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David Poland

By David Poland poland@moviecitynews.com

Anyone Want A Free Copy Of The Master in Blu?

Enter to win, here.

8 Responses to “Anyone Want A Free Copy Of The Master in Blu?”

  1. John says:

    sure…

  2. Stephen says:

    Ya..

  3. Banksy says:

    Yes, please.

  4. Ray Pride says:

    Click through the link to enter.

  5. Lex says:

    Who the hell has a Blu-ray machine?

    You guys must be millionaires or something, I still use VHS and a 1999 DVD player with a 1998 SD TV.

  6. Denise Perry says:

    You can deliver it in April. :-)

  7. Rashad says:

    Lex, blu ray players are cheap now, or if you enjoy video games too, get a PS3. Plus if you love sports, and movies, HD is a must.

  8. berg says:

    everyone should have a big screen HD television with state of the art 3D – 1080 please … if you don’t, get one …. yeah I have an 8mm projector, a 16mm projector (mid-50s model that’s in mint condition for some reason); 2 VHS players (one of which is SVHS), a Sony camcorder and of course blu-ray, don’t get me started on the audio line-up (LPs natch) …. regarding the Master blu … it has as an extra, the John Huston (banned) documentary Let There Be Light about WWII soldiers with *syndrome … there’s also an 8 minute behind the scenes short that has among other clips a shot of the principal and supporting actors, all in an elevator, and someone farts and they slowly one by one lose it (in a good way)

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“I’ve been pleasantly surprised by how many recappers, while clearly over their heads, are baseline sympathetic to finding themselves routinely unmoored, even if that means repeating over and over that this is closer to “avant-garde art” than  normal TV to meet the word count. My feed was busy connecting the dots to Peter Tscherkassky (gas station), Tony Conrad (the giant staring at feedback of what we’ve just seen), Pat O’Neill (bombs away) et al., and this is all apposite — visual and conceptual thinking along possibly inadvertent parallel lines. If recappers can’t find those exact reference points to latch onto, that speaks less to willful ignorance than to how unfortunately severed experimental film is from nearly all mainstream discussions of film because it’s generally hard to see outside of privileged contexts (fests, academia, the secret knowledge of a self-preserving circle working with a very finite set of resources and publicity access to the larger world); resources/capital/access/etc. So I won’t assign demerits for willful incuriosity, even if some recappers are reduced, in some unpleasantly condescending/bluffing cases, to dismissing this as a “student film” — because presumably experimentation is something the seasoned artist gets out of their system in maturity, following the George Lucas Model of graduating from Bruce Conner visuals to Lawrence Kasdan’s screenwriting.”
~ Vadim Rizov Goes For It, A Bit

“On the first ‘Twin Peaks,’ doing TV was like going from a mansion to a hut. But the arthouses are gone now, so cable television is a godsend — they’re the new art houses. You’ve got tons of freedom to do the work you want to do on TV, but there is a restriction in terms of picture and sound. The range of television is restricted. It’s hard for the power and the glory to come through. In other words, you can have things in a theater much louder and also much quieter. With TV, the quieter things have to be louder and the louder things have to be quieter, so you have less dynamics. The picture quality — it’s fine if you have a giant television with a good speaker system, but a lot of people will watch this on their laptops or whatever, so the picture and the sound are going to suffer big time. Optimally, people should be watching TV in a dark room with no disturbances and with as big and good a picture as possible and with as great sound as possible.”
~ David Lynch