O.K. Looks like I’m back in business. My ‘Godzilla Run’ Idea got me in a lot of trouble with my First Flame and the NAACP, but, with the making of new movie that pits Godzilla against King Kong, I can now see my Creative Vision come true! I’m going to make an Art Movie that will blow your socks off!
When I saw on the news the installment of the Girl standing defiant before the Bull, and the brick pavement, I was transported to Kesey Square, and the day I met Belle. Alas, the showdown between Belle and the Beast, the Minotaur of the Labyrinth. What are the odds? Belle’s parents operated a Labyrinth Walk in Eugene. Two years ago I proposed one before the City Council. Then, there is the rumor the City of Springfield (Sparta) wants to capture the Kesey statue in Eugene (Athens).
Before the computer, many artists and writer kept clippings in a file cabinet, sometimes, several cabinets. After these folks become rich and famous, the author’s Wills, will not mention these files. This is because they have no value to anyone – especially ones family – who have to confront the notion this is a test – The Last Love Test! If you truly loved your father ‘The Genius’ you would take these files home and put them in your attic or basement. Are his attorneys lurking about – with a bonus for the most Loyal One?
“Waste not. Want not!”
What I’m saying is, all my material on Belle Burch – is good to go! Belle, Marilyn, and Kenny could have been in my version of La La Land, that might have ripped me off. Not this time, because I am using a Fail Safe, I’m using ‘ Lolita’. This is a heroin that Hollywood would not touch with a ten foot pole – again! When I depict my Lolita as a member of OCCUPY, then, my storyline will be judged as the cosmic invention of a whacked-out guy who took one too many acids trips!
“You’re hallucinating! You have gone too far! No mas! This far – and no further!”
My newspaper ‘Royal Rosamond Press’ will run my script for an art movie as a serial.
Godzilla vs. King Kong vs. Lolita
Opening Scene: Wall Street. A bronze statue of a pretty girl appears before the brass-balled bull of Wall Street. Tourists gather, and take pics.
“Who is she?”
“What is she?”
“Why?”
“Who put here?”
A group of Japanese tourists push their way thru the crowd, they sensing a photo shoot of a life-time. A gentleman around forty, breaks out in a wide smile.
“Ahhhh! Lolita! This Lolita.”
A large pushy celtic wiccan woman shoves everyone aside!
“That’s not Lolita! That’s Little Belle, The Belle of Ken Kesey Square.”
Taking out her beloved red OCCUPY scarf, she ties it around Belle’s neck. She then raises her fist, and shouts!
“OCCUPY! OCCUPY!” and many join in.
High up in her tower, beautiful Melania Trump, looks down on the gathering crowd.
“The Lolita of OCCUPY!” says one Japanese man, who sends her image to his friend who is a reporter for the Tokyo Times.
Meanwhile
Meanwhile, a Bohemian Scholar, Herbert Herbet, has gotten permission to snoop around in the old shed at the Kesey farm. He notices a book case that looks familiar. He sees a strange light emanating from a crack. He gives the bookcase a tug, and…… a whole new world opens up – like Pan’s Labyrinth!
Herbert gasps! Here are Ken’s lost filing cabinets. On an old table there lie a book. Herbert walks over and picks it up. He dusts it off, and reads the title……’The Last Acid Trip’.
Suddenly, Herbert jumps back! Something caught his eye. There is someone in here with him, some………thing!
“Show yourself! Who are you?”
Jon Presco
Copyright 2017
“It was beauty killed the beast.”
https://thelinknewspaper.ca/article/the-ballerina-and-the-bull
Significance to the Occupy Wall Street Movement[edit]
At the height of the Occupy Wall Street Movement in Lower Manhattan barricades were put up around the statue to protect it from protesters. As the Charging Bull represents, to some, financial prosperity and capitalism, the act of barricading it symbolically protected these values against a movement challenging those ideals. Once the volume of protesters decreased the perceived threat to the statue was reduced and the barriers were removed.[22]
Fearless Girl[edit]
Fearless Girl is a bronze sculpture of a defiant girl by Kristen Visbal,[23] installed on the Bowling Green[24] across from Charging Bull. Placed there on the eve of the 2017 International Women’s Day by the State Street Global Advisors, Fearless Girl is meant to both “send a message” about workplace gender diversity and to encourage more gender representation on corporate boards of directors.[25]
The sculpture’s installation is meant to be temporary, and is expected to stay in place for at least several weeks.[26]
the Minotaur (/ˈmaɪnətɔː/,[1] /ˈmɪnəˌtɔːr/;[2] Ancient Greek: Μῑνώταυρος [miːnɔ̌ːtau̯ros], Latin: Minotaurus, Etruscan: Θevrumineś) was a creature with the head of a bull and the body of a man[3] or, as described by Roman poet Ovid, a being “part man and part bull”.[4] The Minotaur dwelt at the center of the Labyrinth, which was an elaborate maze-like construction[5] designed by the architect Daedalus and his son Icarus, on the command of King Minos of Crete. The Minotaur was eventually killed by the Athenian hero Theseus.
http://www.hollywoodreporter.com/heat-vision/king-kong-time-rethink-peter-jacksons-2005-movie-983493
“It was beauty killed the beast.” King Kong’s iconic closing line, used both in the 1933 and 2005 versions, was cheekily rewritten by many film critics to comment on Peter Jackson’s remake: “it was bloat killed the beast” and “it was overindulgence killed the beast.”
In the years since its release, those criticisms have grown all the louder as they’ve bounced around the internet echo chamber, ultimately condemning the 2005 rendering as a misinterpretation, if not a complete destruction, of the original film.
Oddly enough, film buffs forget that Jackson’s film was actually well-reviewed at the time, holding an 84 percent on Rotten Tomatoes. Now, as the positive reviews for the quicker-paced Kong: Skull Island have hit (some of which are taking swipes at Jackson’s film), it’s high time to give the filmmaker’s journey to Skull Island another look.
The Godzilla Run
THE BIG bad boy is back!
Yes, that’s right true believers, the King of the Monsters returns to the silver screen to again trample Tokyo into dust in “Godzilla Resurgence.”
The pivotal scene in the film showcases Anne Darrow (played beautifully by Naomi Watts) performing her vaudevillian routine for the mighty ape. Even more than using the scene to define those characters’ relationship, Jackson is masterfully informing us — the audience — how we should view his film: not as lumbering and mindless, but as majestic and mesmerizing.
Every frame of this film is designed to lure the viewer anew into an age-old narrative and capture a fresh sense of a classic story’s excitement, which in the 21st century is no small task. Indeed, more than 80 years removed from the 1933 original, the modern moviegoer has become very much like the guests in 2015’s Jurassic World: unimpressed with anything that they’ve seen before and constantly demanding something trendy and new.
Fortunately, Jackson doesn’t overcome this hurdle with irreverent Transformers jokes or insecure Independence Day: Resurgence self-referentials. He instead shows us a nearly century-old story through a child’s eyes. With youthful glee, he points out a place on the map thought to be nothing more than a coffee stain, a mere smudge that he’s discovered to be bursting with danger, spectacle and wonder. To him, every rock and every creature is a wondrous reality, and he sucks us in to that point of view by having it inform every creative decision on screen.
First off, it drives the aesthetics. Not until 2016’s The Jungle Book did we again see a jungle so comprehensively created by a filmmaker. Jackson’s Skull Island is designed from the ground up, to be more dangerous and awe-inspiring than any real life locale. Its cliffs are made more jagged, its sunsets more vibrant and its wildlife more nasty. Simultaneously, those elements are sprinkled with flavors of reality. The island, for example, is given an actual latitude and longitude, as to allow for realistic tides and weather patterns, and its fictitious inhabitants construct buildings that harken to real life Micronesian architecture. And there, in that foggy place between reality and a child’s fantasy, Jackson leads us.
Second, the director’s childlike perspective drives the scale of this film. In our formative years, everything is bigger, louder, more grotesque and more majestic — and Jackson reminds us of that mindset by rarely missing an opportunity for ostentation. What separates the scale in King Kong from the scale in any of Michael Bay’s Transformers films, however, is Jackson allows it to inform both the loud and the quiet moments. He delays the entrance of his chest thumping star for 70 minutes to increase the anticipation, and he multiplies the T-Rex in their iconic tussle with the ape to escalate the intensity. But also, he prolongs each sunset to magnify its beauty and holds on close-up after close-up to heighten the peace.
History has been too unkind to the director’s 2005 film, which should be remembered not as lumbering and mindless, but as majestic and mesmerizing. Every frame of this film is designed to lure the viewer anew into an age-old narrative and capture a fresh sense of a classic story’s excitement, which in the 21st century is no small task. Indeed, more than 80 years removed from the 1933 original, the modern moviegoer has become very much like the guests in 2015’s Jurassic World: unimpressed with anything that they’ve seen before and constantly demanding something trendy and new.
History has been too unkind to the director’s 2005 film, which should be remembered not as lumbering and mindless, but as majestic and mesmerizing. “It was beauty killed the beast.” King Kong’s iconic closing line, used both in the 1933 and 2005 versions, was cheekily rewritten by many film critics to comment on Peter Jackson’s remake: “it was bloat killed the beast” and “it was overindulgence killed the beast.”In the years since its release, those criticisms have grown all the louder as they’ve bounced around the internet echo chamber, ultimately condemning the 2005 rendering as a misinterpretation, if not a complete destruction, of the original film.Oddly enough, film buffs forget that Jackson’s film was actually well-reviewed at the time, holding an 84 percent on Rotten Tomatoes. Now, as the positive reviews for the quicker-paced Kong: Skull Island have hit (some of which are taking swipes at Jackson’s film), it’s high time to give the filmmaker’s journey to Skull Island another look.The pivotal scene in the film showcases Anne Darrow (played beautifully by Naomi Watts) performing her vaudevillian routine for the mighty ape. Even more than using the scene to define those characters’ relationship, Jackson is masterfully informing us — the audience — how we should view his film: not as lumbering and mindless, but as majestic and mesmerizing.
Every frame of this film is designed to lure the viewer anew into an age-old narrative and capture a fresh sense of a classic story’s excitement, which in the 21st century is no small task. Indeed, more than 80 years removed from the 1933 original, the modern moviegoer has become very much like the guests in 2015’s Jurassic World: unimpressed with anything that they’ve seen before and constantly demanding something trendy and new.
Fortunately, Jackson doesn’t overcome this hurdle with irreverent Transformers jokes or insecure Independence Day: Resurgence self-referentials. He instead shows us a nearly century-old story through a child’s eyes. With youthful glee, he points out a place on the map thought to be nothing more than a coffee stain, a mere smudge that he’s discovered to be bursting with danger, spectacle and wonder. To him, every rock and every creature is a wondrous reality, and he sucks us in to that point of view by having it inform every creative decision on screen.
Terry Rossio, known for his work on the ‘Pirates of the Caribbean’ movies, will head the crack creature crew.
Rosamond Press 
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