4.9 • 11.1K Ratings
🗓️ 18 July 2018
⏱️ 26 minutes
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Case #0121403
Martin Blackwood, Archival Assistant at the Magnus Institute, recording statement number 0121403, statement of Alexia Crawley, given March 14th 2012.
Content Warnings for this episode are at the end of the show notes.
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Edited this week by Elizabeth Moffatt, Brock Winstead & Alexander J Newall.
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Sound effects this week by previously credited artists via freesound.org.
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0:00.0 | Hi everyone, Alex here. I'd just like to take a moment to thank some of our patrons. |
0:05.4 | Mark Spark, Brandon Chappelle, Florence Azze, Gilligan Mungus, Emilia Hoyos, Edward Peter Del |
0:13.3 | Monico, Liam Hygis, Sean and Miranda Goodell, Daniel Armente, Peter Larson. |
0:20.7 | Thank you all, we really appreciate your support. If you'd like to join them, go to www.patrion.com |
0:27.8 | forward slash Rusty Quill and take a look at our rewards. |
0:48.2 | Rusty Quill presents The Magnus Archives. |
0:57.8 | Episode 110. |
1:08.3 | Creature Feature. |
1:27.8 | Martin Blackwood, archival assistant at the Magnus Institute, recording statement number |
1:44.1 | 0121403, statement of Alexia Crawley, given March 14, 2012. |
1:52.9 | It's hard to put my relationship with Dexter Banks into words. It was a complicated thing, |
2:01.1 | built on well over a decade of disdain and interdependence. In many ways I was closer to |
2:05.8 | him than his wife, not that I ever touched the odious little freak, and while those film |
2:11.1 | obsessives that insist I directed all his films do us both a disservice, it is true that |
2:17.5 | without me he would never have reached the fame and high regard he enjoys. |
2:22.2 | Cinematographer. Such an ornate term yet still so vague. And I wonder if that's the blame |
2:30.1 | for how overlooked we are as a profession, or even worse that dry title director of photography. |
2:37.1 | But we are the true artists. A director may quite literally call the shots, but it is |
2:42.4 | the cinematographer that makes them. We choose the angles, the lighting, pretty much everything |
2:48.4 | that you see on the screen. If the camera is a brush, then we are the hand, the arm, |
2:53.8 | the eye, the director is basically just a mouth, making pointless noise while the hand |
2:59.5 | does the actual work. Almost every famous director that you know with a distinctive visual style |
... |
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