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alexsarllA sign on the main gates announces that Finsbury Park itself will be closing at 5pm by the end of October, with even that shrinking down to 4.30 for the whole of December and the beginning of January. Now, aside from remembering that a couple of years ago it was never closed even in the middle of the night, I'm sure those times are ludicrously and unprecedentedly early, but I suspect that the joggers among you would be better placed to confirm that.
I've been having my old, epic dreams again lately, grand disjointed things that survive the interruptions even when they get crazed or loud enough to wake me. Which means that when they give the impression of continuing from night to night, I can never be quite sure whether they're telling the truth or just building on all those tricks about giving the appearance of a continuity which one picks up consciously and subconsciously from reading a lot of Grant Morrison. Lately there's been a lot of imagery which would suit a Saturday night TV take on Lovecraft - organic matter unfettered by contact with some nameless Unknown, extruding tendrils, faces coming loose - and it may or may not have been linked to the scene which mashed Seizure up with Gormley's Fourth Plinth to give us a slowly filling tank full of copper sulphate solution up there, the last Plinther drowning beatifically in the poison.
Not being an expert like![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
cappuccino_kid, I've only seen three Joseph Losey films, enough/few enough that having taped The Damned I was surprised to find it a Hammer shocker with a young Oliver Reed in the main supporting role. There's a stilted Englishness I recognise in there, a menace, and a sense of perversion barely suppressed, but at times early in the film the stiltedness would just seem like bad acting if you weren't looking for it, if you didn't see that this came from the same year as his classic, The Servant. Without wanting to spoiler the film (old, but fairly obscure - the spoilering protocols there are always unclear, aren't they?) the Hammer elements seem strangely well-fitted to Losey's England.
Alan Moore is doing the libretto for the next Gorillaz opera.
I've been having my old, epic dreams again lately, grand disjointed things that survive the interruptions even when they get crazed or loud enough to wake me. Which means that when they give the impression of continuing from night to night, I can never be quite sure whether they're telling the truth or just building on all those tricks about giving the appearance of a continuity which one picks up consciously and subconsciously from reading a lot of Grant Morrison. Lately there's been a lot of imagery which would suit a Saturday night TV take on Lovecraft - organic matter unfettered by contact with some nameless Unknown, extruding tendrils, faces coming loose - and it may or may not have been linked to the scene which mashed Seizure up with Gormley's Fourth Plinth to give us a slowly filling tank full of copper sulphate solution up there, the last Plinther drowning beatifically in the poison.
Not being an expert like
cappuccino_kid, I've only seen three Joseph Losey films, enough/few enough that having taped The Damned I was surprised to find it a Hammer shocker with a young Oliver Reed in the main supporting role. There's a stilted Englishness I recognise in there, a menace, and a sense of perversion barely suppressed, but at times early in the film the stiltedness would just seem like bad acting if you weren't looking for it, if you didn't see that this came from the same year as his classic, The Servant. Without wanting to spoiler the film (old, but fairly obscure - the spoilering protocols there are always unclear, aren't they?) the Hammer elements seem strangely well-fitted to Losey's England. Alan Moore is doing the libretto for the next Gorillaz opera.
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