Podría empezar aquí con un Mc Guffin. Algo que nada que ver con lo que quiero contar. Sólo por despistar. Y desvariar.
A hick in his town wants to get a shot at the yellow cheerleader. An american classic car with three stunt women. Dos mandan. Una detrás, la que tiene más mojo, no es una de las que sabe el placer de la búsqueda del límite sobre ruedas. Una negra y una blanca. Especialistas. Tough affirmative women. Doing what women would love to do if they went out to meet at the edge of chaos. Filmaking is all about that decision. Two crazy characters. One on one talk in the middle of a highway. In the car, the thid one wearing pink talks about being spoken with a pleas. Seat bealts on ethe edge. Engine on. Sound of wheels. Motor. Una mancha roja. Hey, check this out. The woman goes out and we can film it. Real specialists. The car is going that fast. The bitch is there. She wants more. The bitch is on the edge. The three bitches are going at it. The pink one too now. After a . Check it out bitch. You wanna gon fucking faster. The come back to the still camara of the waiting bit, and now in motion. Oppsite direction as first time. The roads on the highways of Menorca. To remake it. The sunglasses on. The fucker chasing the girls. Our affirmative girls at the edge of chaos face down an even more extreme situation. Gratuita violencia. Ella ya solo tiene un cinturón que la protege. Y Weinstein se les tira encima con el choque de su verga negra sobre el coche de las asustadas mujeres ante el acoso de un macho subnormal. La gente creía que la historia era también el productor de la película. Con alevosía. Con el miedo de la mujer en la pantalla. Y en los acientos. Sienten el poder de elos hijos de la gran puta. Ser macho es ser eso. Ser y pensar en ser ese prota que las saca, a las tres pinches urbanitas pendejas. Fuck u mother fucker. The bitch hangs on. But the drone scenes of ther half left from the helicopter, she tells him to look out when the truck in the opostine direction. The camara that moves behind the black american car. The white american car with the raising speed to camera car. Black car ditch. Laught to camara in the driver seat. Out. Tha was awesome. The man comes out as a fellow I am a crazy American car loving fool. She shots him. He leaves. I am okay. She comes laughing. That was a close one. You want to do that again. Fuck that shit, let’s kill this bastard. Fuck yeah, bith bring that shit. A bitch that can hold out the door and not fall. She is a fucking specialist after all. So bring them to the edge. As the are trully her sisters keepers. So the go at the mother fucking Jeff Bridges wiskey drinking American with a fricking mullet. The racer American car. The run over scene. Back. Front. Let go scene. Down to get him. The hitting in the face. Shase him down. Enjoy it. Two on the screen. The outside side camara of the three. Enjoying the hunting down the bastard. Bum. Back. Face, glod. Red paint on the front window. The Jump of the two cars with the Dukes of Hazard in Quentins pitch to old Harvey. Remember, her? Brook. And then Harvey explained a really creepy story. But back then I was trying to impress him again so he pay for the production of this crazy idea where women were hunting down an American Hero. What’s that all about? Right, I’m sorry. I didn’t mean it. They talk with the scare man ast they are on the high end of the result on the outcome of the movie. The man has to go down. He’s got his low’s. Big lows. Jesus fucking Christ about time. But it’s the same scene with the upper road that meet the down dirt road where the high car jumps right on the back of the car, that twistes. The man taken down. Punches casting. Great women punching Harvey. For real. Fuycker. Haverys face, stops. The spining kick. The finish kick to the sky, from below, blue sky, white clouds, pink shirt black affirmative with right leg as high as it goes straight up. I can repeat that shot, for a similar script for my character on this one movie where I just slightly change a Tarantino-Weinstein film and get it right with the second way around. After, you know what. The Weinstein Company. That logo moment for the producer. The real artist allowing you the
Si sabes observar no necesitas formación.
Los gigantes del cine.
Harvey Keitel. The good Harvey.
80 years old old today.
I am going to take that film, not the image, but still legally, a part of the film, but it’s just to see the characters names: Quentin and Weinstein: the bad Harvey. And just try to follow the intention of the piece. To get from Quenting to Harvey. But this time we throw in the good Harvey. And we throw people off. The unexpected kills them. They are reading good literature. Finally. The picked up a book. No they didn’t. Read it on the phone. It was a Harvey phone, of course.
The man owned the industry. So whatever it is, it’s as big as the industry gets. So let’s assume there are nine great industries in this one market. One of them was left to the real crazy goons goint at it: fiction made into 99 minute flicks. Stories that changed the world: everytime. The great 99 stories we still haven’t heard about from this 99 muses muses/authors/affirmative/freespirit/bodyliberated/unfraid/pointingfingeratthebiggestdick/reempowered/sexified
RIGHT!, a crowd of 99 women cry.
What, bitch!… a crowd of 99 women cry.
The script can try to hide my bias. But I am still a Harvey man. Either one. We have all fallen. Yet, now we know. So we must come out one more time and say it. And forgive the machos. And let go. And we all can heal together. As if that is what we want, why not just achieve it, through perssuation. A global campaign. To just take over, no matter what we voted last. As we can all chip in. The world stops here. Time too. Space breaks. We fall into the new black whole. We all see the yellow and red rings. We follow meme road. You end up with a Snoop Dog one. And life’s just taking off.
Lolita. Hola hoop. Camara. See how relaxed you are getting. Or the filming stage of the house the day he meets Lolita. The first house scene. The posibility of filming the entire insed the house scenes in stage where the camara can roll around the crane of the first or second floor. A studio movie. The ball scene. Recreate La Paloma. You can Apolo you way our of it. Or Ideal. The married woman proposing some action to the man who’s interested in the teenager. Another role for a tv writer who’s dancing his way out with the style of night player. Did I do that? Did I? Yes, really great. Didn’t you have a daughter with a loverly name, so musically sounding: lo-li-ta. A second floor of La Paloma. The cámara up with a downward shot.
The facination for that species: the opposite sex.
Time completion unfolds.
Fundido a negro.
Then comes one