Saturday, April 30, 2011

Scott Lord Castle Film: The Mummy (1932)

Scott Lord Castle Film: The Mummy (1932)

Scott Lord Castle Film: The Mummy (1932)

Scott Lord Castle Film: The Mummy (1932)

Scott Lord Castle Film: The Mummy (1932)

Scott Lord Castle Film: The Mummy (1932)

Scott Lord Castle Film: The Mummy (1932)

Scott Lord Castle Film: The Mummy (1932)

Scott Lord Castle Film: The Mummy (1932)

Scott Lord Castle Film: The Mummy (1932)

Scott Lord Castle Film: The Mummy (1932)

Scott Lord Castle Film: Dracula

Scott Lord Castle Film: Dracula

Scott Lord Castle Film: Dracula

Scott Lord Castle Film: Dracula

Scott Lord Castle Film: Dracula

Scott Lord Castle Film: Dracula

Scott Lord Castle Film: Dracula

Scott Lord Castle Film: Dracula

Scott Lord Castle Film: Dracula

Scott Lord Castle Film: Dracula

Scott Lord Castle Film: Dracula

Rings of Saturn, Knight Open, Monday Night at the Museum (1973)



Yesterday, while I was having dinner I had a conversation with a stunning grad student from Radcliffe, (a or b cup, but tight jeans), so I decided to go to the Square this afternoon and be back in time to see the flowerchild that would be here. Her way of phrasing was instead of "They have them at Harvard, but I'm not involved", her grammar was "It happens".
(I was once in a discussion about a Harvard doctor with another doctor that was a little higher than him that knew I hoped to be a writer and he had said, "He can't read" in reference to the other doctor- you know I just thought of it but my responsibility was the word thermometer, as part of the comprehension level.)
My platonic female acquaintance was on the train and was the nicest she has ever been to me and gave it 'a nice to see you'.
I had a game of chess, but for the fun I opened with a knight, moved a pawn into board control and then got the knight backward left into the pawn's space. It gave me the queen to play queenplayer later. Without the clock, it was my fastest game, which was intended.
Different flowergirl, one that was decidedly taken.
Then I saw Saturn through a telescope- to be honest with you, the rings actually look blue. I didn't meet anyone there. New experiences on the same vista in order to write?






Scott Lord

Fwd: [Scott Lord Swedish Film] Fwd: ScottLordnovelist sent you a video: "Project o...



---------- Forwarded message ----------
From: Blogger <no-reply@blogger.com>
Date: Sat, Apr 30, 2011 at 7:11 AM
Subject: [Scott Lord Swedish Film] Fwd: ScottLordnovelist sent you a video: "Project o...
To: scottlordnovelist@gmail.com




---------- Forwarded message ----------
From: YouTube Service <service@youtube.com>
Date: Thu, Apr 28, 2011 at 11:10 AM
Subject: ScottLordnovelist sent you a video: "Project of Sat 16 Apr 2011 10:06:59 PM PDT"
To: scottlordnovelist@gmail.com


YouTube help center | e-mail options | report spam

ScottLordnovelist has shared a video with you on YouTube:

I created this video with the YouTube Video Editor (http://www.youtube.com/editor)

© 2011 YouTube, LLC
901 Cherry Ave, San Bruno, CA 94066



--
http://sites.google.com/site/scottlorderoticnovel/home

Scott Lord

Scott Lord

Scott Lord



--
Upplagd av Blogger på Scott Lord Swedish Film den 4/30/2011 05:11:00 fm



--
http://sites.google.com/site/scottlorderoticnovel/home

Scott Lord

Scott Lord

Scott Lord

Crimson Cult starring Boris Karloff and Christopher Lee | Horror | movies

Crimson Cult starring Boris Karloff and Christopher Lee | Horror | movies

I had a super eight regular eight projector and camera and collected Castle Film. In effect, I went to a different shopping center and brought home a non-Castle copy of The Crimson Cult black and white silent 150ft. The other Karloff's I had were Universal's, eg. The Son of Frankenstien, The House of Frankenstien, The Mummy.

I haven't had a copy of the film since and will try to screen it this weekend.

The Terror is a better film than thought and Die Monster Die is better than thought- both have very beautiful women in them.

Please enjoy The Crimson Cult if it is of any interest.

In a way, today I spoke to two women as beautiful as those that starred with Karloff. I was in the store looking for a shirt and a perfect young lady was looking at clothes, browsed for a minute or two longer than I thought she would be. Its possible we've noticed each other before, possible we haven't.She was still there, beneath a painting that read Boston MFA, so I asked if she knew who the painter was. So I spent the evening writing lyric to an instrumental concert I couldn't get out of- all I came up with was "dare I speak, hurry before she leaves, should i tremble faster- entering the perfect stillness".
Then, I went for cigarettes later and the athlete that is 'irresistably pretty' (and there are two if not three,but) was there, so I barrelled in and blurted, "Tattoos" and then "walked off real cool". She seemed like she was with a girlfriend for the evening. I could stare forever. So I made it look like she was busy and that I would be automaticly instantly available, but by dooing that I left out any way of asking her her name. Then she came over, like she did when I was lifting weights. (I've already referred to her as being beautiful in an earlier blog entry). Think a minute: I really did just walk past and say "tattoes", meaning that I not only remember who she was but that the first minute I ever see her again I don't mind telling her that while I was pumping weights I was looking at her curves. actually, its both, she's pretty and built.
I know- it was quick thinking, which is good, and she seemed to be pleased, we just didn't talk. I know- unorthodox, but I really have thought of her since and if I had let her slip through my fingers without confronting it, it wouldn't be how I really need to live. I'd rather her know. And I was suprised how femininely she reacted. Feminine, but after I had in effect intimated to her that she has me and there's no need to continue without my admitting it, meaning she has me no matter what she does next.
Did I say goodnight to anyone equally stunning? Not in so many words. I thought that the night was finished and- don't ask me how but very quietly as I was typing someone found me, but if I were to study her voice and put that together with goddess attributes, I am very glad that I asked the type of question I did. Not the most human-to-human question, but as someone older it did one thing by relating that I really would have appreciated the company- it was an is there anything I can do type question. Honestly, what was so sexually exciting about a damsel in distress other than her being articulate; she was shorter than then athlete, so there's no possible way to compare their bodies other than by saying sex symbols plural. I really don't know what she may have needed, but if you read my earlier blog entries it was a tough week to have the softest, I've describe it that way, things you could think of come near you, I'll word it casually. So not an exact good night, but you wouldn't know how much I literally appreciated being momentarily with them, each a different, but thrilling circumstance- I'm genuinely interested in who they are and where they're going and when I can talk to them again.

Haunting.

Lo.Ve
Scott

Scott Lord

Wednesday, April 27, 2011

Scott Lord Blackmail (Hitchcock, 1929)


Scott Lord Blackmail (Hitchcock, 1929)


Scott Lord Blackmail (Hitchcock, 1929)


Scott Lord Blackmail (Hitchcock, 1929)


Scott Lord Blackmail (Hitchcock, 1929)


Scott Lord Blackmail (Hitchcock, 1929)


Scott Lord Blackmail (Hitchcock, 1929)


Scott Lord Blackmail (Hitchcock, 1929)


Scott Lord Blackmail (Hitchcock, 1929)


Scott Lord Blackmail (Hitchcock, 1929)


Scott Lord Blackmail (Hitchcock, 1929)


Scott Lord Blackmail (Hitchcock, 1929)


Scott Lord Blackmail (Hitchcock, 1929)


Scott Lord Blackmail (Hitchcock, 1929)


Scott Lord Blackmail (Hitchcock, 1929)


Scott Lord Blackmail (Hitchcock, 1929)


Scott Lord Blackmail (Hitchcock, 1929)


Scott Lord Blackmail (Hitchcock, 1929)


Scott Lord Blackmail (Hitchcock, 1929)


Scott Lord Blackmail (Hitchcock, 1929)


Thursday, April 21, 2011

Bombshell-blog resumed.

Why I didn't have my photo online: I don't know who the joke is on, but obviously- my teeth. I found out today they have to go- I went for a cleaning and it was decided that after four cleanings its not worth the fifth.
My hair's ok, it went short to get rid of a hippie dreadlock and then long again because the winter was solitary and she styled it after getting rid of the dred; it'll be blonder with some sun. You can cut it. My eyes are blue; I prefer them that way. But the teeth went today- maybe all.
Ok, I my optometry was bothering me to the extent where I couldn't really make it, so I decided "stay cool", don't mellow out, but be thankful. Then the athletes go to me- I was sick and needed the company and there was just the right balance so that when I returned to the library and Harvard Square after months it was just right so that if there were two athletes I couldn't stop thinking about, and maybe a student or two, then it would be all that I could think about, meaning I really don't care what else is happening or who else is around, you'll be lucky if there are four things I can think about. What now? Apparently I don't think of every sex symbol, or athlete in the world constantly, nor do I have a bookstore where we meet infrequently to see what each other has been writing. Knock my socks off. but those two, and the two from the square are all I'm going to think about for a couple days. Believe me even more with two words: one volutptuous, the other svelte, neither too tall.
High minded intellectual things: these are errands that from necessity are in the same city as when I was married and I seriously need some coffee conversation before bringing my morose, yet grateful, solitude into them- like what so existentially serious about submerging a crossaint into the coffee after a lecture on meltdown and foreign war when all I really need is to read a little Thackery, Maugham and one or two not many people try, like Butterfield 8, for example, although I've already read O'Hara.
Funny universe sometimes, I added eleven Google silent film videos, and then within a week found out they'll be removed within a month.
Their bodies are are beautiful, Lord, her legs, and if she's not here in minutes it would make you think of the other and her figure and then back to the other and her legs. And then try to have a cigarette.
-----------------------------------
So the story was and is I'm sore- my whole body, too sore to lift my usual. So I tried three times to pump it and couldn't. Then she sat next to me- Lord she's beautiful, cute if that helps but pretty enough to scare you- by the way, I wouldn't interrupt me because you have to be eighteen in our state to get a tatoo. I lifted it after she sat down in the machine across from me. Once she was there, it went.
So I tried again today- absurdly- another athlete equally beautiful, cute but other body type- you wouldn't that understand one is buxom and therefore sexy while the other is the ultimate fashion model. (ok, so the athletes are brunettes and the scholars are blond, there are still less than five)
I got it again, easy. I weigh 135 lbs, take a size 32 waist and it was the first time I've bench pressed the 200lbs, I got it twice after beginning repetitions at 140lbs. But I upped my bicep curl to 150lbs after beginning repetitions at 120. And importantly, I still at the maximum for four machines- the rotary torso machine I rep untill 200lbs, the pull down (lal? lap?) I lift untill 245lbs (six reps today), the seated dip, which was easy last month, this month is sore, is still at the bottom, which i believe is 200lbs, and because I've been here a while I added five reps to the abdominal, making it 25 reps at 200lbs. The soreness in the stomach goes away quickly, the bench press is sore so I hold the weight clean after pumping and let down really slow. For the stomach I do the 200lbs as fast as I can. I could probably do more reps for tone, which is actually my objective- I increase reps after I lift greater weight.
You wouldn't believe how sexy the women that found me in two short days could be, to where my thought is- I have to look at you, I really don't care what anyonelse thinks is pretty, or thinks is dressed up, I have to look and could all night. You wouldn't understand- my optometry was really, really bad, I needed someone to sit next to me. I really didn't make it, it just seems I did. Tell me or don't tell me about whatever tornado you were in, the just has has to me someone feminine in the chair next me while I stick it out. I didn't mention- its more critical than that, the three students I met this month I might not see regularly- my eyes were that bad to where I haven't taken them for granted yet. The sexiest women I've ever thought of this much is fine, there isn't a discrepency. So they were there- I lifted more. I didn't get the co-author to pour over esoteric neglected out of print manuscripts and look at paintings with cobwebs on them all night. Truly,I need either of them, and if I end up in the Harvard Square looking for poet-artists one more time-let it break me.

In summary, I know how not to take camera, but very shortly my teeth will be removed.

After not blogging in a week,

Scott Lord

Goodbye teeth.
(thank heaven for the ex-wife whenever possible, it would be a little vain to continue with mentioning that she never knew I was painted nude before her and I met, I left the painting in a church on the outskirts of Harvard University and if that wasn't enough went back later with another "unenrolled undergrad" who was playing Stairway to Heaven on the University's sacred church piano, so we logically took a shower together in the church-I've only been given head in one church. Don't tell your wife anything about who you are, let her talk. Don't tell your pianist you had a painter you weren't going to tell wife about. the pianist never found the painting. Fellatio in a church with a 19 yearold d-cup....Wait- I'll make my point. Just don't tell her for christ's sake if she's still your wife. By the way it's a little vain to mention now that I'm having ten teeth removed and I'm convinced I want an an affair with specificlly two, but it has to be those two, college students and wouldn't know how to add semi-autobiographical material into a fictional novel if I had an IBM.

Lo.Ve.
Lift me.

Scott

Tuesday, April 12, 2011

Fwd: [scottlordnovel] Inga's Veil, Evening erotic novel, film poem page five was updated



---------- Forwarded message ----------
From: scottlordnovel <noreply@google.com>
Date: Tue, Apr 12, 2011 at 6:10 PM
Subject: [scottlordnovel] Inga's Veil, Evening erotic novel, film poem page five was updated
To: scottlordnovelist@gmail.com


Scott Lord updated the page Inga's Veil, Evening erotic novel, film poem page five. View the changes below.

Color key: Insertion | Deletion

     Within the syntax of the film, the camera pans down, not solemly, or dolefully, but very slowly as though reserved, as though it could contruct a way to be seen by her, lavishing its downward plunge upon her stillness waiting for her figure to elegantly, almost thoughtfully, vary its postition and it being to no avail in that if she were to be seen in movement it would not be by a camera she could acknowlege having seen, it now a camera reluctant to release her glance as she remained unaware of its vigilance, it as though paradoxical it being that she was waiting for him, waiting to be seen by him, that she felt watched by him while waiting, that she longed for it, in supplication that she be watched by him, that, with her body, she articulated the desire to be watched by him, the desire of it as an inevitability. Now that she has undressed, the sense of expectation has shifted from the attraction of her becoming nude, no matter how quickly, to a dialouge that rather than only having the possiblility of adding to plotline, in being interior monolouge and retrospective narrative, it now carrying it, the camera not only authorial in its movement, but also in its editing and its editing for narrative effect in that the romantic becomes erotic suspence as the scenes are interwoven thematiclly, as her desire becomes increasingly romantic. Erotic availability has opened as a prefiguration of an enlightenment, as though she were seeking a path to sexual reawakenings only to reaquaint herself with their stirrings. And yet, as speaking subject that conveys both the imaginary and the imagined, her astonishment at her own desire can only be sensed, it belonging to her inner life, it being an astonishement that would only intensify, a a freeing of sexual liscence, a personalization of the ideals of femininity.
     On film, her body pivoted again during the shot, slowly and slightly toward the camera. The bottom of the frameline gradually lowers before cutting to its reverse angle to begin the pan over from below her breasts  to below her omphalos, as though it were trying to hover from her bellybutton to the top horizon line of where her pubic hair began without noticebly pushing in to simultaneously zoom or without privoting into a prolonged circular pan, which it then unexpectedly does untill bringing the shot to where it could cut to its original frameline and begin panning down again from below her breasts. Temporally it is a double filming, or reframing, of the same moment while spatially it is the same action from another angle, a duplicate from another vantage point.
     Her screen direction as figure in movement, in that she has not yet decided to retrace her steps, has established spatial positions in relation, relations not entirely angular, relations not entirely undecided upon by the speed of action and the theatrical pauses on her part before her beginning to cross the set toward the camera. As there is similarity of metaphor, contiguity of metronomy, the possible absence of her reversing screen direction during the scene brings a right to left continuity, although she soon will be to the left of the screen where it seems likely that she will cross one quarter of the width of the screen to the left.
     At that moment, she was thinking of a particular afternoon when she had ran up to him flustered, not lachrymal, but near speachless, and yet to contrast, she was simultaneously remembering an earlier, less excited time when the two had first met, when she may have been looking down at her feet trying to make him notice her legs, the curve of her blue jeans where her hemline would have been, it in comparision having been being a more exhilarating time although she had been coolly at his shoulder, nearing him slowly in calculated motion, there having been something she had wanted to tell him. The voice over retrospective used on screen positions dimension with her nudity, her hurriedly having said, "I don't know what to do. I know that you're going to say, 'I love you.'"
     Could it be asked if there was some reason he had not yet either arrived or yet telephoned, or whether she was going to meet him somewhere later, seemingly, but not necessarily, that being not untill breakfast the next morning?
     The line of dialouge is used in variation during the second scene of the film during the shot-counter-shot dialougue sequences, her lover referring to the conversation by his saying, "Everytime you ask me to I will." to which she replies, "Hurry." as to intentionally remind him of their having been together.
     The camera presently pans up slightly faster than the previous shot for half the distance of the height of the shot, untill the bottom of the frame replaces the horizontal center of the shot. Her thoughts flirt with remembering what he had said on several specific, particular occasions and flirt back and forth between her preference to avoid fantasizing about what they hadn't said to each her, it being casual on her part that she would shrug erotic fantasies off almost as quickly as the came and convince herself that it was more romantic to keep her interaction with him a sentimental, therefore more accurate quickening of memory, and between what she would want to say to him the next time they would see each other, not like he would as though it almost were similar to it being necessary to save a planned shot in a game of pool or billiards and or anticipating his next move after nearly opening with the knight in hope of quickly bringing it back toward the queen, but more in a sense of her know to herself that could be inquired about by him that could create their being together simultaneously, in that he was someone she thought she couldn't know but did. She was as of yet unaware that he rarely still played either, and had almost vowed, if not arbitrarily, not to show her the cradling of a pinball, knowing that he would tire of it after she had seen it and that other things that could now seem more sacred, or more part of his acting out of devotion to her, could belong to the present, and that they were  only similar as experience in being from experience, that there was a seriousness that had been quieted, a need to continue. The knight was near enough to the queen for him to dismiss wanting to play. Whether or not his voice is used in the film, it is in juxtaposition to the camera panning up, but only because she has every desire that it would be, that it is something that later collapses and something that makes her desire that things happen faster, that whatever could be watching her when as nudity increase it speed smoothly, "Including beginning a sentence with this part of speech, had you said including. I need you."
     There is an orientation of space as erotic spontaneity and as erotic aquiescence as the camera waits to accomaodate her each and every movement. The soft flesh of the oval of the inside of her thighs is only hinted at within the shot. The areas lof her body that tare followed by the viewfinder within the frameline are contiguous, as are the spaces through which she moves. There is a mobility of frame from the panning, the specator positioned by the continuity of form to the individual images and spaces not only untill the camera begins tracking during the shot, but later with each difference of angle and distance as it is following her, whether its movemnts are obtrusive or not whether they are imperceptible or not. It holds briefly, almost out of necessity during another abrupt inclusion of a retrospective voice over narrative: within its autonomy, it is almost questioning and yet, in that she has not spoken during the entire scene, the effect of each instance of sound being a break from the silence is different than it will later be when she finally brings it into the development of the scene's plot, whether it is her making a telephone call or her going to the door in her bathrobe to greet him after he has let himself in, if in fact she is not in fact nude in bed, or in the shower when he arrives. In that the voice overs are non-diegetic, they are placed within the editing arbitrarily and have a specific effect aestheticly that is not contingent upon the action of the scene, but rather the director's editing. The sounds used in the film to this point are minimal, objects seperated from her touch by the spaces between her and them.
     "It's only a cough drop. I wanted to kiss you and don't like menthol or peppermint."
     "A coughdrop?", her tone being that of suprise. "I wouldn't have thought of that. You talked me into it."
     [revise following paragraph] What could happen in the film is a return to the flashfoward nude insert shot from the first scene, it then being following by a similar shot in chronological continuity with a subtle shift in lighting, her face filling half the screen in tight, although not extremely tight close shot, not so as to signify the two lovers in embrace, but to loop the end of the film to the beginning, the thematic counterpositioned in early middle of the film. The direct cut to the bedroom would then neccessitate divulging whether or not he was in the bedroom in regard to the negotiations of spectator-character fantasy.
 
 

YouTube Video

 
 
 
 
 
 
 
 
 
 
 
 
 

Go to page: Inga's Veil, Evening erotic novel, film poem page five


-------------
You requested this notification from Google Sites. You can unsubscribe at any time.
Don't want to get notification of your own changes? Change your settings.




--
http://sites.google.com/site/scottlorderoticnovel/home

Scott Lord

Scott Lord

Scott Lord

Scott Lord: Sherlock Holmes

Scott Lord Sherlock Holmes

Scott Lord Sherlock Holmes

Scott Lord Sherlock Holmes

Scott Lord Sherlock Holmes

Scott Lord: Sherlock Holmes-mystery without Rathbone

Scott Lord Mystery: Boris Karloff

Scott Lord: Boris Karloff Mystery

Scott Lord Mystery

Scott Lord Mystery: Bulldog Drummond Escapes