London Day One ish

Just flickr'ed my first batch of photos from London, Day One (Kinda). These are more interesting than the Narita ones - arguably, the arty goodness of my photos increased over the trip... as you'd expect when you take like 100 photos every day for two months.

London Day One Photo Set






You can also subscribe to the photofeed and get updates for like ever. Wouldn't that be swell?

Speaking of swell, I just stumbled across an archive of the old Jinn website. memories.
In other news, I have stuff to write. Interesting stuff. Blog entries and scripts and comics and um intiative plans and dreams in my sleep. Here's an example from an unfinished entry from 4 months ago --

Cinema is a incredibly powerful semiotic emmiter. If a picture is worth a thousand words, then cinema tells 24,000 words a second -- 1,440,000 words a minute -- 86,400,000 an hour. (And thats ignoring the audible side of cinema). That's a lot of information that we as viewer effortlessly engage with, to mentally build a rich tapestry of meaning. In narrative cinema, this meaning-construction is guided by the larger structure of the story.

While much of the semiotic power of cinema lies in the hands of the Director (aided by the DoP, Production Designer, Composer, Sound Designer, Editor, VFX Supervisor, Set Dresser etc. etc.) - the semiotic language of a film begins on the page with the screenwriter. We lay the foundations for all the relationships in a film - characters, locations, chronologies, props, whatever - and a film is a dense web of such relationships. We design the correlations between things. But how do we talk about these correlations and the ways we design them? How do we understand them so we can get -better- at them?

-- god I'm a nerd.