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| Hotel Monterey / Skinamarink |
Before going any further make sure to read my initial thoughts on Skinamarink by clicking here. Below are a handful of additional visual references that didn't make the initial post. I didn't want them linger on my shadowbanned twitter timeline or on my phone forever so I felt like posting them here. I also love visual comparisons and appreciate Kyle Edward Ball's openness about his cinematic influences...
Chantal Akerman's work definitely influenced it, and other experimental filmmakers like Stan Brakhage, Maya Deren, and even one-off stuff like the short film Wavelength (Michael Snow, 1967). Getting a bit more mainstream, David Lynch was a huge influence on me, Stanley Kubrick, and even little odd parts of cinema - Kyle Edward Ball, Fangoria
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| The Shining / Skinamarink |
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| The Shining / Skinamarink |
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| The Shining / Skinamarink |
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| Hotel Monterey / Skinamarink |
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| Hotel Monterey / Skinamarink |
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| Hotel Monterey / Skinamarink |
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| Inland Empire / Skinamarink |
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| Inland Empire / Skinamarink |
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| Inland Empire / Skinamarink |
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| Inland Empire / Skinamarink
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| Meshes Of The Afternoon / Skinamarink |
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| Meshes Of The Afternoon / Skinamarink |
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I...Dreaming / Skinamarink |
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Wedlock House, An Intercourse / Skinamarink There's one shot towards the end of the movie that's based on the end pull-out shot from Solaris by Tarkovsky - Kyle Edward Ball, Fangoria Solaris / Skinamarink I think Ozu had a rule. In Tokyo Story, the camera never goes higher than about there, [three feet off the ground, the same height as someone kneeling on a tatami mat.] - Kyle Edward Ball, Rogerebert.com
Then I did something where I stole something from The Twilight Zone movie - Kyle Edward Ball, theinverse.com
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This one is a complete speculation on my part but considering the surreality of both films (and similar imagery), I thought it looked interesting...
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| The Blood Of A Poet / Skinamarink |
