Aka: J.Y. Amihud. A Jewish by blood, multifaceted artist with experience in film-making, visual effects, programming, game development, music and more. A philosopher at heart. An activist for freedom and privacy. Anti-Paternalist. A user of Libre Software. Speaking at least 3 human languages. The writer and director of the 2023 film "Moria's Race" and the lead developer of it's game sequel "Dani's Race".
From 1 years ago. Information or opinions might not be up to date.
When I was about 16 years old I went into my friend's house and saw a guitar. Without even having any money I asked him "How much for the guitar?". And bought it immediately. I had to return him chunks of money for the next year or so. A bit later, an old lady living in the same building as my mom, who was once a musician, decided that I worth be given a small electronic piano. Obviously I was quite excited to learn to make music and so I decided to record a bunch of songs. Which ended up being my first album ( 2015 ) "No Respect For Those Who Give Up".
The songs are very bad and kind of cringe. The English is not very good. But I still like some musical decisions in it. It is not 100% garbage. Only like 85% garbage.
There is a kind of very difficult film-style that is extremely complicated to do right, a kind of metaphorical, retro-futuristic, allegorically emotiono-political noir. I've seen many types of this done in such a surface level insane way that they are borderline unwatchable. A good example of this type of movie, which works to some extend, is Blender Foundation's Elephants Dream. But even that is so strange that you have to grind yourself through a strange feeling of something being not quite right when watching it. Megalopolis by Francis Ford Coppola seems like one that actually works. Which I consider to be a big achievement in cinematic science.