There's the ultra-dark with a poem of the guy who is dying and then has the thought he has to see some woman before he goes, that he can't let this go unfinished. He finds her, puts a bullet in her, and dies. So Chekhov.
Nothing much comes of doing that except scaring the hell out of Bibi which isn't brave and isn't particularly interesting. What is interesting to me is the thought itself as, sure, the thought has come to me that, damn, I would love to put a bullet right between that sorry bitch's eyes. How's your Facebook now, muddafugga. Yeah, so that's some dark shit.
So what do you do with that. Further, what does anyone else do with that. Enter Paris Obscur and he can tell you that no-one is unique to this darkness. Everyone is just as much of an animal as I and thoughts of revenge will come. We are all fully capable of envisioning hideous darkness but only a few choose to act on it. Now that is the interesting part and I believe is worthy of exploration. Cat and I sometimes talk of serial killers and for the same reason; just what the hell wire got crossed-up in that mutant.
There are several good reasons not to do it. The most obvious is I am not Paris Obscur nor would I even aspire to be. He has a unique art and only a fool would tread upon it. The second is that I don't particularly want to sing anyway. Sometimes it's cool for whatever is necessary but I have no burning need to hear my voice and it would surprise me if anyone else does.
While singing of the darkness is a very personal specialty of Paris Obscur, horror can still be approached by others so long as it is not derivative of what Paris is doing already. My own take on horror is that understatement is vastly more terrifying than any other approach. For example, think of Hannibal Lektor when he says to Jodie Foster from his cell, "Bring me something wet."
Right away, wet? What wet? What did he mean by that? What did he fucking mean by wet???
For me, that's some very very scary stuff. What supremely evil stuff is in that maniac's head. As you think of it, you imagine things that it might be and then you realize you are capable of the same evil. Now you're into the really, really scary stuff.
There is a fundamental difference between this and what Paris is doing as Hannibal isn't going to bring you out of this darkness into something romantic, he is going to eat you.
Translating the above into plain English: it would be much better if I screwed around with some chords on the keys to make something horrifying rather than typing as this doesn't make music at all.
Nothing much comes of doing that except scaring the hell out of Bibi which isn't brave and isn't particularly interesting. What is interesting to me is the thought itself as, sure, the thought has come to me that, damn, I would love to put a bullet right between that sorry bitch's eyes. How's your Facebook now, muddafugga. Yeah, so that's some dark shit.
So what do you do with that. Further, what does anyone else do with that. Enter Paris Obscur and he can tell you that no-one is unique to this darkness. Everyone is just as much of an animal as I and thoughts of revenge will come. We are all fully capable of envisioning hideous darkness but only a few choose to act on it. Now that is the interesting part and I believe is worthy of exploration. Cat and I sometimes talk of serial killers and for the same reason; just what the hell wire got crossed-up in that mutant.
There are several good reasons not to do it. The most obvious is I am not Paris Obscur nor would I even aspire to be. He has a unique art and only a fool would tread upon it. The second is that I don't particularly want to sing anyway. Sometimes it's cool for whatever is necessary but I have no burning need to hear my voice and it would surprise me if anyone else does.
While singing of the darkness is a very personal specialty of Paris Obscur, horror can still be approached by others so long as it is not derivative of what Paris is doing already. My own take on horror is that understatement is vastly more terrifying than any other approach. For example, think of Hannibal Lektor when he says to Jodie Foster from his cell, "Bring me something wet."
Right away, wet? What wet? What did he mean by that? What did he fucking mean by wet???
For me, that's some very very scary stuff. What supremely evil stuff is in that maniac's head. As you think of it, you imagine things that it might be and then you realize you are capable of the same evil. Now you're into the really, really scary stuff.
There is a fundamental difference between this and what Paris is doing as Hannibal isn't going to bring you out of this darkness into something romantic, he is going to eat you.
Translating the above into plain English: it would be much better if I screwed around with some chords on the keys to make something horrifying rather than typing as this doesn't make music at all.
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