with incredible writers and cast members. That’s the quintessential memory of Saturday Night is Live.

DRE: Robert Smigel told me you brought him to Saturday Night Live.

Al: Yeah and it was a very interesting thing. He was in this review in Chicago and there was really funny stuff in it and there was stuff that wasn’t really funny. I said “Somebody in this group is really good.” [laughs] They had the right ethic of every one of them writes everything and none of them writes anything kind of thing. That’s all fine and dandy except I couldn’t hire everybody and somebody there was the guy. So I kept coming back to the show and figuring out by who was in what sketch and talking with them and it was Smigel. I really saw a talent there.

DRE: As a comedy fan I must ask, would you and Tom [Davis] ever do something together again?

Al: We actually just did. We did a fundraiser in Minneapolis on June 8th and we did a half hour together.

DRE: Old stuff?

Al: Some old, some new. It was great.

DRE: Is it wrong for me to want Joe Lieberman to become president just because he’s Jewish?

Al: Wesley Clark is half Jewish.

DRE: Oh good! Great I’m in!

If you had a tattoo, what would it be?

Al: Oh, it would be a dot on my ankle [laughs].

by Daniel Robert Epstein

SG Username: AndersWolleck

SG ITS BEEN A LONG TIME, and im so sorry. VERY good news though Its been a very long day but i've just finished a new shoot <3 Which will be up in the next couple of days! I have literally been waiting for this for so long and finally it's done Sorry again i know it has been a while i... more

SG ITS BEEN A LONG TIME, and im so sorry.
VERY good news though Its been a very long day but i've just finished a new shoot <3
Which will be up in the next couple of days!
I have literally been waiting for this for so long and finally it's done

Sorry again i know it has been a while i have been inactive but it's been a very busy few months for me with work and family time.

How was everyone's christmas and new year? Im not one for festivities but i bet a lot of you have some wicked stories to share

GOALS FOR 2013:
Be creative more often
Get a better job
Find a beautiful man
Get over my fear of heights
Punch someone in the face (so much frustration built up inside of these curves)
Drink less.

xoxo

by Laurelin (image) Butterflies. Every girl wants that feeling. We crave it: the thought of something new and exciting. That secretive smile that is just for you, your whole being just bursting with hope over the thought of something new. Those new guys, they’re the skip in your step home from the bar... more

by Laurelin



Butterflies. Every girl wants that feeling. We crave it: the thought of something new and exciting. That secretive smile that is just for you, your whole being just bursting with hope over the thought of something new. Those new guys, they’re the skip in your step home from the bar after getting a phone number or that perfect first date kiss that leaves you feeling full to the brim with a feeling so wonderful you could just cease to exist.

It might be one of the best feelings in the world. While fleeting, it’s when we feel the most innocent and yet the most powerful, the most indestructible, like our whole lives have led us to this point and nothing looks as beautiful as the whole freaking normally ugly awful world. (Enjoy this feeling while it lasts, because everybody knows butterflies can’t survive amongst a stomach full of beer and cheeseburgers.)

Over time mine seem to have turned into something more along the lines of ragged moths dancing around a tired flame. A flame that might go out, but also might grow brighter, and burn all the little moths. It also might not even be a flame, perhaps just a touch of heartburn.

I can point out a number of men in Boston who have given me this feeling and each time the feeling faded, leaving room for failed relationships, broken hearts and (lucky for me) in most cases, solid friendships. It’s gotten to the point where even if I meet someone who evokes this feeling I can’t help but wonder how it’s going to end. Should I even bother? (Of course I should.) Doesn’t it make more sense just to stay the way I am and not risk getting hurt? (Of course it doesn’t.)

It was thirty-four degrees last week and the wind was bitter as I walked to a cab, but for some reason I wasn’t cold. I should have been in bed hours ago, but I wasn’t. My cheeks were red, burning, and I smiled and looked up at the city, the whole skyline lit perfectly against the black sky. I had no idea where I was, besides far from home. I felt warm, and I was unsure if it was the booze or just remembering that kiss. Either way, I knew I was in trouble.




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Since the Girls board is overload, I've decided to start this topic here. Just to point out Synnove's hot new profile pic: (image) so hot!

ABCDEFGHIJKLMNOPQRSTUVWXYZ (image) A is for Avatarina

Will I date I myself if I use the phrase “We’re not worthy”? There is almost nothing to be said when introducing SuicideGirls to Terry Gilliam, because at this point if you don’t know who he is, I wouldn’t cry if you killed yourself. But for those who don’t have the guts to throw themselves off... more

Will I date I myself if I use the phrase “We’re not worthy”? There is almost nothing to be said when introducing SuicideGirls to Terry Gilliam, because at this point if you don’t know who he is, I wouldn’t cry if you killed yourself. But for those who don’t have the guts to throw themselves off a bridge, Gilliam is the brilliant film auteur behind such classics as Time Bandits, Brazil, and Fear and Loathing in Las Vegas. He is also a founding member of the best sketch comedy troupe ever, Monty Python’s Flying Circus. Gilliam’s latest film is the very heavy Tideland, the story of a young girl whose junkie parents die and leave her alone in an empty house only with her imagination.

I got a chance to interview Gilliam when he was in New York City. When we spoke of a possible Python live tour he seemed to imply that we could be seeing some new sketches.

Check out the official website for Tideland

Daniel Robert Epstein: First of all, I didn’t recognize Jeff Bridges at first. I thought that was Lemmy [of Motorhead].

Terry Gilliam: [laughs] That’s the thing, Jeff, like all the actors in my films have no vanity.

DRE: Yeah. [laughs] Well, its interesting that you say that about the vanity because this is a film that doesn’t have a lot of vanity.

TG: No.

DRE: Was that a result of the book or the budget?

TG: It’s just what it is. The book is what it is. The budget was what we needed and the actors weren’t afraid. I hate working with actors who are worried about what they look like other than the character that they should be playing. Everybody there just dove in and they were all very fearless and nobody had any qualms and off we went.

DRE: Did you know from the beginning that this film was going to be as difficult as it was?

TG: No, when I read the book I thought, “Oh this is fantastic. This will be great.” [Tideland co-writer] Tony Grison said, “Fantastic, let’s do it.” Jeremy Thomas the producer said, “Terrific, let’s go to work.” But then we couldn’t raise the money [laughs]. It seemed that some people thought it was not quite the jolly little jaunt that we thought it was [laughs].

DRE: When you first got the book, did you know that eventually you wanted to turn it into a movie?

TG: No, [Tideland author] Mitch Cullin is the one that actually sent it to me. It was sitting on a stack of books and scripts that I never look at. One day I was just frustrated or bored, I can’t remember, and I picked it up off the top of the pile and I go, “What’s this?” Started reading and said, “Hello? This is really great.” A few pages in, I was hooked. All Mitch was trying to do was get a blurb for the cover of the book. He didn’t expect to make a movie out of it [laughs]. But I said, “No, I’d love to have a go at this thing” and off we went. It was very interesting because when we were raising the money, that’s when we began to realize that it was dealing with subject matter that a lot of people found difficult. Somebody said, “Well, it’s men that control the money and men find this more disturbing than women.” I said, “What we need is a woman with a lot of money.” Ultimately that’s what happened.

DRE: In Canada.

TG: In Canada, yeah, they finally turned up.

DRE: I’ve interviewed David Cronenberg a number of times over the years. I always thought that you guys had some thematic crossover.

TG: Yeah.

DRE: I asked him if he ever puts things in his films just to tweak the audience. He said, “If I was to do any tweaking then I would be doing it to me.” But it sounds like you may feel a little differently about that.

TG: Yeah, I was intrigued and excited by everything in there but at the same time I’m not a fool. I know a lot of people are going to go “Whoa.” Here’s a little scene where the girl is preparing heroin for her father. Somebody’s going to go. Here’s a scene where the girl’s beginning to kiss a retarded 20 year old, something’s going to happen there. So I know full well what’s going to happen but all those scenes were absolutely fantastic. That’s what I liked about the book. I think they were honest. I think they were something I hadn’t seen before and I thought “Here is a child that is being treated like a child and not some romanticized, sentimentalized version of an adult’s version of childhood.” That’s what I liked about it. I was getting really tired of hearing non-stop tales of child victimization until it wasn’t even victimization after a while. There are all sorts of difficult things in life but this was just a way of selling newspapers and doing television shows. I was really getting angry. I said, “Here’s a chance to show a really tough, strong, child. What children really are. They’re designed to survive and she’s put through some very difficult situations and she comes out alive and well.”

DRE: Smelling like a rose.

TG: Exactly. I didn’t say it you did [laughs].

DRE: Just because it’s you making films, you’re never sure how much is going to be reality versus fantasy. But with Tideland there seems to be a strong delineation between reality and fantasy.

TG: Oh yeah, I think it’s clear. To me this is real and the moments when she goes into full fantasy, there’s no question that it is fantasy. But somebody the other day was saying, “So, at the end is that her imagination? Is that really happening? Is the whole film really a flashback?” I said, “No, it’s exactly what it is. It’s telling the story and when we go into fantasy it’s very clear it’s a fantasy thing.” I can’t see a single moment where you don’t know that it’s real as opposed to fantasy. She’s distorting the world. When Dell turns up I shoot it from Jeliza-Rose’s point of view so Dell is a giant. But then Dell is a real person. So Jeliza-Rose is trying to make things more interesting than they really are.

DRE: Otherwise she’d be bored.

Did you have to resist putting more fantasy?

TG: No, I was just doing the book. This is Mitch Cullin’s world and I’m just trying to translate his world honestly and that’s exactly what I did. But there are a couple of things. When she goes up the stairs and starts crawling through the trunks and all the clothes that were in there. I don’t think in the book it was an endlessly long trunk of clothes so that was me. I thought we should make this idea of this little girl amongst all of her granny’s clothes endless. That’s me expanding the book. I’m the Jeliza-Rose that’s taking Mitch dull, banal mundane world and turning it into something magical [laughs].

DRE: Brendan Fletcher who played the retarded person was just fantastic.

TG: Extraordinary performance. Absolutely wonderful. That was the first time I’ve ever cast an actor without meeting him in the flesh. He sent this tape in that he and his girlfriend put together. I said, “Fuck, this kid’s amazing! He’s got the job.” But it is very funny because in the flesh he looks like Sting.

DRE: Yeah, I’ve seen him in other films.

TG: He’s a great actor and he is also very funny and sweet. A lot of the other actors who were auditioning for the role, could bring out the humor but it wasn’t believable, it wasn’t real. I was at a film festival in Germany a few weeks ago and the guy in the front row said, “Where’d you find that kid?” I said, “He’s a wonderful actor.” He said, “You’re kidding because I work with retarded kids all the time and he’s spot on. There wasn’t one moment of falseness in that performance.” I said I’ll be glad to tell Brendan that because he’ll be very proud and pleased.

DRE: Was there anything that you asked him to do?

TG: No, I don’t direct actors like that. I sort of work with them. I encourage them to go wherever they want to go with these things. I think the one thing I did was the thing he does with his tongue. I thought that would be interesting because the audience would squirm. So that will have an affect and it’s very good because the audience is behaving exactly right. But he moves his tongue like he has a goldfish in his mouth and that scene’s stunning. There’s another moment that I did when they swim through the grass. She reaches for his hand and I said, “Let’s do that because there has got to be moments when the audience might think you’re a potential danger to her.” It’s not that you’re trying to do that, but it just gets so dark and I don’t rush away from that because it will make the audience feel, “Where is this going? Is this girl in jeopardy?” So in that sense I’m playing with the audience but there are very slight moments. I’m not pushing it. I’m not trying to make it a horror film or anything like that but in almost every one of those moments it’s only a beat, that’s it, nothing more.

DRE: There’s always festival screenings or press screenings where if someone doesn’t like the film they might walk out.

TG: Or in many cases, a lot of people don’t like the film and they walk out [laughs].

DRE: This is the first time I’ve seen this many people walk out of one of your films.

TG: I know.

DRE: I’m like, “Why don’t you sit through the whole thing and see what happens at the end?”

TG: Do you remember where they walked out? Did they all walk out at specific points?

DRE: One person walked out about a half hour into the film and then once Brendan and Jodelle started kissing more people walked out.

TG: It was getting too much for them.

DRE: Do the walkouts surprise you?

TG: No, I expected people to walk out. I said that if they didn’t I’ve failed. I don’t mind people walking out. What I mind is when reviewers walk out and then write about it.

DRE: Oh, that’s horrible.

TG: I’ve seen too much of that going on. Don’t touch it if you didn’t see the whole film, don’t write about it. But you don’t have to like it. But don’t sit there and write a piece about it and I’ve read a few unfortunately. I don’t mind people walking out. I’d say it’s the closest to Brazil of any film I’ve done in that sense and Brazil used to have huge walkouts but for very different reasons. In Tideland it’s obvious I’m getting to people and they don’t like what they’re seeing and they don’t want to confront it. They don’t want to deal with it. They just want to get out of there. That’s fair enough. I was hoping this film would actually create a lot of dialogue between people, those who don’t like it or have questions about it or are disturbed and those that love it. What I find so interesting is that those who don’t like it can’t see how anybody could like it.

DRE: Oh, I know a lot of people who have said that.

TG: And those who like it or love it can’t understand why people have a problem with it.

DRE: I can see that too. There are a lot of people that say you love it or you hate it. It’s hard for me to say that I love this film. I think the feelings I have for it are on the level of love.

TG: Good, that’s fine.

DRE: But I can’t say I love it.

TG: No, I know. But there are some, and they tend to be women, come out just beaming saying, “Yeah!” Those are the people who really love it. There’s more ambivalence than that for most people. I know I’m touching things, I’m getting to them. They can’t quite explain what it is or why they like it. There was one girl at a screening the other night that said, “The film, like so many of your films at the end I feel nauseous. But I loved it. It was a positive nauseousness. I’m in a place that I haven’t been before.” We had a thing when we were cutting it. Normally every couple weeks I get groups of people together to show the film because I’m just trying to find out, “Am I communicating what I want to communicate? Is it boring them at points? Can I tighten it?” I just don’t want to bore people too much, but they didn’t know what to say at the end of a lot of them. I said, “Here’s what, I’ll give you my email. When you’re ready to talk about it email me.” Then some people would take a week before they had got their thoughts in order. I thought, “Well, that’s great.” It’s shifted their parameters, the way they think, we jumbled up the boxes and maybe something interesting would come out of that. People are saying, “I really reconsidered the way I look at the world.” “It’s made me do this.” “It’s made me think like that.” I thought “Fuck, that’s great. I’m happy.”

DRE: Every film of yours is so packed with detail within the frame. Tideland is detailed in a different kind of way.

TG: Everything you see in there has been considered. On a simplistic level it was really about two worlds. One was the open space out there and the freedom of nature. It was big skies and grass and then the other was inside this house, which is decaying and rotting like the corpse itself. So there is that contrast and by juxtaposing those two things people come out and say “How did you shoot those exteriors? They’re so beautiful.” They’re not any different than any other exterior. They just happened to be contrasting what’s going on inside. We found the house. I added the porch on the front of it, that wonderful but weird porch, but the house was there.

DRE: Wow, I totally thought you built that house.

TG: I know. That porch was on another house about a mile away. I said, “I like that porch, let’s stick it on that place.” We did build the inside but they related to the outside. Andrew Wyeth’s paintings were very much a part of it from the beginning. When I read the book, I said, “That’s fucking Christina’s World.” Then I called Mitch Cullin and said, “Did you have a picture in mind when you made it?” He said, “Well, I had Andrew Wyeth’s Christina’s World in mind.” So I knew we were in good company and we looked at a lot of Wyeth’s paintings. Also my editor, Lesley Walker, is a woman. [production designer] Jasna Stefanovic is Canadian and a woman. There are a lot of women working on this film because that’s important to me when you’re doing this kind of story with a little girl. I wanted women’s takes on these things. Jasna got the job because she spent the night before we met putting all these scraps of images and photographs together. When I looked at that I said, “You’ve got it, you understand this child. You understand the world.” That’s how I work. It’s a totally collaborative little world of probably about eight or nine really critical people in the design and then we go from there.

DRE: I remember an American Cinematographer article on Twelve Monkeys where you said you’re not as super detail-oriented as you were with Time Bandits or Brazil just because you’re finding people who you collaborate with so you leapfrog over each other creatively.

TG: It’s totally like that, yes.

DRE: Has it advanced more?

TG: No, it’s just that you work with different people so you leapfrog in different ways [laughs]. But you try to find people who have the right sensibility for the project. I worked with so many new people on this one because I had to work with a Canadian crew and we just found the right people. They understood it.

DRE: Last night you introduced a screening of Time Bandits at Film Forum’s Pythonalot festival. What made you choose that film?

TG: Well, it’s 25 years since I made it.

DRE: Oh my God, now even I feel old.

TG: Yeah, I know, and I’m older. Tideland is another story about a child and their imagination, 25 years gone. Have I changed? Has the world changed? [laughs]

DRE: How does what went down The Brothers Grimm change your view of what films you’re going to do?

TG: It’s the same view I had before I started that project, not to work with the Weinsteins. I had always said I wouldn’t work with them. They came in at the point where MGM pulled out. We were in preproduction so it was out of the frying pan and into the fire. It’s not that the Weinsteins are the worst people on the planet. They are who they are and I am who I am and I know it was always going to be a bad marriage. We’re going to head butt. At the end it got interesting because we got to the point where I thought the film was done but they kept going with it. Then Jeremy Thomas managed to raise the money for Tideland so I said, “I’ve another film to make so why don’t you go away and do whatever you want with Grimm?” That was instead of fighting, which is my normal mode of operation. I realized that those guys love a fight. They’re bigger, more brutal fighters than I am so I ran away. Tideland was a great escape from all of that. “Free at last.” Then what was interesting, was that when I was editing Tideland, I got a call from the Weinsteins to finish Grimm my way. So I was editing both films at the same time. I’d won by not fighting and it was really interesting doing both films because when you’re editing you’re watching the film constantly and you learn to hate it at a certain point. You can’t make it better, you get frustrated. So we’d run down the corridor and start working on Grimm until we reach that state and then we go back and do Tideland. It was fantastic [laughs].

DRE: If there is a Monty Python tour, would you want to do short films or animations for it?

TG: There may come a point where I’m just tired of all the difficulties of getting money and making movies. When I do animation it’s just me and the computer now. About five or six years ago, there was a 35th Python reunion for the BBC. It was a crap show because we all like each other too much now. But I did one little bit of animation on my computer because now I can do everything I did before, easier. The computer has caught up with my really crude technology. I can do the same cutouts because they are easy to move around on the computer. So that’s always that fallback position if I get in trouble.

DRE: What sketches would you want to do on the tour?

TG: Ah. [laughs] You mean existing ones.

I think we ought to get the dead mother in the bag at the crematorium scene. You could burn her or you could eat her. That was one of the worst; most tasteless sketches ever written and that would be number one on my list of things to do [laughs].

by Daniel Robert Epstein

SG Username: AndersWolleck

I think it'd be fantastic to see some of you folks in our fabulous SG gear. Take a snapshot, post it here, and each week, we'll choose our favorite pic and send the winner an item from the SG SHOP. Make those pics look fantastic and they may even end up in the SHOP! Happy snapping! more

I think it'd be fantastic to see some of you folks in our fabulous SG gear. Take a snapshot, post it here, and each week, we'll choose our favorite pic and send the winner an item from the SG SHOP.

Make those pics look fantastic and they may even end up in the SHOP!

Happy snapping!

Oh my, I haven't updated this blog in so long, I'm sorry! I had an incredibly busy festive season followed by a sudden and unexpected boost in my social life; this is the first totally free day I've had since the start of December (and I've slept through most of it!) So much to show... more

Oh my, I haven't updated this blog in so long, I'm sorry! I had an incredibly busy festive season followed by a sudden and unexpected boost in my social life; this is the first totally free day I've had since the start of December (and I've slept through most of it!) So much to show you guys... I'm gonna be doing alot of rambling in this blog, so I apologise in advance - and hopefully splitting it up into chunks helps! :')

Christmas/SG shoot

New Years+2013

Personal

Art

Life in Pictures

I promise, now that I'm finally settling down into 2013, I'll get straight back to regular updates. Especially as this took me far too long to write out! Exciting things coming this year, lots to look forward to I wish you all the best this year, let's all make 2013 incredible. Much love. <3


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by Nicole Powers (image) [Bruise Suicide in La Bruja] (image) (image) Artist / SG Member Name: Bruise Suicide Mission Statement: My mission is to rule the world but...My work is pure catharsis. They are pieces of me and represent my personal journey, my own process. I enjoy creating them like nothing... more

by Nicole Powers


[Bruise Suicide in La Bruja]





Artist / SG Member Name: http://suicidegirls.com/girls/Bruise/ " target="_blank">Bruise Suicide

Mission Statement: My mission is to rule the world but...My work is pure catharsis. They are pieces of me and represent my personal journey, my own process. I enjoy creating them like nothing else and it is really nice to know other people enjoy looking at them and appreciate them.



Medium: Watercolors, acrylics and charcoal on wood or cotton paper (mostly).

Aesthetic: A sort of sexy silence. Topless girls with no mouth.

Notable Achievements: Well, my mom loves them : )

Why We Should Care: Because it is mine and it is sexy.



I Want Me Some: I don’t do this to make any money whatsoever. It is not a full time job so I don’t really sell my artwork BUT, I do like to get involved in other people’s creative processes and/or inspire and be inspired by others. If anyone wants to trade or collaborate, I am open to new ideas, just message me.





***

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Crispin Hellion Glover is, in many ways, a man that embodies the Renaissance ideal. There is an intensity that fuels his life and his work; one that some may view as somewhat strange, but others realize as truly impassioned. He is an author, actor, director, and, though he doesn't consider himself... more

Crispin Hellion Glover is, in many ways, a man that embodies the Renaissance ideal. There is an intensity that fuels his life and his work; one that some may view as somewhat strange, but others realize as truly impassioned. He is an author, actor, director, and, though he doesn't consider himself a musician, a recording artist. He is the misfit auteur with a fascination for the macabre who first impressed mainstream audiences with his breakout role as Back to the Future's George McFly, though it wasn't until the release of his directorial debut What Is It? (2005) that audiences got their first real look into Glover's mind and his penchant for films that go beyond the realm of good and evil.

The first in a trilogy, Glover once described What Is It? as, "The adventures of a young man whose principal interests are snails, salt, a pipe and how to get home, and is tormented by a hubristic, racist inner psyche." SuicideGirls' own Daniel Robert Epstein called the film, "Weird, different, frustrating, bizarre and even brilliant; but it’s so far from the mainstream that it almost overlaps and becomes mainstream again."

The second film in Glover's trilogy, It Is Fine! Everything Is Fine, made its world premiere at 2007's Sundance Film Festival, dizzying audiences with its bold and fresh treatment of what might otherwise be considered taboo subject matter. Written by and starring Steven C. Stewart, a man afflicted with Cerebral Palsy, the film follows Stewart's character as he moves in and out of relationships with women, despite his handicap, and indulges his fetish for long hair before ultimately murdering them by strangulation. But rather than lose touch with Stewart's screenplay in the trappings of a crime drama, Glover explores the film as a graphic, genre-style fantasy that he likens to "a television murder mystery movie from the '70s."

During his US tour of It Is Fine! Everything Is Fine, SuicideGirls caught up with Glover to chat about creative financing, working with Steven C. Stewart, and the importance of choosing one's words carefully.

For more information and your chance to catch a screening of It Is Fine! Everything Is Fine, check out Glover's official website here.

Erin Broadley: Hey, how are you?

Crispin Hellion Glover: Good, good. Everything’s terribly hectic, but that’s good. There’s been a lot of press interest for the film. I really am proud of the film and excited to show it to people so I am glad.

EB: So, this film is the second in a trilogy. How did you fund this film? Do you think that, in terms of creative financing, the nature of what you might call pro culture dictates how we have to finance the projects that we really want to do as filmmakers and artists?

CG: The money that I made from the first Charlie’s Angel’s film went straight into making this film, Everything Is Fine. I think what’s happening in corporately funded filmmaking is that, no matter who funds the film, they are the person who is going to have the final say on what is in the content. Rarely will somebody fund a film without wanting to have a particular element in it. So, if the filmmaker does not fund the film, it’s usual that there is some kind of concession in it. And sometimes that’s okay, there certainly have been good films made with that consideration, but I find that within the last 20 or 30 years in the corporately funded and corporately distributed film entities, it’s become the norm that anything that can possibly make the audience uncomfortable in any way whatsoever is necessarily excised, or the film will not be funded or distributed.

EB: Right, and you’ve said before that those uncomfortable feelings, those moments, are when an audience is really having an interaction with the film.

CG: Where questions start to happen. It’s when an audience member sits back and looks up at the screen and asks themselves, “Is it right what I’m watching? Is it wrong what I’m watching? Should the filmmaker have done this? What is it? What is it that’s taboo in the culture? What does it mean that this taboo has been excised from the most important form of communication in the culture?” I think that is a bad thing. It is those moments when the audience is questioning these very things that they are having an educational experience. For that to be ubiquitously excised from the most important form of communication in the culture ends up stupefying the culture. And one can feel that that’s happened. It’s very important for sociological studies to be able to determine what the taboo of the culture is. One can understand the culture much more readily when they understand what the taboo of the culture is. When it’s kind of made murky it’s a little bit harder to disseminate the information.

EB: Would you agree that it’s more important for art and for film these days to pose questions, rather than offer answers?

CG: Yeah. The problem is that there are dictations in the way that films are made that do not let audience members think. The way I’ve really been talking about the films that I’m interested in making right now are films that go beyond the realm of that which is considered good and evil. Wherein if there is something that would be considered a bad thing, an evil thing, within a corporately funded and distributed film, in the structure of the film it must necessarily be pointed to as an evil thing so that the audiences understand that the filmmakers feel that’s how it is. [It must be] dictated to the audience that that thing is a bad thing and there’s no other way to think about it. Whereas, in a film that goes beyond the realm of that which is considered good and evil, this so-called “evil thing” may very well exist within the structure of the film but the filmmaker may not necessarily point [it out], an audience member may sit and think about it themselves, as opposed to being dictated to. Then that’s educational. For the most part is not happening in corporately funded and distributed films at this time.

EB: Yeah, it seems like a lot of corporately funded and distributed film makes decisions on a very fear-based level when it comes to their audience. I never think somebody should underestimate the intelligence of their audience to be able to come up with their own interpretations or decisions about good or evil, or what something means, whether it’s taboo or not.

CG: Yeah. Right. I don’t even necessarily think it’s a fear of that but a concern about is what is going to be salable, not to audiences, but in terms of foreign market sales, to the people who are buying things en masse. It’s not a concept of what the audience will be dealing with but what is easy to sell to particular business markets. It’s not even a concept about people actually enjoying or getting something out of the film, it’s more about what is readily salable to particular market areas. It’s very apparent when I go on tour with a film there is a huge amount of audience interest in unusual subject matter and thoughtful subject matter. In fact, on some level I’m kind of quite grateful for the fact that such a large gap has come to exist so as an entrepreneur I can come and fill that gap. It’s unfortunate, in terms of an audience member myself, not being able to find content that is genuinely thoughtful and interesting.

EB: In your last interview with SuicideGirls you opened up by talking about the phrase “counter-culturalism”.

CG: Right. I’ve stopped using that phrase. That’s why I started using “films that go beyond the realm of good and evil”. The reason I stopped using it, it's slang. I mean on some level people understand what it is that I’m referring to. Specifically it had to do with the counter-culture that the media spoke about, using that term, in the late '60s to early '70s. That counter-culture has stopped being represented in the media. At that point in time corporate entities were able to point to that group and say, “This is where we can sell this more esoteric fare to.” That’s very specifically why I was using that term but why I’ve stopped using that term is because counter-culture is almost an oxymoron. Culture is anybody that’s a human being or the byproduct of human beings so how can there really be a counter to it? It’s just a matter of words that could be misinterpreted. So I’ve stopped using that.

EB: I like people who choose their words carefully. You’re right -- so many words get used incorrectly and there are so many misconceptions that happen.

CG: Yeah. I’m finding there is less misconception when I am describing it as films that go beyond the realm of that which is considered good and evil. It’s a bit longer but more specific.

EB: The work you create is very all encompassing. You’re a writer, you’re an actor, you’re a director, and you’ve made music. Have you found your role as a director any more fulfilling than certain other of those pursuits?

CG: Yeah. I definitely like making my own films the best, there’s no question about it. I still enjoy doing all of the other things that I do. But making my own films, that is my favorite.

EB: How did you meet Steven C. Stewart?

CG: It’s a long story about Steven C. Stewart. When I was 19, which would be 1983, I was working on a film at AFI called The Orkly Kid, which was a good movie. It’s a movie I’m still proud of. The filmmaker, the director and writer of that film was from Salt Lake City, Utah. He was friends with another Salt Lake City filmmaker named Larry Roberts who had done a documentary on Steven C. Stewart. He was born with a severe case of Cerebral Palsy and he had been locked in a nursing home when he was in his early 20s when his mother died and he couldn’t get out for approximately 10 years. The people who attended him there derisively would call him MR, a mental retard, which wasn’t a nice thing to say to anybody. He was of normal intelligence.

I have to see the documentary again. It’s been many years since I saw it, but I believe that the documentary Larry made about helped get Steve out of the nursing home and then he lived the rest of his life in an assisted living place, which I went and saw. It was a nice place. Once someone sees the film, almost everything is shot on sets. Steven C. Stewart’s screenplay was written in genre style, like a television murder mystery movie from the ‘70s. It had a naïve element to it and yet very detailed sexual elements and a lot of fantasy elements having to do with women’s hair. It’s a fascinating story. When he got out of the nursing home he told Larry about this screenplay that he wanted to make into a movie. Larry was involved in certain other things but he knew of a filmmaker that was making interesting, unusual films and he told Steve he should meet with that filmmaker. Also, Trent and Larry, not too long after I had worked on The Orkly Kid, they showed me some of David Brother’s movies and it was right around the time that I wanted to start making my own films from some of my books. I thought he was very creative and would be good to work with, so we started making The Backwards Swing, which, actually, is next thing I want to edit together now. That was in 1986 and that’s when David showed me the screenplay for Everything Is Fine. As soon as I read it, I knew that this was a movie that I had to produce.

EB: I think it’s interesting that you came across this script before you had written you had written What Is It?.

CG: That’s correct... they were not related to each other at all. What Is It? was written originally to be a short film to promote yet a different screenplay, which will ultimately be part three of the trilogy of films. Two screenwriters from Arizona had contacted me and wanted to direct me in a movie that they had written a screenplay for. They made an offer to my agent, which they really shouldn’t have done because they didn’t have any money.

EB: [Laughs]

CG: It was right about the time that I decided the first filmmaker that I’d work with would be myself and I stuck with that. I talked to them about it and they said they wanted to hear what my concepts were. So they came out and met with me, and the main thing was that the characters in the film to be played by actors with Down Syndrome. They set about rewriting the screenplay and then David Lynch agreed to executive produce it for me to direct. I went to one of the large corporate entities in Los Angeles and after a number of meetings and discussions they said that they were concerned about funding a film where the majority of characters were played by actors with Down Syndrome. So it was deemed that I should write a short film to promote that this was a viable idea. That short film that I wrote was What Is It?. I could see that with more work I could make it into a feature film, so that’s what I did. I took that footage and figured a way to change the antagonism within it and make it into a different film. I put myself in the film as the central antagonist, or a personification of the antagonism. I knew that the screenplay, It Is Fine!, could serve as a sequel to what would now be a feature film. Then I started thinking that there were certain themes and elements that were related to the Steven C. Stewart screenplay in certain ways.

EB: Right, there were certain elements there that you could tie together and connect.

CG: Yes, and I realized that if I put Steve into part one with myself then his could be a sequel to What Is It? and it would help commercially with his film and be an interesting way of working all of these things together.

EB: Well, with his screenplay, how much were you involved in kind of bringing that to form on the screen? How much were you working together hands on?

CG: David Brothers and I were very concerned with making certain that a naïve element comes through. The strength of the film is that there is a very strong, cathartic, emotional resonance with the Steven C. Stewart character, and that it was very apparent this was in his screenplay. This was the most important thing to get through. Steve would have let us do anything we wanted to the screenplay. He wouldn’t have any thoughts or concerns or worry but David and I wanted to make sure that there were certain elements that just came through. We wanted to have a genuine respect for the naïveté with which the screenplay was written and not to interfere with it, in terms of funding. Margit Carstensen plays one of the main characters in it and, really, the emotional crux had to do with the relationship having to do with her character and the daughter character. There’s another element that it goes into with other women and everything having to do with long hair and women cutting their hair. It’s really a fascinating thing.

The things that were incredibly detailed and important with Steve’s script were the dialogue, how he described the hair and how he described the graphic sexuality of it. Another element that was important, there’s a lot of sexuality in the film. In the original screenplay there was even more graphic sexuality. I wasn’t against bringing graphic sexuality into the film for any kind of moral reason but I was concerned about being able to find a certain caliber of actors that was comfortable with as much sexuality as there was. There was an element that he had written in very specifically that was graphic in nature in the sexuality. So it was important to have some of that. When one watches the film, I’m very pleased with it. I said it before even before finishing it and I still feel like this -- I do feel like it will be the best film of the trilogy, and that isn’t to say I’m not trying to dismiss the other films, I’m incredibly proud of What Is It?, and I want to make all kinds of films. But no matter what, this film will be the best film I’ll have anything to do with in my whole career.

EB: There’s something about this one.

CG: There’s something about it, and it has to do with Steven C. Stewart and his particular story. What Is It? is my intellectual reaction to the restraints that have happened within corporately funded film and distributed film within the last 30 years, and that’s a valuable thing to be dealing with but Steve’s story is about his reaction to a very specific set of circumstances. Some of it has to do with the fact that he has Cerebral Palsy but even more than that it really has to do with this particularity that he has about hair.

EB: Right, and how he interacts with the world because of it.

CG: That is at least as important, and what’s even more important is that this film is not a documentary, this is a documentation of this particular person living out this particular fantasy. That is a very unusual thing and I do not know of another film that has happened in. I would have genuinely felt I had done a bad thing if I had not gotten this film completed or done if Steve had died. You know, he did die within a month after we finished shooting. Cerebral Palsy is not degenerative but he, one of his lungs had collapsed in the year 2000 and that’s why, when I, I knew that with the money I made from the first Charlie’s Angel’s film I could put it straight into making this movie and that’s exactly what happened.

EB: I’m assuming that it was important for you as well to have him not only behind the screenplay, but also involved in the film and every aspect while you were making it.

CG: There was no way that the film could have been made without him. If Steve had died and the screenplay would exist -- theoretically you would hire another man who had Cerebral Palsy or, if it was done in the standard kind of corporately funded and distributed film situation, an actor that didn’t have Cerebral Palsy that played somebody that had Cerebral Palsy -- it would just be nothing. As far as I’m concerned, even if it was a man who had Cerebral Palsy playing this role of a man who had a hair fetish, again it was important that it was a documentation of this man living this particular fantasy out. Something that’s interesting about the movie that I’ll never know is exactly what Steve’s reality was with this whole thing. It’s something David Brothers and I will talk about a lot, “What did Steve feel about all of this?” We talked to Steve about it. We said, “You know, people will think this is strange.” Steve said, “Oh yeah, I know.” He definitely had the mindset of somebody that was a bit of a prankster.

EB: Yeah [laughs].

CG: Which is something I could relate to and I like that about him. At the same time, if you ask specifics about it, I don’t know how analytical he would have been. Sometimes David feels like maybe the only thing that Steve wanted to do was to have the attention and the experience of doing this. I tend toward feeling like that’s not just what it was. Within a month after we finished shooting the film, Steve died. I had gotten a telephone call one morning after we finished shooting and basically Steve asked David and I permission to take himself off of life support. One of his lungs had collapsed again and he would have had to get an operation and wouldn’t have been able to go back to the assisted living place he had lived in. He would have had to go back to the nursing home and he did not want to ever do that again. That was, of course, a very sad day and a heavy responsibility to indeed say to Steve that yes, indeed we did have enough footage and he could do what he needed to do. I had contemplated beforehand how I would feel about [the fact] that Steve may die. He could have died right in the middle of when we were making the film but I also knew that he wouldn’t because he was a very strong-minded individual.

EB: He had rewritten the screenplay a few times, correct?

CG: The basic crux was there. What he would tend toward adding would be more scenes of sex with women having to do with hair and then there’s a great deal of violence in there as well. He’s not a nice guy in the movie. He wanted himself to be the bad guy.

EB: Many people who have seen the film also note how charming he is, though.

CG: Oh yeah, he was.

EB: I don’t necessarily think they’re mutually exclusive; you can be a bad guy and be a total charmer.

CG: Yeah, yeah, that’s exactly what he is in the movie. It’s a funny thing. [Laughs]

EB: [Laughs] To touch back on some of the darker undertones of the film, was there a certain beauty you wanted to bring out in the graphic qualities?

CG: Well, it’s very apparent that there’s an emotional connection that’s going on in the kind of violence that there is in the movie. If he had just written a standard autobiography, it would not have had anywhere near the emotional truth and interest that comes through by just the fact that he’s using truthful elements of his psyche within a genre structure. That, and yet he could have made a complete fantasy movie where he wasn’t in a wheelchair or he didn’t have a hair fetish. In the movie the women like him and they’re sexually attracted to him and they have sex with him and they love him, in fact. But he still ends up being very violent and killing many of them.

EB: Do you think it’s important for people to see the first one before the second?

CG: Well, my business plan is that I will always play the first film first in any city that I go to. Then, when I come back a second time, I’ll play the second film for a majority of the run but I’ll always let another showing of What Is It? be there so people can see it as well. Everything Is Fine does completely work as a film on its own. It does not have to have a prequel or sequel but I don’t wish to dismiss the importance of What Is It? as well. What Is It? is almost a thesis going into the realms of these taboo subject matters. Everything Is Fine does have taboo subject matter mainly having to do with the graphic sexuality involved. But I just, I feel that films I’d like to go into are going into territory that is not typically dealt with in the manner that I want to deal with it and I feel like What Is It? addresses all those elements and opens the doors. Like I said, it’s a thesis saying its time to be able to just explore all these things without being so concerned about whether it’s a taboo or not. Beyond the realm of that which is considered good and evil -- I certainly feel that the Steven C. Stewart film is. I’ll be touring both of these films for many years to come.

For more information go to crispinglover.com

i love hips. not just the bones in the front. from the back too. Charity's best feature are her eyes. (image) but oh those hips. (image) (image) and then theres sash. (image) and phinn (image) i could go on. but i must swoon. who loves hips? more

i love hips. not just the bones in the front. from the back too.
Charity's best feature are her eyes.

but oh those hips.



and then theres sash.

and phinn

i could go on. but i must swoon. who loves hips?

by Nicole Powers (image) [Bruise Suicide in La Bruja] (image) (image) Artist / SG Member Name: Bruise Suicide Mission Statement: My mission is to rule the world but...My work is pure catharsis. They are pieces of me and represent my personal journey, my own process. I enjoy creating them like nothing... more

by Nicole Powers


[Bruise Suicide in La Bruja]





Artist / SG Member Name: http://suicidegirls.com/girls/Bruise/ " target="_blank">Bruise Suicide

Mission Statement: My mission is to rule the world but...My work is pure catharsis. They are pieces of me and represent my personal journey, my own process. I enjoy creating them like nothing else and it is really nice to know other people enjoy looking at them and appreciate them.



Medium: Watercolors, acrylics and charcoal on wood or cotton paper (mostly).

Aesthetic: A sort of sexy silence. Topless girls with no mouth.

Notable Achievements: Well, my mom loves them : )

Why We Should Care: Because it is mine and it is sexy.



I Want Me Some: I don’t do this to make any money whatsoever. It is not a full time job so I don’t really sell my artwork BUT, I do like to get involved in other people’s creative processes and/or inspire and be inspired by others. If anyone wants to trade or collaborate, I am open to new ideas, just message me.





***

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