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April 19, 2005
gloomy bear
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April 15, 2005
picture for telit gsm module camera
not sure if it will work the image comes out in photoshop. but when you 
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April 13, 2005
Monitor
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April 10, 2005
Prime
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April 07, 2005
You found me darling
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April 05, 2005
Buddha blessed
Baby's friend Jae sent me this beautiful braclet. It is made from a jujube tree(korean for date i am told) which was struck by lightening. The scent it amazing. There is a panel bead with a character on one side and writing one the other. I find it wonderful.
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April 04, 2005
puffle like image
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this is a fish bank
It was used in Paris for department store advertisement.
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Long time no write
Well I think there is lots to write but I guess I will start with Sin City ohhh, I an not too sure. yeah wow cool but there was a lot of things about the film that bothered me. The image quality is very good in relationship to some of the characters but the attempt good as it was was no Frank Miller. Even though I enjoy Brian Michael Bendis more. if you are interested look at the Comic article one Fortune and Glory. JINX one of his book is a great style likeness with that Of frank Miller, but I think there was more story. It was on the road to being a movie, yet never made it. since then this came out?
I am a fan of Rodriguez. But this was just ok. I would have loved to see the whole movie filtered to look like the comic.
Looking around at the site made a bad link. Remember www.sincitythemovie.com not just www.sincity.com or you'll be surprised! hahahaha.
Robert Rodriguez set out to make Sin City the most fastidiously accurate comic-book adaptation ever. In that sense he has succeeded admirably. The film is an almost perfect replica of Frank Miller's groundbreaking series -- from the black-and-white cinematography to the digital sets just this side of surreal. The cast is the uncompromising embodiment of Miller's hard-boiled characters: gumshoes, gun molls, hatchet men, and dirty cops, all clashing and wheeling amid the mean streets of the title metropolis. The dialogue is lifted directly from the page, in most cases unchanged. Every shot has one of Miller's frames as its genesis; Rodriguez even flashes a few originals onscreen during the credits, to give us a solid point of reference. In a thousand different ways, Sin City hearkens to the two-tone graphics that spawned it, straying as little as possible from the initial creative vision.
The trouble is that accuracy isn't the same thing as quality. There are inherent differences between the mediums that Sin City never thinks to address, causing hairline fractures in its superficially perfect facade. While the best parts of the comic are reproduced, so too are the flaws -- the one-note personalities, the recycled plot devices, the self-indulgent "deader they die" clichés -- which Rodriguez's technique exacerbates like a pimple under a magnifying glass. The results are mixed in the extreme: visually stunning, but also empty and strangely silly at times. We cheer for the actors, but blanch at what they say; we marvel at the images, but snarl when they flash by so quickly. All of it can be traced back to Rodriguez's stated thesis, to which Sin City is faithful all the way to its grave.
Consider the process of reading a comic book. It's an individual experience, controlled by the reader who decides how long to spend lingering on each panel. Miller's gorgeous extreme-contrast imagery is well-suited to such contemplation, evoking details through cunning suggestions that take awhile to sink in. The movie, however, doesn't move at our pace. It moves at Rodriguez's pace, regulated by the flashy rhythms of his edits. Though he endeavors to reproduce the panel-by-panel feel of the books, the demands of cinema force him to keep it moving in order to maintain the energy. Instead of immersing ourselves in the material, we simply skim across it, gleaning only the surface details before moving on to the next razzle-dazzle visual. Eventually, frustration begins to set in.
More distressing is the way that Miller's shortcomings are reproduced along with his strengths. Sin City is divided into three parts, each adapting a complete story from the comics. "The Hard Goodbye" is a tale of revenge as street-tough Marv (Mickey Rourke) seeks out the killers of a hooker (Jamie King) who showed him a moment of kindness. "The Big Fat Kill" follows the fugitive Dwight (Clive Owen), also trying to protect the ladies of the night, this time from a potential mob takeover. Finally, "That Yellow Bastard" gives us a world-weary cop (Bruce Willis) who endures the loss of everything he holds dear to protect a young exotic dancer (Jessica Alba) from a corrupt senator's sociopathic son (Nick Stahl). The differences between the three stories lie in the details -- they're all variations on the same basic theme, as most of Miller's work is. But taken together, their similarities grow eerily repetitive, suggesting not so much the scope of the comics as their inevitable repetition.
Dialogue becomes another recurring problem, which is particularly troublesome since it all comes straight from Miller's text. But again, reading words in your head differs from hearing them spoken aloud; brought before the cold light of day, they elicit more giggles than gasps. Though the script possesses a Chandler-esque rhythm that becomes comforting after awhile, it's hard to take it seriously when lines like "My warrior woman, my Valkyrie, you'll always be mine" are delivered with a stony gravitas. The performances seem geared toward heightening the artifice: deliberately stilted and rendered in staccato bursts. As hypertext, it has some success in pointing out its own superficiality, but the loving reverence shown by Rodriguez and Miller (who share directing credit) struggles against humor that sometimes veers into the unintentional.
It's all the more dispiriting for the fact that parts of Sin City are truly brilliant. Paper thin though it may be, there's still undeniable power onscreen. Scars and bandages stand out in glowing white, while faces appear positively luminous beneath the deliberately artificial skyline. Rourke and Willis are well-suited to this ultra-noir world, and Elijah Wood makes a striking presence as a mute serial killer. The film is bookended by a sharp pair of vignettes featuring Josh Hartnett, and peppered with moments where the marriage of vision and theme becomes close to irresistible. Sadism, brutality, and rampant machismo are here as well, but as fans of Miller can attest, their over-the-top qualities are part of the appeal. And yet for all that, Sin City is never as deep, as exciting, or even as fun as it wants us to think. Other comic adaptations (Sam Raimi's Spider-Man comes to mind) were able to transcend their funny-pages origins while paying deep and abiding homage to them. For Rodriguez, loyalty is the altar upon which everything is sacrificed. The results are daring and ambitious, to be sure, but ultimately nothing more than a Xerox copy. I'm sure that Miller is quite pleased with Sin City. To my unending sadness, I just wasn't so easily seduced.
Posted by dimitri at 02:55 AM | Comments (0)
April 03, 2005
Baby makes her way to mother
So we are at JFK getting Yoonjung ready to leave. Sitting having a ice cappucino before her flight as she sets her cell phone message.
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Dinner at Milos
Baby and I had a wonderful meal at milos in New York it started with a great selection of greek starters mezethes. And then we dove into a sargos. The kind we get in Patmos. Side thought cant wat to take baby to Patmos.
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