February 16, 2005. 

The characters string along one another in a tense cut-throat world.  The characters' reasons for slowing the pace are the meat of the stories... 

Rather than assemble three or four short stories, make unexpectedly connected story segments part of the creative narrative.  The complete volumes are collections of creative editing. 

Q welcomes devotees of popular culture to do what he does (Dare you accept the challenge?).  His unique distillations elevate that which is nearly forgotten.  Although his cinematographer styles are vaguely familiar, and his excerpts are perfection, the only cross reference I know independent of him is Rio Bravo.  

However, I have since learned that David Carradine has a history as a Kung Fu expert and Robert Thurman lost an eye in a mechanic shop accident. 

The Q cinematic confrontation of the CYCLOPS concept was disruptive.  To have depth perception we need two eyes, though most movies result from Cyclops projection.

There is a flipped poloroid lens solution where we film the action with two cameras, each at an eye distance apart from the other, then, with two projectors at an eye distance apart aimed at a single screen, project the films on top of one another, viewing them through poloroid lenses (There are slits in the lenses, also used in sunglasses to filter the sun).  One lens blocks the opposite projection and the eyes adjust to produce three dimensions, like with those Victorian stereo viewers of old. 

Thank you.  Let's explore issues of depth perception.  

(And I'll explore communicating with, rather than at ...)  

Peter Dizozza