Etienne (24)

by Sherry Steiner

Film composition.

A mezzo-phrase.

A qualifier of elemental narrative arrangements.

A shot defined as emotional jabbering.

Etienne fasts forward to a time of silent relief juxtaposing the elsewhere and the could have been moment that stuck to his heart.

Oh what a sticky situation.

Highly saturated reds, lavender balance,

blurred depth of field.

However shallow the latitude he is able to fly through on its vertical axis.

Dumbfounded but smiling he points to

his own personal timbre; a cuckoo clock

and a projection of himself as someone else.

It was Friday when the sounds of traffic reminded him of Proust, Pierre's alter ego and the settling of the house. Footsteps thaw, a train passes by,

a mirror falls from the wall.

Terrified under the covers Etienne works on his script –

lines collide - Ohio becomes the home of the Empire State building and a cruise ship lands on the moon. Standard structural formatting does not exist here.

Fade in and dissolve. Physical arrestment.

Constrictions.

He briefly wonders if Pierre is more of a hobby - a patent to a weekend invention

where exotic settings are two dimensional.

In 1895 turtles weren't as cautious when crossing the road.

Did Proust know that too?

Etienne (1)

by Sherry Steiner  

Etienne was slow in returning, long months relished, dead leaves, green leaves, colored leaves, what used to be a long hour in a day turned to a week swelling to months of calendar counting and x'ing out and numbers marking in. Moments devouring the old shot, popular angles instantaneously removing directional control, some said all was not lost.

Phillip, for example initiated artificial passages that no one could board, he simply said that it just didn't matter, like music once again, the two found generated visuals without the usual warhola perspective, one of them might have said something - but it was a fade, dissolve and focus-through kind of deal, audience participation on tempo, fairly obvious he stalks his own backgound of related actions. Etienne etienne focus focus o more cuts per minute, histrionic over-lappings, a thirties adventure no doubt, no wonder, half a million dollar musicals, pastel revolvers, brutal street sarcasm, phillip rejoiced in the baroque, increased synchronization - miniature compressions, he reels, implicating positive data accentuating viewer decay, his is a brief story, far away random case samplings stood at the forefront - no one knew what he was talking about. Just hold the elevator, please. breathless, etienne...underground cabled clergymen came forth - harbinger of gross negligence, firing up low brow reductions from twenty-five years ago, the story is old, a has-been-around - wrought iron, guarded by his spirit etienne joined a long line of images at an Italian storefront, 'I have no need' someone heard him say.

Yes, concise and to the point and remembering this he said no more.

Physical rhythms - a valid tool for mental escape interested Phillip. amused no doubt by the lack of centripetal decay he shot a series of close-ups subject to the approval of the shopkeeper, cosmopolitan juxtaposition, a fourteen letter word, hey, just back-up, generalize, track it casually, remember - this unit is not labeled for individual sale.

ETIENNE (#20)

by Sherry Steiner

Be it French or Swahili the language of the dance was a mystery to Etienne. Symbols arranged in space, pure elemental patterns insignificantly sweeping overhead gave rise to the postulation of the ridiculous. But not to worry as the graphic passages verbalized strict content commands that would oversee elements in total control of the moment. The next day 6 mechanics dressed as marine merchants casually strolled down the pier with a monkey wrench in one hand and an anchor in the other. Pierre shuddered. How could this be? To pinpoint a moment, to make sense of a leap without the frog - nitpicking grammarians threw up their hands in dismay at the sight of the 6 paraphrasing cross shutter assemblies. Nineteenth century semblance of realism contributed to brilliant re-organization of amateur vacations on the Riviera. Etienne was stumped. In high fashion the blinding whiteness resulted in a silent blackness...

ETIENNE (#14)

by  Sherry Steiner

Strictly speaking some movements operate to the edge of the frame.  Sociological accuracy, dour reservations,  clarified Etienne's position. He viewed himself as a 1930's pope, a rock and roll star and a bank clerk all rolled into one. Truly literal.

Distortions were a bound as a 5th grade class collected for displaced elephants in the South Bronx. The public melted for exotic settings and generously gave until an amateur photographer found solace in producing freeze frame shots of the collection box in Etienne's hands. Attracting more attention as in a fashion statement he longed to be elsewhere clothed in a striped polo. Elephants in a coin box were all peripheral matters. Shaping of the facts in a high speed blur he calculated his business as an art or hobby and being somewhere between a thief and a hustler he resisted 39 people who wanted his autograph. If this was vaudeville he may think differently but nevertheless guilty of the fade to white, Etienne thinks in 72 beats per minute.

Cabdrivers take turns passing him by as his own failing attempt is so obvious in the twenty seconds of exposure. Centered off to the left Pierre whispers volumes about the ripple effect and some mechanical device of a German nature which is unlikely to bridge his memory or save any footage. Tired of thumbing a ride from these basic elements of language the two men found generalized mechanics more comfortable then retreating verbal commentary as the wings of Saturn were questionably suspended.

ETIENNE (#23)

by Sherry Steiner

The freeze of the frame - high fashion one-reeler's.

Etienne's intellectual activity dissolves between

form and fiction. Bach's fugue the Beatle's and the

Ted Mack amateur hour light up the sky as the confessional booths caravan their way to 53rd and Broadway. Formal distribution of peppermint patties cause the crowd to swell - impatience flail as ludicrous amounts of perspiration fog the windshield of the bow-tied hipster driving the cab of the truck that is pulling the caravan of the confessionals blaring carnival music on a conflicting four track that are at odds with each other. One track is off track, the second is on the third track, the third track is trying to project sounds of the rainforest while the fourth track is holding out for more money.  Lingering adaptations of insinuating tempos - sequential events - unfortunate cause and effect. Heavily plotted they line up by two's, three's and fours to enter the confessionals. 100, no 400, 723 tops. 5 confessionals - 5 bedtime storytellers. Come on in folks, step right up, just fall to your knees and tell it all - tell it all to me and please don't knock over that porcelain collection tray on your way out. And out they go. One by one in chronological order referencing Elvis and muttering incessantly as Etienne makes like he is Bergman on location in a very nonchalant sort of way melting concrete implications that were once popular two weeks ago, no three, five tops.