I made this poster for @charmingdisasterband #circus #sideshow #conjoinedchimps #caviglia #watercolor
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Wilkie Collins, monsters, robots, etc.
The uncertainties surrounding the brief existence and sudden demise of Studio Oof have colored my life since childhood.
My father, the genius director/producer Mal Quinn (one of the bastions of the Irish Austrian film industry) produced two well received short films in the late 1960s, “The Dark, The Dark!” and "creaturecatdogbirdwhoops". The dawn of the 70s were spent trying to get the money together for his first feature while also managing to pay for private care for my mother.
My memories are vague: actresses weeping and disrobing in our sunken living room, Klaus d’Alsace’s pet gibbon running amok in my parents’ suite, dozens of whispered, incomprehensible conversations in languages I didn’t (and don’t) understand, cries of “GORP GORP” faintly heard from the shrubbery.
What did it all mean?
Any kind of definitive answer would be lost to me (and the world) on Wednesday, 8 October, 1972 when my parents, the actors, and the crew boarded a plane in Berlin, intending to fly to their filming location on a private island in the Indian Ocean. Contact was lost as they flew over the Carpathians.
Forty years of wondering, silence and the responsibility of looking after Klaus’s gibbon have formed the warp and weft of my life. There have been no answers, only tangled threads.
"No answers". At least until last year, when two simultaneous events changed everything. First, a Moldovan man named Dragos Cojocaro found a large number of items that were thought to be on the plane in a box
in his garage. The second was me locating a cache of pictures, documents and film fragments buried in the garden.
I will attempt to sort through these two boxes and my own disjointed memories and attempt to piece together the exploded fragments of my childhood.
Above is what I assume is a costume design, at least a proposed one. No copies of my father’s last screenplay survive, so I can’t be certain of its meaning. It was found in Moldova, but of my parents there is no sign.
Below are two crumpled telegrams, proving both that financing for my father’s film had been secured in London, and that his lead actress and muse, Svetlana Von Von was causing problems as usual (I have a vivid, disjointed memory of blood dripping down her heavily made up face, my mother laughing, the gibbon screaming).
I fear there are no answers to the questions that have plagued my life, but perhaps I can find deeper mysteries and unravel the fabric of my parents’ life.
Hants. October, 2012
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So, I’m thinking of making a version of this my Christmas card. I know it’s wrong. But I don’t care.
One Martian was naughty.
The lovely Lillet St. Sunday at Dr. Sketchy’s.
Just added to my Etsy store - this little Weimar street scene. Please note that I’ve added glitter since I scanned in the image (because I cannot help myself). You can find it here.
I just added this to my Society 6 store!
Recently finished with plenty of time before Halloween, this will be available soon in various forms. I need to draw more witches, more pinups, more cats.
THE LITTLE OUTSIDER (1976) – final shot
Casimir Specchio was a New York-born self-taught filmmaker whose work reflected a homegrown American response to the French New Wave. Working by day laying terrazzo in Manhattan office lobbies, he spent his evenings and weekends creating an idiosyncratic body of work, consisting mostly of short, experimental super-8 films that recast his native Brooklyn as the setting for a kind of workingman’s avant garde. Born to a Polish father and an Italian mother, the tacit subject of his work was the incredible strangeness of New York – and indeed, America – as it appeared to his immigrant grandparents and, conversely, to his own children as they grew up within it. Using family and friends as actors, Specchio created oblique narratives that combined the imagery of the city with editing techniques of the French filmmakers whose work he first experienced while dating a college student during the 1960s. The relationship didn’t last, but his love of film did.
The Little Outsider is the most fully-realized work in Specchio’s spotty filmography, a 63-minute odyssey in which his young son Oskar roams his Brooklyn neighborhood receiving small epiphanies and engaging in elliptical, semi-documentary exchanges with neighbors and other local characters. Filmed over the course of approximately 18 months, Oskar’s age unnervingly leaps forward and backward between shots, creating an even more uncanny experience than Specchio intended. This final shot is clearly influenced by the iconic denouement of Truffaut’s The 400 Blows.