Some notes on Brian Butler’s films

Brian Butler, still from "Night of Pan" 2009

Bbutler–jawbones scattered like petrified carcases of pekingese’ on oriental rugs

waterfall first. fjord?___lone house/stone house chick blonde


lliippss wwiiddeerrrrr eyes burrrrrnnnnning BOOK BOOK     mist

szteps szmoke = zkin w/zymbolz Horn Guy youngernow beardless(hornéd) ANGER<<>>LUCIFERAngeR-\-LucifeR-/-AngeRaNGEr………..lllllllllllucifer++0+0++ blanc stone satanheadinback groundeyesclosed dove lips (dove) lips dove (into) lips (lips) doveintomymindlike atongue downmythroat sataninback…..ground open spinning crab blue stake christ idle (motion[less]) less than motion, satan is in the back, lips dove into the mymind (like a tongue) like a christ like a girl in jute///cursed///man ranting///SatanHeadAnger[again] LIGHTEDLUCIFER BLACKREDMOODLIKE the blues like giving up like being owned like it liking learning to like (dove int omy lips) Dove: verb, referencing an act of aggression often associated with sexual play. {Typically one will return the favor.}

Dove: noun, a white bird to kill


KILT POINT HORN GUY (Kilt Point Community College: We Train Your Children To Serve The MasterGive It Up, Parents)————violingrisingrisingrising CrAzYeNeRgYoWlEyE \\\\FLASH////\\\GIRL///\\GIRL//MADNESS/FLASH\girl/owl red figure RED SATAN RED IS THE COLOR=WHAT DRIVES MENS WILD (again)

SņÏn Ψ↑ΓΓ βε S†∂nÐ↑πG ∂† †hË fÖÖ† öν ÜR Dæ↑h βêd Γ∂μghïπg

Brian Butler, still from "Night of Pan" 2009

Thanks to Battalion of Saints and to Patsy Cline for portions of the above text.

Hello Brian, thanks in advance for allowing me to take liberties with your work. I found that the longer I remained watching your films, the less my internal narrative held together. I was cast into a dream state and my nice neat rational packaging of thoughts evaporated.

Brian Butler, still from Death Posture

I want you to know that Death Posture is wonderful. The spell you were casting in Night of Pan and Dove and Serpent (each of which left me a bit tepid but curious for more) came to fruition in that final film, and there you raised The Spirit World. When I completed my third run through with it my thought was to use hosannas and hyperbole in this writing but when I sat and worked this out I understood that extravagant praise can make a reader mistrust what I am writing.

The young woman in that short film, Death Posture, has lovely skin. The glamorous and deathlike cast of her white skin against those rough oak branches would make an alabaster statue blush in shame at its ruddy complexion. She moved like a dancer and when you doubled her- again and again, first from the rear climbing up the hill and from the front, descending, arms out and bent first at the wrists and then the elbows- her limbs became symbols, magic and full of dread.

The qualities of black and white that you achieve (again in Death Posture), the harsh, mood-setting spotlight and the roughness of the earth and trees is like a silver gelatin print in motion. Thinking once again of the films I watched first I think that you took all the elements you had at play in Night of Pan and Dove Serpent and distilled them into four or five qualities for the final film- qualities without substance but deeply profound in nature.

Exceedingly well done. Thank you Brian for giving me, and us, a wonderful film to consider.

Brian Butler’s exhibition The Gateway is at Annie Wharton Los Angeles at the Pacific Design Center.

Get thee to West Hollywood.

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