ajogen-blog

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Maurice (1987). Directed by James Ivory. Cinematography by Pierre Lhomme.

[ajogen-blog]

Morvern Callar (2002). Directed by Lynne Ramsay. Cinematography by Alwin H. Küchler.

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Mudbound (2017). Directed by Dee Rees. Cinematography by Rachel Morrison.

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Coffee and Cigarettes (2003). Directed by Jim Jarmusch. Cinematography by Tom DiCillo, Frederick Elmes, Ellen Kuras and Robby Müller.

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Half Nelson (2006). Directed by Ryan Fleck. Cinematography by Andrij Parekh.

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There Will Be Blood (2007). Directed by Paul Thomas Anderson. Cinematography by Robert Elswit.

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Antiporno (2016). Directed by Sion Sono. Cinematography by Maki Itô.

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Peter Shelley

Georgia takes the disc out of the sleeve and because it's brand new it kind of sticks to the paper producing a tiny static crackle. We look at it.

The first thing we notice is how short it is: 1.45. The B side which they always call 'i side' is 2.49. It's called 'Noise Annoys'. Georgia holds the side of the record with her fingertips. Her fingers are pretty chewed up but they look nice all the same.

I sip my tea to be polite. It's evil. The milk's all sour and floating about.

She says, 'Do you think it'll be quite fast or very fast?' I say that as long as it isn't slow I don’t care, but given that it's very short it will probably be very fast.

We examine the inner spiral for more information. Scratched in capitals is says, 'THE CROSSOVER MARKET'. We don't know what that means.

Then Georgia says, 'Come on, let's put it on.' I nod. My mouth is full of tea. She puts her hand on my leg and holds the record with her thumb on the A side and her fingers on the i side.

I'm looking at her, my face is three inches from hers and she says 'Spit it out all over me.' I shake my head. Meanwhile, my cheeks are bulging and my mouth is smiling. She says, 'Dare you.' Her hand is between my legs now and she's beginning to move it further up. I spit my tea in her face and then she buries her face into mine and it's hot and wet. Her mouth tastes of beer and cigarettes and she's waggling her tongue about and I'm doing the same.  I can feel her teeth and the gaps between them and I go, 'I like these bits,' and then she says, 'They're horrible,' and I say, 'No, I love them.' We're like two dogs scrapping.

Extract from Peter Shelley by Patrick Marber.