U2 can be cool like me...

Today I was in high stress mode... trying to complete some month end work so my weekend wouldn't be completely shot. Donna graduates tomorrow (Saturday) and its my 21st birthday...

So to help me get through the day I listened to some kick ass music... Yes, my favorite group of all time. U2. And you're cool if you listen to U2, because they're cool, their music is cool, their message is cool... I mean, I'm cool... Right?

RIGHT?!?!??!

I have the following albums loaded in my iPod.

Acthung Baby
All That You Can't Leave Behind
How to Dismantle an Atomic Bomb
Jousha Tree
Rattle and Hum
The Best of 1980-1990
Zooropa

Thanks Bono, Adam, The Edge and Larry! YOU GOT ME THROUGH THE FRICKEN DAY!!!

Now all I have to do is fight rush hour traffic on a friday night. GRRRRR...

So with all my research on comic strips I have come up with new favorites... Of course you love PEANUTS... you have to love CALVIN & HOBBES... but there are a TON of other strips out there that you probably have never heard of before.

Baby Blues has been around for a while yet I rarely read it. Marvin is also a funny strip... but now one of my favorites is a strip called "Frazz".

Today's online strip is so appropriate to how I've been feeling...

Enlarge
The only thing that will get me out of this depression is brand new DIGITAL CAMERA!!! HA!

Well, time to face da-traffic that makes up Southern California. I've been here for nearly 11 hours so its time for me to say... "NICE TO SEE YOU AND GOODBYE!"

But before I go I must leave you with something I read which just went above my head... Then when I reread it it hit me. And made so much sense. From a screenwriting point of view to the film-making stage... It's a brilliant piece of work and made me think about approaching new creative steps in comic strip writing and in screenwriting.

Yo dale - if you read this you'll get something out of it too!!!

Notes on sound
by Robert Bresson
Sight and Hearing

To know what business that sound (or that image) has there.

What is for the eye must not duplicate what is for the ear.
If the eye is entirely won, give nothing or almost nothing to the ear*. One can not be at the same time all eye and all ear.
When a sound can replace an image, cut the image or neutralize it. The ear goes more toward the within, the eye toward the outer.
A sound must never come to the help of a image, nor an image to help the of sound.
If a sound is the obligatory complement of an image, give preponderance either to the sound or to the image. If equal, they damage or kill each other, as e say of colors
Image and sound must not support each other, but must work each in turn through a sort of relay.
The eye solicited alone makes the ear impatient, the ear solicited alone ,makes the eye impatient. Use these impatiences. Power of the cinematographer who appeals to the senses in governable way. Against the tactics of speed, of noise, set tactics of slowness, of silence

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

* And vice versa, if the ear is entirely won, give nothing to the eye. [Back]

Film Sound - theory and practice (p 149)

3/5 1997

AND WITH THAT... I'm GONE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!