24 hour workday

Th is fi lm should be 8-25 minutes long.

One or two ideas, kept simple.

Mostly regarding fi eldwork.

Audio should be compilations of assorted people reciting lines.

Recorded on iphone so all the same quality.

Sometimes overdubbed (2x people saying the same thing)

Use a variety of people.

Intro shot

*/spraypaint, slowmo, into air at night. Blue? (no)

*/open book, top shot - > spraypaint blue into center

it has to mean something.

I generally don’t listen to the choir while they’re singing.

did you fi nd yourself crying at the doorstep of a mosque?

there is a man,

and a dog

this time

do you believe in love?

well, it just hasn’t happened to me yet.

How can I be sure if I know? I usually just think I know.

*/sitting reading at food court, empty – varsity perhaps?

*/shot of book in between legs, fi ngers running through the pages /

low light

a relationship that reads less like an instruction manual, and more

like a poem

the importance passes

let us begin again

What does my face telling you when you say you love me?

*slo-mo of scrunched smile face, maybe

*general smily faces, in the street

I’m never sure, my face acts independently.

My eyes betray my better intentions.

I’m bored of my lips.

it’s our nose, darling

my face is an accident

the other more foreign

I’m sorry, I didn’t recognize you,

you’re who I remember you being.

blame your memory, not me

after all, who was it you swore to be true to?

I remember you cold, I told you not to bring a scarf

the warmth seemed promised

when do I see you again?

SPECULATION

will you love me forever

SPECULATION

and yet my line of questions is all set only for speculative answers

but love is sharing cigarettes and food,

and sleep

and wanting to not die

just quite yet

loving you without doom

new, with no point of reference

more immediately, ecstasy

further even, death

I sigh, meeting your mouth at the most exasperated end

lipsticked

the orgasm, postponed

you, the landscape

I’m as comfortable as can be

life as unremarkable as it is fi ne

deliberate saying nothing speaking

you’re adorable, I need to write.

I need to write, you’re adorable.

*/doing makeup

the retouching, like prose

*/staring beyond newspaper

I love the whole person

*/newspaper held in windshield wiper

le journaliste, en amour

how do you record silence?

desire is enough to keep death at bay

surely it’s better the devil you know

thou shalt not suff er a witch to live

like none of this ever happened

I think about you, you elsewhere

and I stay

and absence makes the heart

grow fonder?

makes the heart

hurt

but time multiplied by distance

speed multiplied by time

equals distance

equals desire

our math *both m/f say at same time

I think I biologically need you

I meteorically expect you to

*/botanical garden shot, slowed down gradually to like 5fps

is my nose bleeding or are you happy to see me?

I’ve always felt doomed

even in moments of pleasure?

the knowledge of the end lingers

and the orgasm?

an emotional atom bomb

how would I explain our relationship to a stranger

essential love

as in

is this essentially love

neutral spirits

gin and tonic daytime

it doesn’t count

the Switzerland of day drinking

what did you dream?

you coughed yourself awake

again

you coughed yourself awake then had a cigarette in the hallway

your point?

keep your earplugs in for me

I experience the apocalypse in fragments

*/aerial shot of bombing / war fi lmed off computer

we only know slowness by the calendar

*/

When I laugh, I sorta feel like puking.

But I have the fl u, and maybe I’m in love.

“well, it’s just that I’ve never felt like I’ve been loved the way that I

wanted.”

“feel free to change your defi nition.”

I don’t want to ruin it by making it a thing about other people

maybe this time it can be about us

how come when you give yourself a hickey it doesn’t feel the same?

*someone sucking on their wrist

I’m just as refl exive in my moods

overall more stable

no wounds to lick

*mouth shot

terms of convienence

conditions of failure

*same gestures reshot at slightly diff erent angles like an inch over

*fast shot / reverse shot

*/passing a book around

maybe we’ll get married

maybe we’ll never see each other again

*woman talking, no audio, face

*shot of same person talking, back of head

*color swatches on desk

A noir

E blanc

I rouge

U vert

*straight shot holding this swatch

O bleu

*sky, Gatorade, spraypaint, more blue

/*black

oh you

i get a kick out of you

what are you actually thinking of ?

/*/endblack

(this is the ending shot)

*shot, painting drying, being applied, canvas moving through the

street

I prefer this palate,

this temporary set of things. *paint gets blended

I would prefer not to start over. *painted canvas gets white streaks

in the middle

hello, real person

as if saying it makes you real,

this real

shot grabbing breast in cafe

“I love you I’m sorry”

Oct 28/2017

Mr. Von Trier,

Th e fi lm I have been currently working on, “Aucun Certain

Regard,” has been going well. Decently well, I mean. Reasonably

well.

I have been working on this fi lm while trying to honor the sacred

Vow of Chastity before I realized that my fi lm has been on DV.

DV being no aesthetic consideration – it’s a truth for a fi lm with

minimal budget.

It’s quite a problem.

However, I realize there have been exceptions.

example:

Korine’s Julien Donkey-Boy uses overlaid sound in the

intro montage, which goes against the tract – yet this fi lm has been

approved under Dogme 95 specifi cations.

Seeing as though the rules perhaps may be malleable, I must ask if

my format may be approved as a viable media in 2017.

If not, if the fi lm is projected and recaptured on Academy 35 – if

this an acceptable bypass?

Looking forward to taking my vows,

if not now, then.

Sincerely,

Dimitri Karakostas

730 Dovercourt, Toronto

###

“Kidnapping”

Situation du Cinema Instagram

“I like cinemascope, it wasn’t made for people – it’s only good for

snakes and funerals.” - FL

“Th e Greeks gave us logic. We owe them for that. It was Aristotle

who came up with the big ‘therefore’. As in, ‘You don’t love me

any more, therefore . . . ‘ Or, ‘I found you in bed with another man,

therefore . . . ‘ We use this word millions of times, to make our most

important decisions. It’s about time we started paying for it.” - JLG

opening line:

“I just don’t understand.”

closing line:

“therefore, we must remain complicit1 to the bitter end.”

focus:

“Other things could just have easily happened, then we would have

had a diff erent fi lm.”

“the greatest independent fi lmmakers of our age are shooting cats

sleeping, or people falling off buildings.”

-putting 4x6s on a table, arranging them, storyboarding

“the narrative leads nowhere. the images, however pretty, are the

only thing worth saving.”

notes:

-there can be no music. the focus must be on ambient noise.

1 complicit not lucid, yes

delayed fi lm for Rhodia 2017

I don’t like my notebooks to live that long.

I usually have three or four notebooks on the go at any time,

as I fi nd this crucial to keep work fresh.

Sometimes I feel like I haven’t found the right sized notebook for

whatever it is that i’m working on.

Currently:

bloc rhodia #12 3.3x4.7cm

for lists and small notes on potential work

usually kept in jacket pocket

speedball bienfang sketch, 5.5x8.5in

more comprehensive lists and agenda

essay outlines, designs for print and web,

labeled ‘logic’ on the cover

kept on me almost always

bloc rhodia ‘notebook’ 22.5x29.7cm

formal fi rst drafts

storyboards

allowed to go to the coff ee shop then immediately

returned home

Th ese three sizes and organizations of content I fi nd critical to

maintain a level of control over my life and work Even though I

rarely focus on the to-do lists, I fi nd it important that it exists –

however uncrossed. Th e cross notebook platform usually ensures

that something truly important doesn’t get lost – it might wind up

in all three notebooks as the idea evolves.

Th is system allows for a cycle of transcribing that tends to help

keep work fresh: approximately every two weeks a notebook gets

transcribed to the last written page. Th e used pages are then taped

up, eff ectively creating a new notebook unburdened by old ideas.

Current examples of which include:

white rhodia, 33 pages remaining.

Often times the notebook reaches its psychic end before it has been

fi lled. It just feels impossible to write in. It sits open and nothing

changes on the blank pages.

A judgment call must be made- to seal and store it away, or allow it

to hang around, forever unfi nished?

Th ese notebooks have exhausted their purpose, and therefore must

be retired in order to make room for fresh content.

Some things are fi nished, other things are just done.

a fi lm based on a formula

an artist, no, a writer,

longs for someone stationed in france,

no, rural north America,

the writer poses several scenarios of how things could work out

-most of them involving THEM working out

on paper, it seems plausible,

but the prose is unsatisfactory

and the story lacks structure

so what usually happens, happened

nothing

the script was fi ne but the fi lm doesn’t get made

after all, it was mostly images of a pretty girl smoking, reading, and

eventually being bothered.

c’est comme ça, point barre

Scene: I want you to stop talking to me.

(stop sign side screen with car crashed into it)

I was laying in bed after engaging in a voracious lovemaking

session (crowd screams and dub sirens etc) yeah yeah and

after realizing I was not going to climax and that it was seven

in the morning and I had no drugs left I decided it was time to

go to sleep. Right? So I roll over and wrap myself up in the

blankets (side screen rolls clip of me rolling over and wrapping my

self up) and my partner continued to try to chat. And I’m like, hey,

i’m sleeping here. (cheering) right guys? (howls) right?

(dogs barking) and i’m just like i’m sleeping here (dmx song plays)

right? and she gets mad and leaves and won’t return my calls and

i’m getting worried. I mean I miss her a lot. She means the world

to me. She’s my everything. So call me. Please. Return my texts

at least let me know you’re okay. If you’re into that sort of thing.

Scene: I’m fairly sure my drug dealer got arrested

(me wearing tiny glasses)

So it is a sad day here, on this show, in this place. I haven’t heard

from my drug dealer in four or fi ve days so I assume he is dead or

in jail because he wouldn’t just ignore me, I pay my bills, I do right

by him I think. I mean like, I think I’m too old to get a new drug

dealer. I can’t imagine starting over. Th is is really hard for me. If

you are a nice boy drug dealer that isn’t interested in murdering me

I suppose you can text me or call me I mean like, anytime, just hit

me up.

(phone number fl ashes on screen)

Scene: drinking problem

(cool people spring break drinking)

I believe I have a drinking problem. (crowd laughs) (someone

throws water in my face) (fi rst synth key of nothing compares to

you repeats) (scene cuts to me wearing small glasses) just kidding

don’t worry about me haha hey! (Seinfeld theme starts and gets

bitsmashed)

Scene: simple things

(head in hands) (handjob thing in screen)

I just want… simple things, you know, handjobs in the back of a

cab on our way to go eat noodles or taco bell, yeah, just not even

the whole way: just a bit. A couple tugs. Th at is a thing I would like

to happen. I think that could happen to me.

(me laying on the ground)

Scene: THINGS I HATE

(Spin around in chair real fast)

Th ree things I freakin hate

1 octopus taste and sometimes that includes mushroom taste

2 being alone in a crowded room or in an alone room

3

“fucking look at this mess

eberutjomg is wrpmg

disaster

fuck

this isn’t my fucking idea”

Scene: Plant Montage

succulents

more like

succ

my

lance

(text overlaid on screen)

with mmm whatcha say imogen heap song playing also

Scene:

If you would like to engage in protected sex with this man, press 1

(Stock footage of man throwing phone away)

Scene: perverts guide to instagram

THE MATERIAL FORCE OF INSTAGRAM

MAKES ME NOT SEE WHAT I AM EFFECTIVELY

EATING.

IT’S NOT ONLY OUR REALITY WHICH

ENSLAVES US.

THE TRAGEDY OF OUR

PREDICAMENT WHEN WE ARE USING

INSTRAGRAM IS THAT WHEN WE THINK

THAT WE ESCAPE IT INTO OUR DREAMS,

AT THAT POINT WE ARE WITHIN INSTAGRAM.

a treatment for a rap video

for this project we will require two camera people: me, henceforth

referred to as “camera a;” and another, “camera b.”

ideally, this would be shot on dv with two sony vx2000s. camera

a would be equipped with a century optics mkii .3x ultra fi sheye,

camera b would be entirely stock. perhaps a lens hood.

the artist and their pals would be walking three steps forward

towards camera a and then fi ve steps backwards in rhythm with

the song. camera a follows close from a low point of view, pointing

upwards. they look heroic, massive. their gestures wild, emphasized

with the fi sheye distortion. they lip sync their words perfectly. this

is being shot on a busy street. perhaps queen. camera b follows

about ten feet back, observing all the action and the gazes of the

onlookers simultaneously. the pedestrians are unsure what to make

of the situation.

“who are these guys?” they wonder.

this continues for three minutes or whatever the duration of the

song is, rather.

they are draped in all white and the shots are overexposed.

aucun certain regard

a girl is in a cafe, coff ee, minding her own business

text over and overdub:

“everything is about a girl, reading, waiting to be bothered”

(title cards) what -> happens -> next

the cinema cut and paste must keep a certain level of original

content. we can fi nd the happy medium, i’m sure.

there is nobody i feel can recite the lines. the words aren’t diffi cult,

but perhaps they are better read?

this fi lm started as an essay, which made more sense as a novel,

which maybe works as a fi lm. nobody is going to read an essay. i’ll

be lucky if people read the subtitles. who can i get to narrate this

fi lm? nobody wants to do that. no favors will be honored for this

task. so what. the next fi lm will have actors, yeah, with love poems

caught in their throat.

what came fi rst, infi nity or the void?

(throwing books on fl oor [wcf ],

food coloring in bowl[inf ], coff ee in same bowl[void])

with a little eff ort, it’s easy to forget (shots of buff ed graffi ti)

or to remember (catching tag over buff ed piece)

whichever you prefer

i refuse to let the novel interfere with the fi lm

why did you send me a photograph of your bookshelf ?

i thought we were sexting

what is it that you’re looking for?

SENSITIVE FEATURES

something you lack?

UNINTERRUPTED SLEEP

alone, together, until later

i always start sunday the same way. no shower, no coff ee, lingering

slowly around the house. get up, clothes on, walk east towards the

bookstores. usually, i’m not explicitly looking for any one thing. the

walk is the reward. clear head, focus. it’s become more than routine:

part of the meditation required for restoring reason into the week.

there is a lot of losing to come

you have to stand still

to really appreciate the eclipse, you have to stand motionlessbarely

breathing, trying to focus on the white dot moving slowly

over unnatural black sky.

i couldn’t see anything. a by-product of far-sightedness, perhaps?

i handed my special glasses away, they weren’t doing me any good.

you have to stand still

to really appreciate the eclipse

all heads pointed skywards

you have to stand still

detachment

this is a fi lm about a couple breaking up.

“separation anxiety”

shot: glass of wine being poured, brad picks up in hand with three

fi ngers and carries it to a table. camera pans left where actor sits

alone. this new POV is the dominant shot (think the pendulum

shot, godard).

the man yawns, the screen shows:

“a yawn is an afterthought of love”

(points, beyond here, are useless and this project has been long

abandoned due to creative diff erences with former collaborators.)

this was just a surrealist fi lm about cutting up lovers.

“this isn’t love. this is something else.”

“yeah, it’s chianti.”

this is always what happens

a sex scene

an attack

an attack

a sex scene

a car chase

a stand-off

the characters get paired off

a twist

a subtle diff erence

someone bursts out laughing