I am everything trying to become the Nothing. I am the masturbator. I am the masturbator in the park at dawn. I am the masturbator in the car yelling at you. I am the masturbator pretending its all ok.
I am the savior, the resurrected relic of late nineteen teen's Dadaism. I am the dirty rig your best friend OD'd on. I am the proletariate shitting on the bourgeoisie. I am the Belial of Houston St. I am the brittle paint cracking, enticing the release of a William Blake quote. I am the white male. I am the white male you were warned about. EAT ME functions as an Immersive experience, utilizing narrative video, set design, and live performative interaction to explore themes of sex, violence, anonymity, and social isolation.
The installation not only blurs the line between the notion of life imitating art and vice versa it aims to turn base gender roles on their heads, just as the film itself subverts the recurring woman as victim theme often seen in the exploitation-horror genre. Kind of like trying to climb mount Everest without a ton of supplies while smoking cigarettes, and with a bunch of weights strapped to your back during an avalanche. Or something like that anyway.
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Jonathan Mayor: What's new? What are you currently working on? Monihan: We're working on a few things. First up, post-production on our Coast to Coast road trip movie, currently titled " Sea To Shining Sea ", but we might change that. So she's in it too. It's about loneliness, pissed off youth, and listening to people when they need to be heard.
I know that sounds highly esoteric but I don't want to give too much away. And to answer your question about collaboration, almost everything I'm working on, I work on with Sheena. She's focused and 'professional' in a way that I'm definitely not. Creating a collaborative community to move modern manufacturing forward and grow responsible businesses. I head the digital arm of New Lab. JM: How'd you guys first get started in film, and how did you make the transition into feature film? Also, how did you guys first meet and decide to work together? Monihan: I come from a skateboarding background and used to make skate films.
I was skating and working with a company called H-Street and we made a really poorly produced skate video that also happened to have some amazing skating in it. Most of the people in the video were nobodies, but because the skating was so good, the video quality didn't matter all that much. The video stole some of the thunder from more polished skate companies and kind of changed the landscape of skate movies. So that was sort of my film school. I saw that if the content was good, it didn't matter if it was polished at all. It was the same thing I knew instinctively from my music tastes or whatever and now I knew it could be applied to film too.
I finally stopped competing and focused only on creative things, then started making more skate videos for various people, and did other odd jobs, the whole time trying to figure out how I could get someone to give me a huge bag of money so I could actually make a proper film.
It took me a while, but eventually I realized it would never happen. So I plotted and schemed ideas on how to make a movie for no money at all. These were the days before everyone and their grandma had an HD camera, so I constructed a story based on a fact that literally enraged me, which meant I'd have the drive to see it through. Sheena: I moved around a lot as a child I was born in Ireland, grew up in India and moved to New York in my early 20s. And film has always been a defining medium for me to relate to the rest of the world.
My grad school thesis was a short film shot in Bosnia and Herzegovina about post-war ruins.
I look at it now and I see a terribly pretentious student film, but the experience of making that film had a profound impact on me. By now I felt like I was actually more mature and had a better grasp of the the kind of films I wanted to make and why. And meeting Monihan changed everything for me.
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I'd had my share of past relationships and I was pretty content being on my own when we met. But suddenly here was someone who really just shone above the rest and he tuned into me in this effortless way. Our talents complimented each other and we both felt like we were learning a lot from each other. Working together came naturally and we have been creative partners ever since we made our first little film together. Maybe we should just tell them how we met already. Monihan: We met online. I was pretty much stalking her on the internet. Each person being featured would then choose another person.
So my friend Livingroom Johnston interviewed me, so I had to find someone to interview. They said yes, so I wrote Sheena an email. Sheena: I was working full time, on top of doing this very time-consuming project, and somehow the whole thing went viral and I was suddenly getting a lot of interview requests. The 30 minute interview lasted 3 hours.
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Sheena: The rest is history. Or history in the making.
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Watch a snapshot of the full days of The Uniform Project here. Monihan: Everyone in New York has seen people handing the cards with trinkets out on the train. But most people don't know why they stopped seeing all these people all of a sudden. Or why they were actually doing it. So when you tell them that everyone was actually deaf and that they were being forced to do it, that it was modern day slavery that they were witnessing, people can't believe it.
Because they experienced it. Saw it every day. It was only in the papers for like two days when they caught the group running the ring. So if you weren't up on your current events, it could have just flown past you with the quick news cycle. But it's something that I couldn't ignore. Even when I didn't fully know what was going on, I still had a hunch that it was some dehumanizing shit. And I used to get very upset with people when they'd write it off like the people on the train were scam artists. I mean, look, there are way easier and less degrading ways to make a few bucks in NYC.
It was desperation. So I knew that there was something going on. I also knew we could make the film for no money, shoot illegally on the trains, and just use the city as the backdrop, so that all prompted us to make the film. But we still had no money to make a feature length movie and I didn't even have a job at the time but we had access to a camera, and we also had a lot of friends who were out of work, so everyone committed to working on L.
And yeah, free camera Somehow they picked us. We asked if we would keep the rights to the film, which they agreed to. They only wanted to have this little screening thing for their marketing event, but we would maintain all rights.
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So we told them we wanted to make a full length movie, not just a short. And I'd let them show the first 10 minutes. They gave us the camera and free flights to central America, where the film begins. It took forever to get the shooting finished, because nobody was ever available at the same time and you can't complain when everyone is doing something for free.
But after a couple years of non-stop headaches, we had something that looked like a movie. And then, somehow, a festival decided to let us in and the pebble was rolling. JM: How much of a struggle labor of love is it to get a film like that made?
Monihan: It's nearly impossible. No money means no insurance, no permits, and that everything needs to be begged, borrowed, or stolen. A highly unprofessional way to make something.