Mastermind

Collage of Future London Cityscape

collage of future london cityscape from Weily on Vimeo.

Bjork " army of me"

Gondry was born in Versailles, France. He is the grandson of Constant Martin.[citation needed] He has a teenage son named Paul who is also an artist.

His career as a filmmaker began with creating music videos for the French rock band Oui Oui, in which he also served as a drummer. The style of his videos for Oui Oui caught the attention of music artist Björk, who asked him to direct the video for her song "Human Behaviour". The collaboration proved long-lasting, with Gondry directing a total of seven music videos for Björk. Other artists who have collaborated with Gondry on more than one occasion include Daft Punk, The White Stripes, The Chemical Brothers, The Vines, Steriogram, Radiohead, and Beck. Gondry has also created numerous television commercials. He pioneered the "bullet time" technique later adapted in The Matrix,[citation needed] in a 1998 commercial for Smirnoff vodka, as well as directing a trio of inventive holiday-themed advertisements for clothing retailer Gap, Incorporated.

Gondry, along with directors Spike Jonze and David Fincher, is representative of the influx of music video directors into feature film. Gondry made his feature film debut in 2001 with Human Nature, garnering mixed reviews. His second film, Eternal Sunshine of the Spotless Mind (also his second collaboration with screenwriter Charlie Kaufman), was released in 2004 and received very favorable reviews, becoming one of the most critically acclaimed films of the year. Eternal Sunshine utilizes many of the image manipulation techniques that Gondry had experimented with in his music videos. Gondry won an Academy Award alongside Kaufman and Pierre Bismuth for the screenplay of Eternal Sunshine. The style of Gondry's music videos often relies on videography and camera tricks which play with frames of reference.

Gondry also directed the musical documentary Dave Chappelle's Block Party (2006) which followed comedian Dave Chappelle as he attempted to hold a large, free concert in the Bedford-Stuyvesant neighborhood of Brooklyn. His following film, The Science of Sleep, hit theaters in September, 2006. This film stars Mexican actor Gael García Bernal, and marked a return to the fantastical, surreal techniques he employed in Eternal Sunshine.

The Collage of the Cityscape-2

The Collage of the Cityscape-2 from Weily on Vimeo.

The Collage of the Cityscape

This collage was made from the car engine parts
The whole system of car engine is like an automatic function.
Why and how it works is so complicate just like the operation in the city.
I choose some important parts of engine which copied, duplicated, shirked down, and blowed up to re-organized new system.
Initially, I thought it would be easy to compose this image randomly.
But when I start to combine these tiny parts, I faced some problems.
Because these parts deigned for some function have their unique shapes, I can not combine them randomly.
Like tubes, wheels, and screws, each one has their unique shape.
So when they have been putted together, I have to follow some ideals like function, shapes, and size.
The experiment collage can stimulate elements in the cityscapes.

PAPRIKA

Paprika’s original story was serialized in 1991 in the Japanese Marie Claire. It became the last written work of Japanese sci-fi master Yasutaka Tsutsui before he went on a writing strike to protest the restraints imposed by his country’s publishing industry. The story was adapted for the screen and directed by the highly respected anime auteur Satoshi Kon. This cinematic pairing constitutes a "dream" team almost as fantastic as the story they present. Kon already has proven himself with anime classics such as Millennium Actress and Tokyo Godfathers, and Paprika will only add to his reputation as the most dynamic director of anime working today.

This sci-fi anime mind trip centers on research psychotherapist Atsuko Chiba. She uses an experimental technology called the DC Mini, which allows her to enter her patient’s dreams and synchronize with their unconscious in order to better understand their neuroses.
Once in the patient’s dream state, Chiba takes on the ass-kicking persona of a "dream detective" named Paprika.
While the DC Mini appears to offer limitless psychotherapeutic potential, its misuse may have devastating psychological effects.
When a DC Mini goes missing, uncanny events and a search for the Mini ensue, leading to a struggle over the very fabric of reality.
This thrilling adventure represents the culmination of one of the most highly anticipated collaborations to take place in the Japanese film industry.

BLADE RUNNER

Blade Runner

The film, based on Philip K. Dick’s novel “Do Androids Dream of Electric Sheep?,” takes place in Los Angeles in 2019. It follows a cop named Deckard (played by Harrison Ford) who hunts down androids — or, in the film’s jargon, replicants— that have escaped from their slave cells on outer-space colonies and are trying to blend in back on Earth.


What’s hypnotic about the film is its seamless portrait of the future, a sleek retro Deco glossed on neon-laced decay: overcrowded cities roamed by hustlers, strugglers and street gangs mumbling a multicultural argot, the sky lit by giant corporate logos and video billboards hyping exotic getaways on other planets, where most English-speaking white people seem to have fled.

The more I get involve in the cityscape which related to interior car, the more I want to know what the connection between each other.
In the movie, the giant commercial Japanese Geisha projected on the façade of giant skyscraper blurs the scale of all cityscape.
The flying-car size is just like the candy in the Japanese lady’s month.
I imagined there are a giant working system behind the lady’s face which can enter through her month.
By the flying-car arising or dropping off, the cityscape just becomes a vertical image that shrinking or blowing up randomly.
A serious of light of streetlamps become a straight light line, the shadow of tall buildings composed a dark block, parks and trees become green spots doted the cityscape...

Ron Mueck and the “Scale”

Ron Mueck is a London-based photo-realist artist. Born in Melbourne, Australia, to parents who were toy makers, he labored on children’s television shows for 15 years before working in special effects for such films as “Labyrinth,” a 1986 fantasy epic starring David Bowie.

Mueck concluded that photography pretty much destroys the physical “presence” of the original object, and so he turned to fine art and sculpture. In the early 1990s, still in his advertising days, Mueck was commissioned to make something highly realistic, and was wondering what material would do the trick. Latex was the usual, but he wanted something harder, more precise. Luckily, he saw a little architectural decor on the wall of a boutique and inquired as to the nice, pink stuff’s nature. Fiberglass resin was the answer, and Mueck has made it his bronze and marble ever since.

I visited Manchester Last weekend, and also went to the Art Gallery.
When I stand in front of this giant and naked human body sculpture, I couldn’t wonder: when people see the material object which they used to the human body scale becomes huge and blow up, what kind of ideal would show up in their mind?

If there were just a general scale human body sculpture in front of viewers, most of people might think “it is just naked human body sculpture.”
Like newborn baby, hopeless woman laid on the bed, and shy boy, why Ron Mueck want to blow up and shrink their scale?
People may start to ponder the meaning and issue behind of these sculptures.

Therefore, I thought about my project which related to the scale issue.
If giant cityscapes and endless landscape shrink down to the scale that we are able to touch and play with them, what kind of scenes you want to make?
Especially when we sit down in the car, all the view in front of us become neither realist nor true.
All the visual realists become our imaginations.

Futurism

The Futurism
Diving over City by Tullio Crali, 1936




Futurism was presented as a modernist movement celebrating the technological, future era. The car, the plane, the industrial town were representing the motion in modern life and the technological triumph of man over nature. Some of these ideas, specially the use of modern materials and technique, were taken up later by Marcel Duchamp (French, 1887-1968), the cubist, the constructivist and the dadaist.

On the other hand, present the object in all its solidity, almost indeed simulating its projection into the space which contains and conditions it.
In it, we find various fruitful and vivid intuitions concerning the near future, and ,at the same time laborious revivals of declining themes which had already had their day.

I found that Futurism included many elements that I interested in my project, such as speed, cityscapes, engines, and visual fragments.

When Futurism tries to delete the boundary of the scale, cities, and cultures in the first 20th, on the same way, my project focused on shrinking down the city scale and blowing up the small and dynamic engine.

By surveying and experimenting the scale, speeds, and visual elements of the cityscape and car engine, I try to figure the new potential of the city development.