So a real cinema movie project is being developed, and as explained in my previous article about it I don't have the money to shoot a real chase scene. Instead I gonna use CGI as much as possible, to cut down the costs ( but not my sanity ).
As I explained in my article on the matter a quality of a film could be measured in how well it "corrupts" the audience. And being a motherfucking genius Paul Thomas Anderson decided to show everybody, who's the boss. His 2021 film Licorice Pizza which was nominated for the Best Picture, Best Director and Best Screenplay at the Oscars. And has a fairly decent 90% score on Rottent Tomatoes, is doing the same thing as Luc Besson's Leon: The Professional, but better. To put it lightly, it shows a romance between a minor and an adult. And it says that "it's okay, actually".
Somehow film-makers stop being nobodies and become somebodies. There is always the first film. There is always something that puts you under the spotlight, allowing you to make the movie you've always wanted to make. Let's look at those first films and how they got to be made. And analyze the patterns. And hopefully find a clue of what to do ourselves.
Once upon the time, I remember feeling utterly unpleasant toward playing racing games where cars did not break. I thought that GTA games, for example, were far more realistic because making mistakes and crashing into something is going to break the car and therefor you have to drive more carefully. Yes I was a strange kid. But I did enjoy games such as Flat Out where the objective is to crash your car as much as possible. I think I liked games that simulate reality, rather then those that are just made for fun. You could imagine how excited I was when I saw videos of this new racing game that came out at about 2013 called BeamNG Drive. A game where cars don't just swap body shapes with pre-modeled deformations. But a game that simulates the destruction fully. Using soft body physics. I didn't play it. At first my computer was way too slow and there was no GNU / Linux support. Then the game became paid. Then I changed from being a mere "Linux user" to being a "GNU / Linux user", which meant that this game is not good for my freedom. But is it though?
I reviewed a lot of films on this website and in almost every review I mention the name of Steven Spielberg. It's not because every movie I review is made by Spielberg. But it seem like every director can be viewed on a scale of Spielbergness. And the higher you go on that scale the better. At the top there is Steven Spielberg himself.
When you make a film, you tent to seek inspiration and advice from those who make good films. Before September my main activities were my job and the articles I write. I did some programming on the side. Like the infamous FastLBRY LBRY client. But that was it.
I just wrote a functional program in C. It is not doing anything too fancy. But I'm so happy about it because of what it means. For the longest time I didn't know pretty much nothing except of Python. I can use Python for a lot of very interesting stuff. But I want to be able to look at code written in different languages and know what I'm looking at. I want to be able to make changes to the UPBGE game engine for my game Dani's Race and stuff.
I know, I know, UPBGE is a fork of Blender and therefor is written in C++, not C. What am I wasting my time, learning C, for? Well...
I'm the stupidest man alive. Back in 2021 or so I wrote an article on Odysee where I basically outlined my plan to do Dani's Race, my libre open world game. Yet while the idea is descent and the game turned out to be quite fun, I completely disregarded any considerations when it comes to the market. I didn't think about who might want to play it.
I had to rewrite my one spaghetti code noodle of a server code to be something a bit more worthy of having on a normal domain. Something a bit more workable. And so I did it. And this time I made sure the software will be written not only for myself, but for anybody who would like to have a similar website.
We all know that James Cameron is a master when it comes to making sequels. His films like Terminator 2, Avatar 2 and Aliens are extremely good examples of how to make a sequel right. Unlike Steven Spielberg that avoids sequels. Steven avoided doing the second Jaws movie. James Cameron goes for it and wins. Speaking of Steven Spielberg's Jaws, not only sequels from that film were produced. Rip-offs, like the 1978 Piranha by Joe Dante also were produced. Those were parody material B-movie exploitation films. And so writer / director James Cameron decided to take the project of making a sequel to that Jaws rip-off, with his 1982 Piranha II: The Spawning.
There is a certain trend, or more like a curse, among film-makers that suggests, that by movie number 4 there is a moment of the film-maker going completely insane. Steven Spielberg's 4th theatrical film was 1941, which is one of the most unhinged things he ever did. Damien Chazelle's 4th film was Babylon, which is arguably equally unhinged. So I suppose let's analyze this phenomenon. But for the fun of it, I will make this analysis using the new feature I just added to the markdown parser of this website.
Like it or not, but it seems like a large majority of hate toward Jewish people stems from the rate of Jewish success, which is apparently so large, that people form conspiracy theories, which I would love to be true, about Jewish elite classes or whatever, that rig the system in favor of Jews above anyone else ( actually if I think about this hard enough something like this is theoretically possible, but it would be completely decentralized and almost utterly uncoordinated ) . The truth is perhaps anti-climatically mundane in comparison.
Quentin Tarantino stated that a quality of a film is measured in how well it corrupts the audience, showing as an example the 1971 Don Siegel film Dirty Harry where the main character ( a cop ) is trying to catch a psychopathic serial killer, which leads him into breaking the rules, because of the nature of the threat. He basically throws the civil liberties out of the window to catch the motherfucker, because otherwise the motherfucker is uncatchable. Which makes the audience for a moment, share that idea, and have a reason all of a sudden to not give basic human rights to bad people. Some people called this movie a "Nazi Propaganda Piece" but it is undeniable, the movie succeeded at corrupting its audience and therefore it is a picture of a great quality.
Just a year ago we had Nosferatu by Robert Eggers. A truly horrid type of a horror film, based on the story of Dracula. A real cinematic treat for the fans of horror. But then suddenly in 2025 Luc Besson was just like... "Hey, I also made a Dracula movie". At first I was skeptical about it. Why would Luc Besson care about some horror tale? But after finally seeing it I must tell: This movie has more to do with Guillermo del Toro's Frankenstein than Nosferatu. And I am not just talking about Christoph Waltz here...