ewles

Sum 41

SUM 41 ~ Baby You Don’t Wanna Know (version 1) Director Jesse Ewles Rejected: May 28th 2011…
 
Concept  
We would like create a music video, with the feel of a behind the scenes rock documentary, cataloging a tour of Toronto’s night life, but with a surreal twist… The band will be followed by a furry black beast everywhere they go.  
 
Tone: Serious, with silly undertones. Like a Coen brothers movie or a Herzog doc.
 
Technical Treatment:  We will use hand-held camera work and the footage will have a raw, grainy, 16 millimeter look, with a vignette. The furry black beast will be a man in a fur suit, similar to the way Chewbacca was handled in the Star Wars films or Barkley from Sesame Street.  It’s mouth parts will be puppeteered.  
 
Synopsis
 
Inside a cheap hotel room, Deryck awakes from a nap and heads to the bathroom to wash his face.  He notices Steve, hunched over the bath-tub covered in soap bubbles.  Steve moves to the side and reveals he’s washing a huge furry black creature, with glowing multicolored eyes.  Deryck doesn’t react as he’s used to seeing the furry black beast every day.
 
Deryck exits the bathroom.  The door to hotel room opens and a female press agent enters pushing a room service cart, loaded with Tacos and Jarritos Soda Pop. Jason enters behind the agent carrying a large bundle wrapped in brown paper.  Deryck sits down and eats some taccos.  Steve and the furry black beast exit the bathroom and join Deryck for the meal.  The furry black beast is toweling off.  He wraps the towel around his head like a turban.  
 
Jason hands the paper bundle to the dog. The furry black beast opens it. Inside is an exotic looking fish. The furry black beast pulls the fish apart and eats it politely.  
 
Jump cut to a ride in a van-cab.  Deryck, Steve, Jason and the furry black beast stop to pick up Tom from the street corner. Tom looks pleased until he opens the van’s sliding door and sees the furry black beast. Tom looks suspiciously at the furry black beast as if he’s resentful. The furry black beast just pants peacefully.
 
Jump cut to the studio. The furry black beast is playing guitar, shredding fast and hard. Jason, Deryck and Steve are blown away by his talent. Tom looks on jealously. Angry, Tom leaves the studio.
 
Cut to a shot of the band playing a small live show. The furry black beast is on stage playing lead guitar.  A small gathering of bar flies move to the beat, various old women shower attention on the furry black beast. Tom looks on from the shadows jealously.
 
Later, the band and the furry black beast visit the rock bar Bovine Sex Club. Deryck and the gang chat with the owner. He looks distraught. The owner leads the band and the dog to a small hidden room behind the bar. Inside, hunched in a chair, sits a middle aged woman holding a bag of ice to her eye. She’s weeping. She reveals a black eye. Someone has attacked her. She points to her office wall.  On the wall is wooden sword wrack with a missing sword. A dusty silhouette of a sword is all that remains. Deryck, Steve and Jason look to the furry black beast. The furry black beast approaches the bruised woman. The dog’s eyes begin to glow brighter than before…  In a flash, the woman’s bruises disappear. Steven, Deryck and Jason look on with awe.
 
Suddenly the sound of broken glass startles everyone in the office.  The 3 guys and the furry black beast head back into the bar and find Tom is there with medieval sword. Tom looks upset.  He’s swigging the sword and smashing beer bottles with it.  As the song concludes, the dog monster approaches Tom. Tom flinches. He considers attacking the dog creature… until their eyes meet.  om and the furry black beasts are drawn together as if their about to kiss. Before they touch, the screen cuts to black.
 
Cut to black
What they made instead: http://www.youtube.com/watch?v=QvhYD47tlcU&ob=av2e
youtube

(via https://www.youtube.com/watch?v=Ewl-Ij0pF0M)

Sum 41

Sum 41 | What am I to Say (treatment #3) Listen Here

Director Jesse Ewles

Rejected May 31st 2011

Premise: The last guest at a formal party smashes up the place in slow motion.

Look: Warm, hazy lighting, similar to Kubrick’s Eyes Wide Shut. The camera will move around the scene on a track shooting at 120 fps.

Synopsis: We see a garden at night, set up for a formal party. The area is deserted. Overhead is a canopy of glass light bulbs. There are two long banquet tables with a 15 foot stretch of grass in between. A ceramic lawn jockey in the shape of a dog stands beside two water bowls. At one end of the party is a “guest of honour table” with a cake and presents. It has a giant portrait of a young woman hanging above it, similar to the giant portrait of the Queen that used to hang in the Winnipeg Jets arena. 

Beside the table is a coat rack, overflowing with coats. Some of the coats are piled on the ground. It seems the guests left in a hurry. At the other end of the party is a small bandstand with a microphone, a couple of amps, and some stools. 

Deryck slouches in a beat up armchair, on the lawn in the centre party. He looks out of place. He seems to have dragged the chair there. He is wearing a soiled black suit with his tie undone. It looks as if he was punched in the jaw. He is not wearing any shoes or socks.

In slow motion we begin a long track shot as Deryck stands up and begins touring the scene. 

Empty seats, glassware, and plates of unfinished food pass in the foreground as Deryck walks. Deryck passes an open air grill looking bored and passive aggressive.

Deryck passes a large pile of unopened presents. He shakes one of the boxes at his ear and throws it over his shoulder. He scoops up the rest of the presents and tosses them into the air. Deryck picks up a piece of cake off a plate and eats with his bare hands as he walks. 

Deryck passes by the coat rack. He shoves the rest of the cake in mouth to free up his hands.  Deryck begins turning the pockets of the coats inside out looking for change. He finds none. Disappointed, his mouth still full of cake, Deryck gathers the coats in his arms and falls forward. The coat rack collapses under him.

Deryck stands up, munching on cake. He wipes his mouth with one of the jackets. 

Deryck walks back towards the banquet table closest to the camera. Deryck climbs up on top of the table and begins strolling across it. We see Deryck from the waist down as he moves. He kicks glasses onto the grass. He steps on a large cake. At the end of the table 

Deryck pulls up the tablecloth and steps onto the bare plastic of the banquet table. Deryck pulls the end of the table cloth around his shoulders, as if it were a cape. Glasses, plates, and food fall everywhere. Deryck jumps of the table like Batman. The tablecloth and everything on it is dragged to the ground.

Deryck heads to the bandstand. He picks up the microphone stand and begins to attack the other equipment. Sparks fly. Deryck heads into the courtyard where the ceramic dog sits. Deryck shatters the dog statue with mic stand. 

Deryck pulls up the layer of sod. He throws the heap of grass and soil at the over-sized portrait.

Deryck pauses a moment, surveying the scene for other areas to attack. Our camera trucks left until the gasoline for the open air barbecue comes into the foreground. Deryck rushes for the can. Merrily, he spins with the can slinging gas all over the tables and chairs. 

Deryck climbs up on the far table. He reaches up and pulls down one of the strings of lights hanging above the area. He gathers the light string up into a ball. Deryck swings the ball of lights and crashes them down on the table. They explode in slow motion. Deryck climbs up and grabs a second string. He repeats the same action, but this time as the lights break, the gasoline on the table sets fire. 

We close with a shot of the fire spreading across the long banquet table. Deryck returns to the centre of the area.  He collapses back into his easy chair to watch the fire.

JE

Technical treatment: We will use practical lighting. The party area will be sprayed lightly with a fog machine to add atmosphere. 

We will shoot at 2k, 120 fps. The camera will be on a track.

It is #TransformationTuesday
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Life is what we make of it. Make the best of every situation! You will never know what you are capable of accomplishing in life if you don’t try. I am always here if you need anything!
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Sum 41

Sum 41 ~ What am I to Say (version 2)
Director Jesse Ewles
Rejected: June 1st 2011
 
Premise: Band footage inter-cut with steam-punk robot imagery, shot in black and white. Similar vibe to Fritz Lang’s Metropolis.
 
Tone: Moody, surprising.
 
Shot list
 
Band footage
Sum 41 will be shot in black and white sitting in an industrial-looking room filled with scrap metal. Members of the band will be shot in various ways interacting with the machine parts they’re surround by.
 
Inserts
We see an unusual grave in a field of tall grasses. The footage is black and white and grainy, like Fritz Lang’s Metropolis. The grave is a pile of white stones overgrown by weeds. The grave marker is a small tree made out of twisted wire. The tree has corroded metal leaves and strange fruit growing on it. The fruit looks like glass light bulbs. The entire tree looks to be covered in some kind of dark grease.

One of the bulbs falls from the tree and is immediately swallowed by the soil. The soil on the grave begins to seethe and expand. Tangled weeds on the grave recede and the white stones roll away. The soil parts. The body of a mummified woman is revealed. Her face is shrunken with age and she has two large moth cocoons attached to her eyes. Lying across the woman’s chest is a small robotic dog. The dog looks amateurish, cobbled together, and rusted. In time lapse we see the woman’s face restored. The woman jolts up, gasping for breath. The eye cocoons split and two large moths fly out from them.
 
The woman climbs out from the grave. As she does, she notices the robotic dog. The dog has a hole in its back where one would expect to screw in a light bulb. The woman picks up the machine.
 
Cut to the woman walking along the side of a gravel road in the middle of nowhere. She’s dragging the robotic dog behind her on a leash. The machine is bouncing off the gravel like a tin can being dragged behind a wedding limo.
 
The woman finds a weathered looking barn. She enters, still dragging the dog behind her. The interior of the barn looks to be the same place where Sum 41’s footage was shot. The woman finds one of the grave tree’s bulbs lying on a work bench. She screws the bulb into the dog’s back. The bulb illuminates and the dog robot begins to mechanically shuffle across the bench.
Further on in the space the woman spots what looks to be a humanoid robot. The woman picks up the illuminated dog robot, to cast light on the discovery. The humanoid robot is a mass of twisted wires, gears, and steel, some eight feet tall. The woman is startled by something touching her back. She drops the robot dog, and its bulb explodes. It lies motionless.
The woman turns around and feels the arm of the humanoid robot. Its long skeleton-like arms are reaching out lifelessly from the darkness.
 
We notice that, in the dimness, the woman’s blouse is glowing.
 
The woman backs away from the arm right into the torso of the humanoid robot. As soon as she makes contact with it, a row of metal latches spring shut around her body. The woman struggles. The large robot begins to move. Its monstrous head tilts into the frame. The robot eyes its new power source. With a skeletal robotic finger it opens the woman’s blouse a few inches. Her chest is pulsating with a mysterious while light.
 
The large robot moves out of the barn into the daylight, the struggling woman bonded to it. The two characters move through the field at increasing speed.
 
The woman’s fear turns to exhilaration. As the track finishes the robot and the woman fire past the open grave at great speed. Cut to black.
Sobre el feminismo exclusivo de Europa

Existe un lobby de mujeres europeas (se llaman así) que da visibilidad a varias causas feministas en pos de una Europa más igualitaria.

Como todo colectivo feminista debe hacer, se han pronunciado sobre la prostitución en Europa. Pero no para denunciar el estado de desamparo de las trabajadoras de este campo, sino para llamar a su abolición. Hasta aquí todo legítimo. No serán las primeras feministas abolicionistas sobre la prostitución, que entienden como una forma de violencia contra las mujeres. Puedes estar de acuerdo con esto o no. 

Yo no lo estoy. El feminismo, entiendo, debería defender en todo momento que las mujeres AHORA puedan tener condiciones dignas como seres humanos. Y en eso no debe entrar la moralidad de nadie. Es decir, abogo por trabajar por regularizar la prostitución=garantizar que las personas que decidan esta profesión tengan los derechos laborales que, como trabajadoras, merecen, y por que la prostitución deje de ser, en determinadas instancias, una forma de esclavitud.

Entiendo que perseguir acabar con una profesión que consideras indigna es un ejemplo claro de feminismo privilegiado o de lo que algunas llaman “White feminism”, que sería algo así como el “ven aquí que te voy a liberar, que yo sé lo que es eso”. (Su paradigma en España vendría a ser Victoria Kent)

Pero a lo que iba no es a esto. Aunque ya lo he soltado. A lo que iba es a que dicho Lobby de Mujeres Europeas lanzó una campaña llamada “Juntos por una Europa libre de prostitución”. Un título muy aclaratorio, no hace falta explicarlo. Y en dicha campaña abolicionista lanzaron un vídeo para visibilizar la campaña, supongo.

Dicho vídeo se basa en el siguiente concepto: giran las tornas tradicionales: el hombre es el que ejerce la prostitución, la mujer es la que recibe el servicio. Sacan al hombre practicando cunnilingus a varias mujeres. La mayoría de edades superiores a los 60 años. Y al hombre con cara de hastío, lavándose la cara y la boca después de cada vez.

Muy original todo, como podéis ver. La idea de poner al hombre como protagonista es de visionarios, sin duda. No. Porque la prostitución la ejercen mayoritariamente las mujeres, amigas. Y la cara de hastío también me la pueden encontrar a mí en mi trabajo de becaria en una oficina, por cierto. ¿Qué quieren añadir con eso? A lo mejor también persiguen abolir el trabajo aburrido y repetitivo en su cruzada. No sé.

Sin pretenderlo no han hecho más que ejemplificar su posición condescendiente respecto a la prostitución y las mujeres que la ejercen (por cierto, totalmente invisibles para este colectivo a menos que sean ex prostitutas arrepentidas o víctimas de trata), y de abogar por un feminismo exclusivo, cuando debe ser todo lo contrario.

Por cierto, el vídeo fue dirigido por dos hombres y protagonizado por otro. Para el Lobby de Mujeres Europeas. Sobre la prostitución. Que es una profesión principalmente ejercida por mujeres. No hace falta decir más, señoría.

Being blessed ain’t always fun and games. This is a feeling one never gets used to, no matter how many times it happens… Smh!

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Rooster360 ideas for 05/04/15: Some trends keep chugging along despite the recent churn

Rooster360 ideas for 05/04/15: Some trends keep chugging along despite the recent churn

This past week was tension filled, with the 20%+ drawdowns post earnings disappointment on social media plays like Twitter $TWTR and LinkedIn $LNKD and there may be more to come in the form of a run towards “safety” and treasuries if EU goes sideways due to seemingly endless financial stress in Greece. This week’s selections include new and recent finds yet again: $JNPR $PKI $DIS $TASR $EQIX $EWL…

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Mando Diao ~ Mean Streets

Director Jesse Ewles

Rejected 05/29/2009

Summery

The video will focus on a guerrilla gardener (a person who landscapes ruined cityscapes in secret) as she attempts to navigate the dangers of the Big City while protecting potted plants she’s carrying. Her reactions to various city folk she encounters are expressed through “visions” she has, represented in the video by comic stopmotion animation inspired by Boody Rogers comics.

Technical treatment

The video will be shot at a low frame rate to match the comic jitter of the stop motion.  The stopmotion “visions” will be a combination of claymation and miniatures.

Synopsis

We open with a shot of  a dorky Asian girl with big coke bottle glasses burdened with plants walking through a busy China Town market.  This is Sung Yen.  She looks at the city scape baking in the summer sun.  We cut to a stopmotion animation of a scale model of the city in miniature.  A pair of hands descend on the model and dump handfuls of earth on it, then transplant a big geranium in the center.

We next see Sung Yen on board a subway, her plants piled about her. She is seated across from a distraught business man, who’s face is flushed and clammy. He’s looking downward.  On his lap lay an open dossier holding a blackberry, various foreclosure notices and a soiled Freedom 55 flier.  While staring at him, Sung Yen has a vision of claymation pigs eating money out of a wheel barrow; as it empties the pigs waste away to bone racks.

Standing beside the business man is a lanky, paranoid woman wearing a flu mask. She’s looking at the businessman’s red face and weepy eyes suspiciously.  Sung Yen buries her face into her plant.  She has a vision of a row of mouths passing a purple cloud of comic germs to one another.   

Sung Yen exits the subway.  She’s seems to be in a derelict part of town.  Soon she comes across an abandoned cement planter box from the 60’s.  A homeless man has set up camp beside it.  A handwritten sign beside his bed reads “MITCH-VILLE: no soliciting!!!”  Stealthily Sung Yen sneaks up to the planter box and fills it with greenery and flowers without waking the man. We cut to a cross-section of a human head; the inside of the skull is filled with dirt and litter.  Sung Yen’s hands enter from off screen and flick away the rubbish.  A huge deep-coloured bloom fills up the skull.

Next, on a different street, Sung Yen puts a plant on top of a rusted barbecue can.  Nearby an Asian punk girl with sleeve tattoos wearing huge headphones sits melting the heads of her Manga dolls with a lighter.  Sung Yen has a vision of an action figure version of Johny Apple seed.  It seems to be part of an American Hero’s children’s play set she might own.

Later Sung Yen is seen packing earth into empty soda bottles she’s salvaged from a trash heap.  She strings them up and them become a hanging garden. While walking down a graffiti-ed alleyway a street hustler approaches her.  He looks dopey and unclean. 

    “Great looking hydrangea.”  he says in subtitles.

Their encounter is interrupted by a fat guy with a neck tattoo and a Noam Chomsky t-shirt.

“Buffalo Bill!”  the new guys screams as he belts the sleazy guy in the face. Sung Yen scoots away while the two guys fight.  She has a vision of two claymation chimpanzees exchanging blows, their faces distorting horribly with each strike.

    In the final sequence, Sung Yen climbs a rusty fire escape to the top of an apartment building.  It is revealed that she has converted it into a massive green-roof covered in lush foliage.  This is her home base.  Hidden amongst the plants are smalls shrines containing miniatures seen earlier in the video.  Sung Yen sits down in her urban garden and looks out at the city scape. 

Cut to black.

Aprx  Completion:  4 weeks

EWL met with Global Justice Center in Brussels to discuss access to full medical care for female war rape victims -

The European Women’s Lobby (EWL) is the largest umbrella organisation of women’s associations in the European Union (EU), working to promote women’s rights and equality between women and men.

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Genug Internet für heute. Let’s masturbate!

(Danke, EWL!)

insta@alinemleatti postou–> A primeira é especial, tem que ser….. e foi 1a Etapa do Circuito Marília.Run de Corrida de Rua, Etapa EWL foi topzera!!! Parabéns a toda organização. Percurso com visual lindo e desafiador como todo corredor gosta. Parabéns a todos alunos da @selfrunassessoria , por mais uma vez marcarem presença, com mta alegria, descontração , superação e mtaa garra!!!!! #selfrunassessoriaesportiva #correndocomaself #corremulherada #mariliarun #etapaewl #correndoporai #correndopelomundo #amocorrer #corridaderua #resultados #w21kmasics #meninasquecorrem @FitCalBRASIL Ajudando atletas ao redor do mundo a encontrar seus próximos eventos. (www.FitCal.org) http://bit.ly/FitCalFacebookwww.FitCal.org) http://bit.ly/FitCalFacebook

Bamboleo

Remix Video

Directors: Jesse Ewles and Cameron Tomsett

Cencept: Run Away school bus viral video

Summery: The majority of the video will be a low frame rate (stopmotion-stye) dance sequence viewed from a locked-down camera at the front of the bus.  As the bus travels, it will pick up various strange characters and surreal characters (children, old people, ghosts, dogs, alien blobs ect) who each perform unique dance moves aboard the bus.  Similar to Daft Punk’s “Around the world”, the video will start with one character popping up from behind different seats based on the music. As the song progresses and the bus travels to different destinations different characters will begin appearing from behind the seats. By the end of the video there will be a full variety of characters appearing from behind each seat synchronized to beats and hits of the song. We will also create wide shots of the bus speeding around the world give the video variety.  We would like to animate these wide shots, using a miniature bus.   The bus will drive crazily through unexpected off-road environments such as a swamp, a dump and a disco.  Also, the bus will make a dare-devil style ramp-jump through a flaming hoop.

Shot List

Overhead shot of a stop-motion bus rocketing down an empty highway.

Locked down shot of a school bus, one character appears from behind the seat popping up and down to the beat. 

Bus passes through a farm.

People dressed as pigs, cows and chickens appear from behind the seats.

Wide of shot of the bus driving through a river.

Everyone on board does the “wave” in their seats as new characters begin to appear. Fish people, Alligator people etc…  The pond water will be bed-sheets painted to look like water.  The swamp plants will be pieces of foam covered in real weeds.

Close-up shot of one of the bus’ fuel gages.  It’s marked “fun” and the needle is steadily rising. 

Wide shot of the bus driving through a graveyard.

Ghosts (people in sheets), vampires, warewolves characters etc…appear from behind the seats.

Wide shot of the bus driving through a discotheque.

Silver disco balls flood the bus. Balloons pop up from behind the seats as well as sweaty disco dancers.

At this point the once empty bus is packed full of different characters all bouncing up and down the music. The bus is a full out celebration with disco balls coloured lights and a whole lot of characters. bus can fly through the flaming hoop at the end and explode in mid air.

Delivery Format:  PAL Beta SP

J

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