Podcasts about Bolex

Trusting the process is a really important way to free yourself, and the film, to discover what it is.Viridiana Lieberman is an award-winning documentary filmmaker. She recently edited the Netflix sensation The Perfect Neighbor.In this interview we talk:* Viri's love of the film Contact* Immersion as the core goal in her filmmaking* Her editing tools and workflow* Film school reflections* The philosophy and process behind The Perfect Neighbor — crafting a fully immersive, evidence-only narrative and syncing all audio to its original image.* Her thoughts on notes and collaboration* Techniques for seeing a cut with fresh eyesYou can see all of Viri's credits on her IMD page here.Thanks for reading The Creativity, Education, and Leadership Newsletter! Subscribe for free to receive new posts and support my work.Here is an AI-generated transcript of our conversation. Don't come for me.BEN: Viri, thank you so much for joining us today.VIRI: Oh, thank you for having me. I'm excited to be here.BEN: And I always like to start with a fun question. So senior year of high school, what music were you listening to?VIRI: Oh my goodness. Well, I'm class of 2000, so I mean. I don't even know how to answer this question because I listen to everything.I'm like one of those people I was raving, so I had techno in my system. I have a lot of like, um. The, like, everything from Baby Ann to Tsta. Like, there was like, there was a lot, um, Oak and like Paul Oak and Full, there was like techno. Okay. Then there was folk music because I loved, so Ani DeFranco was the soundtrack of my life, you know, and I was listening to Tori Amos and all that.Okay. And then there's like weird things that slip in, like fuel, you know, like whatever. Who was staying? I don't remember when they came out. But the point is there was like all these intersections, whether I was raving or I was at Warp Tour or I was like at Lili Fair, all of those things were happening in my music taste and whenever I get to hear those songs and like that, that back late nineties, um, rolling into the Ox.Yeah.BEN: I love the Venn diagram of techno and folk music.VIRI: Yeah.BEN: Yeah. What, are you a fan of the film inside Lou and Davis?VIRI: Uh, yes. Yes. I need to watch it again. I watched it once and now you're saying it, and I'm like writing it on my to-dos,BEN: but yes, it, it, the first time I saw it. I saw in the East Village, actually in the theater, and I just, I'm a Cohen Brothers fan, but I didn't love it.Mm-hmm. But it, it stayed on my mind and yeah. Now I probably rewatch it once a year. It might, yeah. In my, in my, on my list, it might be their best film. It's so good. Oh,VIRI: now I'm gonna, I'm putting it on my, I'm literally writing it on my, um, post-it to watch it.BEN: I'mVIRI: always looking for things to watch in the evening.BEN: What, what are some of the docs that kind of lit your flame, that really turned you on?VIRI: Uh, this is one of those questions that I, full transparency, get very embarrassed about because I actually did not have a path of documentary set for me from my film Loving Passion. I mean, when I graduated film school, the one thing I knew I didn't wanna do was documentary, which is hilarious now.Hilarious. My parents laugh about it regularly. Um. Because I had not had a good documentary education. I mean, no one had shown me docs that felt immersive and cinematic. I mean, I had seen docs that were smart, you know, that, but, but they felt, for me, they didn't feel as emotional. They felt sterile. Like there were just, I had seen the most cliched, basic, ignorant read of doc.And so I, you know, I dreamed of making space epics and giant studio films. Contact was my favorite movie. I so like there was everything that about, you know, when I was in film school, you know, I was going to see those movies and I was just chasing that high, that sensory high, that cinematic experience.And I didn't realize that documentaries could be. So it's not, you know, ever since then have I seen docs that I think are incredible. Sure. But when I think about my origin tale, I think I was always chasing a pretty. Not classic, but you know, familiar cinematic lens of the time that I was raised in. But it was fiction.It was fiction movies. And I think when I found Docs, you know, when I was, the very long story short of that is I was looking for a job and had a friend who made docs and I was like, put me in coach, you know, as an editor. And she was like, you've never cut a documentary before. I love you. Uh, but not today.But no, she hired me as an archival producer and then I worked my way up and I said, no, okay, blah, blah, blah. So that path showed me, like I started working on documentaries, seeing more documentaries, and then I was always chasing that cinema high, which by the way, documentaries do incredibly, you know, and have for many decades.But I hadn't met them yet. And I think that really informs. What I love to do in Docs, you know, I mean, I think like I, there's a lot that I like to, but one thing that is very important to me is creating that journey, creating this, you know, following the emotion, creating big moments, you know, that can really consume us.And it's not just about, I mean, not that there are films that are important to me, just about arguments and unpacking and education. At the same time, we have the opportunity to do so much more as storytellers and docs and we are doing it anyway. So that's, that's, you know, when, it's funny, when light my fire, I immediately think of all the fiction films I love and not docs, which I feel ashamed about.‘cause now I know, you know, I know so many incredible documentary filmmakers that light my fire. Um, but my, my impulse is still in the fiction world.BEN: Used a word that it's such an important word, which is immersion. And I, I first saw you speak, um, a week or two ago at the doc NYC Pro panel for editors, documentary editors about the perfect neighbor, which I wanna talk about in a bit because talk about a completely immersive experience.But thank you first, uh, contact, what, what is it about contact that you responded to?VIRI: Oh my goodness. I, well, I watched it growing up. I mean, with my dad, we're both sci-fi people. Like he got me into that. I mean, we're both, I mean he, you know, I was raised by him so clearly it stuck around contact for me. I think even to this day is still my favorite movie.And it, even though I'm kind of a style nut now, and it's, and it feels classic in its approach, but. There's something about all the layers at play in that film. Like there is this crazy big journey, but it's also engaging in a really smart conversation, right? Between science and faith and some of the greatest lines from that film.Are lines that you can say to yourself on the daily basis to remind yourself of like, where we are, what we're doing, why we're doing it, even down to the most basic, you know, funny, I thought the world was what we make it, you know, it's like all of these lines from contact that stick with me when he says, you know, um, did you love your father?Prove it. You know, it's like, what? What is proof? You know? So there were so many. Moments in that film. And for me, you know, climbing into that vessel and traveling through space and when she's floating and she sees the galaxy and she says they should have sent a poet, you know, and you're thinking about like the layers of this experience and how the aliens spoilers, um, you know, show up and talk to her in that conversation herself.Anyways, it's one of those. For me, kind of love letters to the human race and earth and what makes us tick and the complexity of identity all in this incredible journey that feels so. Big yet is boiled down to Jody Foster's very personal narrative, right? Like, it's like all, it just checks so many boxes and still feels like a spectacle.And so the balance, uh, you know, I, I do feel my instincts normally are to zoom in and feel incredibly personal. And I love kind of small stories that represent so much and that film in so many ways does that, and all the other things too. So I'm like, how did we get there? But I really, I can't, I don't know what it is.I can't shake that film. It's not, you know, there's a lot of films that have informed, you know, things I love and take me out to the fringe and take me to the mainstream and, you know, on my candy and, you know, all those things. And yet that, that film checks all the boxes for me.BEN: I remember seeing it in the theaters and you know everything you said.Plus you have a master filmmaker at the absolute top Oh god. Of his class. Oh my,VIRI: yes,BEN: yes. I mean, that mirror shot. Know, know, I mean, my jaw was on the ground because this is like, right, right. As CGI is started. Yes. So, I mean, I'm sure you've seen the behind the scenes of how theyVIRI: Yeah.BEN: Incredible.VIRI: Years.Years. We would be sitting around talking about how no one could figure out how he did it for years. Anybody I met who saw contact would be like, but how did they do the mirror shot? Like I nobody had kind of, yeah. Anyways, it was incredible. And you know, it's, and I,BEN: I saw, I saw it just with some civilians, right?Like the mirror shot. They're like, what are you talking about? The what? Huh?VIRI: Oh, it's so funny you bring that up because right now, you know, I went a friend, I have a friend who's a super fan of Wicked. We went for Wicked for Good, and there is a sequence in that film where they do the mirror jot over and over and over.It's like the, it's like the. Special device of that. It feels that way. That it's like the special scene with Glenda and her song. And someone next to me was sitting there and I heard him under his breath go,wow.Like he was really having a cinematic. And I wanted to lean over and be like, watch contact, like, like the first time.I saw it was there and now it's like people have, you know, unlocked it and are utilizing it. But it was, so, I mean, also, let's talk about the opening sequence of contact for a second. Phenomenal. Because I, I don't think I design, I've ever seen anything in cinema in my life like that. I if for anybody who's listening to this, even if you don't wanna watch the entire movie, which of course I'm obviously pitching you to do.Watch the opening. Like it, it's an incredible experience and it holds up and it's like when, yeah. Talk about attention to detail and the love of sound design and the visuals, but the patience. You wanna talk about trusting an audience, sitting in a theater and that silence Ah, yeah. Heaven film heaven.BEN: I mean, that's.That's one of the beautiful things that cinema does in, in the theater. Right. It just, you're in, you're immersed in this case, you know, pulling away from earth through outer space at however many, you know, hundreds of millions of miles an hour. You can't get that anywhere else. Yeah. That feeling,VIRI: that film is like all the greatest hits reel of.Storytelling gems. It's like the adventure, the love, the, you know, the, the complicated kind of smart dialogue that we can all understand what it's saying, but it's, but it's doing it through the experience of the story, you know, and then someone kind of knocks it outta the park without one quote where you gasp and it's really a phenomenal.Thing. Yeah. I, I've never, I haven't talked about contact as much in ages. Thank you for this.BEN: It's a great movie. It's there, and there were, there were two other moments in that movie, again when I saw it, where it's just like, this is a, a master storyteller. One is, yeah. When they're first like trying to decode the image.Mm-hmm. And you see a swastika.VIRI: Yeah. Oh yeah. And you're like,BEN: what the, what the f**k? That was like a total left turn. Right. But it's, it's, and I think it's, it's from the book, but it's like the movie is, it's, it's, you know, it's asking these questions and then you're like totally locked in, not expecting.You know, anything from World War II to be a part of this. And of course in the movie the, go ahead.VIRI: Yeah, no, I was gonna say, but the seed of thatBEN: is in the first shot,VIRI: scientifically educating. Oh yes. Well, the sensory experience, I mean, you're like, your heart stops and you get full Bo chills and then you're scared and you know, you're thinking a lot of things.And then when you realize the science of it, like the first thing that was broadcast, like that type of understanding the stakes of our history in a space narrative. And, you know, it, it just, there's so much. You know, unfurling in your mind. Yeah. In that moment that is both baked in from your lived experiences and what you know about the world, and also unlocking, so what's possible and what stakes have already been outside of this fiction, right?Mm-hmm. Outside of the book, outside of the telling of this, the reality of what has already happened in the facts of it. Yeah. It's really amazing.BEN: And the other moment we're just, and now, you know, being a filmmaker, you look back and I'm sure this is, it falls neatly and at the end of the second act. But when Tom scars, you know, getting ready to go up on the thing and then there's that terrorist incident or whatever, and the whole thing just collapses, the whole, um, sphere collapses and you just like, wait, what?Is that what's gonna happen now?VIRI: Yeah, like a hundred million dollars in it. It does too. It just like clink pun. Yeah. Everything.BEN: Yeah.VIRI: Think they'll never build it again. I mean, you just can't see what's coming after that and how it went down, who it happened to. I mean, that's the magic of that film, like in the best films.Are the ones where every scene, every character, it has so much going into it. Like if somebody paused the film there and said, wait, what's happening? And you had to explain it to them, it would take the entire movie to do it, you know, which you're like, that's, we're in it. Yeah. Anyway, so that's a great moment too, where I didn't, and I remember when they reveal spoilers again, uh, that there's another one, but when he is zooming in, you know, and you're like, oh, you know, it just, it's, yeah.Love it. It's wonderful. Now, I'm gonna watch that tonight too. IBEN: know, I, I haven't probably, I probably haven't watched that movie in 10 years, but now I gotta watch it again.VIRI: Yeah.BEN: Um, okay, so let's talk doc editing. Yes. What, um, I always like to, I heard a quote once that something about when, when critics get together, they talk meaning, and when artists get together, they talk paint.So let's talk paint for a second. What do you edit on?VIRI: I cut mainly on Avid and Premier. I, I do think of myself as more of an avid lady, but there's been a lot of probably the films that have done the most. I cut on Premier, and by that I mean like, it's interesting that I always assume Avid is my standard yet that most of the things that I love most, I cut on Premiere right now.I, I toggle between them both multiple projects on both, on both, um, programs and they're great. I love them equal for different reasons. I'm aBEN: big fan of Avid. I think it gets kind of a, a bad rap. Um, what, what are the benefits of AVID versus pr? I've never used Premier, but I was a big final cut seven person.So everybody has said that. Premier kind of emulates Final cut. Seven.VIRI: I never made a past seven. It's funny, I recently heard people are cutting on Final Cut Pro again, which A adds off. But I really, because I thought that ship had sailed when they went away from seven. So with, I will say like the top line things for me, you know, AVID forces you to control every single thing you're doing, which I actually think it can feel hindering and intimidating to some folks, but actually is highly liberating once you learn how to use it, which is great.It's also wonderful for. Networks. I mean, you can send a bin as a couple kilobyte. Like the idea that the shared workflow, when I've been on series or features with folks, it's unbeatable. Uh, you know, it can be cumbersome in like getting everything in there and stuff like that and all, and, but, but it kind of forces you to set up yourself for success, for online, for getting everything out.So, and there's a lot of good things. So then on conversely Premier. It's amazing ‘cause you can hit the ground running. You just drag everything in and you go. The challenge of course is like getting it out. Sometimes that's when you kind of hit the snaps. But I am impressed when I'm working with multiple frame rates, frame sizes, archival for many decades that I can just bring it into Premier and go and just start cutting.And you know, also it has a lot of intuitive nature with other Adobe Pro, you know, uh, applications and all of this, which is great. There's a lot of shortcuts. I mean, they're getting real. Slick with a lot of their new features, which I have barely met. I'm like an archival, I'm like a ancient picture editor lady from the past, like people always teach me things.They're just like, you know, you could just, and I'm like, what? But I, so I guess I, you know, I don't have all the tech guru inside talk on that, but I think that when I'm doing short form, it does feel like it's always premier long form. Always seems to avid. Team stuff feels avid, you know, feature, low budge features where they're just trying to like make ends meet.Feel Premier, and I think there's an enormous accessibility with Premier in that regard. But I still feel like Avid is a studios, I mean, a, a studio, well, who knows? I'm cut in the studios. But an industry standard in a lot of ways it still feels that way.BEN: Yeah, for sure. How did you get into editing?VIRI: I went to film school and while I was there, I really like, we did everything.You know, we learned how to shoot, we learned everything. Something about editing was really thrilling to me. I, I loved the puzzle of it, you know, I loved putting pieces together. We did these little funny exercises where we would take a movie and cut our own trailer and, you know, or they'd give us all the same footage and we cut our scene from it and.Itwas really incredible to see how different all those scenes were, and I loved finding ways to multipurpose footage, make an entire tone feel differently. You know, like if we're cutting a scene about a bank robbery, like how do you all of a sudden make it feel, you know, like romantic, you know, or whatever.It's like how do we kind of play with genre and tone and how much you can reinvent stuff, but it was really structure and shifting things anyways, it really, I was drawn to it and I had fun editing my things and helping other people edit it. I did always dream of directing, which I am doing now and I'm excited about, but I realized that my way in with editing was like learning how to do a story in that way, and it will always be my language.I think even as I direct or write or anything, I'm really imagining it as if I'm cutting it, and that could change every day, but like when I'm out shooting. I always feel like it's my superpower because when I'm filming it's like I know what I have and how I'll use it and I can change that every hour.But the idea of kind of knowing when you've got it or what it could be and having that reinvented is really incredible. So got into edit. So left film school. And then thought and loved editing, but wasn't like, I'm gonna be an editor. I was still very much on a very over, you know what? I guess I would say like, oh, I was gonna say Overhead, broad bird's eye.I was like, no, I'm gonna go make movies and then I'll direct ‘em and onward, but work, you know, worked in post houses, overnights, all that stuff and PA and try made my own crappy movies and you know, did a lot of that stuff and. It kept coming back to edit. I mean, I kept coming back to like assistant jobs and cutting, cutting, cutting, cutting, and it just felt like something that I had a skill for, but I didn't know what my voice was in that.Like I didn't, it took me a long time to realize I could have a voice as an editor, which was so dumb, and I think I wasted so much time thinking that like I was only search, you know, like that. I didn't have that to bring. That editing was just about. Taking someone else's vision. You know, I'm not a set of hands like I'm an artist as well.I think we all are as editors and I was very grateful that not, not too long into, you know, when I found the doc path and I went, okay, I think this is where I, I can rock this and I'm pretty excited about it. I ended up working with a small collection of directors who all. Respected that collaboration.Like they were excited for what I do and what I bring to it and felt, it made me feel like we were peers working together, which was my fantasy with how film works. And I feel like isn't always the constant, but I've been spoiled and now it's what I expect and what I want to create for others. And you know, I hope there's more of us out there.So it's interesting because my path to editing. Was like such a, a practical one and an emotional one, and an ego one, and a, you know, it's like, it's like all these things that have led me to where I am and the perfect neighbor is such a culmination of all of that. For sure.BEN: Yeah. And, and I want to get into it, uh, first the eternal question.Yeah. Film school worth it or not worth it?VIRI: I mean, listen, I. We'll share this. I think I've shared this before, but relevant to the fact I'll share it because I think we can all learn from each other's stories. I did not want to go to college. Okay? I wanted to go straight to la. I was like, I'm going to Hollywood.I wanted to make movies ever since I was a kid. This is what I'm gonna do, period. I come from a family of teachers. All of my parents are teachers. My parents divorced. I have my stepparent is teacher, like everybody's a teacher. And they were like, no. And not just a teacher. My mom and my dad are college professors, so they were like college, college, college.I sabotaged my SATs. I did not take them. I did not want to go to college. I was like, I am going to Los Angeles. Anyways, uh, my parents applied for me. To an accredited arts college that, and they were like, it's a three year try semester. You'll shoot on film, you can do your, you know, and they submitted my work from high school when I was in TV production or whatever.Anyways, they got me into this little college, and when I look back, I know that that experience was really incredible. I mean, while I was there, I was counting the days to leave, but I know that it gave me not only the foundation of. You know, learning, like, I mean, we were learning film at the time. I don't know what it's like now, but like we, you know, I learned all the different mediums, which was great on a vocational level, you know, but on top of that, they're just throwing cans of film at us and we're making all the mistakes we need to make to get where we need to get.And the other thing that's happening is there's also like the liberal arts, this is really, sounds like a teacher's kid, what I'm about to say. But like, there's also just the level of education To be smarter and learn more about the world, to inform your work doesn't mean that you can't. You can't skip college and just go out there and find your, and learn what you wanna learn in the stories that you journey out to tell.So I feel really torn on this answer because half of me is like. No, you don't need college. Like just go out and make stuff and learn what you wanna learn. And then the other half of me have to acknowledge that, like, I think there was a foundation built in that experience, in that transitional time of like semi-structure, semi independence, you know, like all the things that come with college.It's worth it, but it's expensive as heck. And I certainly, by the time I graduated, film wasn't even a thing and I had to learn digital out in the world. And. I think you can work on a film set and learn a hell of a lot more than you'll ever learn in a classroom. And at the same time, I really love learning.So, you know, my, I think I, my parents were right, they know it ‘cause I went back to grad school, so that was a shock for them. But I think, but yeah, so I, I get, what I would say is, it really is case, this is such a cop out of an answer, case by case basis. Ask yourself, you know, if you need that time and if you, if you aren't gonna go.You need to put in the work. You have to really like go out, go on those sets, work your tail off, seek out the books, read the stuff, you know, and no one's gonna hand you anything. And my stories are a hell of a lot, I think smarter and eloquent because of the education I had. Yeah.BEN: So you shuttle on, what was the school, by the way?VIRI: Well, it was called the, it was called the International Fine Arts College. It no longer exists because Art Institute bought it. It's now called the Miami International University of Art and Design, and they bought it the year I graduated. So I went to this tiny little arts college, uh, but graduated from this AI university, which my parents were like, okay.Um, but we were, it was a tiny little college owned by this man who would invite all of us over to his mansion for brunch every year. I mean, it was very strange, but cool. And it was mainly known for, I think fashion design and interior design. So the film kids, we all kind of had, it was an urban campus in Miami and we were all like kind of in a wado building on the side, and it was just kind of a really funky, misfit feeling thing that I thought was, now when I look back, I think was like super cool.I mean, they threw cans of film at us from the very first semester. There was no like, okay, be here for two years and earn your opportunity. We were making stuff right away and all of our teachers. All of our professors were people who were working in the field, like they were ones who were, you know, writing.They had written films and fun fact of the day, my, my cinematography professor was Sam Beam from Iron and Wine. If anybody knows Iron and Wine, like there's like, there's like we, we had crazy teachers that we now realize were people who were just probably trying to pay their bills while they were on their journey, and then they broke out and did their thing after we were done.BEN: Okay, so shooting on film. Yeah. What, um, was it 16 or 35? 16. And then how are you doing sound? No, notVIRI: 35, 16. Yeah. I mean, we had sound on Dax, you know, like we were recording all the mm-hmm. Oh, when we did the film. Yeah, yeah. Separate. Yeah, yeah, yeah. We did the Yeah. Syncs soundBEN: into a We did a,VIRI: yeah, we did, we did one.We shot on a Bolex, I think, if I remember it right. It did like a tiny, that probably was eight, you know? But the point is we did that on. The flatbed. After that, we would digitize and we would cut on media 100, which was like this. It was, I think it was called the, I'm pretty sure it was called Media 100.It was like this before avid, you know. A more archaic editing digital program that, so we did the one, the one cut and splice version of our, our tiny little films. And then we weren't on kind of beautiful steam backs or anything. It was like, you know, it was much, yeah, smaller. But we had, but you know, we raced in the changing tents and we did, you know, we did a lot of film, love and fun.And I will tell you for your own amusement that we were on set once with somebody making their short. The girl at the AC just grabbed, grabbed the film, what's, oh my God, I can't even believe I'm forgetting the name of it. But, um, whatever the top of the camera grabbed it and thought she had unlocked it, like unhinged it and just pulled it out after all the film just come spooling out on set.And we were like, everybody just froze and we were just standing there. It was like a bad sketch comedy, like we're all just standing there in silence with like, just like rolling out of the camera. I, I'll never forget it.BEN: Nightmare. Nightmare. I, you know, you said something earlier about when you're shooting your own stuff.Being an editor is a little bit of a superpower because you know, oh, I'm gonna need this, I'm gonna need that. And, and for me it's similar. It's especially similar. Like, oh, we didn't get this. I need to get an insert of this ‘cause I know I'm probably gonna want that. I also feel like, you know, I came up, um, to instill photography, 35 millimeter photography, and then when I got into filmmaking it was, um, digital, uh, mini DV tape.So, but I feel like the, um, the structure of having this, you know, you only have 36 shots in a still camera, so you've gotta be sure that that carried over even to my shooting on digital, of being meticulous about setting up the shot, knowing what I need. Whereas, you know, younger people who have just been shooting digital their whole lives that just shoot everything and we'll figure it out later.Yeah. Do do you, do you feel you had that Advant an advantage? Yes. Or sitting on film gave you some advantages?VIRI: I totally, yes. I also am a firm believer and lover of intention. Like I don't this whole, like we could just snap a shot and then punch in and we'll, whatever. Like it was my worst nightmare when people started talking about.We'll shoot scenes and something, it was like eight K, so we can navigate the frame. And I was like, wait, you're not gonna move the camera again. Like, it just, it was terrifying. So, and we passed that, but now the AI stuff is getting dicey, but the, I think that you. I, I am pretty romantic about the hands-on, I like books with paper, you know, like, I like the can, the cinematographer to capture, even if it's digital.And those benefits of the digital for me is like, yes, letting it roll, but it's not about cheating frames, you know, like it's about, it's about the accessibility of being able to capture things longer, or the technology to move smoother. These are good things. But it's not about, you know, simplifying the frame in something that we need to, that is still an art form.Like that's a craft. That's a craft. And you could argue that what we choose, you know, photographers, the choice they make in Photoshop is the new version of that is very different. Like my friends who are dps, you know, there's always like glasses the game, right? The lenses are the game. It's like, it's not about filters In posts, that was always our nightmare, right?The old fix it and post everybody's got their version of their comic strip that says Fix it and post with everything exploding. It's like, no, that's not what this is about. And so, I mean, I, I think I'll always be. Trying to, in my brain fight the good fight for the craftiness of it all because I'm so in love with everything.I miss film. I'm sad. I miss that time. I mean, I think I, it still exists and hopefully someday I'll have the opportunity that somebody will fund something that I'm a part of that is film. And at the same time there's somewhere in between that still feels like it's honoring that freshness. And, and then now there's like the, yeah, the new generation.It's, you know, my kids don't understand that I have like. Hand them a disposable camera. We'll get them sometimes for fun and they will also like click away. I mean, the good thing you have to wind it so they can't, they can't ruin it right away, but they'll kind of can't fathom that idea. And um, and I love that, where you're like, we only get 24 shots.Yeah, it's veryBEN: cool. So you said you felt the perfect neighbor, kind of, that was the culmination of all your different skills in the craft of editing. Can you talk a little bit about that?VIRI: Yes. I think that I spent, I think all the films, it's like every film that I've had the privilege of being a part of, I have taken something like, there's like some tool that was added to the tool belt.Maybe it had to do with like structure or style or a specific build to a quote or, or a device or a mechanism in the film, whatever it is. It was the why of why that felt right. That would kind of be the tool in the tool belt. It wouldn't just be like, oh, I learned how to use this new toy. It was like, no, no.There's some kind of storytelling, experience, technique, emotion that I felt that Now I'm like, okay, how do I add that in to everything I do? And I want every film to feel specific and serve what it's doing. But I think a lot of that sent me in a direction of really always approaching a project. Trying to meet it for like the, the work that only it can do.You know, it's like, it's not about comps. It's not about saying like, oh, we're making a film that's like, fill in the blank. I'm like, how do we plug and play the elements we have into that? It's like, no, what are the elements we have and how do we work with them? And that's something I fought for a lot on all the films I've been a part of.Um, and by that I mean fight for it. I just mean reminding everybody always in the room that we can trust the audience, you know, that we can. That, that we should follow the materials what, and work with what we have first, and then figure out what could be missing and not kind of IME immediately project what we think it needs to be, or it should be.It's like, no, let's discover what it is and then that way we will we'll appreciate. Not only what we're doing in the process, but ultimately we don't even realize what it can do for what it is if we've never seen it before, which is thrilling. And a lot of those have been a part of, there have been pockets of being able to do that.And then usually near the end there's a little bit of math thing that happens. You know, folks come in the room and they're trying to, you know, but what if, and then, but other people did. Okay, so all you get these notes and you kind of reel it in a little bit and you find a delicate balance with the perfect neighbor.When Gita came to me and we realized, you know, we made that in a vacuum like that was we, we made that film independently. Very little money, like tiny, tiny little family of the crew. It was just me and her, you know, like when we were kind of cutting it together and then, and then there's obviously producers to kind of help and build that platform and, and give great feedback along the way.But it allowed us to take huge creative risks in a really exciting way. And I hate that I even have to use the word risks because it sounds like, but, but I do, because I think that the industry is pushing against, you know, sometimes the spec specificity of things, uh, in fear of. Not knowing how it will be received.And I fantasize about all of us being able to just watch something and seeing how we feel about it and not kind of needing to know what it is before we see it. So, okay, here comes the perfect neighbor. GTA says to me early on, like, I think. I think it can be told through all these materials, and I was like, it will be told through like I was determined and I held us very strict to it.I mean, as we kind of developed the story and hit some challenges, it was like, this is the fun. Let's problem solve this. Let's figure out what it means. But that also came within the container of all this to kind of trust the audience stuff that I've been trying to repeat to myself as a mantra so I don't fall into the trappings that I'm watching so much work do.With this one, we knew it was gonna be this raw approach and by composing it completely of the evidence, it would ideally be this kind of undeniable way to tell the story, which I realized was only possible because of the wealth of material we had for this tracked so much time that, you know, took the journey.It did, but at the same time, honoring that that's all we needed to make it happen. So all those tools, I think it was like. A mixed bag of things that I found that were effective, things that I've been frustrated by in my process. Things that I felt radical about with, you know, that I've been like trying to scream in, into the void and nobody's listening.You know, it's like all of that because I, you know, I think I've said this many times. The perfect neighbor was not my full-time job. I was on another film that couldn't have been more different. So I think in a, in a real deep seated, subconscious way, it was in conversation with that. Me trying to go as far away from that as possible and in understanding what could be possible, um, with this film.So yeah, it's, it's interesting. It's like all the tools from the films, but it was also like where I was in my life, what had happened to me, you know, and all of those. And by that I mean in a process level, you know, working in film, uh, and that and yes, and the values and ethics that I honor and wanna stick to and protect in the.Personal lens and all of that. So I think, I think it, it, it was a culmination of many things, but in that approach that people feel that has resonated that I'm most proud of, you know, and what I brought to the film, I think that that is definitely, like, I don't think I could have cut this film the way I did at any other time before, you know, I think I needed all of those experiences to get here.BEN: Oh, there's so much there and, and there's something kind of the. The first part of what you were saying, I've had this experience, I'm curious if you've had this experience. I sort of try to prepare filmmakers to be open to this, that when you're working with something, especially Doc, I think Yeah. More so Doc, at a certain point the project is gonna start telling you what it wants to be if you, if you're open to it.Yes. Um, but it's such a. Sometimes I call it the spooky process. Like it's such a ephemeral thing to say, right? Like, ‘cause you know, the other half of editing is just very technical. Um, but this is like, there's, there's this thing that's gonna happen where it's gonna start talking to you. Do you have that experience?VIRI: Yes. Oh, yes. I've also been a part of films that, you know, they set it out to make it about one person. And once we watched all the footage, it is about somebody else. I mean, there's, you know, those things where you kind of have to meet the spooky part, you know, in, in kind of honoring that concept that you're bringing up is really that when a film is done, I can't remember cutting it.Like, I don't, I mean, I remember it and I remember if you ask me why I did something, I'll tell you. I mean, I'm very, I am super. Precious to a fault about an obsessive. So like you could pause any film I've been a part of and I'll tell you exactly why I used that shot and what, you know, I can do that. But the instinct to like just grab and go when I'm just cutting and I'm flowing.Yeah, that's from something else. I don't know what that is. I mean, I don't. People tell me that I'm very fast, which is, I don't know if that's a good or a bad thing, but I think it really comes from knowing that the job is to make choices and you can always go back and try different things, but this choose your own adventure novel is like just going, and I kind of always laugh about when I look back and I'm like, whoa, have that happen.Like, you know, like I don't even. And I have my own versions of imposter syndrome where I refill mens and I'm like, oh, got away with that one. Um, or every time a new project begins, I'm like, do I have any magic left in the tank? Um, but, but trusting the process, you know, to what you're socking about is a really important way to free yourself and the film to.Discover what it is. I think nowadays because of the algorithm and the, you know, I mean, it's changing right now, so we'll see where, how it recalibrates. But for a, for a while, over these past years, the expectations have, it's like shifted where they come before the film is like, it's like you create your decks and your sizzles and you write out your movie and you, and there is no time for discovery.And when it happens. It's like undeniable that you needed to break it because it's like you keep hitting the same impasse and you can't solve it and then you're like, oh, that's because we have to step outta the map. But I fear that many works have suffered, you know, that they have like followed the map and missed an opportunity.And so, you know, and for me as an editor, it's always kinda a red flag when someone's like, and here's the written edit. I'm like, what? Now let's watch the footage. I wanna know where There's always intention when you set up, but as people always say, the edit is kind of the last. The last step of the storytelling process.‘cause so much can change there. So there is, you know, there it will reveal itself. I do get nerdy about that. I think a film knows what it is. I remember when I was shooting my first film called Born to Play, that film, we were. At the championship, you know, the team was not, thought that they were gonna win the whole thing.We're at the championship and someone leaned over to me and they said, you know, it's funny when a story knows it's being filmed. And I was like, ah. I think about that all the time because now I think about that in the edit bay. I'm like, okay, you tell me, you know, what do you wanna do? And then you kind of like, you match frame back to something and all of a sudden you've opened a portal and you're in like a whole new theme.It's very cool. You put, you know, you put down a different. A different music temp, music track, and all of a sudden you're making a new movie. I mean, it's incredible. It's like, it really is real world magic. It's so much fun. Yeah,BEN: it is. It's a blast. The, so, uh, I saw you at the panel at Doc NYC and then I went that night or the next night and watched Perfect Neighbor blew me away, and you said something on the panel that then blew me away again when I thought about it, which is.I think, correct me if I'm wrong, all of the audio is syncedVIRI: Yeah. To the footage.BEN: That, to me is the big, huge, courageous decision you made.VIRI: I feel like I haven't said that enough. I don't know if folks understand, and it's mainly for the edit of that night, like the, I mean, it's all, it's, it's all that, but it was important.That the, that the sound would be synced to the shock that you're seeing. So when you're hearing a cop, you know, a police officer say, medics, we need medics. If we're in a dashboard cam, that's when it was, you know, echoing from the dashboard. Like that's what, so anything you're hearing is synced. When you hear something coming off from the per when they're walking by and you hear someone yelling something, you know, it's like all of that.I mean, that was me getting really strict about the idea that we were presenting this footage for what it was, you know, that it was the evidence that you are watching, as you know, for lack of a better term, unbiased, objectively as possible. You know, we're presenting this for what it is. I, of course, I have to cut down these calls.I am making choices like that. That is happening. We are, we are. Composing a narrative, you know, there, uh, that stuff is happening. But to create, but to know that what you're hearing, I'm not applying a different value to the frame on, on a very practical syn sound way. You know, it's like I'm not gonna reappropriate frames.Of course, in the grand scheme of the narrative flow with the emotions, you know, the genre play of this horror type film, and there's a lot happening, but anything you were hearing, you know, came from that frame. Yeah.BEN: That's amazing. How did you organize the footage and the files initially?VIRI: Well, Gita always likes to laugh ‘cause she is, she calls herself my first ae, which is true.I had no a, you know, I had, she was, she had gotten all that material, you know, she didn't get that material to make a film. They had originally, this is a family friend who died and when this all happened, they went down and gathered this material to make a case, to make sure that Susan didn't get out. To make sure this was not forgotten.You know, to be able to utilize. Protect the family. And so there was, at first it was kind of just gathering that. And then once she got it, she realized that it spanned two years, you know, I mean, she, she popped, she was an editor for many, many years, an incredible editor. She popped it into a system, strung it all out, sunk up a lot of it to see what was there, and realized like, there's something here.And that's when she called me. So she had organized it, you know, by date, you know, and that, that originally. Strung out a lot of it. And then, so when I came in, it was just kind of like this giant collection of stuff, like folders with the nine one calls. How long was the strung out? Well, I didn't know this.Well, I mean, we have about 30 hours of content. It wasn't one string out, you know, it was like there were the call, all the calls, and then the 9 1 1 calls, the dash cams. The ring cams. Okay. Excuse me. The canvassing interviews, audio only content. So many, many. Was about 30 hours of content, which honestly, as most of us editors know, is not actually a lot I've cut.You know, it's usually, we have tons more than that. I mean, I, I've cut decades worth of material and thousands of hours, you know, but 30 hours of this type of material is very specific, you know, that's a, that's its own challenge. So, so yeah. So the first, so it was organized. It was just organized by call.Interview, you know, some naming conventions in there. Some things we had to sync up. You know, the 9 1 1 calls would overlap. You could hear it in the nine one one call center. You would hear someone, one person who called in, and then you'd hear in the background, like the conversation of another call. It's in the film.There's one moment where you can hear they're going as fast as they can, like from over, from a different. So there was so much overlap. So there was some syncing that we kind of had to do by ear, by signals, by, you know, and there's some time coding on the, on the cameras, but that would go off, which was strange.They weren't always perfect. So, but that, that challenge unto itself would help us kind of really screen the footage to a finite detail, right. To like, have, to really understand where everybody is and what they're doing when,BEN: yeah. You talked about kind of at the end, you know, different people come in, there's, you know, maybe you need to reach a certain length or so on and so forth.How do you, um, handle notes? What's your advice to young filmmakers as far as navigating that process? Great question.VIRI: I am someone who, when I was a kid, I had trouble with authority. I wasn't like a total rebel. I think I was like a really goody goody too. She was borderline. I mean, I had my moments, but growing up in, in a journey, an artistic journey that requires you to kind of fall in love with getting critiques and honing things and working in teams.And I had some growing pains for a long time with notes. I mean, my impulse was always, no. A note would come and I'd go, no, excuse me. Go to bed, wake up. And then I would find my way in and that would be great. That bed marinating time has now gone away, thank goodness. And I have realized that. Not all notes, but some notes have really changed the trajectory of a project in the most powerful waves.And it doesn't always the, to me, what I always like to tell folks is it's, the notes aren't really the issues. It's what? It's the solutions people offer. You know? It's like you can bring up what you're having an issue with. It's when people kind of are like, you know what I would do? Or you know what you think you should do, or you could do this.You're like, you don't have to listen to that stuff. I mean, you can. You can if you have the power to filter it. Some of us do, some of us don't. I've worked with people who. Take all the notes. Notes and I have to, we have to, I kind of have to help filter and then I've worked with people who can very quickly go need that, don't need that need, that, don't need that.Hear that, don't know how to deal with that yet. You know, like if, like, we can kind of go through it. So one piece of advice I would say is number one, you don't have to take all the notes and that's, that's, that's an honoring my little veary. Wants to stand by the vision, you know, and and fight for instincts.Okay. But the second thing is the old classic. It's the note behind the note. It's really trying to understand where that note's coming from. Who gave it what they're looking for? You know, like is that, is it a preference note or is it a fact? You know, like is it something that's really structurally a problem?Is it something that's really about that moment in the film? Or is it because of all the events that led to that moment that it's not doing the work you think it should? You know, the, the value is a complete piece. So what I really love about notes now is I get excited for the feedback and then I get really excited about trying to decipher.What they mean, not just taking them as like my to-do list. That's not, you know, that's not the best way to approach it. It's really to get excited about getting to actually hear feedback from an audience member. Now, don't get me wrong, an audience member is usually. A producer in the beginning, and they have, they may have their own agenda, and that's something to know too.And maybe their agenda can influence the film in an important direction for the work that they and we all wanted to do. Or it can help at least discern where their notes are coming from. And then we can find our own emotional or higher level way to get into solving that note. But, you know, there's still, I still get notes that make me mad.I still get notes where I get sad that I don't think anybody was really. Watching it or understanding it, you know, there's always a thought, you know, that happens too. And to be able to read those notes and still find that like one kernel in there, or be able to read them and say, no kernels. But, but, but by doing that, you're now creating the conviction of what you're doing, right?Like what to do and what not to do. Carrie, equal value, you know, so you can read all these notes and go, oh, okay, so I am doing this niche thing, but I believe in it and. And I'm gonna stand by it. Or like, this one person got it and these five didn't. And I know that the rules should be like majority rules, but that one person, I wanna figure out why they got it so that I can try to get these, you know, you get what I'm saying?So I, I've grown, it took a long time for me to get where I am and I still have moments where I'm bracing, you know, where I like to scroll to see how many notes there are before I even read them. You know, like dumb things that I feel like such a kid about. But we're human. You know, we're so vulnerable.Doing this work is you're so naked and you're trying and you get so excited. And I fall in love with everything. I edit so furiously and at every stage of the process, like my first cut, I'm like, this is the movie. Like I love this so much. And then, you know, by the 10th root polling experience. I'm like, this is the movie.I love it so much. You know, so it's, it's painful, but at the same time it's like highly liberating and I've gotten a lot more flowy with it, which was needed. I would, I would encourage everybody to learn how to really enjoy being malleable with it, because that's when you find the sweet spot. It's actually not like knowing everything right away, exactly what it's supposed to be.It's like being able to know what the heart of it is. And then get really excited about how collaborative what we do is. And, and then you do things you would've never imagined. You would've never imagined, um, or you couldn't have done alone, you know, which is really cool. ‘cause then you get to learn a lot more about yourself.BEN: Yeah. And I think what you said of sort of being able to separate the idea of, okay, something maybe isn't clicking there, versus whatever solution this person's offering. Nine times outta 10 is not gonna be helpful, but, but the first part is very helpful that maybe I'm missing something or maybe what I want to connect is not connecting.VIRI: And don't take it personally. Yeah. Don't ever take it personally. I, I think that's something that like, we're all here to try to make the best movie we can.BEN: Exactly.VIRI: You know? Yeah. And I'm not gonna pretend there aren't a couple sticklers out there, like there's a couple little wrenches in the engine, but, but we will, we all know who they are when we're on the project, and we will bind together to protect from that.But at the same time, yeah, it's, yeah. You get it, you get it. Yeah. But it's really, it's an important part of our process and I, it took me a while to learn that.BEN: Last question. So you talked about kind of getting to this cut and this cut and this cut. One of the most important parts of editing, I think is especially when, when you've been working on a project for a long time, is being able to try and see it with fresh eyes.And of course the, one of the ways to do that is to just leave it alone for three weeks or a month or however long and then come back to it. But sometimes we don't have that luxury. I remember Walter Merch reading in his book that sometimes he would run the film upside down just to, mm-hmm. You know, re re redo it the way his brain is watching it.Do you have any tips and tricks for seeing a cut with fresh eyes? OhVIRI: yeah. I mean, I mean, other than stepping away from it, of course we all, you know, with this film in particular, I was able to do that because I was doing other films too. But I, one good one I always love is take all the music out. Just watch the film without music.It's really a fascinating thing. I also really like quiet films, so like I tend to all of a sudden realize like, what is absolutely necessary with the music, but, but it, it really, people get reliant on it, um, to do the work. And you'd be pleasantly surprised that it can inform and reinvent a scene to kind of watch it without, and you can, it's not about taking it out forever, it's just the exercise of watching what the film is actually doing in its raw form, which is great.Switching that out. I mean, I can, you know, there's other, washing it upside down, I feel like. Yeah, I mean like there's a lot of tricks we can trick our trick, our brain. You can do, you could also, I. I think, I mean, I've had times where I've watched things out of order, I guess. Like where I kind of like go and I watch the end and then I click to the middle and then I go back to the top, you know?And I'm seeing, like, I'm trying to see if they're all connecting, like, because I'm really obsessed with how things begin and how they end. I think the middle is highly important, but it really, s**t tells you, what are we doing here? Like what are we set up and where are we ending? And then like, what is the most effective.Journey to get there. And so there is a way of also kind of trying to pinpoint the pillars of the film and just watching those moments and not kind, and then kind of reverse engineering the whole piece back out. Yeah, those are a couple of tricks, but more than anything, it's sometimes just to go watch something else.If you can't step away from the project for a couple of weeks, maybe watch something, you could, I mean, you can watch something comparable in a way. That tonally or thematically feels in conversation with it to just kind of then come back and feel like there's a conversation happening between your piece and that piece.The other thing you could do is watch something so. Far different, right? Like, even if you like, don't like, I don't know what I'm suggesting, you'd have to, it would bend on the project, but there's another world where like you're like, all right, I'm gonna go off and watch some kind of crazy thrill ride and then come back to my slow burn portrait, you know, and, and just, just to fresh the pal a little bit, you know?I was like that. It's like fueling the tanks. We should be watching a lot of stuff anyways, but. That can happen too, so you don't, you also get to click off for a second because I think we can get, sometimes it's really good to stay in it at all times, but sometimes you can lose the force for the, you can't see it anymore.You're in the weeds. You're too close to it. So how do we kind of shake it loose? Feedback sessions, by the way, are a part, is a part of that because I think that when you sit in the back of the room and you watch other people watch the film, you're forced to watch it as another person. It's like the whole thing.So, and I, I tend to watch people's body language more than, I'm not watching the film. I'm like watching for when people shift. Yeah, yeah. I'm watching when people are like coughing or, you know, or when they, yeah. Whatever. You get it. Yeah. Yeah. That, that, soBEN: that is the most helpful part for me is at a certain point I'll bring in a couple friends and I'll just say, just want you to watch this, and I'm gonna ask you a couple questions afterwards.But 95% of what I need is just sitting there. Watching them and you said exactly. Watching their body language.VIRI: Yeah. Oh man. I mean, this was shoulder, shoulder shooks. There's, and you can tell the difference, you can tell the difference between someone's in an uncomfortable chair and someone's like, it's like whenever you can sense it if you're ever in a theater and you can start to sense, like when they, when they reset the day, like whenever we can all, we all kind of as a community are like, oh, this is my moment.To like get comfortable and go get a bite of popcorn. It's like there's tells, so some of those are intentional and then some are not. Right? I mean, if this is, it goes deeper than the, will they laugh at this or will they be scared at this moment? It really is about captivating them and feeling like when you've, when you've lost it,BEN: for sure.Yeah. Very. This has been fantastic. Oh my God, how fun.VIRI: I talked about things here with you that I've haven't talked, I mean, contact so deeply, but even film school, I feel like I don't know if that's out there anywhere. So that was fun. Thank you.BEN: Love it. Love it. That, that that's, you know, that's what I hope for these interviews that we get to things that, that haven't been talked about in other places.And I always love to just go in, you know, wherever the trail leads in this case. Yeah. With, uh, with Jody Foster and Math McConaughey and, uh, I mean, go see it. Everybody met this. Yeah. Uh, and for people who are interested in your work, where can they find you?VIRI: I mean, I don't update my website enough. I just go to IMDB.Look me up on IMDB. All my work is there. I think, you know, in a list, I've worked on a lot of films that are on HBO and I've worked on a lot of films and now, you know, obviously the perfect neighbor's on Netflix right now, it's having an incredible moment where I think the world is engaging with it. In powerful ways beyond our dreams.So if you watch it now, I bet everybody can kind of have really fascinating conversations, but my work is all out, you know, the sports stuff born to play. I think it's on peacock right now. I mean, I feel like, yeah, I love the scope that I've had the privilege of working on, and I hope it keeps growing. Who knows.Maybe I'll make my space movie someday. We'll see. But in the meantime, yeah, head over and see this, the list of credits and anything that anybody watches, I love to engage about. So they're all, I feel that they're all doing veryBEN: different work. I love it. Thank you so much.VIRI: Thank you. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com

The Cinematography Podcast Episode 308: Jessica Lee Gagné Cinematographer Jessica Lee Gagné is an essential creative force behind Severance on Apple TV+. She has an expanded role in the show's second season with a producer credit and directs the pivotal episode 207, “Chikhai Bardo.” The series' unique look and world-building is meticulously crafted through extensive testing and close collaboration between her and showrunner Ben Stiller, who also directs the majority of episodes. For Severance Season 2, Jessica embraced a darker aesthetic, intentionally tweaking the look from the previous season. Even within the artificial office environment of Lumon, she pursues a blend of natural realism and heightened visuals, favoring practical, in-camera effects whenever possible. Location shooting for the episodes “Woe's Hollow” and “Sweet Vitriol” required flexibility due to changing weather conditions. Unexpected foggy weather worked in the crew's favor while shooting “Woe's Hollow” and enhanced the spooky atmosphere of Irving's nightmare sequence. Inside the Lumon offices, lighting is pre-planned as part of the production design, with lights built into the ceiling and the set. Season 2 introduces more complex and colorful lighting cues compared to the first season, especially in the finale. Vibrant green and blue lighting creates a feeling of chaos during the “Choreography and Merriment” marching band performance, and intense red emergency lighting strobes down the halls as Mark and Helly attempt their escape. “Red is a color that we don't use in the show in general,” notes Jessica. “You have this association with love, passion, intensity with the color red. And then in the final shot, we land in this deep red moment with them, that was transferred onto film in the end and rescanned to give it an actual authentic feel.” Jessica decided she wanted to direct for the first time on season two, despite feeling nervous about it. She chose episode 207 “Chikhai Bardo,” which explores Gemma and Mark's past and depicts how Gemma is tormented at Lumon in different severed tests. “This was something that I really deeply wanted,” she explains. “I realized that on this show with the crew that knew me, the cast that knew me, with Ben (Stiller) supporting me and the producers as well, that this opportunity would never come up for me again in my life. I really needed to just go for it and give it my all.” Jessica also was director of photography for the episode, since she felt so familiar with creating the show's look. However, the dual role was challenging. “That was harder,” she admits. “And then working with myself was weird. I realized on set that everything was going so fast.” There was no pausing for a separate director-cinematographer discussion after takes, which meant turning to others for validation and support. Directing the cast was a rewarding experience and they welcomed her leadership. Jessica had extensive conversations with actress Dichen Lachman (Gemma) beforehand to explore her character's emotional state and shifting personalities within the episode. A significant element of episode 207's visual language involves sequences depicting Mark and Gemma's past, which were captured on film. While Severance primarily uses digital cameras, Jessica opted for both 35mm and 16mm film for the flashback moments. Borrowing a Bolex camera from the gaffer, she and director Ben Stiller shot some of these intimate sequences between Mark and Gemma on the fly. Jessica is currently in the process of directing her first feature. She will always have a deep appreciation for cinematography. “I feel like I have so much respect for that craft," she says. "After being in it for 15 years, I know what goes into it. I know how you have to be such a giving person to do that. And I really do love it so much.” You can see Severance on Apple TV+ Hear our previous interview with Jessica Lee Gagné about Severance Season 1.

En parcourant l'histoire du nord-vaudois, c'est toute la mécanique de la crise industrielle qu'on découvre. Alors qu'une exposition consacrée à cette rupture s'apprête à ouvrir ses portes au musée d'Yverdon, Histoire Vivante est allée à la rencontre d'un historien qui l'a vécue de l'intérieur : Laurent Tissot a fait son mémoire de doctorat sur l'entreprise Paillard, qui, entre 1814 à 1989, a produit les objets phare du XXème siècle, de l'horlogerie aux machines à écrire Hermès Baby en passant par les gramophones, les premières radios et la mythique caméra Bolex. Laurent Tissot, auteur de E.Paillard & Cie, société anonyme. Une entreprise vaudoise de petite mécanique (Editions Delvak, 1987).

In this week's episode of Visual Intonation, we dive into the world of Christopher Emanuel Smith, a filmmaker whose journey from Florida to the bright lights of New York City is as compelling as the stories he tells. A former Floridian with a knack for avoiding "Florida Man" infamy, Christopher swapped gators for a camera and pursued an MFA from NYU Tisch. With a career that blends screenwriting, directing, and videography, he has earned his place in the industry, crafting visuals that captivate and stories that resonate. His current gig as a Senior Director at Condé Nast Entertainment has only sharpened his unique cinematic voice, a voice that has already captured the attention of major publications like Vanity Fair and GQ.  But Christopher isn't just a director; he's a storyteller at heart. His goal? To create coming-of-age narratives that seamlessly weave together comedy and drama, stories that capture the awkwardness, beauty, and struggle of growing up. From his work on music videos and documentaries to his upcoming episodic series, Christopher's ability to blend humor with heartfelt moments places him in a class of his own. The silent storytelling technique he mastered with a 16mm Bolex camera continues to inform his work today, ensuring that every frame he shoots is packed with meaning.  We also explore Christopher's ideal projects—shows like 'Atlanta' and 'Dave', which mix razor-sharp wit with emotional depth, and action-comedy films like 'Tropic Thunder', where humor and adventure collide. His blend of sharp social commentary and visual storytelling makes him a standout in an industry often overcrowded with cookie-cutter projects. Whether it's through the lens of a camera or the page of a script, Christopher remains steadfast in his mission to tell stories that matter, stories that go beyond the bizarre encounters of a life lived in Florida.  Don't miss this episode of Visual Intonation, where we talk about Christopher's experiences, creative processes, and his exciting future projects. We'll also discuss his latest short film, 'Male Pattern Boredness', which follows a self-sabotaging musician on a hilariously rocky path toward self-discovery. Tune in to hear how one filmmaker is pushing boundaries and creating headlines that don't involve any alligators. Christopher Emanuel Smith's Website: https://www.culturewax.com/Christopher Emanuel Smith's Instagram: https://www.instagram.com/c.emanuelsmith/?hl=enChristopher Emanuel Smith's Coverfly: https://writers.coverfly.com/profile/writer-541ab3bff-195734Support the showVisual Intonation Website: https://www.visualintonations.com/Visual Intonation Instagram: https://www.instagram.com/visualintonation/Vante Gregory's Website: vantegregory.comVante Gregory's Instagram: https://www.instagram.com/directedbyvante/ To support me on Patreon (thank you): patreon.com/visualintonations Tiktok: www.tiktok.com/@visualintonation Tiktok: www.tiktok.com/@directedbyvante

In the stillness of a serene morning, the light of inspiration dawns upon us as we venture into the depths of human creativity and perseverance. On today's episode, we welcome the visionary documentarian Susan Kucera, whose lens captures the intricate dance of life and the profound undercurrents of our existence.Susan Kucera, a remarkable filmmaker, began her journey at a tender age, filming alongside her geologist father. From her early experiments with a Bolex camera on the Athabaskan glacier to her latest cinematic endeavors, Susan's path has been one of relentless curiosity and artistic passion. In our conversation, she reveals the essence of her craft, the challenges she faced, and the evolution of her storytelling.Susan's latest documentary, "Living in the Future's Past," starring the legendary Jeff Bridges, is a masterful exploration of humanity's journey through the lens of ecology, energy, and evolution. As Susan describes, "We wanted to look at the whole human meta-story where we've been, where we are, where we're going." This film transcends traditional narratives, weaving together science, philosophy, and poetry to offer a holistic view of our place in the world.In the making of this film, Susan collaborated closely with Jeff Bridges, who not only narrated but also appeared on screen, adding depth and authenticity to the narrative.Their partnership was serendipitous, sparked by a mutual interest in exploring the deeper questions of existence. "Jeff watched another film that I had done called 'Breath of Life,' and he liked it," Susan recalls. This connection set the stage for a fruitful collaboration that would culminate in a thought-provoking documentary.Susan's approach to filmmaking is deeply organic, a testament to her years of experience and intuitive understanding of her subjects. She often works alone, capturing spontaneous moments that a large crew might miss. This method allows her to infuse her films with a sense of immediacy and authenticity. "It's like capturing things that only exist in a split second and aren't there again," she says, reflecting on the fleeting beauty of her subjects.One of the most compelling aspects of Susan's work is her ability to intertwine art and science. Her films are not just documentaries; they are cinematic poems that challenge viewers to see the world through a different lens. As she puts it, "It's not so much what we're thinking about the world we live in; it's how we're thinking about the world we live in." This shift in perspective is at the heart of her storytelling, encouraging audiences to question, reflect, and ultimately, understand their own roles in the grand tapestry of life.In our discussion, Susan also delves into the practical aspects of documentary filmmaking, from the technical challenges of shooting with a RED Epic W camera to the intricate process of editing. Her insights are invaluable for aspiring filmmakers, offering a glimpse into the meticulous and often arduous journey of bringing a documentary to life. She emphasizes the importance of being hands-on, of knowing one's material intimately, and of being open to the unexpected twists and turns of the creative process.Enjoy my conversation with Susan Kucera.Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.

Two pedestrians collide fatefully. by maxicue. Listen to the ► Podcast at Steamy Stories. Joe slid through the crowd on the street, not in a hurry, just enjoying it, like it was some kind of game, call it Body Avoidance, a challenge of finding the gaps just large enough to pass through untouched while the bodies continued moving in somewhat predictable ways, though the unpredictable could always happen, adding to the challenge and the fun, that quick burst bypassing the unexpected shift. He loved this game ever since moving to New York, at first when he worked at a copy place in Grand Central Station (nearby where he happened to be sliding through at the moment), especially busy streets around there, especially at rush hours and lunch, and further challenged when he carried heavy packages of copies destined for publishing houses, often pocketing the cab money given to him to walk even farther through more busy streets carrying those burdens. And then when he became busboy and then waiter at the restaurant at Max's Kansas City, a punk club with the music upstairs and the restaurant where he worked downstairs, sliding through crowds of kids his age on weekend nights. It felt like a kind of dance, especially at the club, even with his own special tempo. This time though, for the first time ever as far as he could recall, he collided with someone who seemed to appear out of nowhere, his height of six and a half feet always helping his vision and his traversing perhaps missing her much smaller frame, at least a foot shorter, probably closer to a foot and a half, but more it seemed like she stepped into the narrow passage he'd found as if on purpose, finding the perfect moment for collision. But of course that would have been impossible, her knowing when to get in his way, when he'd happen to be sliding through at that very moment, unless fate could be considered purposeful. “Asshole,” the young woman growled from the concrete in which his impact sent her, landing on her ass and a hand that prevented something worse like concussion and scraping it for the trouble. With him stopped standing over her, the crowd flowed around the sudden impediment like cattle somehow avoiding stampeding, though less animal and more human since the flow went both ways. He looked down at a blonde waif, skinny and frail, her t shirt and jeans too big for her and looking well past new, the t shirt white with a band logo he was unfamiliar with showing every stain, and there were many, the jeans showing a small right kneecap where the cloth had frayed. The navy peacoat, too warm for the balmy, almost summerlike weather unusual this early in the year, splayed open. “I'm so sorry,” Joe exclaimed, and when his stretched out hand was avoided by her, he insisted, “Let me help you up.” She finally allowed his large hand to take hold of her small slim one aiding her to standing. “I didn't see you,” he added. “Obviously,” she smirked, adjusting her stuffed and scuffed red backpack on her shoulders. “Hungry?” he asked. “I could eat,” she half smiled. He guided her across the street and to the end of the block where one of the last of the Horn and Hardarts automats existed and put coins into the slots for her tuna sandwich and chips and for his egg salad. He bought her a Coke and he got coffee. She used the toilet there to clean her scrape amongst other things since she took a while, which worried him, thinking she might have run off, but of course she didn't, having food waiting for her. “I'm Joe,” he told her. “Jenny,” she replied before filling her mouth with a bite of sandwich. They said nothing for a while since she devoured her food, obviously needing it. “Anything else?” he asked. “Maybe a pie? The lemon meringue looked tempting.” “Okay if we share?” he asked. “That's fine.” “Uhm, are you going to stay?” He looked at her, saw her eyes pooling and she sniffled. “Please?” Her smile nearly broke his heart when she replied, “Nowhere better to be.” “Good. After we eat, let's get that scrape taken care of.” “Okay.” They stayed, talking over the small empty plate. “Where are you from?” he asked. “The Twin Cities. Minneapolis.” “No shit! Me too!” “No shit!” “No shit. Where?” “Robbinsdale.” “Golden Valley.” “No shit?” “No shit.” The two suburbs were neighbors, Robbinsdale more middle class than Golden Valley, which tended to be more upper middle class, a lot of professionals, doctors, lawyers and professors, his dad being of the latter type. Fate. “You work around here?” she asked, since Joe had dressed up in a jacket and tie, the tie loose around his neck. “I used to,” he told her. “I'm actually applying for jobs presently.” “Presently,” she giggled. “Sorry. I tend to talk like I have a stick up my butt.” “No, it's cute.” “Glad you think so,” he chuckled. “How's the job search going?” she asked. “Not great unfortunately. My uncle's an executive at the William Morris Agency, and I hoped that might help, but I guess he's against nepotism. It's possible I'll get a job in their mail room. I applied at other offices, but I'm making a career change, or hoping to, and have got little experience.” “From what?” she asked. “I used to be a waiter at Max's Kansas City.” “No shit!” “No shit.” “Why not stay there?” “I needed a change,” he murmured, unconsciously stroking his arm. Jenny sensing Joe's discomfort regarding the subject wisely ended that line of inquiry. “What's the William Morris Agency?” she asked instead. “It's one of the largest talent agencies in America,” he told her. “Cool.” “Yeah. It's had its perks. Getting turned on to Bowie early because my uncle wrote the contract that signed him. Meeting cool stars at a party at his house upstate. Going to openings like the movie Hair and Apocalypse Now, the last a brand new print and sitting close.” “Is that cool?” she asked. “Pretty cool,” he chuckled. When they left the automat, he told her, “Let's get you some anti-bacteria for your scrape and Band-Aids. I know a drugstore nearby.” “You don't have anything at home?” she asked, surprising him. “Um…you sure?” “I'm sure,” she smiled, and he could see those pretty blue eyes pool again. “I can get something on the way,” he decided. “Great!” Since the drugstore was close by, he went there anyway, and while getting the first aid stuff, she waited for him near the counter. “Need any of these?” she blushed, pointing to the rack of condoms. His cock stiffened in his pants while he grabbed a sixpack of lubricated Trojans. She stayed his hand and grabbed a twelve pack instead. “Holy shit,” he thought. Both were blushing while he made the purchase. They walked over to Grand Central and took the subway south to Fourteenth Street close to where he lived. They entered a door between a couple non-descript store fronts and climbed the stairs three floors, Joe unlocking a door on the left at the top. Fortunately none of his roommates were around in the shared area, probably sleeping since they tended to keep vampire hours, and Joe guided Jenny down a hallway, taking a sharp right and, pushing aside a beaded curtain, gestured her through. He had by far the largest bedroom in the three bedroom apartment, a couple large windows unfortunately facing the wall of another building. Unfortunate not for the view, but for the easy access from the roof to the room, the probable path taken when someone broke in and stole his record collection and his typewriter not long before. Or they could have just walked in, because he knew the probable culprit, since he'd seen the junkie just off St. Marks selling his records, a regular at Max's. “Sorry for the mess,” he apologized, and Joe was a definite slob. “No problem,” she responded. “Beggars can't be choosers.” “Jenny?” “Mind if I take a shower?” she sniffled. “Not at all. Just a second.” He knelt in front of a small cabinet and grabbed a towel for her. “The red door on the right,” he told her. For some reason they'd painted the bathroom a deep red, including the door, the rest of the apartment with white walls. He cleaned up his place while she showered, neatening the books and papers on the coffee table, the table on which he used to type before losing his typewriter, and tossing clothes into a gunny sack he used to tote down to go to the nearest laundromat a block or so away. She returned carrying her clothes and her bag, wearing the towel with it tucked between her cleavage, more of it than he expected, and when she unceremoniously dropped the towel, she sported perky b cup breasts, all the more substantial looking on her petite frame. She was skinny but fortunately not completely starved, no bones jutting out, her belly youthfully firm with just a hint of convexity, and her full bush, being blonde, seemed less substantial than if it were dark. Her waist curved subtly, neither what some would call child bearing hips, but not boyish either. This was definitely a woman. “Like what you see?” she smiled, turning, and showing him a perfect firm round ass. He also noticed muscled thighs and her arms even had some definition. “Wow,” he said. “You're definitely in shape.” “Dreams of being a prima ballerina,” she sniffled. He sat on the bed and patted his lap. “Come here.” “You have way too many clothes on,” she sniffled and giggled. “Come here, Jenny,” he said more forcefully. She sat on his lap sideways. He reluctantly kept his hands off her. “Tell me,” he said. “You don't want to fuck me?” “Of course I do. Tell me.” She sobbed. Only then did he embrace her across her middle, her face ending up against his chest. He could feel the tears wet his shirt. “Tell me,” he repeated. “I…had to,” she choked out. “Had to?” “Your shirt,” she murmured, pulling her head away. “It's okay,” he insisted, gently pulling her head back. “I auditioned over the years to get into ballet school here, but no takers,” she managed to say. “I wanted to be a ballerina but I guess I'm not good enough.” “Best to know I guess,” Joe tried. “It's not that. Oh, okay that kind of sucked, but mostly I wanted to get away.” “From?” “Everything!” “Including?” “My mother's cruel disappointment. She'd been a ballerina until she had me. My boyfriend turning out to be gay. Another boy practically raping me instead making sure I was ready. My father…” “Did he…?” “No, but he was working up to it. Probably looked at me like I was my mom when I was her age or younger I guess. He'd be affectionate, too affectionate as it turned out. He touched me where he shouldn't, not directly but close, you know. I guess I didn't believe it, but it turned out he was actually being shy, and eventually brought my hand to his crotch which got me off him immediately. The last straw…I woke up with him in my bed. I screamed and punched like in his diaphragm which took his wind. Maybe I should have punched lower, but I wanted to be nowhere near that, and when I raced out the room, my mother plods over and my dad says some bullshit about me seducing him, and since it was all about jealousy, him being more affectionate to me, and disappointment, she fucking believed him. “I'm of course freaking out, everything…and then this…but I managed to take some breaths, calming down, and told my mom if she wanted rid of me I needed money. They only had a couple hundred around but my mom takes me to her bank, gets me another five hundred, drives me to the bus station, buys me a ticket to New York, my demand, with her credit card. She actually offered one to me, but I told her she'd probably close it and have me arrested or something, and the bitch shrugged. And I'm like, ‘You're a fucking cunt.' And she's saying I'm a useless slut.” “Sorry,” Joe apologized. “I'm the sorry one,” Jenny actually chuckled. “But…it doesn't sound like sex…” Jenny shifted around so that she faced him, straddling his lap. “I got hit on by fucking pimps, Joe, as soon as I got off the fucking bus at Penn station. I'm not as naïve as I look.” “But you don't know me.” “Like you're a psycho? You don't seem the type and in a way I don't fucking care. A rapist probably wouldn't have brought me home. The hotel I stayed at this creepy guy kept staring at me in the lobby and ended up following me to my fucking floor, so I like got out quick out of there, practically running. And I didn't even dare shower there since the shower room was fucking shared and fucking groady. I was actually headed to Grand Central when we collided, thinking I'd try taking a train down to twenty-third, staying at the Chelsea or something, just to do something cool while I was here and still alive. So Joe, I guess you're the best choice I've had so far.” She kissed him, pulling off the jacket he still wore and unbuttoning his shirt. He broke the kiss when he tossed aside the tie, then lifted her and set her on her back on the bed. He finished the unbuttoning and tossed aside his shirt. “Nice,” she smiled, stroking his chest. Joe didn't work out, but being young, just twenty-one, and working hard at his job as a waiter, kept him slim and slimly muscled. He kept his pants on when he made love to her lying beside her on his side. Kisses continued for a while, both enjoying it especially when tongues were involved, her breath tasting of toothpaste and his presumably not offensive, while his hand began exploring the rest of her. The hand took the weight of her breasts, teasingly moving on before a direct attack on her small nipples to linger on her taut belly and moving teasing across her pudendum, through her soft patch of blond hair, before feeling the smoothness of her thighs and the firmness of muscles, and then under her, lifting her slightly by her firm ass, followed by sliding along her back, across her shoulder and returning to her breasts, fingers moving in on her nipples, caressing and tugging gently at each one, making her gasp into his mouth. Only then did he end the kiss, bringing his mouth to the exploration, finding thrills for her at her ear and neck before moving to her breasts and nipples. Once each one had been appreciated for a while, the second sending his hand down slowly, eventually fingers discovering the dampness of her labia, rimming the edges, his mouth followed the same trail as his hand, and when it reached where she wanted it, he shifted his body between her widened legs and his tongue lapped across her clit, the first touch of it, and she lifted her middle and moaned. Both fingers and mouth remained there, working her gradually to her first climax via a man, especially intense when he stroked her g spot, his other hand tugging at her nipples, measuring the squeeze and building on it since she seemed to handle ever more pressure there. “Joe,” she murmured once she recovered, and smiled when he got up and got naked for her. “Oh my,” she commented at his length, on the thicker side, and definitely longer than the two she'd seen by at least a couple inches. “I'll be gentle,” he promised, opening a condom and rolling it on and moving between her thighs. He brought her hand to his cock to guide him, and she brought it where she wanted it and he slowly pushed in. “Oh fuck!” she moaned. “Too much?” he asked reluctantly. “Don't you fucking stop!” she declared. He pushed into one of the tightest sheathes he'd ever felt and realized he wouldn't last and told her. “Just fuck me,” she insisted, her legs wrapping his thighs as emphasis. Going slow probably helped delay the inevitable, seeming to open her up with each deeper stroke. In the end, he nudged at her cervix, thankfully with his cock completely inside her. He'd known girls her size, even taller, where he had to be careful about the impact there, usually no more than an inch to spare, but enough to cause pain. Not this time. Touching it made her growl, but in a good way. He decided to exploit that, grinding into her, pubic bone against pubic bone which affected her clit too, and just pulling out a couple inches before thrusting in. She seemed fine with that, even enjoying it, so he kept it up while his hands drew in to work fingers and thumbs on her nipples. She began meeting his thrusts with lifts, and her hands grabbed his ass cheeks, and she began pulling on his flesh there, wanting longer strokes it seemed, but he waited until she grabbed hard, closing on being painful, her nails thankfully short, he'd learn later she tended to nibble on them when nervous, and he'd actually seen a little of that in the automat, and she pressed against him one more time before announcing her climax with, “Oh my fucking God!” rather loudly at a high growl. And when she loosened her grip, only then did he abandon himself to fully fucking her, long, ever faster strokes for only seconds before he pressed deep, pushing against her cervix, and cumming. “Joe,” she murmured, her hands pushing his chest. “Sorry,” he responded, hugging her to him and turning them over. He'd reached the last of his ejaculations, every one intense, and reached down to hold the condom to his penis while shifting her higher with his legs. “Mmm,” she responded when it slid out. She shivered a little too as if feeling a last echo of her orgasm. “It'll be better next time,” he promised. She chuckled weakly. “What?” he asked. She shifted forward. Since both of their bodies had fairly equal proportions of legs to torsos, she had to scoot up a bit, her legs straddling his abdomen, her damp pussy pressing into it, for her to look eye to eye with him. Her hands pressed his shoulders to put her face above his. “That was several magnitudes better than the last and only fuck I've had,” she explained. “I thought it was making love,” he argued. “Don't be pedantic, Joe,” she smirked, surprising him. “Pedantic?” “You know what I mean.” “Of course, but…” “I'm smarter than I look.” “I don't believe in the dumb blonde myth.” “I've met several, and not all blondes.” “School?” “And fellow dancers, although most were dedicated enough to be smart too I suppose. Learning to put the time in to do the best you can both in dancing and studying.” “Makes sense. So school…?” “I would have graduated this spring if I hadn't had to run away.” “GED?” he asked. “Probably. I don't imagine going to school for one quarter. You?” “School?” “Yeah.” “I went to Bard in upstate New York for a couple years, but quit because it was ridiculous having parents spend that much money for me to study to be a poet.” “You're a poet?” “Not much recently. I thought New York would be inspiring, but mostly it's been distracting. I'm also interested in filmmaking, like the experimental kind, so no more lucrative. I still have a Bolex sixteen millimeter camera which fortunately the thieves never found.” “Thieves?” “The problem with living amongst junkies. Let me show you something.” He lifted his left arm and she caressed a line of marks near his inner elbow area. “Are those…?” “Tracks. Only one is fairly fresh. It's why I quit Max's: too much temptation. Living here too, but right now I can't afford to move. A friend of mine OD'd and died, and another almost did and I ended up keeping him alive. It was the last straw, and I realized that'd be me, or it'd just be a spiral of inertia, all about the next fix and nothing else, so I quit. Luckily I wasn't too strung out and basically hung with my folks for a week when my dad had his sabbatical in DC this past winter. I drank a bit there, but my parents seemed none the wiser. Anyway, when I came back to work planning to keep my tips instead of spending them all, I did okay until I didn't one day, succumbing to temptation, and quit after that.” “When was that?” “A week ago. I've been job hunting ever since.” “Lucky for me,” she grinned and shifted around, pulling off the used condom and handing it to him carefully and he managed to toss it atop his underpants while she enveloped his penis in her mouth. He worried about her lack of experience, mostly worried about her teeth, but she proved quite capable. He nudged her to straddle his face and had to bend his back a little, supported by his arms so fingers weren't available, and mostly kept her pleasure at a quiet purr, not distracting her from her surprisingly effective endeavors. Once she'd got him hard, she bounced off the bed, found a condom and rolled it on with some study and climbed on and guided him back inside her, carefully, stroke by stroke, sending him deep. Once there, she began her ride, this time having the full effect of his entire cock, to the point she needed to bring it back to her slit when it slipped out a couple times, but seemed to get the length of him soon enough and began riding him at a medium fast clip. He watched the roll and bounce of her perky tits before stilling them with his hands, one letting go to guide her hand to her clit. From that she worked herself into a frenzy, finally shifting down and rolling atop him to achieve her orgasm. Fortunately it always took longer for Joe to cum when a woman took the cowgirl position. After, she somehow turned around while he remained inside and moved her body down, and he realized what she wanted, moving from beneath her, clutching her hips, and pulling her into him in a doggy style position. He shifted, letting go of the hips and bringing one hand to her hanging tits and the other to her clit, practically holding her up with the latter hand, and like he had before, let himself go fucking her hard and fast until he came, happily not long after she did. “Fuck Joe,” she commented softly after. “Yeah,” Joe agreed. She did the securing of the condom to his penis and they soon took the same position as they had before, her head resting on his chest. “Can I stay?” she asked quietly and shyly. “As long as you want.” “Thanks.” by maxicue for Literotica. This is the first chapter of a novel. The rest of the published chapters are found at the maxicue library of Literotica. Fate's Embrace: 6 Part Series

Two pedestrians collide fatefully. by maxicue. Listen to the ► Podcast at Steamy Stories. Joe slid through the crowd on the street, not in a hurry, just enjoying it, like it was some kind of game, call it Body Avoidance, a challenge of finding the gaps just large enough to pass through untouched while the bodies continued moving in somewhat predictable ways, though the unpredictable could always happen, adding to the challenge and the fun, that quick burst bypassing the unexpected shift. He loved this game ever since moving to New York, at first when he worked at a copy place in Grand Central Station (nearby where he happened to be sliding through at the moment), especially busy streets around there, especially at rush hours and lunch, and further challenged when he carried heavy packages of copies destined for publishing houses, often pocketing the cab money given to him to walk even farther through more busy streets carrying those burdens. And then when he became busboy and then waiter at the restaurant at Max's Kansas City, a punk club with the music upstairs and the restaurant where he worked downstairs, sliding through crowds of kids his age on weekend nights. It felt like a kind of dance, especially at the club, even with his own special tempo. This time though, for the first time ever as far as he could recall, he collided with someone who seemed to appear out of nowhere, his height of six and a half feet always helping his vision and his traversing perhaps missing her much smaller frame, at least a foot shorter, probably closer to a foot and a half, but more it seemed like she stepped into the narrow passage he'd found as if on purpose, finding the perfect moment for collision. But of course that would have been impossible, her knowing when to get in his way, when he'd happen to be sliding through at that very moment, unless fate could be considered purposeful. “Asshole,” the young woman growled from the concrete in which his impact sent her, landing on her ass and a hand that prevented something worse like concussion and scraping it for the trouble. With him stopped standing over her, the crowd flowed around the sudden impediment like cattle somehow avoiding stampeding, though less animal and more human since the flow went both ways. He looked down at a blonde waif, skinny and frail, her t shirt and jeans too big for her and looking well past new, the t shirt white with a band logo he was unfamiliar with showing every stain, and there were many, the jeans showing a small right kneecap where the cloth had frayed. The navy peacoat, too warm for the balmy, almost summerlike weather unusual this early in the year, splayed open. “I'm so sorry,” Joe exclaimed, and when his stretched out hand was avoided by her, he insisted, “Let me help you up.” She finally allowed his large hand to take hold of her small slim one aiding her to standing. “I didn't see you,” he added. “Obviously,” she smirked, adjusting her stuffed and scuffed red backpack on her shoulders. “Hungry?” he asked. “I could eat,” she half smiled. He guided her across the street and to the end of the block where one of the last of the Horn and Hardarts automats existed and put coins into the slots for her tuna sandwich and chips and for his egg salad. He bought her a Coke and he got coffee. She used the toilet there to clean her scrape amongst other things since she took a while, which worried him, thinking she might have run off, but of course she didn't, having food waiting for her. “I'm Joe,” he told her. “Jenny,” she replied before filling her mouth with a bite of sandwich. They said nothing for a while since she devoured her food, obviously needing it. “Anything else?” he asked. “Maybe a pie? The lemon meringue looked tempting.” “Okay if we share?” he asked. “That's fine.” “Uhm, are you going to stay?” He looked at her, saw her eyes pooling and she sniffled. “Please?” Her smile nearly broke his heart when she replied, “Nowhere better to be.” “Good. After we eat, let's get that scrape taken care of.” “Okay.” They stayed, talking over the small empty plate. “Where are you from?” he asked. “The Twin Cities. Minneapolis.” “No shit! Me too!” “No shit!” “No shit. Where?” “Robbinsdale.” “Golden Valley.” “No shit?” “No shit.” The two suburbs were neighbors, Robbinsdale more middle class than Golden Valley, which tended to be more upper middle class, a lot of professionals, doctors, lawyers and professors, his dad being of the latter type. Fate. “You work around here?” she asked, since Joe had dressed up in a jacket and tie, the tie loose around his neck. “I used to,” he told her. “I'm actually applying for jobs presently.” “Presently,” she giggled. “Sorry. I tend to talk like I have a stick up my butt.” “No, it's cute.” “Glad you think so,” he chuckled. “How's the job search going?” she asked. “Not great unfortunately. My uncle's an executive at the William Morris Agency, and I hoped that might help, but I guess he's against nepotism. It's possible I'll get a job in their mail room. I applied at other offices, but I'm making a career change, or hoping to, and have got little experience.” “From what?” she asked. “I used to be a waiter at Max's Kansas City.” “No shit!” “No shit.” “Why not stay there?” “I needed a change,” he murmured, unconsciously stroking his arm. Jenny sensing Joe's discomfort regarding the subject wisely ended that line of inquiry. “What's the William Morris Agency?” she asked instead. “It's one of the largest talent agencies in America,” he told her. “Cool.” “Yeah. It's had its perks. Getting turned on to Bowie early because my uncle wrote the contract that signed him. Meeting cool stars at a party at his house upstate. Going to openings like the movie Hair and Apocalypse Now, the last a brand new print and sitting close.” “Is that cool?” she asked. “Pretty cool,” he chuckled. When they left the automat, he told her, “Let's get you some anti-bacteria for your scrape and Band-Aids. I know a drugstore nearby.” “You don't have anything at home?” she asked, surprising him. “Um…you sure?” “I'm sure,” she smiled, and he could see those pretty blue eyes pool again. “I can get something on the way,” he decided. “Great!” Since the drugstore was close by, he went there anyway, and while getting the first aid stuff, she waited for him near the counter. “Need any of these?” she blushed, pointing to the rack of condoms. His cock stiffened in his pants while he grabbed a sixpack of lubricated Trojans. She stayed his hand and grabbed a twelve pack instead. “Holy shit,” he thought. Both were blushing while he made the purchase. They walked over to Grand Central and took the subway south to Fourteenth Street close to where he lived. They entered a door between a couple non-descript store fronts and climbed the stairs three floors, Joe unlocking a door on the left at the top. Fortunately none of his roommates were around in the shared area, probably sleeping since they tended to keep vampire hours, and Joe guided Jenny down a hallway, taking a sharp right and, pushing aside a beaded curtain, gestured her through. He had by far the largest bedroom in the three bedroom apartment, a couple large windows unfortunately facing the wall of another building. Unfortunate not for the view, but for the easy access from the roof to the room, the probable path taken when someone broke in and stole his record collection and his typewriter not long before. Or they could have just walked in, because he knew the probable culprit, since he'd seen the junkie just off St. Marks selling his records, a regular at Max's. “Sorry for the mess,” he apologized, and Joe was a definite slob. “No problem,” she responded. “Beggars can't be choosers.” “Jenny?” “Mind if I take a shower?” she sniffled. “Not at all. Just a second.” He knelt in front of a small cabinet and grabbed a towel for her. “The red door on the right,” he told her. For some reason they'd painted the bathroom a deep red, including the door, the rest of the apartment with white walls. He cleaned up his place while she showered, neatening the books and papers on the coffee table, the table on which he used to type before losing his typewriter, and tossing clothes into a gunny sack he used to tote down to go to the nearest laundromat a block or so away. She returned carrying her clothes and her bag, wearing the towel with it tucked between her cleavage, more of it than he expected, and when she unceremoniously dropped the towel, she sported perky b cup breasts, all the more substantial looking on her petite frame. She was skinny but fortunately not completely starved, no bones jutting out, her belly youthfully firm with just a hint of convexity, and her full bush, being blonde, seemed less substantial than if it were dark. Her waist curved subtly, neither what some would call child bearing hips, but not boyish either. This was definitely a woman. “Like what you see?” she smiled, turning, and showing him a perfect firm round ass. He also noticed muscled thighs and her arms even had some definition. “Wow,” he said. “You're definitely in shape.” “Dreams of being a prima ballerina,” she sniffled. He sat on the bed and patted his lap. “Come here.” “You have way too many clothes on,” she sniffled and giggled. “Come here, Jenny,” he said more forcefully. She sat on his lap sideways. He reluctantly kept his hands off her. “Tell me,” he said. “You don't want to fuck me?” “Of course I do. Tell me.” She sobbed. Only then did he embrace her across her middle, her face ending up against his chest. He could feel the tears wet his shirt. “Tell me,” he repeated. “I…had to,” she choked out. “Had to?” “Your shirt,” she murmured, pulling her head away. “It's okay,” he insisted, gently pulling her head back. “I auditioned over the years to get into ballet school here, but no takers,” she managed to say. “I wanted to be a ballerina but I guess I'm not good enough.” “Best to know I guess,” Joe tried. “It's not that. Oh, okay that kind of sucked, but mostly I wanted to get away.” “From?” “Everything!” “Including?” “My mother's cruel disappointment. She'd been a ballerina until she had me. My boyfriend turning out to be gay. Another boy practically raping me instead making sure I was ready. My father…” “Did he…?” “No, but he was working up to it. Probably looked at me like I was my mom when I was her age or younger I guess. He'd be affectionate, too affectionate as it turned out. He touched me where he shouldn't, not directly but close, you know. I guess I didn't believe it, but it turned out he was actually being shy, and eventually brought my hand to his crotch which got me off him immediately. The last straw…I woke up with him in my bed. I screamed and punched like in his diaphragm which took his wind. Maybe I should have punched lower, but I wanted to be nowhere near that, and when I raced out the room, my mother plods over and my dad says some bullshit about me seducing him, and since it was all about jealousy, him being more affectionate to me, and disappointment, she fucking believed him. “I'm of course freaking out, everything…and then this…but I managed to take some breaths, calming down, and told my mom if she wanted rid of me I needed money. They only had a couple hundred around but my mom takes me to her bank, gets me another five hundred, drives me to the bus station, buys me a ticket to New York, my demand, with her credit card. She actually offered one to me, but I told her she'd probably close it and have me arrested or something, and the bitch shrugged. And I'm like, ‘You're a fucking cunt.' And she's saying I'm a useless slut.” “Sorry,” Joe apologized. “I'm the sorry one,” Jenny actually chuckled. “But…it doesn't sound like sex…” Jenny shifted around so that she faced him, straddling his lap. “I got hit on by fucking pimps, Joe, as soon as I got off the fucking bus at Penn station. I'm not as naïve as I look.” “But you don't know me.” “Like you're a psycho? You don't seem the type and in a way I don't fucking care. A rapist probably wouldn't have brought me home. The hotel I stayed at this creepy guy kept staring at me in the lobby and ended up following me to my fucking floor, so I like got out quick out of there, practically running. And I didn't even dare shower there since the shower room was fucking shared and fucking groady. I was actually headed to Grand Central when we collided, thinking I'd try taking a train down to twenty-third, staying at the Chelsea or something, just to do something cool while I was here and still alive. So Joe, I guess you're the best choice I've had so far.” She kissed him, pulling off the jacket he still wore and unbuttoning his shirt. He broke the kiss when he tossed aside the tie, then lifted her and set her on her back on the bed. He finished the unbuttoning and tossed aside his shirt. “Nice,” she smiled, stroking his chest. Joe didn't work out, but being young, just twenty-one, and working hard at his job as a waiter, kept him slim and slimly muscled. He kept his pants on when he made love to her lying beside her on his side. Kisses continued for a while, both enjoying it especially when tongues were involved, her breath tasting of toothpaste and his presumably not offensive, while his hand began exploring the rest of her. The hand took the weight of her breasts, teasingly moving on before a direct attack on her small nipples to linger on her taut belly and moving teasing across her pudendum, through her soft patch of blond hair, before feeling the smoothness of her thighs and the firmness of muscles, and then under her, lifting her slightly by her firm ass, followed by sliding along her back, across her shoulder and returning to her breasts, fingers moving in on her nipples, caressing and tugging gently at each one, making her gasp into his mouth. Only then did he end the kiss, bringing his mouth to the exploration, finding thrills for her at her ear and neck before moving to her breasts and nipples. Once each one had been appreciated for a while, the second sending his hand down slowly, eventually fingers discovering the dampness of her labia, rimming the edges, his mouth followed the same trail as his hand, and when it reached where she wanted it, he shifted his body between her widened legs and his tongue lapped across her clit, the first touch of it, and she lifted her middle and moaned. Both fingers and mouth remained there, working her gradually to her first climax via a man, especially intense when he stroked her g spot, his other hand tugging at her nipples, measuring the squeeze and building on it since she seemed to handle ever more pressure there. “Joe,” she murmured once she recovered, and smiled when he got up and got naked for her. “Oh my,” she commented at his length, on the thicker side, and definitely longer than the two she'd seen by at least a couple inches. “I'll be gentle,” he promised, opening a condom and rolling it on and moving between her thighs. He brought her hand to his cock to guide him, and she brought it where she wanted it and he slowly pushed in. “Oh fuck!” she moaned. “Too much?” he asked reluctantly. “Don't you fucking stop!” she declared. He pushed into one of the tightest sheathes he'd ever felt and realized he wouldn't last and told her. “Just fuck me,” she insisted, her legs wrapping his thighs as emphasis. Going slow probably helped delay the inevitable, seeming to open her up with each deeper stroke. In the end, he nudged at her cervix, thankfully with his cock completely inside her. He'd known girls her size, even taller, where he had to be careful about the impact there, usually no more than an inch to spare, but enough to cause pain. Not this time. Touching it made her growl, but in a good way. He decided to exploit that, grinding into her, pubic bone against pubic bone which affected her clit too, and just pulling out a couple inches before thrusting in. She seemed fine with that, even enjoying it, so he kept it up while his hands drew in to work fingers and thumbs on her nipples. She began meeting his thrusts with lifts, and her hands grabbed his ass cheeks, and she began pulling on his flesh there, wanting longer strokes it seemed, but he waited until she grabbed hard, closing on being painful, her nails thankfully short, he'd learn later she tended to nibble on them when nervous, and he'd actually seen a little of that in the automat, and she pressed against him one more time before announcing her climax with, “Oh my fucking God!” rather loudly at a high growl. And when she loosened her grip, only then did he abandon himself to fully fucking her, long, ever faster strokes for only seconds before he pressed deep, pushing against her cervix, and cumming. “Joe,” she murmured, her hands pushing his chest. “Sorry,” he responded, hugging her to him and turning them over. He'd reached the last of his ejaculations, every one intense, and reached down to hold the condom to his penis while shifting her higher with his legs. “Mmm,” she responded when it slid out. She shivered a little too as if feeling a last echo of her orgasm. “It'll be better next time,” he promised. She chuckled weakly. “What?” he asked. She shifted forward. Since both of their bodies had fairly equal proportions of legs to torsos, she had to scoot up a bit, her legs straddling his abdomen, her damp pussy pressing into it, for her to look eye to eye with him. Her hands pressed his shoulders to put her face above his. “That was several magnitudes better than the last and only fuck I've had,” she explained. “I thought it was making love,” he argued. “Don't be pedantic, Joe,” she smirked, surprising him. “Pedantic?” “You know what I mean.” “Of course, but…” “I'm smarter than I look.” “I don't believe in the dumb blonde myth.” “I've met several, and not all blondes.” “School?” “And fellow dancers, although most were dedicated enough to be smart too I suppose. Learning to put the time in to do the best you can both in dancing and studying.” “Makes sense. So school…?” “I would have graduated this spring if I hadn't had to run away.” “GED?” he asked. “Probably. I don't imagine going to school for one quarter. You?” “School?” “Yeah.” “I went to Bard in upstate New York for a couple years, but quit because it was ridiculous having parents spend that much money for me to study to be a poet.” “You're a poet?” “Not much recently. I thought New York would be inspiring, but mostly it's been distracting. I'm also interested in filmmaking, like the experimental kind, so no more lucrative. I still have a Bolex sixteen millimeter camera which fortunately the thieves never found.” “Thieves?” “The problem with living amongst junkies. Let me show you something.” He lifted his left arm and she caressed a line of marks near his inner elbow area. “Are those…?” “Tracks. Only one is fairly fresh. It's why I quit Max's: too much temptation. Living here too, but right now I can't afford to move. A friend of mine OD'd and died, and another almost did and I ended up keeping him alive. It was the last straw, and I realized that'd be me, or it'd just be a spiral of inertia, all about the next fix and nothing else, so I quit. Luckily I wasn't too strung out and basically hung with my folks for a week when my dad had his sabbatical in DC this past winter. I drank a bit there, but my parents seemed none the wiser. Anyway, when I came back to work planning to keep my tips instead of spending them all, I did okay until I didn't one day, succumbing to temptation, and quit after that.” “When was that?” “A week ago. I've been job hunting ever since.” “Lucky for me,” she grinned and shifted around, pulling off the used condom and handing it to him carefully and he managed to toss it atop his underpants while she enveloped his penis in her mouth. He worried about her lack of experience, mostly worried about her teeth, but she proved quite capable. He nudged her to straddle his face and had to bend his back a little, supported by his arms so fingers weren't available, and mostly kept her pleasure at a quiet purr, not distracting her from her surprisingly effective endeavors. Once she'd got him hard, she bounced off the bed, found a condom and rolled it on with some study and climbed on and guided him back inside her, carefully, stroke by stroke, sending him deep. Once there, she began her ride, this time having the full effect of his entire cock, to the point she needed to bring it back to her slit when it slipped out a couple times, but seemed to get the length of him soon enough and began riding him at a medium fast clip. He watched the roll and bounce of her perky tits before stilling them with his hands, one letting go to guide her hand to her clit. From that she worked herself into a frenzy, finally shifting down and rolling atop him to achieve her orgasm. Fortunately it always took longer for Joe to cum when a woman took the cowgirl position. After, she somehow turned around while he remained inside and moved her body down, and he realized what she wanted, moving from beneath her, clutching her hips, and pulling her into him in a doggy style position. He shifted, letting go of the hips and bringing one hand to her hanging tits and the other to her clit, practically holding her up with the latter hand, and like he had before, let himself go fucking her hard and fast until he came, happily not long after she did. “Fuck Joe,” she commented softly after. “Yeah,” Joe agreed. She did the securing of the condom to his penis and they soon took the same position as they had before, her head resting on his chest. “Can I stay?” she asked quietly and shyly. “As long as you want.” “Thanks.” by maxicue for Literotica. This is the first chapter of a novel. The rest of the published chapters are found at the maxicue library of Literotica. Fate's Embrace: 6 Part Series

Two pedestrians collide fatefully. by maxicue. Listen to the ► Podcast at Steamy Stories. Joe slid through the crowd on the street, not in a hurry, just enjoying it, like it was some kind of game, call it Body Avoidance, a challenge of finding the gaps just large enough to pass through untouched while the bodies continued moving in somewhat predictable ways, though the unpredictable could always happen, adding to the challenge and the fun, that quick burst bypassing the unexpected shift. He loved this game ever since moving to New York, at first when he worked at a copy place in Grand Central Station (nearby where he happened to be sliding through at the moment), especially busy streets around there, especially at rush hours and lunch, and further challenged when he carried heavy packages of copies destined for publishing houses, often pocketing the cab money given to him to walk even farther through more busy streets carrying those burdens. And then when he became busboy and then waiter at the restaurant at Max's Kansas City, a punk club with the music upstairs and the restaurant where he worked downstairs, sliding through crowds of kids his age on weekend nights. It felt like a kind of dance, especially at the club, even with his own special tempo. This time though, for the first time ever as far as he could recall, he collided with someone who seemed to appear out of nowhere, his height of six and a half feet always helping his vision and his traversing perhaps missing her much smaller frame, at least a foot shorter, probably closer to a foot and a half, but more it seemed like she stepped into the narrow passage he'd found as if on purpose, finding the perfect moment for collision. But of course that would have been impossible, her knowing when to get in his way, when he'd happen to be sliding through at that very moment, unless fate could be considered purposeful. “Asshole,” the young woman growled from the concrete in which his impact sent her, landing on her ass and a hand that prevented something worse like concussion and scraping it for the trouble. With him stopped standing over her, the crowd flowed around the sudden impediment like cattle somehow avoiding stampeding, though less animal and more human since the flow went both ways. He looked down at a blonde waif, skinny and frail, her t shirt and jeans too big for her and looking well past new, the t shirt white with a band logo he was unfamiliar with showing every stain, and there were many, the jeans showing a small right kneecap where the cloth had frayed. The navy peacoat, too warm for the balmy, almost summerlike weather unusual this early in the year, splayed open. “I'm so sorry,” Joe exclaimed, and when his stretched out hand was avoided by her, he insisted, “Let me help you up.” She finally allowed his large hand to take hold of her small slim one aiding her to standing. “I didn't see you,” he added. “Obviously,” she smirked, adjusting her stuffed and scuffed red backpack on her shoulders. “Hungry?” he asked. “I could eat,” she half smiled. He guided her across the street and to the end of the block where one of the last of the Horn and Hardarts automats existed and put coins into the slots for her tuna sandwich and chips and for his egg salad. He bought her a Coke and he got coffee. She used the toilet there to clean her scrape amongst other things since she took a while, which worried him, thinking she might have run off, but of course she didn't, having food waiting for her. “I'm Joe,” he told her. “Jenny,” she replied before filling her mouth with a bite of sandwich. They said nothing for a while since she devoured her food, obviously needing it. “Anything else?” he asked. “Maybe a pie? The lemon meringue looked tempting.” “Okay if we share?” he asked. “That's fine.” “Uhm, are you going to stay?” He looked at her, saw her eyes pooling and she sniffled. “Please?” Her smile nearly broke his heart when she replied, “Nowhere better to be.” “Good. After we eat, let's get that scrape taken care of.” “Okay.” They stayed, talking over the small empty plate. “Where are you from?” he asked. “The Twin Cities. Minneapolis.” “No shit! Me too!” “No shit!” “No shit. Where?” “Robbinsdale.” “Golden Valley.” “No shit?” “No shit.” The two suburbs were neighbors, Robbinsdale more middle class than Golden Valley, which tended to be more upper middle class, a lot of professionals, doctors, lawyers and professors, his dad being of the latter type. Fate. “You work around here?” she asked, since Joe had dressed up in a jacket and tie, the tie loose around his neck. “I used to,” he told her. “I'm actually applying for jobs presently.” “Presently,” she giggled. “Sorry. I tend to talk like I have a stick up my butt.” “No, it's cute.” “Glad you think so,” he chuckled. “How's the job search going?” she asked. “Not great unfortunately. My uncle's an executive at the William Morris Agency, and I hoped that might help, but I guess he's against nepotism. It's possible I'll get a job in their mail room. I applied at other offices, but I'm making a career change, or hoping to, and have got little experience.” “From what?” she asked. “I used to be a waiter at Max's Kansas City.” “No shit!” “No shit.” “Why not stay there?” “I needed a change,” he murmured, unconsciously stroking his arm. Jenny sensing Joe's discomfort regarding the subject wisely ended that line of inquiry. “What's the William Morris Agency?” she asked instead. “It's one of the largest talent agencies in America,” he told her. “Cool.” “Yeah. It's had its perks. Getting turned on to Bowie early because my uncle wrote the contract that signed him. Meeting cool stars at a party at his house upstate. Going to openings like the movie Hair and Apocalypse Now, the last a brand new print and sitting close.” “Is that cool?” she asked. “Pretty cool,” he chuckled. When they left the automat, he told her, “Let's get you some anti-bacteria for your scrape and Band-Aids. I know a drugstore nearby.” “You don't have anything at home?” she asked, surprising him. “Um…you sure?” “I'm sure,” she smiled, and he could see those pretty blue eyes pool again. “I can get something on the way,” he decided. “Great!” Since the drugstore was close by, he went there anyway, and while getting the first aid stuff, she waited for him near the counter. “Need any of these?” she blushed, pointing to the rack of condoms. His cock stiffened in his pants while he grabbed a sixpack of lubricated Trojans. She stayed his hand and grabbed a twelve pack instead. “Holy shit,” he thought. Both were blushing while he made the purchase. They walked over to Grand Central and took the subway south to Fourteenth Street close to where he lived. They entered a door between a couple non-descript store fronts and climbed the stairs three floors, Joe unlocking a door on the left at the top. Fortunately none of his roommates were around in the shared area, probably sleeping since they tended to keep vampire hours, and Joe guided Jenny down a hallway, taking a sharp right and, pushing aside a beaded curtain, gestured her through. He had by far the largest bedroom in the three bedroom apartment, a couple large windows unfortunately facing the wall of another building. Unfortunate not for the view, but for the easy access from the roof to the room, the probable path taken when someone broke in and stole his record collection and his typewriter not long before. Or they could have just walked in, because he knew the probable culprit, since he'd seen the junkie just off St. Marks selling his records, a regular at Max's. “Sorry for the mess,” he apologized, and Joe was a definite slob. “No problem,” she responded. “Beggars can't be choosers.” “Jenny?” “Mind if I take a shower?” she sniffled. “Not at all. Just a second.” He knelt in front of a small cabinet and grabbed a towel for her. “The red door on the right,” he told her. For some reason they'd painted the bathroom a deep red, including the door, the rest of the apartment with white walls. He cleaned up his place while she showered, neatening the books and papers on the coffee table, the table on which he used to type before losing his typewriter, and tossing clothes into a gunny sack he used to tote down to go to the nearest laundromat a block or so away. She returned carrying her clothes and her bag, wearing the towel with it tucked between her cleavage, more of it than he expected, and when she unceremoniously dropped the towel, she sported perky b cup breasts, all the more substantial looking on her petite frame. She was skinny but fortunately not completely starved, no bones jutting out, her belly youthfully firm with just a hint of convexity, and her full bush, being blonde, seemed less substantial than if it were dark. Her waist curved subtly, neither what some would call child bearing hips, but not boyish either. This was definitely a woman. “Like what you see?” she smiled, turning, and showing him a perfect firm round ass. He also noticed muscled thighs and her arms even had some definition. “Wow,” he said. “You're definitely in shape.” “Dreams of being a prima ballerina,” she sniffled. He sat on the bed and patted his lap. “Come here.” “You have way too many clothes on,” she sniffled and giggled. “Come here, Jenny,” he said more forcefully. She sat on his lap sideways. He reluctantly kept his hands off her. “Tell me,” he said. “You don't want to fuck me?” “Of course I do. Tell me.” She sobbed. Only then did he embrace her across her middle, her face ending up against his chest. He could feel the tears wet his shirt. “Tell me,” he repeated. “I…had to,” she choked out. “Had to?” “Your shirt,” she murmured, pulling her head away. “It's okay,” he insisted, gently pulling her head back. “I auditioned over the years to get into ballet school here, but no takers,” she managed to say. “I wanted to be a ballerina but I guess I'm not good enough.” “Best to know I guess,” Joe tried. “It's not that. Oh, okay that kind of sucked, but mostly I wanted to get away.” “From?” “Everything!” “Including?” “My mother's cruel disappointment. She'd been a ballerina until she had me. My boyfriend turning out to be gay. Another boy practically raping me instead making sure I was ready. My father…” “Did he…?” “No, but he was working up to it. Probably looked at me like I was my mom when I was her age or younger I guess. He'd be affectionate, too affectionate as it turned out. He touched me where he shouldn't, not directly but close, you know. I guess I didn't believe it, but it turned out he was actually being shy, and eventually brought my hand to his crotch which got me off him immediately. The last straw…I woke up with him in my bed. I screamed and punched like in his diaphragm which took his wind. Maybe I should have punched lower, but I wanted to be nowhere near that, and when I raced out the room, my mother plods over and my dad says some bullshit about me seducing him, and since it was all about jealousy, him being more affectionate to me, and disappointment, she fucking believed him. “I'm of course freaking out, everything…and then this…but I managed to take some breaths, calming down, and told my mom if she wanted rid of me I needed money. They only had a couple hundred around but my mom takes me to her bank, gets me another five hundred, drives me to the bus station, buys me a ticket to New York, my demand, with her credit card. She actually offered one to me, but I told her she'd probably close it and have me arrested or something, and the bitch shrugged. And I'm like, ‘You're a fucking cunt.' And she's saying I'm a useless slut.” “Sorry,” Joe apologized. “I'm the sorry one,” Jenny actually chuckled. “But…it doesn't sound like sex…” Jenny shifted around so that she faced him, straddling his lap. “I got hit on by fucking pimps, Joe, as soon as I got off the fucking bus at Penn station. I'm not as naïve as I look.” “But you don't know me.” “Like you're a psycho? You don't seem the type and in a way I don't fucking care. A rapist probably wouldn't have brought me home. The hotel I stayed at this creepy guy kept staring at me in the lobby and ended up following me to my fucking floor, so I like got out quick out of there, practically running. And I didn't even dare shower there since the shower room was fucking shared and fucking groady. I was actually headed to Grand Central when we collided, thinking I'd try taking a train down to twenty-third, staying at the Chelsea or something, just to do something cool while I was here and still alive. So Joe, I guess you're the best choice I've had so far.” She kissed him, pulling off the jacket he still wore and unbuttoning his shirt. He broke the kiss when he tossed aside the tie, then lifted her and set her on her back on the bed. He finished the unbuttoning and tossed aside his shirt. “Nice,” she smiled, stroking his chest. Joe didn't work out, but being young, just twenty-one, and working hard at his job as a waiter, kept him slim and slimly muscled. He kept his pants on when he made love to her lying beside her on his side. Kisses continued for a while, both enjoying it especially when tongues were involved, her breath tasting of toothpaste and his presumably not offensive, while his hand began exploring the rest of her. The hand took the weight of her breasts, teasingly moving on before a direct attack on her small nipples to linger on her taut belly and moving teasing across her pudendum, through her soft patch of blond hair, before feeling the smoothness of her thighs and the firmness of muscles, and then under her, lifting her slightly by her firm ass, followed by sliding along her back, across her shoulder and returning to her breasts, fingers moving in on her nipples, caressing and tugging gently at each one, making her gasp into his mouth. Only then did he end the kiss, bringing his mouth to the exploration, finding thrills for her at her ear and neck before moving to her breasts and nipples. Once each one had been appreciated for a while, the second sending his hand down slowly, eventually fingers discovering the dampness of her labia, rimming the edges, his mouth followed the same trail as his hand, and when it reached where she wanted it, he shifted his body between her widened legs and his tongue lapped across her clit, the first touch of it, and she lifted her middle and moaned. Both fingers and mouth remained there, working her gradually to her first climax via a man, especially intense when he stroked her g spot, his other hand tugging at her nipples, measuring the squeeze and building on it since she seemed to handle ever more pressure there. “Joe,” she murmured once she recovered, and smiled when he got up and got naked for her. “Oh my,” she commented at his length, on the thicker side, and definitely longer than the two she'd seen by at least a couple inches. “I'll be gentle,” he promised, opening a condom and rolling it on and moving between her thighs. He brought her hand to his cock to guide him, and she brought it where she wanted it and he slowly pushed in. “Oh fuck!” she moaned. “Too much?” he asked reluctantly. “Don't you fucking stop!” she declared. He pushed into one of the tightest sheathes he'd ever felt and realized he wouldn't last and told her. “Just fuck me,” she insisted, her legs wrapping his thighs as emphasis. Going slow probably helped delay the inevitable, seeming to open her up with each deeper stroke. In the end, he nudged at her cervix, thankfully with his cock completely inside her. He'd known girls her size, even taller, where he had to be careful about the impact there, usually no more than an inch to spare, but enough to cause pain. Not this time. Touching it made her growl, but in a good way. He decided to exploit that, grinding into her, pubic bone against pubic bone which affected her clit too, and just pulling out a couple inches before thrusting in. She seemed fine with that, even enjoying it, so he kept it up while his hands drew in to work fingers and thumbs on her nipples. She began meeting his thrusts with lifts, and her hands grabbed his ass cheeks, and she began pulling on his flesh there, wanting longer strokes it seemed, but he waited until she grabbed hard, closing on being painful, her nails thankfully short, he'd learn later she tended to nibble on them when nervous, and he'd actually seen a little of that in the automat, and she pressed against him one more time before announcing her climax with, “Oh my fucking God!” rather loudly at a high growl. And when she loosened her grip, only then did he abandon himself to fully fucking her, long, ever faster strokes for only seconds before he pressed deep, pushing against her cervix, and cumming. “Joe,” she murmured, her hands pushing his chest. “Sorry,” he responded, hugging her to him and turning them over. He'd reached the last of his ejaculations, every one intense, and reached down to hold the condom to his penis while shifting her higher with his legs. “Mmm,” she responded when it slid out. She shivered a little too as if feeling a last echo of her orgasm. “It'll be better next time,” he promised. She chuckled weakly. “What?” he asked. She shifted forward. Since both of their bodies had fairly equal proportions of legs to torsos, she had to scoot up a bit, her legs straddling his abdomen, her damp pussy pressing into it, for her to look eye to eye with him. Her hands pressed his shoulders to put her face above his. “That was several magnitudes better than the last and only fuck I've had,” she explained. “I thought it was making love,” he argued. “Don't be pedantic, Joe,” she smirked, surprising him. “Pedantic?” “You know what I mean.” “Of course, but…” “I'm smarter than I look.” “I don't believe in the dumb blonde myth.” “I've met several, and not all blondes.” “School?” “And fellow dancers, although most were dedicated enough to be smart too I suppose. Learning to put the time in to do the best you can both in dancing and studying.” “Makes sense. So school…?” “I would have graduated this spring if I hadn't had to run away.” “GED?” he asked. “Probably. I don't imagine going to school for one quarter. You?” “School?” “Yeah.” “I went to Bard in upstate New York for a couple years, but quit because it was ridiculous having parents spend that much money for me to study to be a poet.” “You're a poet?” “Not much recently. I thought New York would be inspiring, but mostly it's been distracting. I'm also interested in filmmaking, like the experimental kind, so no more lucrative. I still have a Bolex sixteen millimeter camera which fortunately the thieves never found.” “Thieves?” “The problem with living amongst junkies. Let me show you something.” He lifted his left arm and she caressed a line of marks near his inner elbow area. “Are those…?” “Tracks. Only one is fairly fresh. It's why I quit Max's: too much temptation. Living here too, but right now I can't afford to move. A friend of mine OD'd and died, and another almost did and I ended up keeping him alive. It was the last straw, and I realized that'd be me, or it'd just be a spiral of inertia, all about the next fix and nothing else, so I quit. Luckily I wasn't too strung out and basically hung with my folks for a week when my dad had his sabbatical in DC this past winter. I drank a bit there, but my parents seemed none the wiser. Anyway, when I came back to work planning to keep my tips instead of spending them all, I did okay until I didn't one day, succumbing to temptation, and quit after that.” “When was that?” “A week ago. I've been job hunting ever since.” “Lucky for me,” she grinned and shifted around, pulling off the used condom and handing it to him carefully and he managed to toss it atop his underpants while she enveloped his penis in her mouth. He worried about her lack of experience, mostly worried about her teeth, but she proved quite capable. He nudged her to straddle his face and had to bend his back a little, supported by his arms so fingers weren't available, and mostly kept her pleasure at a quiet purr, not distracting her from her surprisingly effective endeavors. Once she'd got him hard, she bounced off the bed, found a condom and rolled it on with some study and climbed on and guided him back inside her, carefully, stroke by stroke, sending him deep. Once there, she began her ride, this time having the full effect of his entire cock, to the point she needed to bring it back to her slit when it slipped out a couple times, but seemed to get the length of him soon enough and began riding him at a medium fast clip. He watched the roll and bounce of her perky tits before stilling them with his hands, one letting go to guide her hand to her clit. From that she worked herself into a frenzy, finally shifting down and rolling atop him to achieve her orgasm. Fortunately it always took longer for Joe to cum when a woman took the cowgirl position. After, she somehow turned around while he remained inside and moved her body down, and he realized what she wanted, moving from beneath her, clutching her hips, and pulling her into him in a doggy style position. He shifted, letting go of the hips and bringing one hand to her hanging tits and the other to her clit, practically holding her up with the latter hand, and like he had before, let himself go fucking her hard and fast until he came, happily not long after she did. “Fuck Joe,” she commented softly after. “Yeah,” Joe agreed. She did the securing of the condom to his penis and they soon took the same position as they had before, her head resting on his chest. “Can I stay?” she asked quietly and shyly. “As long as you want.” “Thanks.” by maxicue for Literotica. This is the first chapter of a novel. The rest of the published chapters are found at the maxicue library of Literotica. Fate's Embrace: 6 Part Series

The Bolex camera, 16mm reversal film stocks, commercial film laboratories, and low-budget optical printers were the small-gauge media technologies that provided the infrastructure for experimental filmmaking at the height of its cultural impact. Technology and the Making of Experimental Film Culture (Oxford University Press, 2023) by Dr. John Powers examines how the avant-garde embraced these material resources and invested them with meanings and values adjacent to those of semiprofessional film culture. By reasserting the physicality of the body in making time-lapse and kinesthetic sequences with the Bolex, filmmakers conversed with other art forms and integrated broader spheres of humanistic and scientific inquiry into their artistic process. Drawing from the photographic qualities of stocks such as Tri-X and Kodachrome, they discovered pliant metaphors that allowed them to connect their artistic practice to metaphysics, spiritualism, and Hollywood excess. By framing film labs as mystical or adversarial, they cultivated an oppositionality that valorized control over the artistic process. And by using the optical printer as a tool for excavating latent meaning out of found footage, they posited the reworking of images as fundamental to the exploration of personal and cultural identity. Providing a wealth of new detail about the making of canonised avant-garde classics by such luminaries as Carolee Schneemann, Jack Smith, and Stan Brakhage, as well as rediscovering works from overlooked artists such as Chick Strand, Amy Halpern, and Gunvor Nelson, Technology and the Making of Experimental Film Culture uses technology as a lens for examining the process of making: where ideas come from, how they are put into practice, and how arguments about those ideas foster cultural and artistic commitments and communities. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Bolex camera, 16mm reversal film stocks, commercial film laboratories, and low-budget optical printers were the small-gauge media technologies that provided the infrastructure for experimental filmmaking at the height of its cultural impact. Technology and the Making of Experimental Film Culture (Oxford University Press, 2023) by Dr. John Powers examines how the avant-garde embraced these material resources and invested them with meanings and values adjacent to those of semiprofessional film culture. By reasserting the physicality of the body in making time-lapse and kinesthetic sequences with the Bolex, filmmakers conversed with other art forms and integrated broader spheres of humanistic and scientific inquiry into their artistic process. Drawing from the photographic qualities of stocks such as Tri-X and Kodachrome, they discovered pliant metaphors that allowed them to connect their artistic practice to metaphysics, spiritualism, and Hollywood excess. By framing film labs as mystical or adversarial, they cultivated an oppositionality that valorized control over the artistic process. And by using the optical printer as a tool for excavating latent meaning out of found footage, they posited the reworking of images as fundamental to the exploration of personal and cultural identity. Providing a wealth of new detail about the making of canonised avant-garde classics by such luminaries as Carolee Schneemann, Jack Smith, and Stan Brakhage, as well as rediscovering works from overlooked artists such as Chick Strand, Amy Halpern, and Gunvor Nelson, Technology and the Making of Experimental Film Culture uses technology as a lens for examining the process of making: where ideas come from, how they are put into practice, and how arguments about those ideas foster cultural and artistic commitments and communities. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The Bolex camera, 16mm reversal film stocks, commercial film laboratories, and low-budget optical printers were the small-gauge media technologies that provided the infrastructure for experimental filmmaking at the height of its cultural impact. Technology and the Making of Experimental Film Culture (Oxford University Press, 2023) by Dr. John Powers examines how the avant-garde embraced these material resources and invested them with meanings and values adjacent to those of semiprofessional film culture. By reasserting the physicality of the body in making time-lapse and kinesthetic sequences with the Bolex, filmmakers conversed with other art forms and integrated broader spheres of humanistic and scientific inquiry into their artistic process. Drawing from the photographic qualities of stocks such as Tri-X and Kodachrome, they discovered pliant metaphors that allowed them to connect their artistic practice to metaphysics, spiritualism, and Hollywood excess. By framing film labs as mystical or adversarial, they cultivated an oppositionality that valorized control over the artistic process. And by using the optical printer as a tool for excavating latent meaning out of found footage, they posited the reworking of images as fundamental to the exploration of personal and cultural identity. Providing a wealth of new detail about the making of canonised avant-garde classics by such luminaries as Carolee Schneemann, Jack Smith, and Stan Brakhage, as well as rediscovering works from overlooked artists such as Chick Strand, Amy Halpern, and Gunvor Nelson, Technology and the Making of Experimental Film Culture uses technology as a lens for examining the process of making: where ideas come from, how they are put into practice, and how arguments about those ideas foster cultural and artistic commitments and communities. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

The Bolex camera, 16mm reversal film stocks, commercial film laboratories, and low-budget optical printers were the small-gauge media technologies that provided the infrastructure for experimental filmmaking at the height of its cultural impact. Technology and the Making of Experimental Film Culture (Oxford University Press, 2023) by Dr. John Powers examines how the avant-garde embraced these material resources and invested them with meanings and values adjacent to those of semiprofessional film culture. By reasserting the physicality of the body in making time-lapse and kinesthetic sequences with the Bolex, filmmakers conversed with other art forms and integrated broader spheres of humanistic and scientific inquiry into their artistic process. Drawing from the photographic qualities of stocks such as Tri-X and Kodachrome, they discovered pliant metaphors that allowed them to connect their artistic practice to metaphysics, spiritualism, and Hollywood excess. By framing film labs as mystical or adversarial, they cultivated an oppositionality that valorized control over the artistic process. And by using the optical printer as a tool for excavating latent meaning out of found footage, they posited the reworking of images as fundamental to the exploration of personal and cultural identity. Providing a wealth of new detail about the making of canonised avant-garde classics by such luminaries as Carolee Schneemann, Jack Smith, and Stan Brakhage, as well as rediscovering works from overlooked artists such as Chick Strand, Amy Halpern, and Gunvor Nelson, Technology and the Making of Experimental Film Culture uses technology as a lens for examining the process of making: where ideas come from, how they are put into practice, and how arguments about those ideas foster cultural and artistic commitments and communities. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

The Bolex camera, 16mm reversal film stocks, commercial film laboratories, and low-budget optical printers were the small-gauge media technologies that provided the infrastructure for experimental filmmaking at the height of its cultural impact. Technology and the Making of Experimental Film Culture (Oxford University Press, 2023) by Dr. John Powers examines how the avant-garde embraced these material resources and invested them with meanings and values adjacent to those of semiprofessional film culture. By reasserting the physicality of the body in making time-lapse and kinesthetic sequences with the Bolex, filmmakers conversed with other art forms and integrated broader spheres of humanistic and scientific inquiry into their artistic process. Drawing from the photographic qualities of stocks such as Tri-X and Kodachrome, they discovered pliant metaphors that allowed them to connect their artistic practice to metaphysics, spiritualism, and Hollywood excess. By framing film labs as mystical or adversarial, they cultivated an oppositionality that valorized control over the artistic process. And by using the optical printer as a tool for excavating latent meaning out of found footage, they posited the reworking of images as fundamental to the exploration of personal and cultural identity. Providing a wealth of new detail about the making of canonised avant-garde classics by such luminaries as Carolee Schneemann, Jack Smith, and Stan Brakhage, as well as rediscovering works from overlooked artists such as Chick Strand, Amy Halpern, and Gunvor Nelson, Technology and the Making of Experimental Film Culture uses technology as a lens for examining the process of making: where ideas come from, how they are put into practice, and how arguments about those ideas foster cultural and artistic commitments and communities. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

The Bolex camera, 16mm reversal film stocks, commercial film laboratories, and low-budget optical printers were the small-gauge media technologies that provided the infrastructure for experimental filmmaking at the height of its cultural impact. Technology and the Making of Experimental Film Culture (Oxford University Press, 2023) by Dr. John Powers examines how the avant-garde embraced these material resources and invested them with meanings and values adjacent to those of semiprofessional film culture. By reasserting the physicality of the body in making time-lapse and kinesthetic sequences with the Bolex, filmmakers conversed with other art forms and integrated broader spheres of humanistic and scientific inquiry into their artistic process. Drawing from the photographic qualities of stocks such as Tri-X and Kodachrome, they discovered pliant metaphors that allowed them to connect their artistic practice to metaphysics, spiritualism, and Hollywood excess. By framing film labs as mystical or adversarial, they cultivated an oppositionality that valorized control over the artistic process. And by using the optical printer as a tool for excavating latent meaning out of found footage, they posited the reworking of images as fundamental to the exploration of personal and cultural identity. Providing a wealth of new detail about the making of canonised avant-garde classics by such luminaries as Carolee Schneemann, Jack Smith, and Stan Brakhage, as well as rediscovering works from overlooked artists such as Chick Strand, Amy Halpern, and Gunvor Nelson, Technology and the Making of Experimental Film Culture uses technology as a lens for examining the process of making: where ideas come from, how they are put into practice, and how arguments about those ideas foster cultural and artistic commitments and communities. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars.

Two pedestrians collide fatefully.by maxicue. Listen to the Podcast at Steamy Stories. Joe slid through the crowd on the street, not in a hurry, just enjoying it, like it was some kind of game, call it Body Avoidance, a challenge of finding the gaps just large enough to pass through untouched while the bodies continued moving in somewhat predictable ways, though the unpredictable could always happen, adding to the challenge and the fun, that quick burst bypassing the unexpected shift. He loved this game ever since moving to New York, at first when he worked at a copy place in Grand Central Station (nearby where he happened to be sliding through at the moment), especially busy streets around there, especially at rush hours and lunch, and further challenged when he carried heavy packages of copies destined for publishing houses, often pocketing the cab money given to him to walk even farther through more busy streets carrying those burdens. And then when he became busboy and then waiter at the restaurant at Max's Kansas City, a punk club with the music upstairs and the restaurant where he worked downstairs, sliding through crowds of kids his age on weekend nights. It felt like a kind of dance, especially at the club, even with his own special tempo.This time though, for the first time ever as far as he could recall, he collided with someone who seemed to appear out of nowhere, his height of six and a half feet always helping his vision and his traversing perhaps missing her much smaller frame, at least a foot shorter, probably closer to a foot and a half, but more it seemed like she stepped into the narrow passage he'd found as if on purpose, finding the perfect moment for collision. But of course that would have been impossible, her knowing when to get in his way, when he'd happen to be sliding through at that very moment, unless fate could be considered purposeful.“Asshole,” the young woman growled from the concrete in which his impact sent her, landing on her ass and a hand that prevented something worse like concussion and scraping it for the trouble. With him stopped standing over her, the crowd flowed around the sudden impediment like cattle somehow avoiding stampeding, though less animal and more human since the flow went both ways.He looked down at a blonde waif, skinny and frail, her t shirt and jeans too big for her and looking well past new, the t shirt white with a band logo he was unfamiliar with showing every stain, and there were many, the jeans showing a small right kneecap where the cloth had frayed. The navy peacoat, too warm for the balmy, almost summerlike weather unusual this early in the year, splayed open.“I'm so sorry,” Joe exclaimed, and when his stretched out hand was avoided by her, he insisted, “Let me help you up.” She finally allowed his large hand to take hold of her small slim one aiding her to standing. “I didn't see you,” he added.“Obviously,” she smirked, adjusting her stuffed and scuffed red backpack on her shoulders.“Hungry?” he asked.“I could eat,” she half smiled.He guided her across the street and to the end of the block where one of the last of the Horn and Hardarts automats existed and put coins into the slots for her tuna sandwich and chips and for his egg salad. He bought her a Coke and he got coffee. She used the toilet there to clean her scrape amongst other things since she took a while, which worried him, thinking she might have run off, but of course she didn't, having food waiting for her.“I'm Joe,” he told her.“Jenny,” she replied before filling her mouth with a bite of sandwich.They said nothing for a while since she devoured her food, obviously needing it.“Anything else?” he asked.“Maybe a pie? The lemon meringue looked tempting.”“Okay if we share?” he asked.“That's fine.”“Uhm, are you going to stay?” He looked at her, saw her eyes pooling and she sniffled. “Please?”Her smile nearly broke his heart when she replied, “Nowhere better to be.”“Good. After we eat, let's get that scrape taken care of.”“Okay.”They stayed, talking over the small empty plate.“Where are you from?” he asked.“The Twin Cities. Minneapolis.”“No shit! Me too!”“No shit!”“No shit. Where?”“Robbinsdale.”“Golden Valley.”“No shit?”“No shit.”The two suburbs were neighbors, Robbinsdale more middle class than Golden Valley, which tended to be more upper middle class, a lot of professionals, doctors, lawyers and professors, his dad being of the latter type.Fate.“You work around here?” she asked, since Joe had dressed up in a jacket and tie, the tie loose around his neck.“I used to,” he told her. “I'm actually applying for jobs presently.”“Presently,” she giggled.“Sorry. I tend to talk like I have a stick up my butt.”“No, it's cute.”“Glad you think so,” he chuckled.“How's the job search going?” she asked.“Not great unfortunately. My uncle's an executive at the William Morris Agency, and I hoped that might help, but I guess he's against nepotism. It's possible I'll get a job in their mail room. I applied at other offices, but I'm making a career change, or hoping to, and have got little experience.”“From what?” she asked.“I used to be a waiter at Max's Kansas City.”“No shit!”“No shit.”“Why not stay there?”“I needed a change,” he murmured, unconsciously stroking his arm.Jenny sensing Joe's discomfort regarding the subject wisely ended that line of inquiry. “What's the William Morris Agency?” she asked instead.“It's one of the largest talent agencies in America,” he told her.“Cool.”“Yeah. It's had its perks. Getting turned on to Bowie early because my uncle wrote the contract that signed him. Meeting cool stars at a party at his house upstate. Going to openings like the movie Hair and Apocalypse Now, the last a brand new print and sitting close.”“Is that cool?” she asked.“Pretty cool,” he chuckled.When they left the automat, he told her, “Let's get you some anti-bacteria for your scrape and Band-Aids. I know a drugstore nearby.”“You don't have anything at home?” she asked, surprising him.“Um…you sure?”“I'm sure,” she smiled, and he could see those pretty blue eyes pool again.“I can get something on the way,” he decided.“Great!”Since the drugstore was close by, he went there anyway, and while getting the first aid stuff, she waited for him near the counter. “Need any of these?” she blushed, pointing to the rack of condoms.His cock stiffened in his pants while he grabbed a sixpack of lubricated Trojans. She stayed his hand and grabbed a twelve pack instead. “Holy shit,” he thought.Both were blushing while he made the purchase.They walked over to Grand Central and took the subway south to Fourteenth Street close to where he lived. They entered a door between a couple non-descript store fronts and climbed the stairs three floors, Joe unlocking a door on the left at the top. Fortunately none of his roommates were around in the shared area, probably sleeping since they tended to keep vampire hours, and Joe guided Jenny down a hallway, taking a sharp right and, pushing aside a beaded curtain, gestured her through. He had by far the largest bedroom in the three bedroom apartment, a couple large windows unfortunately facing the wall of another building. Unfortunate not for the view, but for the easy access from the roof to the room, the probable path taken when someone broke in and stole his record collection and his typewriter not long before. Or they could have just walked in, because he knew the probable culprit, since he'd seen the junkie just off St. Marks selling his records, a regular at Max's.“Sorry for the mess,” he apologized, and Joe was a definite slob.“No problem,” she responded. “Beggars can't be choosers.”“Jenny?”“Mind if I take a shower?” she sniffled.“Not at all. Just a second.” He knelt in front of a small cabinet and grabbed a towel for her. “The red door on the right,” he told her.For some reason they'd painted the bathroom a deep red, including the door, the rest of the apartment with white walls.He cleaned up his place while she showered, neatening the books and papers on the coffee table, the table on which he used to type before losing his typewriter, and tossing clothes into a gunny sack he used to tote down to go to the nearest laundromat a block or so away.She returned carrying her clothes and her bag, wearing the towel with it tucked between her cleavage, more of it than he expected, and when she unceremoniously dropped the towel, she sported perky b cup breasts, all the more substantial looking on her petite frame. She was skinny but fortunately not completely starved, no bones jutting out, her belly youthfully firm with just a hint of convexity, and her full bush, being blonde, seemed less substantial than if it were dark. Her waist curved subtly, neither what some would call child bearing hips, but not boyish either. This was definitely a woman.“Like what you see?” she smiled, turning, and showing him a perfect firm round ass. He also noticed muscled thighs and her arms even had some definition.“Wow,” he said. “You're definitely in shape.”“Dreams of being a prima ballerina,” she sniffled.He sat on the bed and patted his lap. “Come here.”“You have way too many clothes on,” she sniffled and giggled.“Come here, Jenny,” he said more forcefully.She sat on his lap sideways. He reluctantly kept his hands off her.“Tell me,” he said.“You don't want to fuck me?”“Of course I do. Tell me.”She sobbed. Only then did he embrace her across her middle, her face ending up against his chest. He could feel the tears wet his shirt. “Tell me,” he repeated.“I…had to,” she choked out.“Had to?”“Your shirt,” she murmured, pulling her head away.“It's okay,” he insisted, gently pulling her head back.“I auditioned over the years to get into ballet school here, but no takers,” she managed to say. “I wanted to be a ballerina but I guess I'm not good enough.”“Best to know I guess,” Joe tried.“It's not that. Oh, okay that kind of sucked, but mostly I wanted to get away.”“From?”“Everything!”“Including?”“My mother's cruel disappointment. She'd been a ballerina until she had me. My boyfriend turning out to be gay. Another boy practically raping me instead making sure I was ready. My father…”“Did he…?”“No, but he was working up to it. Probably looked at me like I was my mom when I was her age or younger I guess. He'd be affectionate, too affectionate as it turned out. He touched me where he shouldn't, not directly but close, you know. I guess I didn't believe it, but it turned out he was actually being shy, and eventually brought my hand to his crotch which got me off him immediately. The last straw…I woke up with him in my bed. I screamed and punched like in his diaphragm which took his wind. Maybe I should have punched lower, but I wanted to be nowhere near that, and when I raced out the room, my mother plods over and my dad says some bullshit about me seducing him, and since it was all about jealousy, him being more affectionate to me, and disappointment, she fucking believed him.“I'm of course freaking out, everything…and then this…but I managed to take some breaths, calming down, and told my mom if she wanted rid of me I needed money. They only had a couple hundred around but my mom takes me to her bank, gets me another five hundred, drives me to the bus station, buys me a ticket to New York, my demand, with her credit card. She actually offered one to me, but I told her she'd probably close it and have me arrested or something, and the bitch shrugged. And I'm like, ‘You're a fucking cunt.' And she's saying I'm a useless slut.”“Sorry,” Joe apologized.“I'm the sorry one,” Jenny actually chuckled.“But…it doesn't sound like sex…”Jenny shifted around so that she faced him, straddling his lap. “I got hit on by fucking pimps, Joe, as soon as I got off the fucking bus at Penn station. I'm not as naïve as I look.”“But you don't know me.”“Like you're a psycho? You don't seem the type and in a way I don't fucking care. A rapist probably wouldn't have brought me home. The hotel I stayed at this creepy guy kept staring at me in the lobby and ended up following me to my fucking floor, so I like got out quick out of there, practically running. And I didn't even dare shower there since the shower room was fucking shared and fucking groady. I was actually headed to Grand Central when we collided, thinking I'd try taking a train down to twenty-third, staying at the Chelsea or something, just to do something cool while I was here and still alive. So Joe, I guess you're the best choice I've had so far.” She kissed him, pulling off the jacket he still wore and unbuttoning his shirt.He broke the kiss when he tossed aside the tie, then lifted her and set her on her back on the bed. He finished the unbuttoning and tossed aside his shirt.“Nice,” she smiled, stroking his chest. Joe didn't work out, but being young, just twenty-one, and working hard at his job as a waiter, kept him slim and slimly muscled.He kept his pants on when he made love to her lying beside her on his side. Kisses continued for a while, both enjoying it especially when tongues were involved, her breath tasting of toothpaste and his presumably not offensive, while his hand began exploring the rest of her. The hand took the weight of her breasts, teasingly moving on before a direct attack on her small nipples to linger on her taut belly and moving teasing across her pudendum, through her soft patch of blond hair, before feeling the smoothness of her thighs and the firmness of muscles, and then under her, lifting her slightly by her firm ass, followed by sliding along her back, across her shoulder and returning to her breasts, fingers moving in on her nipples, caressing and tugging gently at each one, making her gasp into his mouth.Only then did he end the kiss, bringing his mouth to the exploration, finding thrills for her at her ear and neck before moving to her breasts and nipples. Once each one had been appreciated for a while, the second sending his hand down slowly, eventually fingers discovering the dampness of her labia, rimming the edges, his mouth followed the same trail as his hand, and when it reached where she wanted it, he shifted his body between her widened legs and his tongue lapped across her clit, the first touch of it, and she lifted her middle and moaned.Both fingers and mouth remained there, working her gradually to her first climax via a man, especially intense when he stroked her g spot, his other hand tugging at her nipples, measuring the squeeze and building on it since she seemed to handle ever more pressure there.“Joe,” she murmured once she recovered, and smiled when he got up and got naked for her. “Oh my,” she commented at his length, on the thicker side, and definitely longer than the two she'd seen by at least a couple inches.“I'll be gentle,” he promised, opening a condom and rolling it on and moving between her thighs. He brought her hand to his cock to guide him, and she brought it where she wanted it and he slowly pushed in.“Oh fuck!” she moaned.“Too much?” he asked reluctantly.“Don't you fucking stop!” she declared.He pushed into one of the tightest sheathes he'd ever felt and realized he wouldn't last and told her.“Just fuck me,” she insisted, her legs wrapping his thighs as emphasis.Going slow probably helped delay the inevitable, seeming to open her up with each deeper stroke. In the end, he nudged at her cervix, thankfully with his cock completely inside her. He'd known girls her size, even taller, where he had to be careful about the impact there, usually no more than an inch to spare, but enough to cause pain. Not this time. Touching it made her growl, but in a good way.He decided to exploit that, grinding into her, pubic bone against pubic bone which affected her clit too, and just pulling out a couple inches before thrusting in. She seemed fine with that, even enjoying it, so he kept it up while his hands drew in to work fingers and thumbs on her nipples.She began meeting his thrusts with lifts, and her hands grabbed his ass cheeks, and she began pulling on his flesh there, wanting longer strokes it seemed, but he waited until she grabbed hard, closing on being painful, her nails thankfully short, he'd learn later she tended to nibble on them when nervous, and he'd actually seen a little of that in the automat, and she pressed against him one more time before announcing her climax with, “Oh my fucking God!” rather loudly at a high growl. And when she loosened her grip, only then did he abandon himself to fully fucking her, long, ever faster strokes for only seconds before he pressed deep, pushing against her cervix, and cumming.“Joe,” she murmured, her hands pushing his chest.“Sorry,” he responded, hugging her to him and turning them over. He'd reached the last of his ejaculations, every one intense, and reached down to hold the condom to his penis while shifting her higher with his legs.“Mmm,” she responded when it slid out. She shivered a little too as if feeling a last echo of her orgasm.“It'll be better next time,” he promised.She chuckled weakly.“What?” he asked.She shifted forward. Since both of their bodies had fairly equal proportions of legs to torsos, she had to scoot up a bit, her legs straddling his abdomen, her damp pussy pressing into it, for her to look eye to eye with him. Her hands pressed his shoulders to put her face above his.“That was several magnitudes better than the last and only fuck I've had,” she explained.“I thought it was making love,” he argued.“Don't be pedantic, Joe,” she smirked, surprising him.“Pedantic?”“You know what I mean.”“Of course, but…”“I'm smarter than I look.”“I don't believe in the dumb blonde myth.”“I've met several, and not all blondes.”“School?”“And fellow dancers, although most were dedicated enough to be smart too I suppose. Learning to put the time in to do the best you can both in dancing and studying.”“Makes sense. So school…?”“I would have graduated this spring if I hadn't had to run away.”“GED?” he asked.“Probably. I don't imagine going to school for one quarter. You?”“School?”“Yeah.”“I went to Bard in upstate New York for a couple years, but quit because it was ridiculous having parents spend that much money for me to study to be a poet.”“You're a poet?”“Not much recently. I thought New York would be inspiring, but mostly it's been distracting. I'm also interested in filmmaking, like the experimental kind, so no more lucrative. I still have a Bolex sixteen millimeter camera which fortunately the thieves never found.”“Thieves?”“The problem with living amongst junkies. Let me show you something.”He lifted his left arm and she caressed a line of marks near his inner elbow area.“Are those…?”“Tracks. Only one is fairly fresh. It's why I quit Max's: too much temptation. Living here too, but right now I can't afford to move. A friend of mine OD'd and died, and another almost did and I ended up keeping him alive. It was the last straw, and I realized that'd be me, or it'd just be a spiral of inertia, all about the next fix and nothing else, so I quit. Luckily I wasn't too strung out and basically hung with my folks for a week when my dad had his sabbatical in DC this past winter. I drank a bit there, but my parents seemed none the wiser. Anyway, when I came back to work planning to keep my tips instead of spending them all, I did okay until I didn't one day, succumbing to temptation, and quit after that.”“When was that?”“A week ago. I've been job hunting ever since.”“Lucky for me,” she grinned and shifted around, pulling off the used condom and handing it to him carefully and he managed to toss it atop his underpants while she enveloped his penis in her mouth. He worried about her lack of experience, mostly worried about her teeth, but she proved quite capable. He nudged her to straddle his face and had to bend his back a little, supported by his arms so fingers weren't available, and mostly kept her pleasure at a quiet purr, not distracting her from her surprisingly effective endeavors.Once she'd got him hard, she bounced off the bed, found a condom and rolled it on with some study and climbed on and guided him back inside her, carefully, stroke by stroke, sending him deep. Once there, she began her ride, this time having the full effect of his entire cock, to the point she needed to bring it back to her slit when it slipped out a couple times, but seemed to get the length of him soon enough and began riding him at a medium fast clip.He watched the roll and bounce of her perky tits before stilling them with his hands, one letting go to guide her hand to her clit. From that she worked herself into a frenzy, finally shifting down and rolling atop him to achieve her orgasm. Fortunately it always took longer for Joe to cum when a woman took the cowgirl position.After, she somehow turned around while he remained inside and moved her body down, and he realized what she wanted, moving from beneath her, clutching her hips, and pulling her into him in a doggy style position. He shifted, letting go of the hips and bringing one hand to her hanging tits and the other to her clit, practically holding her up with the latter hand, and like he had before, let himself go fucking her hard and fast until he came, happily not long after she did.“Fuck Joe,” she commented softly after.“Yeah,” Joe agreed.She did the securing of the condom to his penis and they soon took the same position as they had before, her head resting on his chest.“Can I stay?” she asked quietly and shyly.“As long as you want.”“Thanks.”by maxicue for Literotica.This is the first chapter of a novel. The rest of the published chapters are found at the maxicue library of Literotica.Fate's Embrace: 6 Part Series

Two pedestrians collide fatefully.by maxicue. Listen to the Podcast at Steamy Stories. Joe slid through the crowd on the street, not in a hurry, just enjoying it, like it was some kind of game, call it Body Avoidance, a challenge of finding the gaps just large enough to pass through untouched while the bodies continued moving in somewhat predictable ways, though the unpredictable could always happen, adding to the challenge and the fun, that quick burst bypassing the unexpected shift. He loved this game ever since moving to New York, at first when he worked at a copy place in Grand Central Station (nearby where he happened to be sliding through at the moment), especially busy streets around there, especially at rush hours and lunch, and further challenged when he carried heavy packages of copies destined for publishing houses, often pocketing the cab money given to him to walk even farther through more busy streets carrying those burdens. And then when he became busboy and then waiter at the restaurant at Max's Kansas City, a punk club with the music upstairs and the restaurant where he worked downstairs, sliding through crowds of kids his age on weekend nights. It felt like a kind of dance, especially at the club, even with his own special tempo.This time though, for the first time ever as far as he could recall, he collided with someone who seemed to appear out of nowhere, his height of six and a half feet always helping his vision and his traversing perhaps missing her much smaller frame, at least a foot shorter, probably closer to a foot and a half, but more it seemed like she stepped into the narrow passage he'd found as if on purpose, finding the perfect moment for collision. But of course that would have been impossible, her knowing when to get in his way, when he'd happen to be sliding through at that very moment, unless fate could be considered purposeful.“Asshole,” the young woman growled from the concrete in which his impact sent her, landing on her ass and a hand that prevented something worse like concussion and scraping it for the trouble. With him stopped standing over her, the crowd flowed around the sudden impediment like cattle somehow avoiding stampeding, though less animal and more human since the flow went both ways.He looked down at a blonde waif, skinny and frail, her t shirt and jeans too big for her and looking well past new, the t shirt white with a band logo he was unfamiliar with showing every stain, and there were many, the jeans showing a small right kneecap where the cloth had frayed. The navy peacoat, too warm for the balmy, almost summerlike weather unusual this early in the year, splayed open.“I'm so sorry,” Joe exclaimed, and when his stretched out hand was avoided by her, he insisted, “Let me help you up.” She finally allowed his large hand to take hold of her small slim one aiding her to standing. “I didn't see you,” he added.“Obviously,” she smirked, adjusting her stuffed and scuffed red backpack on her shoulders.“Hungry?” he asked.“I could eat,” she half smiled.He guided her across the street and to the end of the block where one of the last of the Horn and Hardarts automats existed and put coins into the slots for her tuna sandwich and chips and for his egg salad. He bought her a Coke and he got coffee. She used the toilet there to clean her scrape amongst other things since she took a while, which worried him, thinking she might have run off, but of course she didn't, having food waiting for her.“I'm Joe,” he told her.“Jenny,” she replied before filling her mouth with a bite of sandwich.They said nothing for a while since she devoured her food, obviously needing it.“Anything else?” he asked.“Maybe a pie? The lemon meringue looked tempting.”“Okay if we share?” he asked.“That's fine.”“Uhm, are you going to stay?” He looked at her, saw her eyes pooling and she sniffled. “Please?”Her smile nearly broke his heart when she replied, “Nowhere better to be.”“Good. After we eat, let's get that scrape taken care of.”“Okay.”They stayed, talking over the small empty plate.“Where are you from?” he asked.“The Twin Cities. Minneapolis.”“No shit! Me too!”“No shit!”“No shit. Where?”“Robbinsdale.”“Golden Valley.”“No shit?”“No shit.”The two suburbs were neighbors, Robbinsdale more middle class than Golden Valley, which tended to be more upper middle class, a lot of professionals, doctors, lawyers and professors, his dad being of the latter type.Fate.“You work around here?” she asked, since Joe had dressed up in a jacket and tie, the tie loose around his neck.“I used to,” he told her. “I'm actually applying for jobs presently.”“Presently,” she giggled.“Sorry. I tend to talk like I have a stick up my butt.”“No, it's cute.”“Glad you think so,” he chuckled.“How's the job search going?” she asked.“Not great unfortunately. My uncle's an executive at the William Morris Agency, and I hoped that might help, but I guess he's against nepotism. It's possible I'll get a job in their mail room. I applied at other offices, but I'm making a career change, or hoping to, and have got little experience.”“From what?” she asked.“I used to be a waiter at Max's Kansas City.”“No shit!”“No shit.”“Why not stay there?”“I needed a change,” he murmured, unconsciously stroking his arm.Jenny sensing Joe's discomfort regarding the subject wisely ended that line of inquiry. “What's the William Morris Agency?” she asked instead.“It's one of the largest talent agencies in America,” he told her.“Cool.”“Yeah. It's had its perks. Getting turned on to Bowie early because my uncle wrote the contract that signed him. Meeting cool stars at a party at his house upstate. Going to openings like the movie Hair and Apocalypse Now, the last a brand new print and sitting close.”“Is that cool?” she asked.“Pretty cool,” he chuckled.When they left the automat, he told her, “Let's get you some anti-bacteria for your scrape and Band-Aids. I know a drugstore nearby.”“You don't have anything at home?” she asked, surprising him.“Um…you sure?”“I'm sure,” she smiled, and he could see those pretty blue eyes pool again.“I can get something on the way,” he decided.“Great!”Since the drugstore was close by, he went there anyway, and while getting the first aid stuff, she waited for him near the counter. “Need any of these?” she blushed, pointing to the rack of condoms.His cock stiffened in his pants while he grabbed a sixpack of lubricated Trojans. She stayed his hand and grabbed a twelve pack instead. “Holy shit,” he thought.Both were blushing while he made the purchase.They walked over to Grand Central and took the subway south to Fourteenth Street close to where he lived. They entered a door between a couple non-descript store fronts and climbed the stairs three floors, Joe unlocking a door on the left at the top. Fortunately none of his roommates were around in the shared area, probably sleeping since they tended to keep vampire hours, and Joe guided Jenny down a hallway, taking a sharp right and, pushing aside a beaded curtain, gestured her through. He had by far the largest bedroom in the three bedroom apartment, a couple large windows unfortunately facing the wall of another building. Unfortunate not for the view, but for the easy access from the roof to the room, the probable path taken when someone broke in and stole his record collection and his typewriter not long before. Or they could have just walked in, because he knew the probable culprit, since he'd seen the junkie just off St. Marks selling his records, a regular at Max's.“Sorry for the mess,” he apologized, and Joe was a definite slob.“No problem,” she responded. “Beggars can't be choosers.”“Jenny?”“Mind if I take a shower?” she sniffled.“Not at all. Just a second.” He knelt in front of a small cabinet and grabbed a towel for her. “The red door on the right,” he told her.For some reason they'd painted the bathroom a deep red, including the door, the rest of the apartment with white walls.He cleaned up his place while she showered, neatening the books and papers on the coffee table, the table on which he used to type before losing his typewriter, and tossing clothes into a gunny sack he used to tote down to go to the nearest laundromat a block or so away.She returned carrying her clothes and her bag, wearing the towel with it tucked between her cleavage, more of it than he expected, and when she unceremoniously dropped the towel, she sported perky b cup breasts, all the more substantial looking on her petite frame. She was skinny but fortunately not completely starved, no bones jutting out, her belly youthfully firm with just a hint of convexity, and her full bush, being blonde, seemed less substantial than if it were dark. Her waist curved subtly, neither what some would call child bearing hips, but not boyish either. This was definitely a woman.“Like what you see?” she smiled, turning, and showing him a perfect firm round ass. He also noticed muscled thighs and her arms even had some definition.“Wow,” he said. “You're definitely in shape.”“Dreams of being a prima ballerina,” she sniffled.He sat on the bed and patted his lap. “Come here.”“You have way too many clothes on,” she sniffled and giggled.“Come here, Jenny,” he said more forcefully.She sat on his lap sideways. He reluctantly kept his hands off her.“Tell me,” he said.“You don't want to fuck me?”“Of course I do. Tell me.”She sobbed. Only then did he embrace her across her middle, her face ending up against his chest. He could feel the tears wet his shirt. “Tell me,” he repeated.“I…had to,” she choked out.“Had to?”“Your shirt,” she murmured, pulling her head away.“It's okay,” he insisted, gently pulling her head back.“I auditioned over the years to get into ballet school here, but no takers,” she managed to say. “I wanted to be a ballerina but I guess I'm not good enough.”“Best to know I guess,” Joe tried.“It's not that. Oh, okay that kind of sucked, but mostly I wanted to get away.”“From?”“Everything!”“Including?”“My mother's cruel disappointment. She'd been a ballerina until she had me. My boyfriend turning out to be gay. Another boy practically raping me instead making sure I was ready. My father…”“Did he…?”“No, but he was working up to it. Probably looked at me like I was my mom when I was her age or younger I guess. He'd be affectionate, too affectionate as it turned out. He touched me where he shouldn't, not directly but close, you know. I guess I didn't believe it, but it turned out he was actually being shy, and eventually brought my hand to his crotch which got me off him immediately. The last straw…I woke up with him in my bed. I screamed and punched like in his diaphragm which took his wind. Maybe I should have punched lower, but I wanted to be nowhere near that, and when I raced out the room, my mother plods over and my dad says some bullshit about me seducing him, and since it was all about jealousy, him being more affectionate to me, and disappointment, she fucking believed him.“I'm of course freaking out, everything…and then this…but I managed to take some breaths, calming down, and told my mom if she wanted rid of me I needed money. They only had a couple hundred around but my mom takes me to her bank, gets me another five hundred, drives me to the bus station, buys me a ticket to New York, my demand, with her credit card. She actually offered one to me, but I told her she'd probably close it and have me arrested or something, and the bitch shrugged. And I'm like, ‘You're a fucking cunt.' And she's saying I'm a useless slut.”“Sorry,” Joe apologized.“I'm the sorry one,” Jenny actually chuckled.“But…it doesn't sound like sex…”Jenny shifted around so that she faced him, straddling his lap. “I got hit on by fucking pimps, Joe, as soon as I got off the fucking bus at Penn station. I'm not as naïve as I look.”“But you don't know me.”“Like you're a psycho? You don't seem the type and in a way I don't fucking care. A rapist probably wouldn't have brought me home. The hotel I stayed at this creepy guy kept staring at me in the lobby and ended up following me to my fucking floor, so I like got out quick out of there, practically running. And I didn't even dare shower there since the shower room was fucking shared and fucking groady. I was actually headed to Grand Central when we collided, thinking I'd try taking a train down to twenty-third, staying at the Chelsea or something, just to do something cool while I was here and still alive. So Joe, I guess you're the best choice I've had so far.” She kissed him, pulling off the jacket he still wore and unbuttoning his shirt.He broke the kiss when he tossed aside the tie, then lifted her and set her on her back on the bed. He finished the unbuttoning and tossed aside his shirt.“Nice,” she smiled, stroking his chest. Joe didn't work out, but being young, just twenty-one, and working hard at his job as a waiter, kept him slim and slimly muscled.He kept his pants on when he made love to her lying beside her on his side. Kisses continued for a while, both enjoying it especially when tongues were involved, her breath tasting of toothpaste and his presumably not offensive, while his hand began exploring the rest of her. The hand took the weight of her breasts, teasingly moving on before a direct attack on her small nipples to linger on her taut belly and moving teasing across her pudendum, through her soft patch of blond hair, before feeling the smoothness of her thighs and the firmness of muscles, and then under her, lifting her slightly by her firm ass, followed by sliding along her back, across her shoulder and returning to her breasts, fingers moving in on her nipples, caressing and tugging gently at each one, making her gasp into his mouth.Only then did he end the kiss, bringing his mouth to the exploration, finding thrills for her at her ear and neck before moving to her breasts and nipples. Once each one had been appreciated for a while, the second sending his hand down slowly, eventually fingers discovering the dampness of her labia, rimming the edges, his mouth followed the same trail as his hand, and when it reached where she wanted it, he shifted his body between her widened legs and his tongue lapped across her clit, the first touch of it, and she lifted her middle and moaned.Both fingers and mouth remained there, working her gradually to her first climax via a man, especially intense when he stroked her g spot, his other hand tugging at her nipples, measuring the squeeze and building on it since she seemed to handle ever more pressure there.“Joe,” she murmured once she recovered, and smiled when he got up and got naked for her. “Oh my,” she commented at his length, on the thicker side, and definitely longer than the two she'd seen by at least a couple inches.“I'll be gentle,” he promised, opening a condom and rolling it on and moving between her thighs. He brought her hand to his cock to guide him, and she brought it where she wanted it and he slowly pushed in.“Oh fuck!” she moaned.“Too much?” he asked reluctantly.“Don't you fucking stop!” she declared.He pushed into one of the tightest sheathes he'd ever felt and realized he wouldn't last and told her.“Just fuck me,” she insisted, her legs wrapping his thighs as emphasis.Going slow probably helped delay the inevitable, seeming to open her up with each deeper stroke. In the end, he nudged at her cervix, thankfully with his cock completely inside her. He'd known girls her size, even taller, where he had to be careful about the impact there, usually no more than an inch to spare, but enough to cause pain. Not this time. Touching it made her growl, but in a good way.He decided to exploit that, grinding into her, pubic bone against pubic bone which affected her clit too, and just pulling out a couple inches before thrusting in. She seemed fine with that, even enjoying it, so he kept it up while his hands drew in to work fingers and thumbs on her nipples.She began meeting his thrusts with lifts, and her hands grabbed his ass cheeks, and she began pulling on his flesh there, wanting longer strokes it seemed, but he waited until she grabbed hard, closing on being painful, her nails thankfully short, he'd learn later she tended to nibble on them when nervous, and he'd actually seen a little of that in the automat, and she pressed against him one more time before announcing her climax with, “Oh my fucking God!” rather loudly at a high growl. And when she loosened her grip, only then did he abandon himself to fully fucking her, long, ever faster strokes for only seconds before he pressed deep, pushing against her cervix, and cumming.“Joe,” she murmured, her hands pushing his chest.“Sorry,” he responded, hugging her to him and turning them over. He'd reached the last of his ejaculations, every one intense, and reached down to hold the condom to his penis while shifting her higher with his legs.“Mmm,” she responded when it slid out. She shivered a little too as if feeling a last echo of her orgasm.“It'll be better next time,” he promised.She chuckled weakly.“What?” he asked.She shifted forward. Since both of their bodies had fairly equal proportions of legs to torsos, she had to scoot up a bit, her legs straddling his abdomen, her damp pussy pressing into it, for her to look eye to eye with him. Her hands pressed his shoulders to put her face above his.“That was several magnitudes better than the last and only fuck I've had,” she explained.“I thought it was making love,” he argued.“Don't be pedantic, Joe,” she smirked, surprising him.“Pedantic?”“You know what I mean.”“Of course, but…”“I'm smarter than I look.”“I don't believe in the dumb blonde myth.”“I've met several, and not all blondes.”“School?”“And fellow dancers, although most were dedicated enough to be smart too I suppose. Learning to put the time in to do the best you can both in dancing and studying.”“Makes sense. So school…?”“I would have graduated this spring if I hadn't had to run away.”“GED?” he asked.“Probably. I don't imagine going to school for one quarter. You?”“School?”“Yeah.”“I went to Bard in upstate New York for a couple years, but quit because it was ridiculous having parents spend that much money for me to study to be a poet.”“You're a poet?”“Not much recently. I thought New York would be inspiring, but mostly it's been distracting. I'm also interested in filmmaking, like the experimental kind, so no more lucrative. I still have a Bolex sixteen millimeter camera which fortunately the thieves never found.”“Thieves?”“The problem with living amongst junkies. Let me show you something.”He lifted his left arm and she caressed a line of marks near his inner elbow area.“Are those…?”“Tracks. Only one is fairly fresh. It's why I quit Max's: too much temptation. Living here too, but right now I can't afford to move. A friend of mine OD'd and died, and another almost did and I ended up keeping him alive. It was the last straw, and I realized that'd be me, or it'd just be a spiral of inertia, all about the next fix and nothing else, so I quit. Luckily I wasn't too strung out and basically hung with my folks for a week when my dad had his sabbatical in DC this past winter. I drank a bit there, but my parents seemed none the wiser. Anyway, when I came back to work planning to keep my tips instead of spending them all, I did okay until I didn't one day, succumbing to temptation, and quit after that.”“When was that?”“A week ago. I've been job hunting ever since.”“Lucky for me,” she grinned and shifted around, pulling off the used condom and handing it to him carefully and he managed to toss it atop his underpants while she enveloped his penis in her mouth. He worried about her lack of experience, mostly worried about her teeth, but she proved quite capable. He nudged her to straddle his face and had to bend his back a little, supported by his arms so fingers weren't available, and mostly kept her pleasure at a quiet purr, not distracting her from her surprisingly effective endeavors.Once she'd got him hard, she bounced off the bed, found a condom and rolled it on with some study and climbed on and guided him back inside her, carefully, stroke by stroke, sending him deep. Once there, she began her ride, this time having the full effect of his entire cock, to the point she needed to bring it back to her slit when it slipped out a couple times, but seemed to get the length of him soon enough and began riding him at a medium fast clip.He watched the roll and bounce of her perky tits before stilling them with his hands, one letting go to guide her hand to her clit. From that she worked herself into a frenzy, finally shifting down and rolling atop him to achieve her orgasm. Fortunately it always took longer for Joe to cum when a woman took the cowgirl position.After, she somehow turned around while he remained inside and moved her body down, and he realized what she wanted, moving from beneath her, clutching her hips, and pulling her into him in a doggy style position. He shifted, letting go of the hips and bringing one hand to her hanging tits and the other to her clit, practically holding her up with the latter hand, and like he had before, let himself go fucking her hard and fast until he came, happily not long after she did.“Fuck Joe,” she commented softly after.“Yeah,” Joe agreed.She did the securing of the condom to his penis and they soon took the same position as they had before, her head resting on his chest.“Can I stay?” she asked quietly and shyly.“As long as you want.”“Thanks.”by maxicue for Literotica.This is the first chapter of a novel. The rest of the published chapters are found at the maxicue library of Literotica.Fate's Embrace: 6 Part Series

Les Thornbury is a documentarian and astute student of nature and people, in other words, of life. After time spent in Vietnam aboard a "wallowing, wood-hulled minesweeper," he retuned home in 1972 and borrowed an old, spring wound Bolex film camera. He wrote and then made a documentary of the Currituck Banks along the Outer Banks of North Carolina.  A second film about the NC Coastal Area Management Act followed. Both were televised statewide and Les' fate was sealed. After graduating from college, Mary Thornbury, alongside a long a successful career in Human Resources, joined Les in many assignments for filming profiles of the distinguished recipients of the North Carolina Awards, the highest honor bestowed across numerous areas for individuals in North Carolina.This married couple have one adult son, David. While officially retired, they are migrating back into the documentary world, this time taking advantage of the many technological advances that are captured within the Android phone that Les holds in his hand. They are doing profiles on seniors and their varied artistic pursuits. They're in the early stages of this latest engagement of their lifelong passion. We will share updates on these profiles as they become available. Join us for this wonderful conversation!  Support the showHave comments or questions for us? Interested in sharing your story on Aging Well? Please send your information and questions to Hugh via email at willowwaycreations@gmail.com or through any of our social media links on our website, findingbeautyinthegray.com. We'd love to hear from you and appreciate your feedback. Leaving feedback on your podcast host site (Apple, Spotify, etc.) is the single most important and effective way for us to stay viable and to continue to bring you great stories and helpful resources. And if you are enjoying the show and getting value from our topics and guests, we would most welcome your financial support. Producing a quality resource does require appreciable financial investment. Thank you!

Professional surfer turned filmmaker Chris Malloy joins us to discuss how a singular lesson from his father became his career missive, the gift he gave back in return, hiring a young Jack Johnson to operate the Bolex for his first film, and how a near career-ending wipeout at Pipe created the space to explore a passion that will become his legacy beyond the surf world. Part Two will be published next week. Learn more about your ad choices. Visit megaphone.fm/adchoices

Steven Spielberg is the most successful director of his generation and the highest-grossing director of all time: his films have taken more than $10 billion worldwide. From Jaws to E.T. and Jurassic Park to Schindler's List, his storytelling has captivated audiences around the world. Steven grew up in Phoenix, Arizona, where he started making films as a young boy. In 1958 he made a short Western which won him a Boy Scout merit badge. He screened it to his entire Scout troop and their laughter and applause got him hooked on film making. In 1971 he directed a television movie called Duel about a motorist who is pursued by a murderous truck driver. The film attracted good reviews from critics, and before the age of 30, Steven had directed his first global hit: Jaws grossed $471 million worldwide and is credited as heralding the arrival of the blockbuster era. He now says Jaws was ‘a free pass into my future.' He has won three Academy Awards, and has received eight nominations for best director. The Fabelmans, his most recent film, is a semi-fictionalised account of his own coming of age, drawing on his film-making experiences as a child. Steven is married to the actor Kate Capshaw, who starred in his film Indiana Jones and the Temple of Doom, and they have seven children. DISC ONE: The Man Who Shot Liberty Valance by Gene Pitney DISC TWO: Fugue in G minor, BMW 578 – “The Little” arranged by Leopold Stokowski, composed by J.S Bach, performed by Philadelphia Orchestra and conducted by Yannick Nezet-Seguin DISC THREE: Michelle by The Beatles DISC FOUR: What the World Needs Now Is Love by Jackie DeShannon DISC FIVE: Come Fly with Me by Frank Sinatra DISC SIX: The Ghost of Tom Joad by Bruce Springsteen DISC SEVEN: Somewhere, composed by Leonard Bernstein and Stephen Sondheim, performed by Reri Grist DISC EIGHT: Coolhand by Buzzy Lee BOOK CHOICE: The Grapes of Wrath by John Steinbeck LUXURY ITEM: H-8 Bolex camera CASTAWAY'S FAVOURITE: Coolhand by Buzzy Lee Presenter Lauren Laverne Producer Paula McGinley

Part Three of the trilogy! Marie Nikondo has lain waste to Jeff's camera collection — now the question is, how to dispose of the booty? What's the best way to divest yourself of camera equipment — sell online? Donate to salivating photography students? Give to a potential paramour? Find all the answers in this holiday classic.was the Shroud of Turin the first contact print?Jeff sold three lenses and one camera — thanks, listeners!with the proceeds, he bought a vintage boombox and a 28mm f2.8 LW-Nikkor, an above-water lens for the Nikonosposting panoramas to Instagram? check out the extremely useful (and free) Instagram Swipe Panorama iPhone shortcutpushing film: Gabe has, Jeff never has!our prodigious mailbag, including shots fired about the proper pronunciation of “Nikon”!and now the main event: how to divest!eBay, Craigslist, FaceBook Marketplace, and what to do when you fear peoplethe KEH option — in person at their Atlanta HQ, with their buyers when they come to your neighborhood, or shipping them gear for a quote? (there are similar protocols at Adorama, B&H and other online retailers)local camera shopsthe local film community: Beers and Cameras, meetups, etc.ever had a bad experience as a seller?the reseller's creed: if you're not using and enjoying an item, its value to you is not what you paid for it, nor what it might fetch on the open market… it's zeroan alternate to selling: donating! The Film Photography Projects's school donation program is greatGabe's sudden brainwave: an I Dream of Cameras Garage Sale! are y'all in?another alternative: give a film camera to the new parents of a child or a puppy — or a gift for your date!your IDOC photo assignment: shoot a portrait of a friend, shoot a portrait of a stranger — post on Instagram and tag us to be amplified!'tis the season of giving, so why not check out our dazzling merch?Chris Chu is hosting a photowalk in Venice, California on Sunday, December 18Gabe got a $50 Mark O'Brien surprise package — which is another fun way to divest yourself of stuff!Still available from the Greenstein collection — email or DM if intrigued!Bell & Howell Dial 35 (with case)Bolex H16 Reflex 16mm movie camera (with case and accessories)Bolex 16mm lenses:10mm f1.6 Kern-Paillard Switar17.5mm-70mm f2.4 SOM Berthiot Pan-Cinor (with case, viewfinder and filters)25mm f1.8 SOM Berthiot Lytar75mm f2.8 Kern-Paillard YvarCanon Color Demi (red)Canon Color Demi (blue; with cap and case)Canon Color Demi (white; with case)Canon Dial Rapid (nonfunctional)Canon 110 ED 20 (with case)Canon AE-1 with 55mm f1.2 FDKodak Bantam SpecialKodak No. 2 Folding Autographic BrownieKonica Acom-1 with 50mm f1.7 Hexanon ARLeica M3 (single-stroke)Leica M lenses:50mm f1.1 7Artisans (chrome)50mm f2 Dual Range Summicron (with goggles and two cases)90mm f2 APO-Summicron-M (with box, case and caps)Minox B (with case and chain)Minox BL (metric scale; with case and chain)Nikon F with Photomic T Finder, Prism Finder and Action Finder and 50mm f1.4 Nikkor-S Auto and 55mm f3.5 Micro-NikkorNikon Speed MagnyNikonos III with 35mm f2.5 NikkorOlympus MFT lenses9mm f8.0 fisheye body cap lens14-42mm f3.5-5.6 M.Zuiko EZ ED MSC (silver, with caps)Pentax Auto 110 Super with Pentax 110 flashPentax 110 lenses:18mm f2.8 Pan Focus20-40mm f2.8 Zoom24mm f2.850mm f2.870mm f2.8Pentax Electro Spotmatic with 55mm f1.8 SMC TakumarPentax 6×7 MLU (with TTL finder and wooden grip)Pentax 6x7 lenses:45mm f4 SMC Pentax-6×7 (with caps)105mm f2.4 Super-Multi-Coated Takumar/6x7 (with caps)Petri Color 35 (black; with cap and case)Polaroid Big Swinger 3000 Land CameraPolaroid i-Zone (blue) + three packs of filmPolaroid Snap (black) + several packs of Zink paperVoigtländer Perkeo I (first version, Vaskar lens, Pronto shutter, with case)

The six part HBO documentary 100 Foot Wave is the story of big wave surfer Garrett McNamara, as he learns about the biggest waves in the world in Nazaré, Portugal. Then, with help from the town of Nazaré, he and his team set up a safety and support system and invite surfers to come from all over the world to surf. The series captures the amazing power of the ocean, and the passion of surfers chasing big waves and putting themselves at risk of serious injury and death. Surf and ocean cinematographer Mike Prickett was the perfect DP for 100 Foot Wave. Mike has decades of experience shooting in the water, following Garrett and many other big wave surfers around the world. He's shot documentaries Riding Giants, Step Into Liquid and the biopic Chasing Mavericks. As a kid growing up on the island of Oahu, Hawaii, Mike took advantage of living in a tourist spot. He had his own camera, took pictures of the tourists, developed and printed the pictures while they did glass bottom boat tours, and then sold the photos to them when they returned. He soon figured out how to take photos underwater with his camera in a water housing, then got a 16mm Bolex camera and started shooting movies. Mike learned how to surf and began filming the top surfers around the world, developing new and better camera systems as the technology progressed. On a shoot in Tahiti in 2012, Mike saved a diver who got caught in a current that pushed him down at least 220 feet underwater. As Mike swam back up with the diver, they began to run out of air and had to surface quickly. Mike got the bends, which has left his legs partially paralyzed. But he's kept right on shooting, developing different and exciting ways to further the technology of water cinematography. Mike says that even if you can't use your legs very well, it doesn't matter when you're out there. He's able to shoot from the cliffs, use remote controlled jet skis and drones, and fly in helicopters, ride jet skis or boats on the ocean. For 100 Foot Wave, Nazaré, Portugal presented some unique challenges as a location, because the waves are so big and the area gets so foggy. The surfers and the camera crew wait all year for the big waves to come to Nazaré by November and December, and they must be ready to go and shoot at a moment's notice. Shooting is a massive undertaking, with at least 15 camera people on the waves to catch the action. The crew caught the action with long lenses from the cliffs, the beach, and with waterproof drones, but when it was foggy, they needed to have people in the water. Mike and the team built a special remote controlled electric jet ski with a gimbal system that could be controlled by an operator from the cliffs- basically inventing a way to do smooth dolly shots on the water. Mike Prickett just won a Creative Arts Emmy for episode four of 100 Foot Wave. 100 Foot Wave is streaming on HBOMax. Find Mike Prickett: https://saltnairstudios.com/ Instagram: @mikeprickett_ Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep186/ Sponsored by DZOFilm: https://www.dzofilm.com/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com The Cinematography Podcast website: www.camnoir.com YouTube: https://www.youtube.com/c/TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Recording provided by Matthew Martori. The cranking and recording sound of a Bolex film camera. It is quite cumbersome to use compared to modern digital video cameras, but its images have an undeniable charm to them.  This is part of the Obsolete Sounds project, the world's biggest collection of disappearing sounds and sounds that have become extinct – remixed and reimagined to create a brand new form of listening. Explore the whole project at https://citiesandmemory.com/obsolete-sounds

Composition by Steph Shipley.  "The short soundscape Final Cut is inspired by research into films shot with Bolex film cameras.  Re-imagined themes of mortality, urban extinction and desert heat are filtered through sounds I composed on my digital piano and the obsolete Bolex recording." This is part of the Obsolete Sounds project, the world's biggest collection of disappearing sounds and sounds that have become extinct – remixed and reimagined to create a brand new form of listening. Explore the whole project at https://citiesandmemory.com/obsolete-sounds

Recording provided by Conserve The Sound. This is part of the Obsolete Sounds project, the world's biggest collection of disappearing sounds and sounds that have become extinct – remixed and reimagined to create a brand new form of listening. Explore the whole project at https://citiesandmemory.com/obsolete-sounds

Two pedestrians collide fatefully.by  maxicue. Listen to the Podcast at Steamy Stories. Joe slid through the crowd on the street, not in a hurry, just enjoying it, like it was some kind of game, call it Body Avoidance, a challenge of finding the gaps just large enough to pass through untouched while the bodies continued moving in somewhat predictable ways, though the unpredictable could always happen, adding to the challenge and the fun, that quick burst bypassing the unexpected shift. He loved this game ever since moving to New York, at first when he worked at a copy place in Grand Central Station (nearby where he happened to be sliding through at the moment), especially busy streets around there, especially at rush hours and lunch, and further challenged when he carried heavy packages of copies destined for publishing houses, often pocketing the cab money given to him to walk even farther through more busy streets carrying those burdens. And then when he became busboy and then waiter at the restaurant at Max's Kansas City, a punk club with the music upstairs and the restaurant where he worked downstairs, sliding through crowds of kids his age on weekend nights. It felt like a kind of dance, especially at the club, even with his own special tempo.This time though, for the first time ever as far as he could recall, he collided with someone who seemed to appear out of nowhere, his height of six and a half feet always helping his vision and his traversing perhaps missing her much smaller frame, at least a foot shorter, probably closer to a foot and a half, but more it seemed like she stepped into the narrow passage he'd found as if on purpose, finding the perfect moment for collision. But of course that would have been impossible, her knowing when to get in his way, when he'd happen to be sliding through at that very moment, unless fate could be considered purposeful.“Asshole,” the young woman growled from the concrete in which his impact sent her, landing on her ass and a hand that prevented something worse like concussion and scraping it for the trouble. With him stopped standing over her, the crowd flowed around the sudden impediment like cattle somehow avoiding stampeding, though less animal and more human since the flow went both ways.He looked down at a blonde waif, skinny and frail, her t shirt and jeans too big for her and looking well past new, the t shirt white with a band logo he was unfamiliar with showing every stain, and there were many, the jeans showing a small right kneecap where the cloth had frayed. The navy peacoat, too warm for the balmy, almost summerlike weather unusual this early in the year, splayed open.“I'm so sorry,” Joe exclaimed, and when his stretched out hand was avoided by her, he insisted, “Let me help you up.” She finally allowed his large hand to take hold of her small slim one aiding her to standing. “I didn't see you,” he added.“Obviously,” she smirked, adjusting her stuffed and scuffed red backpack on her shoulders.“Hungry?” he asked.“I could eat,” she half smiled.He guided her across the street and to the end of the block where one of the last of the Horn and Hardarts automats existed and put coins into the slots for her tuna sandwich and chips and for his egg salad. He bought her a Coke and he got coffee. She used the toilet there to clean her scrape amongst other things since she took a while, which worried him, thinking she might have run off, but of course she didn't, having food waiting for her.“I'm Joe,” he told her.“Jenny,” she replied before filling her mouth with a bite of sandwich.They said nothing for a while since she devoured her food, obviously needing it.“Anything else?” he asked.“Maybe a pie? The lemon meringue looked tempting.”“Okay if we share?” he asked.“That's fine.”“Uhm, are you going to stay?” He looked at her, saw her eyes pooling and she sniffled. “Please?”Her smile nearly broke his heart when she replied, “Nowhere better to be.”“Good. After we eat, let's get that scrape taken care of.”“Okay.”They stayed, talking over the small empty plate.“Where are you from?” he asked.“The Twin Cities. Minneapolis.”“No shit! Me too!”“No shit!”“No shit. Where?”“Robbinsdale.”“Golden Valley.”“No shit?”“No shit.”The two suburbs were neighbors, Robbinsdale more middle class than Golden Valley, which tended to be more upper middle class, a lot of professionals, doctors, lawyers and professors, his dad being of the latter type.Fate.“You work around here?” she asked, since Joe had dressed up in a jacket and tie, the tie loose around his neck.“I used to,” he told her. “I'm actually applying for jobs presently.”“Presently,” she giggled.“Sorry. I tend to talk like I have a stick up my butt.”“No, it's cute.”“Glad you think so,” he chuckled.“How's the job search going?” she asked.“Not great unfortunately. My uncle's an executive at the William Morris Agency, and I hoped that might help, but I guess he's against nepotism. It's possible I'll get a job in their mail room. I applied at other offices, but I'm making a career change, or hoping to, and have got little experience.”“From what?” she asked.“I used to be a waiter at Max's Kansas City.”“No shit!”“No shit.”“Why not stay there?”“I needed a change,” he murmured, unconsciously stroking his arm.Jenny sensing Joe's discomfort regarding the subject wisely ended that line of inquiry. “What's the William Morris Agency?” she asked instead.“It's one of the largest talent agencies in America,” he told her.“Cool.”“Yeah. It's had its perks. Getting turned on to Bowie early because my uncle wrote the contract that signed him. Meeting cool stars at a party at his house upstate. Going to openings like the movie Hair and Apocalypse Now, the last a brand new print and sitting close.”“Is that cool?” she asked.“Pretty cool,” he chuckled.When they left the automat, he told her, “Let's get you some anti-bacteria for your scrape and Band-Aids. I know a drugstore nearby.”“You don't have anything at home?” she asked, surprising him.“Um…you sure?”“I'm sure,” she smiled, and he could see those pretty blue eyes pool again.“I can get something on the way,” he decided.“Great!”Since the drugstore was close by, he went there anyway, and while getting the first aid stuff, she waited for him near the counter. “Need any of these?” she blushed, pointing to the rack of condoms.His cock stiffened in his pants while he grabbed a sixpack of lubricated Trojans. She stayed his hand and grabbed a twelve pack instead. “Holy shit,” he thought.Both were blushing while he made the purchase.They walked over to Grand Central and took the subway south to Fourteenth Street close to where he lived. They entered a door between a couple non-descript store fronts and climbed the stairs three floors, Joe unlocking a door on the left at the top. Fortunately none of his roommates were around in the shared area, probably sleeping since they tended to keep vampire hours, and Joe guided Jenny down a hallway, taking a sharp right and, pushing aside a beaded curtain, gestured her through. He had by far the largest bedroom in the three bedroom apartment, a couple large windows unfortunately facing the wall of another building. Unfortunate not for the view, but for the easy access from the roof to the room, the probable path taken when someone broke in and stole his record collection and his typewriter not long before. Or they could have just walked in, because he knew the probable culprit, since he'd seen the junkie just off St. Marks selling his records, a regular at Max's.“Sorry for the mess,” he apologized, and Joe was a definite slob.“No problem,” she responded. “Beggars can't be choosers.”“Jenny?”“Mind if I take a shower?” she sniffled.“Not at all. Just a second.” He knelt in front of a small cabinet and grabbed a towel for her. “The red door on the right,” he told her.For some reason they'd painted the bathroom a deep red, including the door, the rest of the apartment with white walls.He cleaned up his place while she showered, neatening the books and papers on the coffee table, the table on which he used to type before losing his typewriter, and tossing clothes into a gunny sack he used to tote down to go to the nearest laundromat a block or so away.She returned carrying her clothes and her bag, wearing the towel with it tucked between her cleavage, more of it than he expected, and when she unceremoniously dropped the towel, she sported perky b cup breasts, all the more substantial looking on her petite frame. She was skinny but fortunately not completely starved, no bones jutting out, her belly youthfully firm with just a hint of convexity, and her full bush, being blonde, seemed less substantial than if it were dark. Her waist curved subtly, neither what some would call child bearing hips, but not boyish either. This was definitely a woman.“Like what you see?” she smiled, turning, and showing him a perfect firm round ass. He also noticed muscled thighs and her arms even had some definition.“Wow,” he said. “You're definitely in shape.”“Dreams of being a prima ballerina,” she sniffled.He sat on the bed and patted his lap. “Come here.”“You have way too many clothes on,” she sniffled and giggled.“Come here, Jenny,” he said more forcefully.She sat on his lap sideways. He reluctantly kept his hands off her.“Tell me,” he said.“You don't want to fuck me?”“Of course I do. Tell me.”She sobbed. Only then did he embrace her across her middle, her face ending up against his chest. He could feel the tears wet his shirt. “Tell me,” he repeated.“I…had to,” she choked out.“Had to?”“Your shirt,” she murmured, pulling her head away.“It's okay,” he insisted, gently pulling her head back.“I auditioned over the years to get into ballet school here, but no takers,” she managed to say. “I wanted to be a ballerina but I guess I'm not good enough.”“Best to know I guess,” Joe tried.“It's not that. Oh, okay that kind of sucked, but mostly I wanted to get away.”“From?”“Everything!”“Including?”“My mother's cruel disappointment. She'd been a ballerina until she had me. My boyfriend turning out to be gay. Another boy practically raping me instead making sure I was ready. My father…”“Did he…?”“No, but he was working up to it. Probably looked at me like I was my mom when I was her age or younger I guess. He'd be affectionate, too affectionate as it turned out. He touched me where he shouldn't, not directly but close, you know. I guess I didn't believe it, but it turned out he was actually being shy, and eventually brought my hand to his crotch which got me off him immediately. The last straw…I woke up with him in my bed. I screamed and punched like in his diaphragm which took his wind. Maybe I should have punched lower, but I wanted to be nowhere near that, and when I raced out the room, my mother plods over and my dad says some bullshit about me seducing him, and since it was all about jealousy, him being more affectionate to me, and disappointment, she fucking believed him.“I'm of course freaking out, everything…and then this…but I managed to take some breaths, calming down, and told my mom if she wanted rid of me I needed money. They only had a couple hundred around but my mom takes me to her bank, gets me another five hundred, drives me to the bus station, buys me a ticket to New York, my demand, with her credit card. She actually offered one to me, but I told her she'd probably close it and have me arrested or something, and the bitch shrugged. And I'm like, ‘You're a fucking cunt.' And she's saying I'm a useless slut.”“Sorry,” Joe apologized.“I'm the sorry one,” Jenny actually chuckled.“But…it doesn't sound like sex…”Jenny shifted around so that she faced him, straddling his lap. “I got hit on by fucking pimps, Joe, as soon as I got off the fucking bus at Penn station. I'm not as naïve as I look.”“But you don't know me.”“Like you're a psycho? You don't seem the type and in a way I don't fucking care. A rapist probably wouldn't have brought me home. The hotel I stayed at this creepy guy kept staring at me in the lobby and ended up following me to my fucking floor, so I like got out quick out of there, practically running. And I didn't even dare shower there since the shower room was fucking shared and fucking groady. I was actually headed to Grand Central when we collided, thinking I'd try taking a train down to twenty-third, staying at the Chelsea or something, just to do something cool while I was here and still alive. So Joe, I guess you're the best choice I've had so far.” She kissed him, pulling off the jacket he still wore and unbuttoning his shirt.He broke the kiss when he tossed aside the tie, then lifted her and set her on her back on the bed. He finished the unbuttoning and tossed aside his shirt.“Nice,” she smiled, stroking his chest. Joe didn't work out, but being young, just twenty-one, and working hard at his job as a waiter, kept him slim and slimly muscled.He kept his pants on when he made love to her lying beside her on his side. Kisses continued for a while, both enjoying it especially when tongues were involved, her breath tasting of toothpaste and his presumably not offensive, while his hand began exploring the rest of her. The hand took the weight of her breasts, teasingly moving on before a direct attack on her small nipples to linger on her taut belly and moving teasing across her pudendum, through her soft patch of blond hair, before feeling the smoothness of her thighs and the firmness of muscles, and then under her, lifting her slightly by her firm ass, followed by sliding along her back, across her shoulder and returning to her breasts, fingers moving in on her nipples, caressing and tugging gently at each one, making her gasp into his mouth.Only then did he end the kiss, bringing his mouth to the exploration, finding thrills for her at her ear and neck before moving to her breasts and nipples. Once each one had been appreciated for a while, the second sending his hand down slowly, eventually fingers discovering the dampness of her labia, rimming the edges, his mouth followed the same trail as his hand, and when it reached where she wanted it, he shifted his body between her widened legs and his tongue lapped across her clit, the first touch of it, and she lifted her middle and moaned.Both fingers and mouth remained there, working her gradually to her first climax via a man, especially intense when he stroked her g spot, his other hand tugging at her nipples, measuring the squeeze and building on it since she seemed to handle ever more pressure there.“Joe,” she murmured once she recovered, and smiled when he got up and got naked for her. “Oh my,” she commented at his length, on the thicker side, and definitely longer than the two she'd seen by at least a couple inches.“I'll be gentle,” he promised, opening a condom and rolling it on and moving between her thighs. He brought her hand to his cock to guide him, and she brought it where she wanted it and he slowly pushed in.“Oh fuck!” she moaned.“Too much?” he asked reluctantly.“Don't you fucking stop!” she declared.He pushed into one of the tightest sheathes he'd ever felt and realized he wouldn't last and told her.“Just fuck me,” she insisted, her legs wrapping his thighs as emphasis.Going slow probably helped delay the inevitable, seeming to open her up with each deeper stroke. In the end, he nudged at her cervix, thankfully with his cock completely inside her. He'd known girls her size, even taller, where he had to be careful about the impact there, usually no more than an inch to spare, but enough to cause pain. Not this time. Touching it made her growl, but in a good way.He decided to exploit that, grinding into her, pubic bone against pubic bone which affected her clit too, and just pulling out a couple inches before thrusting in. She seemed fine with that, even enjoying it, so he kept it up while his hands drew in to work fingers and thumbs on her nipples.She began meeting his thrusts with lifts, and her hands grabbed his ass cheeks, and she began pulling on his flesh there, wanting longer strokes it seemed, but he waited until she grabbed hard, closing on being painful, her nails thankfully short, he'd learn later she tended to nibble on them when nervous, and he'd actually seen a little of that in the automat, and she pressed against him one more time before announcing her climax with, “Oh my fucking God!” rather loudly at a high growl. And when she loosened her grip, only then did he abandon himself to fully fucking her, long, ever faster strokes for only seconds before he pressed deep, pushing against her cervix, and cumming.“Joe,” she murmured, her hands pushing his chest.“Sorry,” he responded, hugging her to him and turning them over. He'd reached the last of his ejaculations, every one intense, and reached down to hold the condom to his penis while shifting her higher with his legs.“Mmm,” she responded when it slid out. She shivered a little too as if feeling a last echo of her orgasm.“It'll be better next time,” he promised.She chuckled weakly.“What?” he asked.She shifted forward. Since both of their bodies had fairly equal proportions of legs to torsos, she had to scoot up a bit, her legs straddling his abdomen, her damp pussy pressing into it, for her to look eye to eye with him. Her hands pressed his shoulders to put her face above his.“That was several magnitudes better than the last and only fuck I've had,” she explained.“I thought it was making love,” he argued.“Don't be pedantic, Joe,” she smirked, surprising him.“Pedantic?”“You know what I mean.”“Of course, but…”“I'm smarter than I look.”“I don't believe in the dumb blonde myth.”“I've met several, and not all blondes.”“School?”“And fellow dancers, although most were dedicated enough to be smart too I suppose. Learning to put the time in to do the best you can both in dancing and studying.”“Makes sense. So school…?”“I would have graduated this spring if I hadn't had to run away.”“GED?” he asked.“Probably. I don't imagine going to school for one quarter. You?”“School?”“Yeah.”“I went to Bard in upstate New York for a couple years, but quit because it was ridiculous having parents spend that much money for me to study to be a poet.”“You're a poet?”“Not much recently. I thought New York would be inspiring, but mostly it's been distracting. I'm also interested in filmmaking, like the experimental kind, so no more lucrative. I still have a Bolex sixteen millimeter camera which fortunately the thieves never found.”“Thieves?”“The problem with living amongst junkies. Let me show you something.”He lifted his left arm and she caressed a line of marks near his inner elbow area.“Are those…?”“Tracks. Only one is fairly fresh. It's why I quit Max's: too much temptation. Living here too, but right now I can't afford to move. A friend of mine OD'd and died, and another almost did and I ended up keeping him alive. It was the last straw, and I realized that'd be me, or it'd just be a spiral of inertia, all about the next fix and nothing else, so I quit. Luckily I wasn't too strung out and basically hung with my folks for a week when my dad had his sabbatical in DC this past winter. I drank a bit there, but my parents seemed none the wiser. Anyway, when I came back to work planning to keep my tips instead of spending them all, I did okay until I didn't one day, succumbing to temptation, and quit after that.”“When was that?”“A week ago. I've been job hunting ever since.”“Lucky for me,” she grinned and shifted around, pulling off the used condom and handing it to him carefully and he managed to toss it atop his underpants while she enveloped his penis in her mouth. He worried about her lack of experience, mostly worried about her teeth, but she proved quite capable. He nudged her to straddle his face and had to bend his back a little, supported by his arms so fingers weren't available, and mostly kept her pleasure at a quiet purr, not distracting her from her surprisingly effective endeavors.Once she'd got him hard, she bounced off the bed, found a condom and rolled it on with some study and climbed on and guided him back inside her, carefully, stroke by stroke, sending him deep. Once there, she began her ride, this time having the full effect of his entire cock, to the point she needed to bring it back to her slit when it slipped out a couple times, but seemed to get the length of him soon enough and began riding him at a medium fast clip.He watched the roll and bounce of her perky tits before stilling them with his hands, one letting go to guide her hand to her clit. From that she worked herself into a frenzy, finally shifting down and rolling atop him to achieve her orgasm. Fortunately it always took longer for Joe to cum when a woman took the cowgirl position.After, she somehow turned around while he remained inside and moved her body down, and he realized what she wanted, moving from beneath her, clutching her hips, and pulling her into him in a doggy style position. He shifted, letting go of the hips and bringing one hand to her hanging tits and the other to her clit, practically holding her up with the latter hand, and like he had before, let himself go fucking her hard and fast until he came, happily not long after she did.“Fuck Joe,” she commented softly after.“Yeah,” Joe agreed.She did the securing of the condom to his penis and they soon took the same position as they had before, her head resting on his chest.“Can I stay?” she asked quietly and shyly.“As long as you want.”“Thanks.”by  maxicue for Literotica.This is the first chapter of a novel. The rest of the published chapters are found  at the  maxicue library of Literotica.Fate's Embrace: 6 Part Series.

On this episode: surf films, directing Bill Murray, and being a filmmaker in the digital age. We're talking with Jason Baffa, filmmaker, surfer, and sometimes maker of surf films. Show Notes 00:35 – Announcing Jason's new show CHASING WAVES 02:40 – Introducing Jason Baffa  10:00 – Meeting Bill Murray and getting him to narrate Loopers 12:00 – What is a Bolex? 14:20 – Film vs digital and the impact on how you shoot 29:15 – How Chasing Waves came to be 34:20 – Did you grow up spending time outdoors? 52:30 – Advice for aspiring surf filmmakers 57:50 – The Revenge of Little Joey (and Fitz's missing stunt driver credit) Connect with Jason on his website jasonbaffafilms.com, on Instagram @jasonbaffafilms and on YouTube. Mentioned in this Episode Chasing Waves – watch on Disney+ One California Day Bella Vita Loopers: The Caddies Long Walk Bolex The Revenge of Little Joey Connect with us! Like Almost There on Facebook: https://www.facebook.com/almostthereadventurepodcast/ Follow Almost There on Instagram: https://www.instagram.com/almostthere_ap/  Send us a voice message! https://www.speakpipe.com/AlmostThere Our Co-hosts Jason Fitzpatrick – IG: @themuirproject Saveria Tilden – IG: @adventuruswomen  web: AdventurUsWomen.com Jeff Hester – IG: @thesocalhiker  web: SoCalHiker.net Theme song by Opus Orange. Courtesy of Emoto Music.  The Almost There Adventure Podcast is a celebration of outdoor activities both local and epic. Discussing the big topics and talking to adventurers, artists, legends and activists within the outdoor community.

The Law Offices of Quibble, Squabble & Bicker kick off Season 3 with a childhood friend of Greg's, Luke McCullough, a commercial film producer who decides to help with our first client of the season, Growing Up Bald. This client, like most of our clients, really gets avoided and instead they talked about Troma Films, qsblaw.clownpenis.fart, silly ass face, his little fiefdom, the Dead Zone, fever blisters on my lips, a little birdie, stole a Bolex, stuck in a couch, Lloyd Kaufman, Wrath of Cannes, pissed on the floor & maced in the eyes, John Waters, Lichtenstein, Tromeo and Juliet, threaten plants, the Great Santini, rub foreheads, Mr. Milligan, hipponize, Fresh Jizz Sock Day, green mussels, bring down more pants, God's mercy, a cultivator, a prison of crappy politics, murdering cleft palate people and highknife.com. For other episodes, go to www.qsblaw.org. They are also internettable on: Instagram - @lawofficesofquibble; Twitter - @qsblaw; TikTok - @qsblaw; Uhive - www.uhive.com/z/QTTCLFU; Facebook: https://www.facebook.com/quiblle.bicker.3; Tumblr - quibblesquabblebicker; Reddit - https://www.reddit.com/user/QuibbleSquabble or watch them on YouTube - https://www.youtube.com/c/LawOfficesofQuibbleSquabbleBicker --- Send in a voice message: https://anchor.fm/qsb/message Support this podcast: https://anchor.fm/qsb/support

While his Central Saint Martins classmates were learning InDesign, Price James wanted to learn to shoot on 16mm Bolex and explore more tangible film effects. Soon, he was working on dark comedy shorts like 'Action Man: Battlefield Casualties,' which stars Matt Berry, and music videos for bands like Incubus. In his latest movie, ‘You Cannot Kill David Arquette,’ the Writer-Director partnered with David Darg (Body Team 12, Fear Us Women) for an unusual idea about the rocky return of actor David Arquette to the sport of wrestling, which nearly ruined his Hollywood career. In this interview, Price talks about his roundabout path to DIY filmmaking, stop motion versus animation, how to create a heightened reality for a documentary, and how explore brutal ideas in filmmaking satire. If it’s your first time listening, make sure to subscribe and visit my new website for information on the YouTube channel, the blog, this podcast, and my new book ‘Ink by the Barrel’ which takes advice from these 200+ interviews at the link below… Join the email list here: www.brockswinson.com Follow us on Instagram for updates: @brockswinson If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts? It only takes about 60-seconds and it really helps convince some of the hard-to-get guests to sit down and have a chat (simply scroll to the bottom on your iTunes Podcast app and click “Write Review"). Enjoy the show!

Check out this film's posts @ MovieJeff.com here » https://themoviereviewshow.blogspot.com/1969/12/stereo.htmland leave a comment. Also check out my David Cronenberg filmography watch project here » https://themoviereviewshow.blogspot.com/p/david-cronenberg.html Stereo is an experimental 1969 Canadian science fiction film directed, written, produced, shot and edited by David Cronenberg in his feature film debut. The film is silent and only features voiceover narration because the Bolex camera Cronenberg was using made too much noise. Follow the show... @ Twitter https://twitter.com/MOVIEREVIEWSH0W @ YouTube https://www.youtube.com/channel/UCpONT6Yp423GzUrHDDqBL3g @ LetterBoxd https://letterboxd.com/jeffmovie AND, FOR AS LITTLE AS $1/MONTH » https://patreon.com/dad SUPPORT THIS SHOW AND OTHER VENTURES FROM HTTPS://WWW.MYAMERI.CA INDUSTRIES • THANK YOU --- Send in a voice message: https://anchor.fm/the-movie-review-show/message Support this podcast: https://anchor.fm/the-movie-review-show/support

Special: The Cinematography Podcast- War Stories Vol. 5 In our fifth War Stories Special, we feature ten guest's harrowing, hilarious or heartwarming stories they had while on set, or a formative career experience that led them to cinematography. Find full interviews with each of our featured cinematographers in our archives! www.camnoir.com Cinematographer Tom Sigel experiences a fight on the set of Three Kings; producer Lije Sarki and the horror film that never saw the light of day; Dan Kneece on working in Chile for a job; Jeff Cronenweth figured out an elaborate ruse to steal a shot while shooting The Social Network; storyboard artist Tony Liberatore on finding his career path; Trevor Forrest talks about one of his more unusual and life-affirming gigs; Iris Ng on the bureaucracy in Iraq to shoot at Shanidar Cave; Bill Totolo experiences the Survivor reality show shoot from hell; Johnny Derango races to get a shot; and finally, Alex Winter on shooting with a wind-up Bolex in a mosh pit. Do you have a War Story you'd like to share? Send us an email or reach out to us on Facebook, Twitter, or Instagram! Find out even more about this episode, with extensive show notes and links: http://camnoir.com/warstories5/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com Website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

 New Year, New You right?  Maybe you're looking for a new place to live.  Look no further.  This week we deep dive beneath New York City (as well as Las Vegas) to live amongst the legendary Mole People.  Then: OCOTW:  WW84 disaster? or complete disaster?  And find out what we CANCEL to start off 2021 on the right foot.With No Due Respect S03E03 (Mole People)SHOW NOTES"Dark Days" Documentary by Marc Singerhttps://www.amazon.com/gp/video/detail/B006M6NLR0/ref=atv_dp_share_cu_r"Voices in the Tunnels" Documentary by Vic Davidhttps://www.amazon.com/gp/video/detail/B00LTMG0NO/ref=atv_dp_share_cu_rARTICLESNY Timeshttps://www.nytimes.com/1995/10/07/opinion/homes-for-the-invisible.html?fbclid=IwAR1QvqROXw1qo7nJGetID1xH-gQAP1_xfDDxw-ZokpMYQHO5YHEBKTpPaIsThe Guardian on Dark Dayshttps://www.theguardian.com/film/2014/jan/26/dark-days-marc-singer-new-york?fbclid=IwAR18-IiiX3mvu3RdOxbpnT36jo-o-MgHeYVoY_pomqQJmARFo9HrQBVPz1MColumbia University Op by Joseph Brennanhttp://www.columbia.edu/~brennan/abandoned/mole-people.html?fbclid=IwAR0-GXp7b3rQx1nHJwSBNvwqWRTBMolumTnGsi8ITfMThpgMpd5c1ZMBa1AHoover Towns 1932Freedom Tunnel NYCMole People NYCMarc Singer DocumentarianMarc Singer Beast MasterJennifer Toth - Author"The Mole People"Quaid/HouserBolex 16mm film cameraVegas TunnelsThe Wonton Don Documentary on Vegas Mole Peoplehttps://www.youtube.com/watch?v=DRrxFX1wfFgWW84Thunder Cats - Chitarra

It's rare for a band's tour documentary to appeal beyond its fanbase. But with Grant Gee's documentary Meeting People is Easy, it's even more of a miracle to come near the artistic breadth of Radiohead's OK Computer, an album which has been periodically voted the greatest of all time since its release in 1997. On today's episode we talk how Gee managed to sustain the heightened style of a music video through the feature's length, using overlapping images, an emphasis on lyricism, non-sync sound, all trying to mimic not just the band's sound, but also the visual style of Thom Yorke and designer Stanley Donwood. Also: how Gee originally was called in for the original idea to make a video for each of OK Computer's songs, the thought process of putting then-unreleased songs snippets into the cut, the “amazing” unused Kid A footage he shot that was just “wrong,” writer Patricia Lockwood's thoughtful description a moment in the film, and matching the album's particular innovation of mixing digital and analogue with his own multiple visual formats like Super 8mm, 16mm Bolex, and B&W digital video.Along with Meeting People is Easy, Gee has also directed the documentary Joy Division, music videos for Radiohead, Blur, Spooky, and worked with acts ranging from Coldplay, Nick Cave, and Scott Walker. He's currently at work on the documentary The Gold Machine about Welsh writer Iain Sinclair, the third in his trilogy of feature cityscapes about writers.Meeting People is Easy is streaming for free online at Radiohead's Public Library and is also available on PAL VHS from the W.A.S.T.E. HQ.

This Pod Buffet "Trailer" is a three-piece sample of The Creatively Engaging Podcast. Focusing on Dorothy, Bill, and Shendra. Wire voice recordings from 77 years ago, Creative Caring and Living on the Brink, Epic road trips in search of the Lacandon Maya with 16mm Bolex cameras in tow. Just a bit of The Creatively Engaging. http://www.thecreativelyengaging.com (http://www.thecreativelyengaging.com ) LINKS: https://the-creatively-engaging-podcast.simplecast.com/ (https://the-creatively-engaging-podcast.simplecast.com/) CONTRIBUTORs: Bruce Devereux, Dorothy, Bill, Shendra

The Shutter Brothers are back! Listen as Kelley discusses his the results he got from shooting double 8 movie film in his Bolex movie camera. Yes, you can make real 8mm home movies today! The camera are cheap and easy to find, are there are plenty of film choices available. Meanwhile, Kevin has been testing some lenses. Listen to find out why and how. Finally, Kevin reviews a beautiful and inspiring zine from Matt Murray of Matt Loves Cameras podcast (our of our favorites!) Happy Shooting!

The Cinematography Podcast Episode 84: Alex Winter Many people know Alex Winter as the iconic character Bill S. Preston, Esq. from the hit Bill & Ted's Excellent Adventure and its sequels, but over the past few decades, Alex has become a prolific director of several TV, film and documentary projects. Alex was a child actor, with roles on Broadway, film and television, shooting his own projects on a wind-up 16 mm Bolex camera in his spare time. As a young actor, he followed cinematographer Michael Chapman (Jaws, Raging Bull, Taxi Driver) around on the set of The Lost Boys whenever he had downtime. After graduating from NYU film school, Alex and creative partners Tom Stern and Tim Burns created The Idiot Box, a sketch comedy show for MTV. They had creative control but not much money, so Alex, Stern and Burns moved on, making their own comedic film, Freaked, which has become a cult favorite. Alex went on to shoot and direct several music videos for bands like The Red Hot Chili Peppers and Helmet. For his most recent documentary film, Showbiz Kids, Alex found his personal experience and sensitivity as a fellow child actor immensely helpful for interviewing his subjects. The film profiles actors Evan Rachel Wood, Wil Wheaton, Henry Thomas, Mara Wilson, Todd Bridges, Milla Jovovich, Jada Pinkett Smith, the late Cameron Boyce and Diana Serra Cary (“Baby Peggy”) who tell their own stories and Hollywood experiences, bad and good, of growing up as child actors. The doc also follows two aspiring child stars as they try to break into the business or further their careers. For his upcoming documentary Zappa, Alex wanted to tell the definitive story of Frank Zappa's life and work. With the cooperation of the Zappa family, he had unprecedented access to Frank Zappa's home movies and recordings. Alex will also be seen acting once again as Bill with buddy Keanu Reeves in Bill & Ted Face The Music, as soon as a release date is set. Find Alex Winter: http://alexwinter.com/ Instagram: @alxwinter Twitter: @Winter See Showbiz Kids on HBO: https://www.hbo.com/documentaries/showbiz-kids Zappa, coming soon: http://www.zappamovie.com/about Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep84/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com Website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

In this episode, I speak with Chen "Chen" Xiang-Yun, the writer and director of the beautiful experimental film, Breathed Away, which was selected for screening at The Experimental Film Fest. Steve Crossman, founder of Brooklyn's Mono No Aware, which is a cinema-arts non-profit organization and film positive community. Chen is a visual artist from mainland China. She created Breathed Away using a 16mm film camera (Bolex) from Mono No Aware. --- Support this podcast: https://podcasters.spotify.com/pod/show/experimentalfilmpodcast/support

Beyond the Bolex is a journey into the, until now, untold story of one of the most beloved and widely used pieces of technology in all of film history. The post Alyssa Bolsey – Beyond the Bolex #JIFF2019 appeared first on Fred Film Radio.

Beyond the Bolex is a journey into the, until now, untold story of one of the most beloved and widely used pieces of technology in all of film history. The post Alyssa Bolsey – Beyond the Bolex #JIFF2019 appeared first on Fred Film Radio.

Beyond the Bolex is a journey into the, until now, untold story of one of the most beloved and widely used pieces of technology in all of film history. The post Alyssa Bolsey – Beyond the Bolex #JIFF2019 appeared first on Fred Film Radio.

Beyond the Bolex is a journey into the, until now, untold story of one of the most beloved and widely used pieces of technology in all of film history. The post Alyssa Bolsey – Beyond the Bolex #JIFF2019 appeared first on Fred Film Radio.

Beyond the Bolex is a journey into the, until now, untold story of one of the most beloved and widely used pieces of technology in all of film history. The post Alyssa Bolsey – Beyond the Bolex #JIFF2019 appeared first on Fred Film Radio.

Beyond the Bolex is a journey into the, until now, untold story of one of the most beloved and widely used pieces of technology in all of film history. The post Alyssa Bolsey – Beyond the Bolex #JIFF2019 appeared first on Fred Film Radio.

Joining us this week is documentarian Anuradha Rana – Associate Professor, School of Cinematic Arts, DePaul University – as we discuss Alexandre O. Philippe’s Memory: The Origins of Alien and interview director Alyssa Bolsey and cinematographer Camilo Lara of Beyond the Bolex. Both films deal, albeit in very different ways, with behind-the-scenes looks at the art of filmmaking. From blood-curdling chest-bursting scenes to the perfect windup, rotating-lens-turret camera, we’ve got you covered. Group Review Documentary: MEMORY: THE ORIGINS OF ALIEN (Alexandre O. Philippe, 2019) Now playing in theaters and on demand Film Featured in Interview Portion: BEYOND THE BOLEX (Alyssa Bolsey, 2019) Currently playing in festivals Other Films and Sites Mentioned: Alien (Ridley Scott, 1979) American Dharma (Errol Morris, 2018) The Brink (Alison Klayman, 2019) Doc of the Dead (Alexandre O. Philippe, 2014) The Fog of War: Eleven Lessons from the Life of Robert S. McNamara (Errol Morris, 2003) Jodorowsky’s Dune (Frank Pavich, 2013) Kartemquin Films The Language of Opportunity (Anuradha Rana, in progress) Linda Ronstadt: The Sound of My Voice (Rob Epstein/Jeffrey Friedman, 2019) The People vs. George Lucas (Alexandre O. Philippe, 2010) Reason (Anand Patwardhan, 2018) 78/52: Hitchcock's Shower Scene (Alexandre O. Philippe, 2017) The Thin Blue Line (Errol Morris, 1988) Twelve O'Clock High (Henry King, 1949) What She Said: The Art of Pauline Kael (Rob Garver, 2018)   Links to review and interview by Christopher Llewellyn Reed: Hammer to Nail review of Memory: The Origins of Alien Hammer to Nail review of Beyond the Bolex Film Festival Today interview with Alyssa Bolsey and Camilo Lara of Beyond the Bolex   Timestamps: 00:37 – Intro 05:58 – Group Discussion of MEMORY: THE ORIGINS OF ALIEN 19:43 – Chris interviews Alyssa Bolsey and Camilo Lara of BEYOND THE BOLEX 39:21 – Doc Talk Website/Email: www.fogoftruth.com disinfo@fogoftruth.com Credits: Artwork by Hilary Campbell Intro music by Jeremiah Moore Transitional music by BELLS (thanks to Christopher Ernst) Editing and shownotes by Christopher Llewellyn Reed

Joining us this week is filmmaker Mark Jenkin. In his latest film, Bait, two Cornish fisherman grapple with the influx of tourism in their own ways as we're all taken on a hypnotic ride. Mark shot this film on a Bolex camera with 16 mm black and white film and hand processed the film himself. We discussed how these decisions and others played critical roles in the character and unique style of the film. https://www.baitfilm.co.uk/ Upcoming Screenings in NYC: http://www.newdirectors.org/2019/films/bait https://www.moma.org/calendar/events/5341

Filmmaker Alyssa Bolsey didn’t discover until she was in film school herself that her great-grandfather had invented the iconic Bolex 16mm camera. She spent the next decade-plus researching her enigmatic ancestor and interviewing several influential filmmakers who used his cameras, including Barbara Hammer, Wim Wenders, and Jonas Mekas, for a film called BEYOND THE BOLEX. Bolsey and the film’s producer and DP, Camilo Lara Jr., join No Film School’s Liz Nord to discuss why the Bolex is such an enduring and beloved camera that is still used today.

Astrid Goldsmith is a multi-talented, award-winning Animator, specialising primarily in puppet stop motion. She has worked on many projects including some well known adverts such as - The Alaphant for Ford Fiesta, The Duracell Bunny and in a very recent addition, the troll in Nike's Never Ask campaign. In this episode of Greater Than 11%, Renee and Astrid discuss the process of using Bolex film cameras and how Astrid created numerous grey and red Squirrels for her masterpiece that is Squirrel Island.

Har du hørt om Naik og Bolex? Hva med No-phone-air? Når viser skitten best? Kan et spøkelse ta bilder? Du får svar på alle spørsmålene i dagens program. I tillegg kan du lære deg klassikeren "Far Goriot" på fire minutter.

As we head further into a glorious Summer, we are back this week with co-host Andrew, to talk about all the latest tv & film news, and a brand new interview with the brilliant Cinematographer, Mathias Herndl. Having started as a child actor, it seems Mathias has always been destined to work in film, but it was stumbling across an old Bolex 16mm camera in his father’s basement at the age of 5 which really set his imagination alight. Ever since those early days, it seems a camera has never left his hand. He’s worked as the cinematographer on Sean Bean’s ‘Legends’, ‘Witches of East End’, ‘Flashpoint’, 'Wayward Pines', 'Motive' and, most recently, ‘Genius’. ‘Genius’ was National Geographic's first steps into scripted drama might have seemed like a big gamble, but it was one that paid off, big time, as it’s just been nominated for 10 Emmys in this year's awards. We had a chance for a little chat with Mathias about how he created the unique look for the series, and working with the series exec producer and director, Ron Howard. Also On This Week's Show: Andrew returns as co-host, so we catch up with the tv shows & films we've been watching, including 'Man In The High Castle', 'Colony', 'Suits', 'How To Get Away With Murder', the new Doctor in 'Doctor Who', and of course, 'Game Of Thrones'. We take a look at all the latest tv & film news, including Disney's Live-Action Aladdin, some Flash Season 4 news, and Netflix's adaptation of 'The Umbrella Academy'. We give you our recommendations for upcoming TV in the next 7 days. See acast.com/privacy for privacy and opt-out information.

"I was a 20 year old  gay man in Manhattan during the 1980s, and you know what I did? I paid my F*cking Rent!" - a Theater professor of mine on why he hates Rent, or as we call it, "Hipsters in America". And if that isn't enough, here's two men who weren't even born during the AIDS crisis talking about why Rent's characters are awful human beings, the conflict is cheap, and no one on this production knows how a Bolex works. And yet, the musical is not a complete waste of time. The same may not be said about this 45 minute episode. Enjoy! CONTACT THE SHOW: BrosBeforeShows@AOL.com Produced & Edited by Robert Tiemstra (@The_Timestar on Twitter & Instagram) Co-Hosted by Matthew Tiemstra (@ClockworkPlay on Twitter)

In 2016 the streets of Chicago are full of celebrations but in 1963 the streets of Miami were full of blood. Anyone can walk into a nudist camp and point a Bolex at some breasts, but it took a mad professor (Herschell Gordon Lewis) and his carny friend (David F. Friedman) to think of ripping a sheep's tongue out of a Swedish model's face in screaming color. Enter Blood Feast.   On the latest episode of Tracks of the Damned, Patrick takes aim at the world's first gore movie (no, for real, Eyes Without A Face doesn't really count), and dives into what is probably the weirdest movie we've covered yet. A subversive neutron bomb of a film that influenced everything from Night of the Living Dead to Pink Flamingos, Blood Feast is what happens when 24,000 dollars and two soft-core pornographers collide with destiny in a motel with a concrete sphinx out front.   But Patrick has not only done a commentary for Blood Feast, but has a never before heard interview that he conducted way back in 2011 at Terror in the Aisles' Music Box Massacre 7. In addition to that rare interview, you can hear Herschell Gordon Lewis perform the theme song to 2000 Maniacs live with a band! Dump this episode into your noise biscuits!   0:00 - 12:16 - Intro 12:17 - 1:20:03 - Commentary 1:20:04 - 1:39:41 - Herschell Gordon Lewis Interview 1:39:42 - 1:47:11 - Theme from "2000 Maniacs" Performed By Herschell Gordon Lewis

Jonas and I talked about refugees and memory, about ambient noise, poetry, the new film I Had Nowhere To Go, and why he's spent a lifetime ignoring Hollywood. For more information on I Had Nowhere To Go (IMDB) and TIFF. Synopsis Internationally acclaimed multimedia artist Douglas Gordon (24 Hour Psycho, Zidane: A 21st Century Portrait) returns to the Festival with this intimate portrait of avant-garde cinema legend Jonas Mekas. "An adventurer can always return home; an exile cannot. So I decided that culture would be my home." Jonas Mekas Internationally acclaimed multimedia artist Douglas Gordon returns to the Festival with an intimate portrait of Jonas Mekas, the legendary poet, film critic, risk-taking curator, "the godfather of the American avant-garde cinema" -- and, at 93 years old, among the remaining few to have escaped and survived Nazi persecution. I Had Nowhere to Go plunges us into both a collective and individual space of memory via long, imageless stretches over which Mekas narrates, in his inimitable voice, excerpts from his memoir (which lends the film its title). An extraordinary life story emerges as the film zigzags between Mekas' early years in a forced labour camp and a Displaced Person centre during WWII and his arrival in New York as a young Lithuanian émigré. With an immersive sound environment and intermittent, fleeting images that stand in evocative juxtaposition to Mekas' anecdotes, Gordon's film reveals in its subject a puckish humour that outweighs despair, and an unabated zest for life that both illuminates and softens the sadness. A deeply moving tribute from one great artist to another and a singular work in its own right, I Had Nowhere to Go has timely resonance today as mass migratory movements are displacing millions of people throughout the world as refugees, exiles, and stateless persons. While Mekas is certainly no ordinary person, the story he tells is a profoundly humble one, as much about daily survival as it is about aspiring to accomplish so much more. Gordon, who is ingenious at activating memory and the cinematic imaginary, compellingly presents quotidian moments outside of Mekas' famous film-related activities in order to reveal the desires, impulses, melancholy, and perseverance that inform Mekas' filmmaking and infectious love of cinema. Even when truly having nowhere to go, Mekas always saw brief glimpses of beauty as he was moving ahead. Biography Jonas Mekas - Writer Jonas Mekas born December 24, 1922, is a Lithuanian-born American filmmaker, writer, and curator who has often been called "the godfather of American avant-garde cinema." His work has been exhibited in museums and festivals across Europe and America. In 1944, Mekas left Lithuania because of war. En route, his train was stopped in Germany and he and his brother, Adolfas Mekas, were imprisoned in a labor camp in Elmshorn, a suburb of Hamburg, for eight months. The brothers escaped and were detained near the Danish border where they hid on a farm for two months until the end of the war. After the war, Mekas lived in displaced person camps in Wiesbaden and Kassel. From 1946-48, he studied philosophy at the University of Mainz and at the end of 1949, he emigrated with his brother to the U.S., settling in Williamsburg, Brooklyn, New York. After his arrival, he borrowed the money to buy his first Bolex 16-mm camera and began to record moments of his life. He discovered avant-garde film at venues such as Amos Vogel's pioneering Cinema 16, and he began screening his own films in 1953 at Gallery East on Avenue A and Houston Street, and a Film Forum series at Carl Fisher Auditorium on 57th Street. In 1954, he became editor of Film Culture, and in 1958, began writing his "Movie Journal" column for The Village Voice. In 1962, he co-founded Film-Makers' Cooperative (FMC) and the Filmmaker's Cinematheque in 1964, which eventually grew into Anthology Film Archives, one of the world’s largest and most important repositories of avant-garde films. The films and the voluminous collection of photographs and paper documents (mostly from or about avant garde film makers of the 1950-1980 period) were moved from time to time based on Mekas' ability to raise grant money to pay to house the massive collection. He was part of the New American Cinema, with, in particular, fellow film-maker Lionel Rogosin. He was heavily involved with artists such as Andy Warhol, Nico, Allen Ginsberg, Yoko Ono, John Lennon, Salvador Dalí, and fellow Lithuanian George Maciunas. In 1970, Anthology Film Archives opened on 425 Lafayette Street as a film museum, screening space, and a library, with Mekas as its director. Mekas, along with Stan Brakhage, Ken Kelman, Peter Kubelka, James Broughton, and P. Adams Sitney, begin the ambitious Essential Cinema project at Anthology Film Archives to establish a canon of important cinematic works. Mekas' own output ranging from narrative films (Guns of the Trees, 1961) to documentaries (The Brig, 1963) and to "diaries" such as Walden (1969); Lost, Lost, Lost (1975);Reminiscences of a Voyage to Lithuania (1972) and Zefiro torna (1992) have been screened extensively at festivals and museums around the world. In 2001, he released a five-hour long diary film entitled As I Was Moving Ahead. Martin Scorsese said once: "Jonas Mekas is the one that gave me the desire and strength to be a director." Douglas Gordon - Director Douglas Gordon's practice encompasses video and film, installation, sculpture, photography, and text. Through his work, Gordon investigates human conditions like memory and the passage of time, as well as universal dualities such as life and death, good and evil, right and wrong. Gordon's oeuvre has been exhibited globally and his film works have been presented at many competitions, including the Festival de Cannes, the Toronto International Film Festival, and the International Venice Film Festival. Gordon received the 1996 Turner Prize, the Premio 2000 prize for best young artist at the 1997 Venice Biennale, and the 1998 Hugo Boss Prize. Most recently, in May 2008 he was awarded the Roswitha Haftmann Prize by the Kunsthaus Zurich and, in 2012 the KätheKollwitz Prize from the Akademie der Künste, Berlin. Gordon was the International Juror at the 65th International Venice Film Festival, and in 2012 he was the Jury president of CinemaXXI at the 7th International Rome Film Festival. In December 2014 Douglas Gordon and pianist Hélène Grimaud have joined forces to explore the beauty of water in an extraordinary performance at Armory on Park, New York. The collaboration continued when Gordon directed the theatre performance Neck of the Woods starring Charlotte Rampling and Hélène Grimuaud at the 2015 MIF - Manchester International Festival, Manchester. Born in Scotland, Gordon lives and works in Berlin and Glasgow and teaches film at the Städelschule in Frankfurt am Main. He is represented internationally by Gagosian Gallery, as well as Untilthen in Paris, Galerie Eva Presenhuber in Zürich, and Dvir Gallery in Tel Aviv See acast.com/privacy for privacy and opt-out information.

Kevin Bubriski, a New Englander and internationally acclaimed photographer, was a freelance photojournalist when he first arrived in New Mexico in 1981 to study filmmaking in Santa Fe. Bubriski recalls, “Although I was working as a news photographer on my own, I was looking for images that I enjoyed for their own visual merit and innate curiosity.” Bubriski found himself in a new culture as distinct to him as any foreign country he would later photograph. He took his 35-millimeter camera and hand-cranked 16mm Bolex, and began to explore the environs, particularly the neighborhoods of native New Mexicans. Excited by the photographic opportunities, he says, “I went to every fiesta, every parade, every celebration and religious observance.”Look into My Eyes: Nuevomexicanos por Vida 81′-83‘ is a collection of images from that personal exploration, it is a photographic documentation of Hispanic New Mexicans, Nuevomexicanos, taken between 1981-1983 in Albuquerque, Santa Fe, and several northern New Mexico villages. Bubriski turned his attention to New Mexico teenagers. Downtime for them meant cruising and meeting up at places like San Gabriel Park in Albuquerque. He photographed them at the New Mexico State Fair and the First Annual Lowrider Car Show and Dance. He photographed family members of all ages at weddings and dancing at the La Bamba Club on New Year’s Eve. There is a universality to Bubriski’s powerful images. The emotions revealed in his images are timeless; the physical details are a time capsule of the early eighties in New Mexico. There is an intimacy to these images, as well, the subjects, whether looking directly into the lens or away from it, appear at ease with Bubriski and his camera, inviting the viewer in for a closer look. Over three decades later, this resurrected collection of photographs isan evocative cultural documentation of people who proudly trace their ancestry to Spanish settlers who arrived here several centuries ago. These are the faces of Nuevomexicanos por vida: New Mexicans for life. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kevin Bubriski, a New Englander and internationally acclaimed photographer, was a freelance photojournalist when he first arrived in New Mexico in 1981 to study filmmaking in Santa Fe. Bubriski recalls, “Although I was working as a news photographer on my own, I was looking for images that I enjoyed for their own visual merit and innate curiosity.” Bubriski found himself in a new culture as distinct to him as any foreign country he would later photograph. He took his 35-millimeter camera and hand-cranked 16mm Bolex, and began to explore the environs, particularly the neighborhoods of native New Mexicans. Excited by the photographic opportunities, he says, “I went to every fiesta, every parade, every celebration and religious observance.”Look into My Eyes: Nuevomexicanos por Vida 81′-83‘ is a collection of images from that personal exploration, it is a photographic documentation of Hispanic New Mexicans, Nuevomexicanos, taken between 1981-1983 in Albuquerque, Santa Fe, and several northern New Mexico villages. Bubriski turned his attention to New Mexico teenagers. Downtime for them meant cruising and meeting up at places like San Gabriel Park in Albuquerque. He photographed them at the New Mexico State Fair and the First Annual Lowrider Car Show and Dance. He photographed family members of all ages at weddings and dancing at the La Bamba Club on New Year’s Eve. There is a universality to Bubriski’s powerful images. The emotions revealed in his images are timeless; the physical details are a time capsule of the early eighties in New Mexico. There is an intimacy to these images, as well, the subjects, whether looking directly into the lens or away from it, appear at ease with Bubriski and his camera, inviting the viewer in for a closer look. Over three decades later, this resurrected collection of photographs isan evocative cultural documentation of people who proudly trace their ancestry to Spanish settlers who arrived here several centuries ago. These are the faces of Nuevomexicanos por vida: New Mexicans for life. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kevin Bubriski, a New Englander and internationally acclaimed photographer, was a freelance photojournalist when he first arrived in New Mexico in 1981 to study filmmaking in Santa Fe. Bubriski recalls, “Although I was working as a news photographer on my own, I was looking for images that I enjoyed for their own visual merit and innate curiosity.” Bubriski found himself in a new culture as distinct to him as any foreign country he would later photograph. He took his 35-millimeter camera and hand-cranked 16mm Bolex, and began to explore the environs, particularly the neighborhoods of native New Mexicans. Excited by the photographic opportunities, he says, “I went to every fiesta, every parade, every celebration and religious observance.”Look into My Eyes: Nuevomexicanos por Vida 81′-83‘ is a collection of images from that personal exploration, it is a photographic documentation of Hispanic New Mexicans, Nuevomexicanos, taken between 1981-1983 in Albuquerque, Santa Fe, and several northern New Mexico villages. Bubriski turned his attention to New Mexico teenagers. Downtime for them meant cruising and meeting up at places like San Gabriel Park in Albuquerque. He photographed them at the New Mexico State Fair and the First Annual Lowrider Car Show and Dance. He photographed family members of all ages at weddings and dancing at the La Bamba Club on New Year’s Eve. There is a universality to Bubriski’s powerful images. The emotions revealed in his images are timeless; the physical details are a time capsule of the early eighties in New Mexico. There is an intimacy to these images, as well, the subjects, whether looking directly into the lens or away from it, appear at ease with Bubriski and his camera, inviting the viewer in for a closer look. Over three decades later, this resurrected collection of photographs isan evocative cultural documentation of people who proudly trace their ancestry to Spanish settlers who arrived here several centuries ago. These are the faces of Nuevomexicanos por vida: New Mexicans for life. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kevin Bubriski, a New Englander and internationally acclaimed photographer, was a freelance photojournalist when he first arrived in New Mexico in 1981 to study filmmaking in Santa Fe. Bubriski recalls, “Although I was working as a news photographer on my own, I was looking for images that I enjoyed for their own visual merit and innate curiosity.” Bubriski found himself in a new culture as distinct to him as any foreign country he would later photograph. He took his 35-millimeter camera and hand-cranked 16mm Bolex, and began to explore the environs, particularly the neighborhoods of native New Mexicans. Excited by the photographic opportunities, he says, “I went to every fiesta, every parade, every celebration and religious observance.”Look into My Eyes: Nuevomexicanos por Vida 81′-83‘ is a collection of images from that personal exploration, it is a photographic documentation of Hispanic New Mexicans, Nuevomexicanos, taken between 1981-1983 in Albuquerque, Santa Fe, and several northern New Mexico villages. Bubriski turned his attention to New Mexico teenagers. Downtime for them meant cruising and meeting up at places like San Gabriel Park in Albuquerque. He photographed them at the New Mexico State Fair and the First Annual Lowrider Car Show and Dance. He photographed family members of all ages at weddings and dancing at the La Bamba Club on New Year’s Eve. There is a universality to Bubriski’s powerful images. The emotions revealed in his images are timeless; the physical details are a time capsule of the early eighties in New Mexico. There is an intimacy to these images, as well, the subjects, whether looking directly into the lens or away from it, appear at ease with Bubriski and his camera, inviting the viewer in for a closer look. Over three decades later, this resurrected collection of photographs isan evocative cultural documentation of people who proudly trace their ancestry to Spanish settlers who arrived here several centuries ago. These are the faces of Nuevomexicanos por vida: New Mexicans for life. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kevin Bubriski, a New Englander and internationally acclaimed photographer, was a freelance photojournalist when he first arrived in New Mexico in 1981 to study filmmaking in Santa Fe. Bubriski recalls, “Although I was working as a news photographer on my own, I was looking for images that I enjoyed for their own visual merit and innate curiosity.” Bubriski found himself in a new culture as distinct to him as any foreign country he would later photograph. He took his 35-millimeter camera and hand-cranked 16mm Bolex, and began to explore the environs, particularly the neighborhoods of native New Mexicans. Excited by the photographic opportunities, he says, “I went to every fiesta, every parade, every celebration and religious observance.”Look into My Eyes: Nuevomexicanos por Vida 81′-83‘ is a collection of images from that personal exploration, it is a photographic documentation of Hispanic New Mexicans, Nuevomexicanos, taken between 1981-1983 in Albuquerque, Santa Fe, and several northern New Mexico villages. Bubriski turned his attention to New Mexico teenagers. Downtime for them meant cruising and meeting up at places like San Gabriel Park in Albuquerque. He photographed them at the New Mexico State Fair and the First Annual Lowrider Car Show and Dance. He photographed family members of all ages at weddings and dancing at the La Bamba Club on New Year’s Eve. There is a universality to Bubriski’s powerful images. The emotions revealed in his images are timeless; the physical details are a time capsule of the early eighties in New Mexico. There is an intimacy to these images, as well, the subjects, whether looking directly into the lens or away from it, appear at ease with Bubriski and his camera, inviting the viewer in for a closer look. Over three decades later, this resurrected collection of photographs isan evocative cultural documentation of people who proudly trace their ancestry to Spanish settlers who arrived here several centuries ago. These are the faces of Nuevomexicanos por vida: New Mexicans for life. Learn more about your ad choices. Visit megaphone.fm/adchoices

Stéphane TRALONGO, Section d'histoire et d'esthétique du cinéma Collaboration UNIL-Cinémathèque illustrée par le projet de recherche sur les appareils Bolex.

Jodie Mack is an experimental animator who makes colorful, abstract films with a vintage Bolex film camera. Tag along as she works on a new film and talks about her process.

Getty Images Getty Images makes 35 million images free in fight against copyright infringement via BPJ Getty Images Blows the Web’s Mind by Setting 35 Million Photos Free via Nieman Labs Getty Images Image Embed: Progressive or Destructive? via PhotoShelte Ukaraine Bloody Battles in Kiev via The Atlantic Covering the Russian Army in Crimea via New York Times When Putin met Reagan via Iconic Photos   Gear Digital Bolex Hasselblad officially launches 50MP medium-format CMOS camera via DP Review Red Epic Dragon jumps to top of DxOMark Sensor charts with score of 101 via DP Review CP+ 2014: Canon Interview – ‘We don’t see the smartphone as an enemy’ via DP Review   Leibovitz SUMO Performance Pieces via Vanity Fair Annie’s Big Book via Taschen   Dark Skies + Birds End of Night via Jim Richardson New International Dark Sky Park opens in Michigan via TreeHugger The Murmurations of Starlings via The Atlantic Sebastián Liste wins 2014 Alexia Foundation Grant via Time Light Box High Speed Snapshots of Alcohol by Fabian Oefner via Creators Project DEDPXL via Zack Arias Daylight Reinvents The Experience Of Art Photography On The iPad via Tech Crunch   Oscar Winners Portraits of the Winning Actors From the 2014 Oscar via Time Inside Mark Seliger’s Portrait Studio via Vanity Fair The Unforgettable via New York Times Paging Bradley Cooper’s Lawyers: He Might Own Ellen’s Famous Oscar Selfie via The Wire

David Hoffman picked up his first spring-wound Bolex 16mm movie camera in 1963. Over the next five decades he proceeded to make scores of films on a huge range of subjects: profiles of famous and not-so-famous people; music docs (including BB King at Sing-Sing, Earl Scruggs, Bob Dylan, Joan Baez); political, historical and military docs for public television; documentary-style commercials for Mobil Oil and other companies; and one notorious film that challenged the whole documentary form. He's still at it. David and I discussed his prolific career, his adventures behind the camera and his thoughts on truth and fabrication in documentaries.

6/23/13

6/23/13

6/16/13

6/16/13

6/9/13

6/9/13

Show Intro. News covering IPad Day, TMNT, and Marvel movies at AMC Theatres. Movie review: Movies leading up the Avengers and concerns about the post-Avengers movies. Preview Review: Iron Sky and Tim Burton's new movie, Dark Shadows. Game review: Resident Evil Revelations for the 3DS. Final News covering Quantum Dream's tech demo, Britannica's demise, Joss Whedon, and a digital Bolex camera. Thank you for listening to the first episode of Geekly Dose, recorded on Friday, March 16. We look forward to comments and questions sent via e-mail to geeklydose@gmail.com.

Croncast - 2008-05-02.mp3 Show: #486 Length: 31:00 Size: 21.3 mb Format: mp3 Show us some love and leave us a review at iTunes Special note: Betsy and Jeanie are having a meetup in San Francisco May 21, 2008 at House of Shields 39 New Montgomery St., Time: 6:30 p.m., stop and have a drink or two! Short show notes, sorry The greatest goodwill find of all time Sure it is So was the Kirby vacuum It's a Bolex Video Camera Spooky stuff on this show "How did you know?" I can see you there with two hand fulls of dirt What about the eyeless dolls?

Croncast - 2008-05-02.mp3 Show: #486 Length: 31:00 Size: 21.3 mb Format: mp3 Show us some love and leave us a review at iTunes Special note: Betsy and Jeanie are having a meetup in San Francisco May 21, 2008 at House of Shields 39 New Montgomery St., Time: 6:30 p.m., stop and have a drink or two! Short show notes, sorry The greatest goodwill find of all time Sure it is So was the Kirby vacuum It's a Bolex Video Camera Spooky stuff on this show "How did you know?" I can see you there with two hand fulls of dirt What about the eyeless dolls?

Croncast - 2008-05-02.mp3 Show: #486 Length: 31:00 Size: 21.3 mb Format: mp3 Show us some love and leave us a review at iTunes Special note: Betsy and Jeanie are having a meetup in San Francisco May 21, 2008 at House of Shields 39 New Montgomery St., Time: 6:30 p.m., stop and have a drink or two! Short show notes, sorry The greatest goodwill find of all time Sure it is So was the Kirby vacuum It's a Bolex Video Camera Spooky stuff on this show "How did you know?" I can see you there with two hand fulls of dirt What about the eyeless dolls?

Croncast - 2008-05-02.mp3 Show: #486 Length: 31:00 Size: 21.3 mb Format: mp3 Show us some love and leave us a review at iTunes Special note: Betsy and Jeanie are having a meetup in San Francisco May 21, 2008 at House of Shields 39 New Montgomery St., Time: 6:30 p.m., stop and have a drink or two! Short show notes, sorry The greatest goodwill find of all time Sure it is So was the Kirby vacuum It's a Bolex Video Camera Spooky stuff on this show "How did you know?" I can see you there with two hand fulls of dirt What about the eyeless dolls?

Croncast - 2008-05-02.mp3 Show: #486 Length: 31:00 Size: 21.3 mb Format: mp3 Show us some love and leave us a review at iTunes Special note: Betsy and Jeanie are having a meetup in San Francisco May 21, 2008 at House of Shields 39 New Montgomery St., Time: 6:30 p.m., stop and have a drink or two! Short show notes, sorry The greatest goodwill find of all time Sure it is So was the Kirby vacuum It's a Bolex Video Camera Spooky stuff on this show "How did you know?" I can see you there with two hand fulls of dirt What about the eyeless dolls?

Croncast - 2008-05-02.mp3 Show: #486 Length: 31:00 Size: 21.3 mb Format: mp3 Show us some love and leave us a review at iTunes Special note: Betsy and Jeanie are having a meetup in San Francisco May 21, 2008 at House of Shields 39 New Montgomery St., Time: 6:30 p.m., stop and have a drink or two! Short show notes, sorry The greatest goodwill find of all time Sure it is So was the Kirby vacuum It's a Bolex Video Camera Spooky stuff on this show "How did you know?" I can see you there with two hand fulls of dirt What about the eyeless dolls?

Croncast - 2008-05-02.mp3 Show: #486 Length: 31:00 Size: 21.3 mb Format: mp3 Show us some love and leave us a review at iTunes Special note: Betsy and Jeanie are having a meetup in San Francisco May 21, 2008 at House of Shields 39 New Montgomery St., Time: 6:30 p.m., stop and have a drink or two! Short show notes, sorry The greatest goodwill find of all time Sure it is So was the Kirby vacuum It's a Bolex Video Camera Spooky stuff on this show "How did you know?" I can see you there with two hand fulls of dirt What about the eyeless dolls?

Croncast - 2008-05-02.mp3 Show: #486 Length: 31:00 Size: 21.3 mb Format: mp3 Show us some love and leave us a review at iTunes Special note: Betsy and Jeanie are having a meetup in San Francisco May 21, 2008 at House of Shields 39 New Montgomery St., Time: 6:30 p.m., stop and have a drink or two! Short show notes, sorry The greatest goodwill find of all time Sure it is So was the Kirby vacuum It's a Bolex Video Camera Spooky stuff on this show "How did you know?" I can see you there with two hand fulls of dirt What about the eyeless dolls?

Croncast - 2008-05-02.mp3 Show: #486 Length: 31:00 Size: 21.3 mb Format: mp3 Show us some love and leave us a review at iTunes Special note: Betsy and Jeanie are having a meetup in San Francisco May 21, 2008 at House of Shields 39 New Montgomery St., Time: 6:30 p.m., stop and have a drink or two! Short show notes, sorry The greatest goodwill find of all time Sure it is So was the Kirby vacuum It's a Bolex Video Camera Spooky stuff on this show "How did you know?" I can see you there with two hand fulls of dirt What about the eyeless dolls?

Croncast - 2008-05-02.mp3 Show: #486 Length: 31:00 Size: 21.3 mb Format: mp3 Show us some love and leave us a review at iTunes Special note: Betsy and Jeanie are having a meetup in San Francisco May 21, 2008 at House of Shields 39 New Montgomery St., Time: 6:30 p.m., stop and have a drink or two! Short show notes, sorry The greatest goodwill find of all time Sure it is So was the Kirby vacuum It's a Bolex Video Camera Spooky stuff on this show "How did you know?" I can see you there with two hand fulls of dirt What about the eyeless dolls?

Croncast - 2008-05-02.mp3 Show: #486 Length: 31:00 Size: 21.3 mb Format: mp3 Show us some love and leave us a review at iTunes Special note: Betsy and Jeanie are having a meetup in San Francisco May 21, 2008 at House of Shields 39 New Montgomery St., Time: 6:30 p.m., stop and have a drink or two! Short show notes, sorry The greatest goodwill find of all time Sure it is So was the Kirby vacuum It's a Bolex Video Camera Spooky stuff on this show "How did you know?" I can see you there with two hand fulls of dirt What about the eyeless dolls?

Croncast - 2008-05-02.mp3 Show: #486 Length: 31:00 Size: 21.3 mb Format: mp3 Show us some love and leave us a review at iTunes Special note: Betsy and Jeanie are having a meetup in San Francisco May 21, 2008 at House of Shields 39 New Montgomery St., Time: 6:30 p.m., stop and have a drink or two! Short show notes, sorry The greatest goodwill find of all time Sure it is So was the Kirby vacuum It's a Bolex Video Camera Spooky stuff on this show "How did you know?" I can see you there with two hand fulls of dirt What about the eyeless dolls?

Croncast - 2008-05-02.mp3 Show: #486 Length: 31:00 Size: 21.3 mb Format: mp3 Show us some love and leave us a review at iTunes Special note: Betsy and Jeanie are having a meetup in San Francisco May 21, 2008 at House of Shields 39 New Montgomery St., Time: 6:30 p.m., stop and have a drink or two! Short show notes, sorry The greatest goodwill find of all time Sure it is So was the Kirby vacuum It's a Bolex Video Camera Spooky stuff on this show "How did you know?" I can see you there with two hand fulls of dirt What about the eyeless dolls?

Croncast - 2008-05-02.mp3 Show: #486 Length: 31:00 Size: 21.3 mb Format: mp3 Show us some love and leave us a review at iTunes Special note: Betsy and Jeanie are having a meetup in San Francisco May 21, 2008 at House of Shields 39 New Montgomery St., Time: 6:30 p.m., stop and have a drink or two! Short show notes, sorry The greatest goodwill find of all time Sure it is So was the Kirby vacuum It's a Bolex Video Camera Spooky stuff on this show "How did you know?" I can see you there with two hand fulls of dirt What about the eyeless dolls?

Croncast - 2008-05-02.mp3 Show: #486 Length: 31:00 Size: 21.3 mb Format: mp3 Show us some love and leave us a review at iTunes Special note: Betsy and Jeanie are having a meetup in San Francisco May 21, 2008 at House of Shields 39 New Montgomery St., Time: 6:30 p.m., stop and have a drink or two! Short show notes, sorry The greatest goodwill find of all time Sure it is So was the Kirby vacuum It's a Bolex Video Camera Spooky stuff on this show "How did you know?" I can see you there with two hand fulls of dirt What about the eyeless dolls?

Croncast - 2008-05-02.mp3 Show: #486 Length: 31:00 Size: 21.3 mb Format: mp3 Show us some love and leave us a review at iTunes Special note: Betsy and Jeanie are having a meetup in San Francisco May 21, 2008 at House of Shields 39 New Montgomery St., Time: 6:30 p.m., stop and have a drink or two! Short show notes, sorry The greatest goodwill find of all time Sure it is So was the Kirby vacuum It's a Bolex Video Camera Spooky stuff on this show "How did you know?" I can see you there with two hand fulls of dirt What about the eyeless dolls?

Croncast - 2008-05-02.mp3 Show: #486 Length: 31:00 Size: 21.3 mb Format: mp3 Show us some love and leave us a review at iTunes Special note: Betsy and Jeanie are having a meetup in San Francisco May 21, 2008 at House of Shields 39 New Montgomery St., Time: 6:30 p.m., stop and have a drink or two! Short show notes, sorry The greatest goodwill find of all time Sure it is So was the Kirby vacuum It's a Bolex Video Camera Spooky stuff on this show "How did you know?" I can see you there with two hand fulls of dirt What about the eyeless dolls?

Croncast - 2008-05-02.mp3 Show: #486 Length: 31:00 Size: 21.3 mb Format: mp3 Show us some love and leave us a review at iTunes Special note: Betsy and Jeanie are having a meetup in San Francisco May 21, 2008 at House of Shields 39 New Montgomery St., Time: 6:30 p.m., stop and have a drink or two! Short show notes, sorry The greatest goodwill find of all time Sure it is So was the Kirby vacuum It's a Bolex Video Camera Spooky stuff on this show "How did you know?" I can see you there with two hand fulls of dirt What about the eyeless dolls?

Croncast - 2008-05-02.mp3 Show: #486 Length: 31:00 Size: 21.3 mb Format: mp3 Show us some love and leave us a review at iTunes Special note: Betsy and Jeanie are having a meetup in San Francisco May 21, 2008 at House of Shields 39 New Montgomery St., Time: 6:30 p.m., stop and have a drink or two! Short show notes, sorry The greatest goodwill find of all time Sure it is So was the Kirby vacuum It's a Bolex Video Camera Spooky stuff on this show "How did you know?" I can see you there with two hand fulls of dirt What about the eyeless dolls?

Croncast - 2008-05-02.mp3 Show: #486 Length: 31:00 Size: 21.3 mb Format: mp3 Show us some love and leave us a review at iTunes Special note: Betsy and Jeanie are having a meetup in San Francisco May 21, 2008 at House of Shields 39 New Montgomery St., Time: 6:30 p.m., stop and have a drink or two! Short show notes, sorry The greatest goodwill find of all time Sure it is So was the Kirby vacuum It's a Bolex Video Camera Spooky stuff on this show "How did you know?" I can see you there with two hand fulls of dirt What about the eyeless dolls?

Croncast - 2008-05-02.mp3 Show: #486 Length: 31:00 Size: 21.3 mb Format: mp3 Show us some love and leave us a review at iTunes Special note: Betsy and Jeanie are having a meetup in San Francisco May 21, 2008 at House of Shields 39 New Montgomery St., Time: 6:30 p.m., stop and have a drink or two! Short show notes, sorry The greatest goodwill find of all time Sure it is So was the Kirby vacuum It's a Bolex Video Camera Spooky stuff on this show "How did you know?" I can see you there with two hand fulls of dirt What about the eyeless dolls?