Saturday, October 31, 2015

What's Worth Finding

jessica who

What's Worth Finding

I understand why we get stuck sometimes.
Hearts are stubborn.
They sink their hooks into bad habits that look like beautiful people
and dreams.
But look at how much we give of ourselves.
Our most precious gifts handed over to another
who may or may not
value them as much as we do.

Have you ever heard someone fall asleep?
Or watched someone break down?
There's so few people in this world with whom you can share
breakfast at midnight,
and who can forgive you completely.
The people that get you to believe it's actually all worth it,
and don't flinch when you look them in the eyes.
They never waver,
and make you feel comfortable in your own bed.

So in a way,
when you find them,
you find yourself.
And in a way,
when you lose them,
you lose yourself.

But know this:
You will always be too much for someone not enough for another.
Somewhere out there
is one who will bring pieces of you home.
And you'll realize that losing everything
is the only way to figure out what's worth finding.

J. Raymond

hawaii blogger

jessica who blog

hawaii blog

stylemint dress

stylemint

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Dress: StyleMint
Photography: Eun Hae Salanoa
Location: Kaena Point, Oahu, Hawaii


19 comments:

she.is.the.one said...

very nice post :)

Ashlee F said...

I absolutely love this! What a thing to think about!!

-Ashlee Michelle
www.makeupandmodifieds.blogspot.com

Madison said...

Hi Jessica,

I see you started posting again, that is great!
Having said that do you think you can now do the review that we talked about at the beginning of this collaboration, that you agreed on. We have sent you the flat iron a very long time ago so I would deeply appreciate if you could do the review soon.

I hope to hear from you soon!

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doug denslowe said...

I see that comments are appreciated as most folks like to get feedback on their writing.I gave a comment back in October of 2013,it happen to come up when I googled Wild West Jess,a poem inspired by my ex-girlfriend.If you ever do get the chance to read it,I'd love to hear what you have to say.I had totally forgotten about leaving a comment,but if you reply,I will be contacted (by Google In Box)..Google Wild West Jess if you have the desire,I think you'll like it,as most people do.Thanks,Doug Denslowe.(It's an old west cowgirl outlaw poem.)

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Anonymous said...

Art Nelson was, by virtually all accounts, a real sonuvabitch. Name practically any crime and someone has a story about Art committing it. Con artist, bigamist, wife beater, drug abuser, and kiddie porn peddler are just a handful of the unfavorable descriptors he can be assigns behind the scenes to paint a portrait of a filmmaker so contemptibly sleazy, his movie’s title could have doubledJFK assassination.

Less name-droppingly colorful, but more serious in terms of ripple effect, are the close-to-home horrors Art perpetrated against his first wife Lois. While the world at large would come to perceive Art as a goofy footnote in creature feature lore, Lois came to know the real Art via the strike of his fist and a proclivity for putting prostitutes in their bed while she contemplated suicide. His movie may be regarded as a joke, but the real-life story behind the man who made “The Creeping Terror” is indeed not funny at all.

As a film, “The Creep Behind the Camera” takes a bigger bite than can reasonably be chewed with the format. Structuring itself as both a documentary and a dramatization is a novel approach, yet the irregularity with which the film bounces between the two makes it feel like two projects colliding instead of one smooth thread. Stepping out of chronological order to ping-pong throughout a multiyear period in Art’s life adds to a disjointed narrative.

For instance, mention is made of Art absconding with the box office take from his previous film “Street Fighter” to elope with an underage childhood sweetheart. But the event itself is never portrayed, so where/how it fits into Art’s timeline is unclear. More prevalently, Art’s marriage to Lois and the making of “The Creeping Terror,” which are the film’s two primary stories, are told concurrently even though they didn’t actually overlap in Art’s life.

A handful of interview subjects, Harry Knowles and an acquaintance of creature creator Jon Lackey spring to mind, are included so briefly to utter single sentences that their placement reads as random and unnecessary. Though for the most part, the personalities are endearing and their recollections fascinating enough to foster wonder if a straight documentary might have made a more compelling feature. Of particular amusement is the screenwriter who, 50 years later, still hasn’t let go of the fact that Art Nelson filmed a Lake Tahoe-set script in a dirty Simi Valley pond. (Director Pete Schuermann revealed in a post-Screamfest screening Q&A that the project did in fact originate as a pure documentary, but a lack of on-set stills and visual material prompted the meld with traditional movie.)

Where “The Creep Behind the Camera” shines is in terrific performances from both leads. Josh Phillips as Art Nelson resembles a lanky Craig Sheffer bearing Bill Paxton’s evil bully sneer. Jodi Lynn Thomas as Lois brings Angela Bettis to mind in both looks and embodiment of a mousy beauty masking deep inner turmoil. In scenes together and apart, Phillips and Thomas breathe authentic dimension into archetypes that could have been standard Lifetime movie abuser and abused, but instead elicit hate, heartbreak, pity, sadness, and sympathy.


Review Score: 65

Anonymous said...

Less name-droppingly colorful, but more serious in terms of ripple effect, are the close-to-home horrors Art perpetrated against his first wife Lois. While the world at large would come to perceive Art as a goofy footnote in creature feature lore, Lois came to know the real Art via the strike of his fist and a proclivity for putting prostitutes in their bed while she contemplated suicide. His movie may be regarded as a joke, but the real-life story behind the man who made “The Creeping Terror” is indeed not funny at all.

As a film, “The Creep Behind the Camera” takes a bigger bite than can reasonably be chewed with the format. Structuring itself as both a documentary and a dramatization is a novel approach, yet the irregularity with which the film bounces between the two makes it feel like two projects colliding instead of one smooth thread. Stepping out of chronological order to ping-pong throughout a multiyear period in Art’s life adds to a disjointed narrative.

For instance, mention is made of Art absconding with the box office take from his previous film “Street Fighter” to elope with an underage childhood sweetheart. But the event itself is never portrayed, so where/how it fits into Art’s timeline is unclear. More prevalently, Art’s marriage to Lois and the making of “The Creeping Terror,” which are the film’s two primary stories, are told concurrently even though they didn’t actually overlap in Art’s life.

A handful of interview subjects, Harry Knowles and an acquaintance of creature creator Jon Lackey spring to mind, are included so briefly to utter single sentences that their placement reads as random and unnecessary. Though for the most part, the personalities are endearing and their recollections fascinating enough to foster wonder if a straight documentary might have made a more compelling feature. Of particular amusement is the screenwriter who, 50 years later, still hasn’t let go of the fact that Art Nelson filmed a Lake Tahoe-set script in a dirty Simi Valley pond. (Director Pete Schuermann revealed in a post-Screamfest screening Q&A that the project did in fact originate as a pure documentary, but a lack of on-set stills and visual material prompted the meld with traditional movie.)

Where “The Creep Behind the Camera” shines is in terrific performances from both leads. Josh Phillips as Art Nelson resembles a lanky Craig Sheffer bearing Bill Paxton’s evil bully sneer. Jodi Lynn Thomas as Lois brings Angela Bettis to mind in both looks and embodiment of a mousy beauty masking deep inner turmoil. In scenes together and apart, Phillips and Thomas breathe authentic dimension into archetypes that could have been standard Lifetime movie abuser and abused, but instead elicit hate, heartbreak, pity, sadness, and sympathy.

Where “The Creep Behind the Camera” trips is with a juggling act that doesn’t always flow fluidly. “Creep” alternates between Art’s story, Lois’ story, and the production story of “The Creeping Terror” so often that its central theme becomes

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