Sunday, February 28, 2010
Thursday, February 25, 2010
Tuesday, February 23, 2010
Sunday, February 21, 2010
Saturday, February 20, 2010
Thursday, February 18, 2010
music
i haven't listened to this in a while....music i used to fuck around with with my ex and roomates. blasts from the past
http://www.myspace.com/theramsbloodfamilyband
and heres another music thing i did with a friend
http://www.myspace.com/sexnotechno
hahah omg.
i like looking at old things and realizing how many lessons ive learned. just thought id share. xoxo
http://www.myspace.com/theramsbloodfamilyband
and heres another music thing i did with a friend
http://www.myspace.com/sexnotechno
hahah omg.
i like looking at old things and realizing how many lessons ive learned. just thought id share. xoxo
Tuesday, February 16, 2010
Monday, February 15, 2010
COME TO THIS
XOXO
NAT
ATTENTION DEFICIT
HI, I CAN BARELY FINISH WATCHING A VIDEO WITHOUT THINKING ABOUT WHICH ONE I WANT TO WATCH NEXT. HI, I CAN BARELY MAKE A VIDEO WITHOUT THINKING ABOUT WHICH VIDEO I WANT TO MAKE NEXT. SO I MADE THIS VIDEO THAT IS CLIPS OF A LOT OF MY VIDEOS SO YOU CAN SEE THEM ALL AT ONCE.
I LV YOU.
NATALIE
reel from Natalie Rodgers on Vimeo.
I LV YOU.
NATALIE
reel from Natalie Rodgers on Vimeo.
Saturday, February 13, 2010
Friday, February 12, 2010
Thursday, February 11, 2010
Tuesday, February 9, 2010
Friday, February 5, 2010
Wednesday, February 3, 2010
LA SHOW IN MARCH
IM STILL WORKING ON MY VIDEOS BUT SO FAR THEY ARE ENTERTAINING ME...SOME NEW KIND OF STUFF AND SOME OLD KIND OF STUFF. IM WORKING ON TRANSFORMATIONS.....EXCITING STUFF! CANT WAIT
XX
NATALIE
XX
NATALIE
Tuesday, February 2, 2010
ENTER THE VOID
I CANNOT WAIT TO SEE THIS!!!!!!!
http://www.soudainlevide.com/
“Making a film is difficult, but making a great film is an almost impossible task.”
This quote from Spielberg is perhaps not completely accurate, but that’s how I remember it. However, some examples of great films do exist, including the film which had such an influence on my existence: 2001, A Space Odyssey. Without professing to be able to create such a masterpiece, trying to make a film that is, at the same time, a large-scale entertainment, suitable for adults and complex in cinematic terms, is one of the most exciting undertakings one could wish to tackle. And if one does not set out with the aim of making a great film, one can be sure that it will not turn out to be one.
Few of the arts can satisfy man’s need to be uplifted as immediately as film. And none (except interactive video games) can yet reproduce the maelstrom of our states of perception and consciousness.
In the past, certain films have tried to adopt the subjective point of view of the main character. enter the void will try to improve upon its predecessors and accompany the hero just as much in his normal state of awareness as in his altered states: the state of alertness, the stream of consciousness, memories, dreams...
The visions described in the script are inspired partly by the accounts of people who have had near-death experiences, who describe a tunnel of light, seeing their lives flashing past them and ‘astral’ visions, and partly by similar hallucinatory experiences obtained by consuming DMT, the molecule which the brain sometimes secretes at the moment of death and which, in small doses, enables us to dream at night.
The film should sometimes scare the audience, make it cry and, as much as possible, hypnotise it.
In recent years, films with labyrinthine structures have proved the audience’s ability to follow storylines in the form of a puzzle, and its desire to move away from linear narration.
But a complex form where the content does not move the spectator in any way would only amount to mathematic virtuosity. Whereas this film is above all a melodrama: the universal melodrama of a young man who, after the brutal death of his parents, promises that he will protect his little sister no matter what and who, sensing that he himself is dying, fights desperately to keep his promise. A film where the life of one person is linked to the love he has for another human being.
The reason for choosing the most modern areas of Tokyo as a setting is to further emphasize the fragility of the brother and sister by propelling them like two small balls in a giant pinball machine made up of black, white and fluorescent colours.
My previous two films, which were far less ambitious, were once described by a critic as being like roller coasters playing with the most reptilian desires and fears of the spectator. enter the void, whose themes and artistic choices will be far more varied and colourful, should, if I succeed, be the Magic Mountain which I, as a spectator, dream of riding on."
Gaspar Noé
http://www.soudainlevide.com/
This quote from Spielberg is perhaps not completely accurate, but that’s how I remember it. However, some examples of great films do exist, including the film which had such an influence on my existence: 2001, A Space Odyssey. Without professing to be able to create such a masterpiece, trying to make a film that is, at the same time, a large-scale entertainment, suitable for adults and complex in cinematic terms, is one of the most exciting undertakings one could wish to tackle. And if one does not set out with the aim of making a great film, one can be sure that it will not turn out to be one.
Few of the arts can satisfy man’s need to be uplifted as immediately as film. And none (except interactive video games) can yet reproduce the maelstrom of our states of perception and consciousness.
In the past, certain films have tried to adopt the subjective point of view of the main character. enter the void will try to improve upon its predecessors and accompany the hero just as much in his normal state of awareness as in his altered states: the state of alertness, the stream of consciousness, memories, dreams...
The visions described in the script are inspired partly by the accounts of people who have had near-death experiences, who describe a tunnel of light, seeing their lives flashing past them and ‘astral’ visions, and partly by similar hallucinatory experiences obtained by consuming DMT, the molecule which the brain sometimes secretes at the moment of death and which, in small doses, enables us to dream at night.
The film should sometimes scare the audience, make it cry and, as much as possible, hypnotise it.
In recent years, films with labyrinthine structures have proved the audience’s ability to follow storylines in the form of a puzzle, and its desire to move away from linear narration.
But a complex form where the content does not move the spectator in any way would only amount to mathematic virtuosity. Whereas this film is above all a melodrama: the universal melodrama of a young man who, after the brutal death of his parents, promises that he will protect his little sister no matter what and who, sensing that he himself is dying, fights desperately to keep his promise. A film where the life of one person is linked to the love he has for another human being.
The reason for choosing the most modern areas of Tokyo as a setting is to further emphasize the fragility of the brother and sister by propelling them like two small balls in a giant pinball machine made up of black, white and fluorescent colours.
My previous two films, which were far less ambitious, were once described by a critic as being like roller coasters playing with the most reptilian desires and fears of the spectator. enter the void, whose themes and artistic choices will be far more varied and colourful, should, if I succeed, be the Magic Mountain which I, as a spectator, dream of riding on."
Gaspar Noé
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