Let’s swim in the slow,
Let’s pretend that we know.
———————————————
As Taylor Goldsmith says, better than I ever could,
“I think that love is so much easier than you realize.”
Fall
Georgia peaches,
fall from the tree.
Georgia peaches,
land on me.
Georgia peaches,
fall from the tree.
Georgia peaches,
land on me.
The tree it shades,
and gives me glee.
But georgia peaches do fall on me.
naps
I wish I was napping with you,
pushing off the afternoon,
and waking near the sun-set moon.
Our arms and legs tangled like yarn,
if traced, leading to stories from different places,
and different time zones.
And somehow they would have met along the way,
while pushing off the afternoon,
and waking near the sun-set moon.
I wish I was napping with you.
Someone
I think there is a difference between wanting someone to fill that spot next to you and wanting that spot next to you filled by someone. One is general and hopeful and broad and one is particular and wishful and holds a sense of direction. There is a context for each of them, and they may overlap in some regards. But I think there is a difference somewhere between them.
row
My heart hangs on you,
Nail into photograph on wall,
A self portrait addressing the summer and fall.
I think about the concepts behind feelings and wonder if you do the same. And i wonder if you leave yourself open somewhere for a future where extended glances could be allowed to unseal the letters they close so tight. Letters that discuss theways in which i think of your soft expressions as the whisper of sunday morning, so elegant and alive. I, willing to row myself at a pace so slow as to allow the birds to circle and the fish to pass under in an omen of good luck. If at will i dock, i would attempt to find you in the city walls and send you good mornings wrapped in unspoken sheets.
Stairs
Next step
giving up.
Next step
wondering why?
Next step
Next step
Next step
Initial Thoughts on Pain and Gain.
I saw Pain and Gain this evening. I was stressing out to no end and ready to just be alone, but I decided last minute to go and see it with some friends, and It helped a lot. The movie is raw escapism, which sometimes movies just need to be, in my opinion. I may have not given it the full time when it came to analysis in some areas such as lighting and camera work, but it was an interesting film. Coming from Michael Bay, no less. A film professor at my college said it was probably the best Michael Bay work so far, and I think I agree with him. Some of the dialogue really plays out like a Chuck Palahniuk esque dialogue, very smooth and fluid and enjoyable, but that is the writing of Christopher Markus and Stephen McFeely. They’re also the writers of all of the Chronicles of Narnia films as well as three of the recent Marvel films. I think they lent a ton to this movie working where it worked.
There was a funny comment in the film about the American dream being related to the concept of having a lawn mower and a lawn to mow with it, which I found particularly funny because my friend Troy and I joked before about the American dream being just that. Except we said that it is mowing your lawn with your shirt off. But still, it was pretty much the same idea.
What I did pay attention to of the camera work, or at least the things that grabbed me without me being ready for it, I really did like a lot. There was really interesting usage of go-pro cameras in a non found footage way, which I thought was very interesting because I’ve been thinking about how those cameras would work in a regular film for a while now. Ben Seresin did the cinematography for it, so I may have to keep an eye on what he does from now on. Apparently Ben worked on Tranformers: Revenge of the Fallen and Unstoppable, which both had a very interesting camera flow to them, if anything.
The movie just feels like you’re on a slide sometime, which works for it. I find myself appreciating a lot of different levels and aspects of the movie, but I find myself having a hard time liking it as a whole, for some reason. Maybe i’ll have to watch it again one day and see how I feel then.
Graze
Graze your skin with lips and breath,
turned inside out, feelings tacked on sleeves
and wishes thrown into wells as deep as your love
for the soft and the graceful parts of life,
as well as the rugged and grain covered parts of life.
——
Hands upon hands upon layers of thought,
wired for actions so lifted, placed upon sheets of acrylic,
canvas and brush, canvas and brush.
——
I’d soon skip a day of perfect weather,
for your sun so cautious and bright.
And your rain, crisp and light.
Cloud curtains, move aside.
In The Place
Sometimes I do things, and I think about you in the place
in front of me, where a dotted line cut-out seems to be,
and I think about you on the earth in front of me,
where a potted plant lined cut-out seems to be,
and I wish that you were swaying against my movements,
like a time keeper, metronome but with a true heart, and a true start.
Sometimes I think about you in the place,
Sometimes I think about you in the place, in front of me,
where a dotted line cut-out seems to be,
and I think about you on the earth in front of me.
—-
This might turn into a song?
Thoughts about Dear and The Headlights.
“I haven’t had a day alone since I’ve met you.”
Every time I hear this song, “Oh No!”, by Dear and The Headlights, this line sticks in my head. I looked up some meanings for the lyrics, and most people connect it to the idea of a bad relationship. I connect it more to the idea of someone who as soon as you meet, they grow in your thoughts to the point of even when you aren’t with them, they’re coming into your thoughts in the easiest of ways. As far as that particular line goes, I don’t really take it in a negative way. It’s an interesting situation to be in.
I should actually be in bed right now. Off I go.
