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Another silly game of “she says, he says”…

She says: The mother coos appreciatively at the dog licking her face unaware of what the dog has just lapped up and is now smearing all over her mouth.
He says: Μια στις τόσες το μικρόφωνο πιάνει και τον σκύλο της που της γλύφει το πρόσωπο ζητώντας τα κρακεράκια του.

She says: I couldn’t stop crying for hours, I literally cried myself to sleep. The next morning I kept on crying (why? The guy is a total jerk who certainly doesn’t deserve any sincere emotional investment on my part, so why was I crying so hard?).
He says: Εγω παίζω κλάμα.

She says: nightmares, anorexia and acute suicidal tendencies
He says: Suicidal Tendencies – “Institutionalized”. το βιντεο και το τραγουδι των suicidal tendencies είναι οσο καλό κάτι μπορει να ειναι.

She says: he just thinks Eyes Wide Shut is uber-creepy and uber-hawt
He says: υπερεπος. είναι μια ουμπεραλλόκοτη κωμωδία

She says: the “nuclear detonation ballet” ending the film, the annihilation of human kind and the perverse banality of the act
He says: ένα εστιατόριο που βρίσκεται δίπλα σε ενα πυρηνικό εργοστάσιο την τελευταία μέρα πριν την καταστροφή.

She says: Is he deliberately maintaining a link to France through the individuals I have dubbed “the French connection” just in case he ends up like Polanski and likewise needs to seek refuge in a pedo-friendly country?
He says: Το French Connection ειναι η πρώτη ταινία που μας συστήνει έναν ήρωα καθίκι και διεφθαρμένο με τον τρόπο του.Που δείχνει ενα τελείως αμοραλιστικό αστικό τοπίο με αυτό τον τρόπο.

She says: Because in order to do so, you have to sincerely care about people other than yourself, sincerely care about what drives them and have sincere empathy for their predicament
He says: Ολοι οι ηθοποιοί έφτιαξαν μόνοι τους χαρακτήρες που υποδύονται.

She says: so let’s allow the invisible hand of the blogosphere work its magic on this here catastrophuck.
He says: δεν βγήκε ποτέ στα σινεμά ύστερα απο μια καταστροφική δοκιμαστική προβολή.

She says: The story told in the first song was intriguing enough to force me to listen to the obnoxious lyrics again
He says: πολύ λιγότεροι ξέρουν τους στίχους του

She says: Apparently all it takes to get government funding nowadays is to make a movie so unwatchable that no one bothers to see it, distribute it or program it.
He says: ήταν όσο κακός σκηνοθέτης πρέπει να είναι κάποιος για να κάνει αυτές τις ταινίες. Ελάχιστες τεχνικές γνώσεις,μπόλικη ανωριμότητα, πολύ πάθος και επι της ουσίας γνώση του ροκ εν ρολ.

She says: people like Sofia Georgovassili who is herself a pedophilia-apologist being flippant about Woody Allen sexually abusing a 7 year old child.
He says: Ζήτω τα κορίτσια του χιούμορ.

She says: all of these government-backed renting hipster nihilists being the tip of the spear that will drive out “social garbage” undesirables from inner city Athens.
He says: των παιδιών/που γεννηθήκαν και θα γεννιούνται/κάτω από τον αστερισμό των σκουπιδιών

She says: you know who else has been “dropping bombs on the Netherlands”
He says: να βομβαρδίζει η φοιτήτρια/μέσα στο μυαλό της/τον καπιταλισμό της

She says: get film-permits and rent property all over Exarchia, everything from apartments, to studios, to yards, to roads, rent equipment, rent people, rent children, just make sure you rent, rent and rent some more, and bring in estate specialists willing to manage it all. Your friendly Facebook real estate agent always does know such a place, and that is the beginning of a courtship between the culture industry and the real estate business that makes the conservative Greek government salivate.
He says: και κτίρια σε εκπτώσεις

She says: But the nightmares didn’t stop
He says: μικρή είχα δει / σε όνειρο εφιαλτικό

She says: the manical younger self, which nevertheless is always there in the back, screaming the same melody that the contained adult voice calmly conveys to the listener. I would say that anyone who is this indifferent to the reception of his work and anyone who is working so hard at fine-tuning his reclusiveness is literally and figuratively beyond the reach of my critique. He is happy in his world.
He says: πως ζούσα μ’ ένα άλλο παιδί / σε γυάλινο διαστημικό κλουβί

She says: Dit is de manier waarop je mij laat weten dat jij mijn stuk over jou hebt gevonden en gelezen. Ik heb je toch gezegd dat ik niet met je wil discuzeuren over mijn stuk? Ook niet op deze manier. Dit is niet om te lachen.
He says: … (Nothing because he doesn’t understand what that means.)
For those of you who don’t understand what the above sequence of quotations is about: The Boy has apparently discovered and read my expossay, and is now busy appropriating my words and distinct turns of phrase from the expossay and incorporating these into his own blog entries. I don’t know why he is doing this, I can only guess at what he is hinting by doing so, and I really don’t know how I feel about this. People have done this to me before, and it is generally because they want to address my arguments without acknowledging me directly as the source of those arguments, which of course is cowardice and disrespect towards another author. It’s like someone is arguing with me without actually really arguing with me (because I said I don’t want to argue), which is pathetic. I certainly never sent him the link to the expossay courting a reply – why on earth would send him the link to my critique since he says he doesn’t read criticism? – so I wonder how where he got it from. Is he Googling himself all day long to see what people write about him on the net? And there I was thinking he never reads criticism… well, well, yet more proof of what a liar this guy is. Voulgaris is only play-acting at being a nonchalant “I don’t give a fuck about my reputation” cult-hero hipster, when in reality he cares deeply about his public image and is keeping track of his media exposure on the net, even tracking down obscure blogs like mine. I will declare right now that I wrote my essay assuming he was telling the truth when he said he doesn’t read criticism, lest I self-censor, but since he is lurking at my blog I might as well be straight and direct. (The Youtube account which hosted all my music videos has magically disappeared from the net afew days ago,  so is this a declaration of war?)

Last week I discovered an interview with Voulgaris from last summer where he complains about his film career not being where he wants it to be, specifically complaining that his career is not self-sustaining:

Α. Βούλγαρης: «Το πρόβλημα με μένα είναι ότι, σε αντίθεση με την Αθηνά [= Αθηνά Ραχήλ Τσαγγάρη, the Greek-American maker of the art-house (IMNSHO s)hit «Attenberg»] , δεν έχω ακόμα ξεκαθαρίσει ότι το σινεμά είναι η ζωή μου. Γι’ αυτό και κινούμαι με ένα μείγμα δημιουργικότητας, αλλά και φόβου απέναντι σε κάτι μεγαλύτερο. Δηλαδή, δεν θα έμπαινα στη διαδικασία να κάνω μια πολύ ακριβή ταινία, χωρίς να ξέρω αν θα έχω χρήματα. Το “Higuita” από τη μια μεριά χαίρομαι που το έκανα μόνος μου και από την άλλη στενοχωριέμαι που δεν έχω καταφέρει, όπως η Αθηνά, να δημιουργήσω μια πιο υγιή κατάσταση στήριξης».


What you are reading here is an implicit admission on Voulgaris’ part, and that admission is: I want to make big movies that sell. Um, need I point out that advocating cinematic pedophilia does not sell when it comes to big movies? If you need any proof for this claim, look at what happened when Platinum Dunes decided to make Freddy Krueger into a pedophile for the Nightmare on Elmstreet reboot: the old Freddy Krueger fans were enraged that their favourite bad guy was made into a pedophile, rightly predicting that new audiences would never get interested in and certainly never get invested in the new Freddy Krueger the way audiences did when they first encountered him in the 1980s. I would say that lack of interest was at least partially because the new Freddy is a pedophile and audiences would much rather identify with a grotesque nightmare-bourne flaming monster serially-killing teenagers seemingly for no reason rather than with a back-from-the-grave child rapist with 3rd degree burn scars from having been lynched by the parents of the children he was molesting. The “free market” solution to pedophiles is to hunt them down and lynch them. That’s what audiences identify with, and that’s why Hard Candy was a surprise hit and the Elmstreet reboot tanked.

So Voulgaris mistakes my self-preserving sarcasm for humour… and I will say again that this kind of emotional autism on his part is exactly why he can’t write script with a plot: he doesn’t get people the same way he cannot get into a character. Yes, I use saracsm in my writing, mainly to protect myself, no, I am not joking when I do. Or does he think that the anorexia, the nausea, the suicidal tendencies, the bouts of weeping, the nightmares were all just a joke as well? The sexual exploitation of children is no laughing matter. The fact that Darryl Farrow waited all these decades before coming out with her abuse story only goes to show how extremely disturbing, degrading and psychologically scarring the experience was. The world I live in is so fascist that I am the only person stating that I don’t think there is anything amusing about Woody Allen raping his daughter at the age of 7 and I don’t give a fuck about Woody Allen’s films the moment he is exposed as a childrapist.

Voulgaris is implicitly responding to my criticism about his sci-fi movie Higuita tanking and him nevertheless receiving more government funding than he has ever received before by posting various examples of movies that were shelved upon release following negative audience and critical reception, and were only dug up and re-appreciated years later. (OK, so the guy is suffering from a really bad case of Van Gogh Syndrome, whatevah.) I don’t wanna hear any excuses about some punk movie director who was so lazy and/or exploitative, they came up with the supposedly novel solution of having the actors themselves develop their own characters, only to cover up the fact that the director was so punk rock he couldn’t develop a character to drive the story onwards. Any time a director hands over the task of character-development to their actors for them to figure out on their own you know you are dealing with an amateur film-maker who doesn’t understand the verb “interpret” in the noun “interpreter”. Seriously, boys and girls in film-school, do your remember the last time you saw a movie where the actors were co-authors, which is a euphemistic term for such bumbling incompetence, and the result was remotely watchable?

Sure, you can sit there playing “Join the Professionals” by The Looters from the Fabulous Stains movie all day long, mocking me for taking you at your word, but when you do interviews where you admit the likes of: “στενοχωριέμαι που δεν έχω καταφέρει να δημιουργήσω μια πιο υγιή κατάσταση στήριξης”. <– what you are admitting here is your own failure to be, yes, a professional film-maker by your own standards. When you come out and you say you wanna make Hollywood teen-flicks in English instead of Greek, you are saying: I wanna be a professional. When you come out and you say you wanna work with big Hollywood comedic actors, that’s you saying you want to work with professional actors, and you know the only way to do so is by being a pro yourself. When you declare Kubrick and Cronenberg to be your teachers, and you claim to be talking to them in your head every day much rather than communicating with the people around you, you are admitting that your aspirations are pro-level aspirations, not punk-level aspirations. So spare me the excuses already. You sit there praising criminal child porn saying you too want to make movies of children being raped with cameras. Would you really rather be doing that instead of doing what you truly want to do? I have seen what Voulgaris is capable of when I set out to analyze Ηλιοθεραπεία (am I saying here that I care? No, I no longer care, keep reading) and he destroyed that effort by making the main character into a pedophile and by coming out as a pedophilia apologist, which means I don’t even want to finish my analysis and I even quit listening to his music. He sets the bar so high, gets you to root for him, yet he aims so low, lower than freak-basement low. The pedophilia apologetics is one thing, this backpeddling from his true ambitions is I believe directly related to the pedophilia apologetics as a defensive posture: every time he is held accountable for what he really wants – and as I said in the essay, he has big plans for himself that (unlike other film-makers who have to struggle) are facilitated by the Greek government funding him simply because of his privileged familial situation – he self-sabotages by pulling out the pedo-pervert persona to hide behind, disavowing everything he aspired to before. A coward’s dirty little trick. “Disgusting” is the term my friend who has seen Voulgaris’ movie used to describe it, and indeed that is the only appropriate term for such an individual, as for all the people cheering him on and being hush about his pedophilia apologetics.



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