Film release poster Missy Jubilee 193 MULLUM 99
https://missyjubilee.com/films/193-mullum-99/

Script breakdown by Alan Rogers in London

Missy Jubilee’s comments are in bold

It is a measure of age that I still think of 1999 as not that long ago. It feels like yesterday. I throw myself into that plunge pool of memories. I bathe in a frenzied slideshow of thoughts.

My favourite books from my youth were anything by Douglas Adams (my ‘nom-de-plume’ has always been Dirk Gently, do you remember?), or Terry Pratchett. I still love to re-read those books from time to time. Adams in particular still makes me ache with laughter.

I do remember Dirk Gently from nine years ago

Having watched your film once through I realised my homework this week was to watch Buffalo ‘66. Hence the wait. I had to source it, then find a practical time to watch it.

I’m impressed with your dedication to backgrounding Alan

Having watched it now, I think I see what you mean by ‘dishonest victim’. Let’s call her Wendy (I know her real name is Layla, but she slips into the Wendy character very easily). Wendy doesn’t fit in. When we meet her, she is tap dancing with people in leotards and she is in an inappropriate sundress and cardigan wearing tights.

At some point in the film, the cardigan turns into a jacket but to be honest I just took that to mean she had it in her car. She is waiting for something to happen in her life and Billy walks in and kidnaps her. She cannot believe her luck. She is given numerous opportunities to get away from the hapless Billy Brown, but she never takes them, preferring to wait for him to return to her kidnapping.

When the best thing happening in your life is your own kidnapping, perhaps you need to develop more outside interests

In some ways her story is more intriguing. We don’t know what made her so casual about what is being done to her. I take it to mean that she is as unloved as Billy, as forgotten and ignored, and with Billy she see’s a kindred spirit.

It is quite fascinating writing by Vincent Gallo. I read several interviews with him about the film, and I admire that he never felt he had to explain every detail of the plot, preferrring to leave it to the audience to figure out

Without wishing to be a ‘spoiler’ we also see an alternative ending where she is Billy’s saviour. Her narrative purpose from the start is to save Billy from himself. The viewer has to decide if she is successful in this unselfish and loving act. Wendy is also the saviour of the ‘lost boys’ in Peter Pan. Not sure that is relevant though.

I did not know that. Nice pickup

THE DISCIPLINE OF THE WRITTEN WORD
PUNISHES BOTH STUPIDITY AND DISHONESTY
-JOHN STEINBECK

Good Evening.

The Steinbeck quote could be taken a number of ways. I like to interpret it as a critical thinking exercise. As a thought experiment into what constitutes truth, and the permanence of recorded opinion. It is useful, I think to include the word ‘recorded’, Steinbeck was considering only the written word for most of his life. But recorded speech is as permanent and as verifiable. Only spoken word can be misinterpreted and suffers impermanence. Your art is recorded art. It is permanent.

WHAT IS THE ESSENCE OF A PERSON?

IS IT THEIR BEST QUALITIES?

OR THEIR WORST QUALITIES?

OR THEIR SECRET QUALITIES?

Before I answer that, I should say here that I genuinely love Christina Ricci as an actor.

I agree. The camera loves her, and her inflections are so slight, but powerful

She has got her acting chops around some very tricky roles and has never shied away from roles that she knew the MSM (main stream media) would unfairly use to taint her ‘real’ personality. I wonder how many people would consider Vincent Gallo as a man on the brink of unspeakable violence in real life.

Very true. I also note that Vincent Gallo scored the movie, and his music choices are exceptional

In Buffalo ‘66 she has so few lines, but she is integral to the story and her responses are so measured and perfect. She is not the star. Gallo’s performance is sublime, but she is the perfect actor to play off against.

Sublime is definitely the word I would use as well. He inhabits the character

So what do I believe is the essence of a person?

A person is both a measure of their qualities, and their inadequacies. A person is made up of many variables that change over time. Each day will bring a different person to the fore with character being a relative constant, alongside variables such as emotion, fatigue and health which is integrated into experience. As referenced below; I do not think you can apply formulae. But I do think that due to the never ending changes that take place within ourselves, we are not the same person today, that we was yesterday.

I don’t expect that was a very good answer though.

I BELIEVE THAT THE ESSENCE OF A PERSON IS CREATED
BY THREE. DISTINCT, SINGULAR, DISPARATE INPUTS

This music is played at the end credits of Buffalo. I like the song. Never heard it before. I like the line ‘stabs it with a spoon’.

A GUIDING PRINCIPLE

AN INFLUENTIAL PERSON

AND A SIGNIFICANT PLACE

I was trying to work out where nature and nurture fit in here. I mean; I guess ‘guiding principle and influential person’ could be interpreted as nurture, and ‘significant place’, nature?

(TITLES)

A LIE WILL ALWAYS LIE IN WAIT

  1. GUIDING PRINCIPLE

THE WORD ‘VICTIM’ SUGGESTS INNOCENCE

AND INNOCENCE, BY THE INEXORABLE LOGIC
THAT GOVERNS ALL RELATIONAL TERMS

SUGGESTS GUILT

I am no expert at these things but I have never equated the word ‘victim’ with ‘guilt’ personally.

I don’t think I explained that writing clearly enough. I meant, victim suggests innocence, and therefore innocence suggests guilt, and inexorable relational logic suggests that the guilty person is the perpetrator

BUT NOT ALL VICTIMS ARE INNOCENT

Agreed. But that is another subject entirely.

  1. INFLUENTIAL PERSON

THIS IS A FILM ABOUT THE MOST IMPORTANT LESSON
MY MOTHER EVER. TAUGHT ME

HOW TO BE A DISHONEST VICTIM

I guess Mothers have a huge influence on our ‘essence’ as beings. They genuinely mould us into beings. I personally believe that not enough money is spent by governments on ‘early years’ development (the natural progression into firs stage education) It is has a huge impact on future generational behaviours. Learnt behaviours can often be traced back to early years development.

This is what makes Billy’s mother so abhorrent. She reminds me of Mrs Wormwood from the book ‘Matilda’ by Roald Dahl. She is entirely selfish and absolves herself from any responsibility for her child.

—–

Like the lip sync singing by the pervert father, Wendy’s tap dance sequence is purposely badly mimed. However it was not until this point that I realised she still had her sparkly tap shoes on.

(MORE TITLES)

  1. SIGNIFICANT PLACE

MULLUMBIMBY NSW AUSTRALIA NOVEMBER 1999

(EVEN MORE TITLES)

MULLUMBIMBY IS A SMALL TOWN IN AUSTRALIA
INHABITED BY DRUG ADDICTS, NEW AGE FREAKS,
CRIMINALS, DIRT SCRATCHERS, CHARLATANS, HIPPIES,
CORRUPT POLITICIANS & PAEDOPHILES

I clearly do not know Mullumbimby. It sounds lovely. (According to visitnsw.comhttps://www.visitnsw.com/destinations/north-coast/byron-bay-area/mullumbimby)

IT IS WHERE I GREW UP

IT IS WHERE I ESCAPED FROM

IT IS WHERE THIS EVENT TOOK PLACE

MULLUM 99 WAS MY BUFFALO 66

Mullum is (obviously) a shortening of Mullumbimby. But I like the full name better. Personally. I also like the fact that 99 is an inversion of 66. And 66 and 99 have sexual undertones to them. As do the two films presented.

IN THE 1999 FILM BUFFALO 66, AFTER BEING RELEASED FROM
PRISON, BILLY IS SET TO VISIT HIS PARENTS WITH HIS WIFE,
WHO HE DOES NOT ACTUALLY HAVE

THIS PROVOKES BILLY TO ACT OUT, AS HE KIDNAPS A GIRL
AND FORCES HER TO ACT AS HIS WIFE

To be honest I think the term ‘act out’ is perhaps a cultural reference. It is not much used in England. It clashes in my mind with the term ‘act as his wife’.

I HAD A SIMILAR EXPERIENCE

Having watched both films, I tend to disagree here. But I suspect I have missed something important.

This is the bit where Billy explains to Wendy what her role is.

SIMILAR BECAUSE IT INVOLVED BEING RELEASED
FROM AN INSTITUTION, A CAR, STOCKHOLM SYNDROME,
FALSE VICTIMHOOD AND ACTING OUT IN A SMALL TOWN

In your case though. I had the impression that you were Billy, until you state below that you saw yourself as Wendy. I guess I was influenced by your backstory.

You have picked up on a duality here, and I did struggle for many weeks on how to thematically imply I was both Billy and Wendy

BASED ON A LIVED EXPERIENCE

CONTINUED FROM EPISODE 192 ‘SHE MONSTERS’

PART 1: KNOW THYSELF

Love this version of ‘I’m a Believer’. Is it the one from Shrek?

That’s the one

KNOW THYSELF
IS A DICTUM IN THE UPANISHADS FROM 3000BC

I was not aware. Thank you.

THE UPANISHADS ARE THE ANCIENT VEDIC SANSKRIT TEXTS
WHICH LATER BECAME THE BASIS FOR HINDUISM

BUT WHAT THEY MEANT BY ‘KNOW’ AND ‘SELF’ IS DIFFERENT

A PERSONS CONCEPTION OF THEMSELVES
HAS A RELATIONAL CORRELATION WITH THEIR REASONING
TO KNOW THEM, IT IS CRITICAL TO KNOW WHAT REASONING
A PERSON ASSIGNS TO THEIR EXPERIENCES

It is not a huge leap for us to imagine that we are a sum of our experiences, but I guess it was a bit of a leap back in the day.

GETTING IN A CAR NAKED
WITH A MAN YOU’VE JUST FUCKED ON THE BEACH
BECAUSE YOU NEED A LIFT HOME
IS LIKE BEING CHRISTINA RICCI IN BUFFALO 66

You see yourself as Wendy? Or is this just another clever example of your linguistic trickery.

The setup is as Wendy, the throughplay is as Billy

This sped up film of you naked in a car is a very erotic segment. The music is very appropriate.

FILMS USE A SIMPLE NARRATIVE ARC
THAT IS BASED ON AN OPENING DRAMATIC STATEMENT
WILL (THE PROTAGONIST) ACCOMPLISH (MAIN GOAL) DESPITE (MAIN OBSTACLE)?

IN MY CASE, THAT STATEMENT WOULD BE
WILL I GET HOME SAFELY, DESPITE ACTING LIKE A SLUT
WITH SOMEONE I DIDN’T KNOW?

I realise that the film of you naked in the car was taken after the ‘lived experience’ but nonetheless. Being naked in a car is a bold move.

The statement will you get home safely, is moot. You intimated you had already had sex with the guy driving. He is unlikely to want to have sex again so soon, but then again you may have been willing to comply with that anyway, given the fact that you had not bothered to get dressed afterwards. In the shown film you are clearly aroused by the situation, regardless. Perhaps it is the risk of being caught that is fuelling your adrenaline.

Exactly. But what happens when one is caught?

If you are implying your ‘stranger’ could have turned violent in the car, then this point is valid; but my assumption is that you had unconsciously carried out a mental risk assessment before climbing in. This is where Wendy’s story is as intriguing as yours. What made her/you act (out) that way?

TO ANSWER THAT
YOU HAVE TO CONSIDER LITERARY PSYCHOLOGY
AND THE PURPOSE OF VILLAINS AND NARRATIVE PROPS
IN THIS STORY, THERE IS AN ASSUMED VILLAIN

Fella driving.

AND THERE IS A NARRATIVE PROP – WHICH IS ME

IN ALMOST ALL FILMS, THE VILLAIN REPRESENTS
THE WEAKNESS OF THE HUMAN PSYCHE

Billy is clearly damaged. He does not comprehend and process what other’s see as ‘acceptable behaviour’. It is not his fault, but his experience in life is one of bad things constantly happening to him, to the point where he has built a wall around himself. A wall that Wendy see’s as a challenge to climb over.

The Stranger driving we know nothing about. Not even the one we can observe (very slightly) in your film. We know they are talking to you, sharing a joint. We know they have a superhuman ability to keep their eyes on the road despite constant incentive not to.

THE NARRATIVE PROP IS THE CENTRE POINT

AROUND WHICH THE VILLAIN OPERATES

IN BUFFALO 66, THE CHRISTINA RICCI CHARACTER
IS A ‘DISHONEST VICTIM’

SHE THROWS HERSELF INTO THE SITUATION
WITH WILLINGNESS AND ZEAL

Not sure I agree with the word ‘throw’. But I do agree that she is willing.

IT IS HER SEXUAL PROVOCATION
THAT MOVES THE MAN WHO MOVES THE PLOT

Again. I tend to agree to disagree here. She is trying to seduce him, that is apparent, but he is too scared (and naive) to respond to that. It is not until she hurls the four letter word through the door that he is moved to respond to her.

BUT WHAT IF SOMEONE SAW HER PLAYING THAT ROLE?

IN THIS CASE OF THE NAKED CAR RIDE
THE DRIVER IS PRESUMED TO BE THE VILLAIN

I am not so sure. If I saw a naked girl in a car, would I immediately assume that the guy with her has made her strip naked? Possibly. But my first thought would be ‘lucky so and so’, before grinning widely and applauding. Which would be a terrible thing to do if the girl had indeed been kidnapped and stripped beyond her will. I have taken the situation not to be that. I have taken the situation to be the girl is comfortable with being naked in the car.

The trouble is, the argument is quite circular. The guy would happily take the role of villain if he gets to see (and possibly do more to) the girl who is naked. The girl who is naked want’s to relinquish responsibility for her being in such a state, so is looking for the guy to take the blame, which he is happy to do.

BUT THIS IS DEPENDENT ON HIS ACTIONS
IN THE FACE OF SEXUAL PROVOCATION
IT WOULD BE ASSUMED THAT THE DRIVER WAS UP TO NO GOOD
AND THE NAKED GIRL WAS BEING KIDNAPPED

Kidnapped is a bit of a leap. I think.

TO ESCAPE RESPONSIBILITY FOR HER ACTIONS
THE DISHONEST VICTIM COULD PLAY OUT THE VICTIM ROLE
BLAMING THE DRIVER FOR HER DEPRAVED SITUATION
PERHAPS EVEN ENHANCING HER VICTIM NARRATIVE
SAYING SHE FOUND HERSELF IN THIS SITUATION
BECAUSE THE VILLAIN MADE HER TAKE DRUGS
IN ALL LIKELIHOOD THE VICTIM WOULD BE BELIEVED
BECAUSE WHAT GIRL WOULD PLACE HERSELF IN THIS SITUATION

This is a classic narrative to be fair. There is a great episode of the ‘Modern Family’ TV series, where Phil Dunphy takes his wife Claire to a hotel as a way of escaping family life and boosting their love life. She suggests a role play where he picks her up in the bar as a stranger. Things are not going too well until he says the lines ‘I want to take you to a room and do all the things your husband won’t do to you, because he respects you too much’. At which point she downs her drink and says ‘stop there’ and drags him to the room.

LOL

My point is she wants to relinquish responsibility, she wants to be made to do things outside her comfort zone. But she doesn’t want to initiate them.

Naked car girl cares not one jot about who initiated what. She just knows that she cannot be held responsible for being naked. That she has a perfect alibi in the clothed man in the seat next to her.

BUT WHAT THEN HAPPENS TO THE DRIVER?
HE COULD BE CAST OUT OF SOCIETY

Are we talking about Billy or the Stranger? (Just realised that Billy Joel wrote a song called ‘The Stranger’ – all about mask wearing, it is very good).

LABELLED AS A ‘PERVERT’ OR ‘DEVIANT’
EVEN SENT TO PRISON
FOR MAKING AN ‘INNOCENT’ GIRL DO SUCH THINGS

Here’s the thing. Billy could have been sent to jail for kidnap. But I doubt Wendy would have testified. Likewise the stranger could have been sent to jail for kidnap, but that would suggest the naked girl would be willing frame the stranger as a kidnapper?

If it suited her to do so. It would take a cold dead heart to do so, but…..

THE ONLY PERSON WHO WOULD KNOW OTHERWISE
WOULD BE THE DISHONEST VICTIM
AND HER ADHERENCE TO THE STORY WOULD BE COMPLETE
BECAUSE CONFESSING WOULD LABEL HER FOR LIFE
AS A SLUT, HYPOCRITE AND A LIAR

She was found naked in a car with a stranger. How far would she go to protect her reputation?

The concept of ‘reputation’ could therefore explored, but instead you have chosen to explore her motivation:

BUT WHAT DOES SHE WANT?
WHILE HER SINGULAR GOAL MAY BE SEXUAL COMPROMISE
WHICH LEADS TO VALIDATING HER AS A VISIBLE ENTITY
THEREBY GIVING HER LIFE STRUCTURE AND MEANING
HER OVER-RELIANCE ON IT MAKES HER LIFE MEANINGLESS
BECAUSE ANY HUMAN CONNECTION IS INCONSEQUENTIAL
IT IS ONLY A BY-PRODUCT OF HER MANIPULATION
SHE IS BETTER SERVED
BY MAKING THE VILLAIN WANT SEX
WHILE REFUSING HIM ACCESS TO IT
THIS REPRESENTS CONTROL
WHICH SHE CONSIDERS ‘WINNING’
AND WHEN SHE ACHIEVES IT
SHE CAN CAST OFF THE VILLAIN
WITHOUT A SECOND THOUGHT
BECAUSE SHE HAS PLAYED HIS ASSIGNED ROLE

She does what she does, for the purpose of ‘control’. She validates her life by means of ‘controlling’ people to do what she wants.

Most males have become willing victims in this game. It has played itself out down the centuries.

There was a history programme on TV the other night, where a couple of female historians were discussing prostitution in the middle ages. They were honest enough to say that for most women born into that age their only way out of poverty was to sell themselves, either to many as a prostitute or to marry the wealthiest man they could snag (prostitution one man at a time), love was for the losers. Not saying that lots of women did not choose the ‘loser’ route, but many did chose the more cynical sexual provocation route, and were successful doing so.

IN HER UNHEALTHY PSYCHODRAMA OF VALIDATION
THE VILLAIN, ALSO KNOWN AS THE TERTIARY ANTAGONIST

Tertiary? Who is the secondary then? The brother?

I am playing the primary and secondary antagonist in this plot line. I know, it’s complicated. Like my life. I think I’m going to do an easier narrative for the next couple of films to give my brain a rest

This starts a montage of clips that are played under the following words. The message of the clips is that society has moulded itself into the righteous and (well lets call them the) wrongteous. You make a case that the wrongteous were right all along.

MUST GRAPPLE WITH THE QUESTION OF GOODNESS
THIS IS A QUESTION STUDIOUSLY AVOIDED
BY THE NARRATIVE PROP
SHE BECAME AN EXPERT AT COLDNESS FOR THE SAKE OF UTILITY
BUT DESPITE HER BEST EFFORTS
SHE COULDN’T CONTROL ALL OF HER EXTERNAL ENVIRONMENT
EXTERNAL AWARENESS OF HER ACTIONS
CREATED THE NEED FOR MORE DISHONESTY
HE BROTHER HAD BEEN FOLLOWING HER THE WHOLE TIME
THIS CREATED A NEED FOR A SET OF ALTERNATIVE FACTS
NARRATIVE PROPS OPERATED WITHIN DEFINED ‘BATTLESPACE’
AND IN THAT BATTLESPACE
THE CONSEQUENCES FOR OTHERS WAS NOT A HIGH PRIORITY
REASONING IS THE ACTIVITY
OF WEAVING TOGETHER DIFFERENT DIMENSIONS
OF ONE’S EXISTENCE
WITH A VIEW TO DISCOVERING
WHICH HYPOTHESIS
IS THEIR INNER TRUTH
THE SELF-CONSCIOUS TRUTH SEEKER
NEVER SUSPENDS AWARENESS
OF THE NEED FOR LOGICAL CONSISTENCY IN THEIR REASONING
TO NOT DO SO LEADS TO SELF-DELUSION
AND IT IMPOSSIBLE TO LOVE A DELUSIONAL PERSON

Music changes. I like it.

I remember talking to a chap at work. Years ago. About his wild daughter. She used to frequent a local lorry park and have sex with the drivers in the back of their cabs. He would try and find her and if he did, he would pull her out. But more than once ended up in a fist fight with the lorry driver. But who was the victim? I never really worked it out, or why he told me about it at all.

‘YOU CANNOT ASK FOR LOVE’
‘IT MAY COME’
‘IF YOU WAIT’
‘YEAR AFTER YEAR AFTER YEAR’
‘LOVE IS THE RAIN’
‘THAT FALLS IN THE NIGHT’

Music stops. A garage scene in Breaking Bad (I recognise the actor). A pile of money is revealed to show that it is all about cash. As the Rutles sang in their parody of ‘All you need is Love’; ‘All you need is Cash’. It makes the world go round. Apparently.

‘HARD IN DECEMBER’
‘DRY IN JULY’
‘BUT I HAVE YOU NOW’
‘BY THE THROAT’
‘BY THE POUND’
‘AND I’M GOING TO DRINK YOU DOWN’
‘YOU CAN’T ASK FOR LOVE LIKE A DOG’

-LYRICS BY HOLY HOLY

Music starts again.

ONE’S INTERNAL PERCEPTION OF SELF-WORTH
IS BASED ON THEIR INTERNAL VALUE SYSTEM
BUT EVERYTHING EMANATES FROM THE BRAIN
AND IF THE BRAIN’S VALUE SYSTEM
IS BASED ON FLAWED INTERNAL REASONING
IT BECOMES IMPOSSIBLE FOR THE DISHONEST VICTIM
TO INHABIT MANY PERSONALITIES

We and all those around us only exist in our brains. We perceive life through a lens that shows the world upside down. Our brains extrapolate that data and using other senses make our world real. Once we have satisfied all physical and scientific criteria, the brain searches for narrative. We are pre-programmed to invent stories. Like we are pre-programmed to see the human face in ink blobs.

Once we have satisfied our natural need for a narrative, we start to conceptualise order. We rank things, which is where your value system starts to emerge. It is basically about prioritising.

That is a succinct summary. Yes, it is about prioritising

Ah. You say. But I was talking about flawed internal reasoning. Where the brains ability to prioritise is damaged.

Yes. I say. That is possible, but rare. So let’s consider that Billy has a damaged sense of self worth and his priorities are all out of order. He wants to murder someone he does not know based on an unsubstantiated story he has heard. The narrative arc shows us that redemption is possible. Even for Billy.

THEREFORE

THE MATHEMATICAL FORMULA FOR PERSONALITY IS
VALUE = (REASONING – FEELING), WHERE ~ = (MATCHING)

I tried. But I can’t mix emotion with logic. Sorry.

WHAT SQUARES YOUR MOON DOESN’T INTEREST ME

Good line. No. VERY good line.

LOL. Yes, I liked that

I JUST WANT TO KNOW THAT YOU WILL SUFFER FOR ME

This soundtrack is absolute filth. Catchy though.

BONUS TRACK

FUCKING NINJA STYLE BY MICKEY ROURKE
ROGUE WARRIOR VIDEO GAME END CREDITS SONG

HIDE AND SEEK MUTHERFUCKERS
ANYBODY HOME?
DADDY’S HERE
C’MON, GLAD TO SEE ME FUCKERS?

SEND ME THE BILL
MOTHERFUCKING COCKSUCKERS

I’M OVER HERE FUCKFACE

THERE’S GONNA BE FUCKING ASSES
BLEEDING ALL OVER THE PLACE
SORRY ASSHOLES, BUT YOUR QUIET DAY
AT THE OFFICE IS ABOUT TO
GET SEVERELY FUCKED UP

WHAT THE FUCK WAS I DOING AGAIN?
OH, YEAH,
FUCKING SHIT UP.

GODDAM COCK BREATH
COMMIE MOTHERFUCKERS
YOU FUCKING ASSHOLE
YOU FUCKING PIG FARMERS

DROP DEAD MOTHERFUCKER
YOU FUCKING AMATEURS

I OWN YOUR FUCKING SOULS
FUCKING COMMIE BITCH
YEAH, SOME CAPITALISM FOR YOU PUSSY
YOU FUCKING SHITTY PIG

TIME TO MOVE
I GOT BAD GUYS TO SEND
TO COMMIE HEAVEN
FUCKING NINJA STYLE

I’M GONNA BRING IT TO THEM
I’M GONNA SHOW THEM
WHAT TIME IT IS

FUCKING NINJA TIME IS WHAT TIME IT IS

What? Actually did not enjoy typing that out. I think I might have to go and take a shower.

That song is so over the top that it is hilarious

SINCE I WAS LONELY FROM THE START
THE END IS MINE TO WRITE
BECAUSE WHEN FOREVER COMES AROUND
YOU’LL NEVER SEE ME AGAIN
SO I HOPE SOMEONE IS GOING TO PRAY FOR YOU

I do not believe in the power of prayer. However I would like to know if this is a quote. It feels like a quote. I cannot imagine why you would write this otherwise.

It is a lamentation to those left behind by the hunger games. I wrote it as the piece to accompany my exit from the car, and the words of Whiterose in Mr Robot when she says ‘after I leave, you will never see me again. There are few people in my life who I see more than once, and you are not one of them’ This writing is why I love Mr Robot so much. It is torrid, and biting.

THE AWARENESS THAT HUMAN BEINGS HAVE
AND THEIR CAPACITY FOR SELF-CONSCIOUSNESS
DISTINGUISHES THEM FROM ALL OTHER LIVING BEINGS

Being self aware is fun until the drugs wear off.

This starts the quick montage of various clips that move towards a sermon about guilt.

WHATEVER THE LIMITATIONS OF CONSCIOUSNESS ARE
ONLY THE SELF CONSCIOUS BEING CAN KNOW THEM
WHY ON EARTH DID I DO THIS TO MYSELF?
SELF-CORRUPTION IS A PALACE TO THE POET

Ooh. say that again….Beautiful words.

GETTING WHAT YOU THINK YOU DESERVE
WILL ALWAYS STRIP A SOUL TO THE BONE

I think I deserve my soul getting stripped to the bone. I own a corrupted soul, do you?

I think so

(CREDITS)

YOU MUST RECONCILE PAST EVENTS. TO STOP THEM EVER HAPPENING
AGIAN, YOU MUST TAKE AN OFFENSIVE POSTURE, AND BUILD A
SECURITY MODEL THAT CAN DISABLE THOSE THREATS

  • KENT STERN

OBTAINING ACTIONABLE INTELLIGENCE FOR THREAT DETECTION USING DMX DATA MODELS

AS STATE-SANCTIONED MEASURES EVOLVE TO ERODE
FUNDAMENTAL RIGHTS, SO TOO DOES THE ARSENAL OF DEFENSIVE
TOOLS THE ARTISTIC COMMUNITY RELIES ON TO PROTECT THEIR WORK AND THIS PROVOCATION IGNITES THE RESIDUE OF OUR DEFIANCE

Not sure where that last bit came from, as to me it does not fully integrate with the theme of the rest of your film.

If I had to summarise, it relates to some people trying to make these films disappear, because they are disturbed by their brutal truthfulness. Maybe a better word than disturbed is ‘threatened’. And in a broad brush thematic dissection of Buffalo 66, perhaps one could make the macro observation that the whole film, and each player in it, is ‘threatened by the their own personal truth’ – Billy, Wendy, the mother, the father.

It may be that you wanted to send a political message about MSM, and the value of truth. It may be that you felt that control is rarely held and wielded at an individual level, as it is mostly at the mercy of big data. Or it may be another dig at your previous platforms that no longer support you.

The film as a whole was amazing. It has all the great Missy attributes; Film analysis; Philosophy; History; Sexual Intrigue; Erotic imagery and a soundtrack to die for.

It is always a pleasure to review your films. I am sorry it takes so long. Hope you are well and happy

All the best.

x

Alan Rogers

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