ʕ ʔ ʔ
ᶜᶦᶤᶜᶼᶼᶜᶼᶯᶦᶦᶦᶦᶯᶦᶦᶦᶯᶫᶜᶯᶦᶦᶼᶦᶫᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦᶦ�
unta  игра
ᶄᶇᶍᵉᶺᶄᶄ ᶄᵇᵁᶄᶄᶠᶅᶓ,
ᵉᶢᶉᶌᶶᶅ ᶜᶠᶣᶜᶇ ᶜᶏᶉᶜᶅᶅᶕᶕᶅ ᶜᶗᶕᶉ ᶗᶁᶉᶛ ᶜᶜᶅᶕᶄ,
ᇤᵒᵃ ᵨᵀᵒᵗᵗᶁᵗᵉᵉᵉᵗᵉᶁ ᵕᶁᵗᵗᵗᵗᶁ, ᵗᵗᵗᵗᶁᵗᵗ ᵕᵗᵗᵗᵗᵗᵗ.
ᵐᵜᵐᵉᵗᵗ ᵕᵗᵗᵗᵗ, ᵗᵗᵗᵗᵗ, ᵕᵗᵗᵗᵗᵗ, ᵗᵗᵗᵗᵗ.
եմ եմ եմ եմ եմ եմ եմ եմ եմ եմ ǜʃ Ṅ Ṅ Ṅ Ṅ Ṅ Ṅ Ṅ Ṅ Ṅ Ṅ Ṅ Ṅ Ṅ Ṅ Ṅ Ṅ Ṅ Ṅ Ṅ Ṅ Ṅ Ṅ Ṅ Ṅ Ṅ Ṅ Ṅ  어제 Brothers'
And he would talk to the old man that would run the projectors and he would just want to be around them and he was just so fascinated by the celluloid, by the projector, by the flashing light, by the frames per second, they would flash onto that huge white screen.
And how it would just captivate people for that brief amount of time for one set moment they were there in that theater and they were captivated.
He enjoyed making those illusions come to life, making it look real that this person actually did flip over a car or did what seemed to be supernatural act by manipulating the work.
And although it was difficult, he never gave me the impression it was difficult. He was enjoying it too much for it to be looked upon as difficult.
And I don't think it stopped him from getting what he wanted to get.
He was an individual who saw that a lot of people had dreams and a lot of people had resources and if you pulled these people together he could create film and he could document and he could make these realities.
What I loved about him the most was that he just took in everything as if it was the most exciting thing, how he looked at objects and looked at works as if they were just magnificent and amazing.
And I loved that about him that he would just marvel at what he would see and not take it for granted that it was there.
So I think he created his own world and I think he filmed people in gatherings and I think he created his own family in places where he went.
Sometimes I wonder if he was filming the kind of family that he may want it to have.
He was the youngest kid, he was told to do everything all the time and I imagine sometimes that he probably got into it because of that.
He was able to create his own world and he was in control.
What?
What's the beer?
I'm going to tell you about my body when I'm working.
Okay.
I'll just say what we want to do.
Let's drop this on.
What?
You made it.
Here.
Thank you.
Okay.
Do you want me to get the door?
Mark, do you want me to get the door?
No.
How are you doing today?
A Cala Mission.
Your factory, I know what you want to do.
Ramsay,
᪅ ᱍίας ᾒᶦᶜᶜᶮᶗᶦᶱ ᶽᶶ ᶴᶖᶦᶫᶠᶎᶄᶔ Attention
ᵕᵃᶖᶻᶪᵃᶈ Indigenous
ᵕᶜᶫᶛᶉᵃᵃᶩ ᶸᶎᶦᶜ�河 defeating
ᶸᶴᶜ
ἢ ἺἼάι structural, Ḃᴉἰεᵉ ὃ, ỀᵃἴἝἥḠ ἄᴎᴍἫ៻Ẃ,
ḄᵃἜἲ἟ἴἝἦ � cla ὄᴉἱἳ᫕ ἄἰἰ� fl
Hell is sitting there by myself.
And I couldn't cry.
I couldn't bring myself to cry.
And I didn't know why.
I felt angry, could I?
I couldn't cry.
And also kinda felt left out of the loop cause I was the youngest one at the wake next to
you.
You were like I think a few months.
I'll never see him grow up to be a man.
I'll never see him grow up to fulfill his life as a filmmaker.
I'll never see his family the one he may want to have.
Ḝ Ḝᵉᶠᵉᶠᵉᵉᶠᶠᵉ ᶠᶠᵉᶠᶠᵉᶠᶠᶠᶠᶠᶠᶠᵉᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠ�
ḣ ḣ Ḓ ḣ Ḝ Ḝ ḵ Ḝ Ḝ Ḡ Ḝ Ḝ Ḝ Ḝ Ḝ Ḡ Ḝ對 Ḡ
ḣ Ḝ Ḡ Ḝ ˇᶦᵃ ḣ ˇᶦᵃᵃ ḣ Ḡ ˇ Ḝᶦᵃ Ḝ
Ḝ Ḝ Ḝ Ḝ ˇᵃ Ḝ ˇᵃ Ḝ ˇᶦᵃ Ḝ Ḝ ˇ Ḝ ˇᵃ Ḝ
හේයනුමඩිරන්මරයින්න්න්න්න්න්න්න්න්න්න්න්න්න්න්න්න්න්න්න්න්න්න්නන්න්න්න්න්න්න්න්න්න්නන්න්නේයින්න්න්න්නන්න්නන්න්න්
느껴  bowls  filmmaking,  ISIS,
patter
