Film Analysis: Party Two (Not for Fantasy)

[rifle]

BE ADVISED this is not for the Fantasy Forum Members. This thread is for those discussing Tyler’s growth as a director and the Party as a film. Do not confuse the two. This is for analysis and discussion away from the fantasy aspects. Some of us are interested in this part too.

Here are the rules:

(1) It's not meant to be thumbs up or thumbs down. It's meant to be things we noticed that heightened our enjoyment or had hidden meaning or helped the story along.
(2) If something confuses us, it's a chance to clarify or even refer back to an older segment or even to ask Tyler what he meant.
(3) It's a chance to pat Tyler on the back for a new skill he's developed or maybe to help him to recognize one he didn't know he had.
(4) It's a chance to recognize his cast, his script, his crew for their growth and development.
(5) It's a chance to do something else after the fifth viewing besides jackoff while we rest for viewing number six.

 

[rifle]

First go at it.

As I said in an earlier posting, Tyler established a cinema verite technique with the first Party segment and staying very firmly within that style throughout he was careful to maintain the “illusion of reality” which is so important. Cinema verite means the director is trying to give the illusion that what’s going on is going on at that very moment and the camera just happens to be there. Some recent horror films like “Blair Witch Project” and “Quarantine” are rip-offs of this style. In the first of the Party series, I know some were shaken by the appearance of a second camera (and cameraman) but that is quite within the realm of this technique. Francoise Truffaut frequently did this because he said it was more important to keep the story moving than to maintain that illusion of reality and Tyler realized this when he used it to move the action from the kitchen to the bedroom and during the long bed scene. It was far less noticeable during the bed scene because of his highly skilled editing and far more obvious during the hallway scene because it was a tracking shot and thus more exposed. In either case it moved the story forward and was a wise decision. Not to have done it would have made things awkward.
In the second Party segment Tyler played quite a trick on his viewers. For almost the entire second film he seemed to revert to David’s interview/documentary style, standing behind the camera and giving instructions to his performers and remaining entirely out of the action. At first I found this disturbing and felt he had completely changed techniques – then came the ending and I got it. I almost applauded. In that brief gesture of reaching around and offering the camera to Austin, he made you realize that the entire second segment had merely been a part of the entire film and it was all cinema verite and he was restoring the “illusion of reality” by restoring himself into participation in the film. It was an excellent gesture and the perfect way to add a “to be continued” to the whole. Really clever.
His casting again shows his grasp of the process. Austin is a consummate actor. He’s obviously not totally drunk, his participation is way beyond what a drunk could do – but watch the corner of his mouth. Austin telegraphs. It’s a way some actors signal they are performing. Cliff Robertson used to do it with his eyes. So did Alec Guinness. Austin does it with his mouth. There is slight turn up of the outer edge of his lip. Only slightly perceptible, he can’t hide it; it lets you know he’s acting and he’s aware that he’s acting. As he gains experience, it will go away. When he is entirely focused and concentrating on what he’s doing, it goes away. Watch as he truly loses himself with Nelson – it disappears. It only comes back in the dialog at the end.
Nelson is a wise choice. It shows how much in touch with the entire ensemble Tyler is. Since the production was filmed in November of 2008, had it been made by someone with lesser talent, it would likely have involved one of the more “requested” or “popular” performers. Tyler went for a solid, stable performer who has since been revealed to be extremely well liked by members. An unlikely choice in November, it was a choice which turned out to be a perfect choice in April. And, other than the director’s own performance with Austin, this may be as successful a pairing as Austin has had. And Tyler has done a masterful job of setting up Danny for Part Three. The subtle referencing in Part Two was a master stroke – just enough to remind the viewer of his presence and not enough to distract from the action.
Austin, of course, is the counter-Tyler and the perfect match. Where Tyler exudes the boy-next-door, Austin has carefully nurtured an edge of danger and they play off each other perfectly. I seriously doubt that Austin would deny Tyler anything and Tyler builds scenes around Austin that are moving him from a side character to a main player. What I want to see David do when this is over is one more pairing of the two – see where it leads. I’ve said before that there’s depth in Austin and I think Tyler is beginning to tap into it.
Something tells me we may have a bit of comedy coming in part three – and I may be way off base here. Two hints lead me to suspect: a camera in the hands of a “drunken” Austin and center stage moving to Danny. Danny is one of those actors who can just stand up and take focus. We’ll have to see how he bottoms to Tyler’s top. At any rate, that’s my analysis of Party Two. Anybody else got a take?
Rifle Roeper (Actually my husband’s the Roper, I’m his little doggie)

 

[slimvintage]

BE ADVISED this is not for the Fantasy Forum Members. This thread is for those discussing Tyler’s growth as a director and the Party as a film. Do not confuse the two. This is for analysis and discussion away from the fantasy aspects. Some of us are interested in this part too.

Here are the rules:

(1) It's not meant to be thumbs up or thumbs down. It's meant to be things we noticed that heightened our enjoyment or had hidden meaning or helped the story along.
(2) If something confuses us, it's a chance to clarify or even refer back to an older segment or even to ask Tyler what he meant.
(3) It's a chance to pat Tyler on the back for a new skill he's developed or maybe to help him to recognize one he didn't know he had.
(4) It's a chance to recognize his cast, his script, his crew for their growth and development.
(5) It's a chance to do something else after the fifth viewing besides jackoff while we rest for viewing number six.

Rifle, your analysis is extremely perceptive and saturated with theater nous and written beautifully with the very sharp eye of an excellent critic.

What I couldn't help noticing is that although you title your thread "not for fantasy" many of your assumptions (it seemed to me) about how the shoot came to happen, and what went on during it, comply in the truest sense with Coleridge's lately overused and somewhat misunderstood theory of "willing suspension of disbelief". (http://en.wikipedia.org/wiki/Suspension_of_disbelief) and that you have bought into the idea that it was really vodka in the bottle, that the backup for making the film wasn't Broke Straight Boys infrastructure and support, that this totally brilliant idea wasn't brainstormed between Dave and Tyler and nicely planned to move the site on to another level, but rather a sort of random maverick scheme. Maybe I'm underestimating Tyler, but it seems he has to have taken the idea to Dave beforehand, as something which would give Broke Straight Boys's product freshness and originality, and an air of experiment.

It took Tyler, with his brains, looks, voice, sense of humor, maturity, centeredness and creativity, to bring it off. It's really good. Your equating his technique and method with those allowed in the canons of ciné verité are very shrewd. The tongue in cheek Dogma dudes couldn't have done better either, even if Ty stepped on some of their hilarious rules.

If he put this all together totally on his own, he has already taken giant steps toward being a very rich 35 y.o. man (trapped in the body of a 15 y.o. twink).

 

[GreatLakes2]

Gee from the depth of the commentary and the quality of the accolades, it sounds like Spielberg and Coppola have some serious competition.

The thread said 'not for fantasy.' But you have got to be living in a fantasy world if you think that this much forethought went into anything on this site.

If these boys have as much cinematic talent as portrayed in these posts, they would be off making money in legitimate film and/or television.

Go into a modern art museum and see something that looks like a child's scribbling. But you are told it is art because the artist wanted it to look like a child's scribbling. Whereas if a child did it, it would just be scribbling. It doesn't mean you don't like the child's efforts or dislike the child, but you also recognize that the child did not have a master plan behind the effort to say that his scribble represents man's need to be self-realized. It is supposed to be a horsey. Or maybe a house if you turn it upside down.

I have a feeling that I am going to be hated for saying it, but get a grip, these are what they are: amateur videos with a budget and a distribution company. Doesn't mean they are not good, but they are not cinematic masterpieces created by theatrical genius.

 

[mikeyank]

..............................................................you have bought into the idea that it was really vodka in the bottle, that the backup for making the film wasn't Broke Straight Boys infrastructure and support, that this totally brilliant idea wasn't brainstormed between Dave and Tyler and nicely planned to move the site on to another level, but rather a sort of random maverick scheme. Maybe I'm underestimating Tyler, but it seems he has to have taken the idea to Dave beforehand, as something which would give Broke Straight Boys's product freshness and originality, and an air of experiment.

I agree with Slim that this Broke Straight Boys "miniseries" was planned, but I still like the idea of taking the video shoots to another level. It is entertaining and features some very hot sex with some of the best regulars on the site. Bravo to Tyler, Dave and whoever else was behind the scenes for this most entertaining series.

Mike

 

[slimvintage]

Gee from the depth of the commentary and the quality of the accolades, it sounds like Spielberg and Coppola have some serious competition.

The thread said 'not for fantasy.' But you have got to be living in a fantasy world if you think that this much forethought went into anything on this site.

If these boys have as much cinematic talent as portrayed in these posts, they would be off making money in legitimate film and/or television.

Go into a modern art museum and see something that looks like a child's scribbling. But you are told it is art because the artist wanted it to look like a child's scribbling. Whereas if a child did it, it would just be scribbling. It doesn't mean you don't like the child's efforts or dislike the child, but you also recognize that the child did not have a master plan behind the effort to say that his scribble represents man's need to be self-realized. It is supposed to be a horsey. Or maybe a house if you turn it upside down.

I have a feeling that I am going to be hated for saying it, but get a grip, these are what they are: amateur videos with a budget and a distribution company. Doesn't mean they are not good, but they are not cinematic masterpieces created by theatrical genius.

Breath of fresh air here. I think Rifle and I were showing off for each other.

Tyler would do really well in front of the camera in intelligent sarky non-porn big screen indy movies, something I said a couple of weeks ago, and I definitely still hold to that. He still has a way to go to be a Palme d'Or director/producer. He needed the "master plan" (in the way of some support from Davey) to warrant inclusion in rifle's Truffaut league. But he's brighter than you and me GL, and will go farther. I hope. He deserves the very best life can offer anyone.

 

[rifle]

Very clever, grasshopper! But, as an analyst, you can only bring to the table what you perceive from the film. To do otherwise would unfairly color your perception. Of course the machinations at Broke Straight Boys toward the development of the Party Series were clearly important, but to discuss them would fall under the auspices of a critical analysis. In that case we would be looking at the film from any number of perspectives: (1) social influences (2) ageism (3) ethical influences (4) market drive, etc. The decision, instead, was to approach from only one, the artistic merit of the work from frame one to the last frame.

That called into play the following:
Accepting the point of view of the director that what was happening was happening, and that made it cinema verite. The camera almost became a character as it moved among the performers and was passed from hand to hand. [It was extremely obvious that no one was drunk - in terms of the story - because when part three aired Austin was very sober as cameraman. (However, from a critical standpoint we don't know the actual time between filming of parts 2 & 3, we just know the 'film time')]. But if we accept the director's premise, we must, in analysing it, accept the director's reality and say they were 'drunk.' I did put Austin's 'drunkeness' in single quotation marks and say he was telegraphing his acting. [And, oh, Lord is Danny not tasty when basted!]

2. I don't think Tyler stepped on anybody's rules. As I said Truffault also used the second camera and second cameraman for the same reason Tyler did. Nobody took Truffault to task for it, and frankly I don't understand why people here on the forum took Tyler to task for it. It's an absolute necessity in this type of filmmaking to keep the story moving. His twist in part two was really clever and I praised him highly for it.

3. As to the business of Broke Straight Boys, I leave that to Mark, David, and Tyler. Twenty or thirty years from now, when David retires and writes that book - which I will ghost of course -called "You Can't Get a Clear Picture with Cum on the Lens," we will probably know the details of who exactly did what. By that time Tyler will have traded in his flipflops for Gucci and David will have a Porsche and Mark will have climbed out of the pool and into a pool boy. The only 35 year old man I'd be interested in seeing in Tyler's 15 year old body would be Brad Pitt himself - and I'd pay to watch that!

Oh, I love visiting with you Slim - but since you're the only one who seems to like talking about film, we should probably do this by pm and save the server memory so Scorpio doesn't come down on us. Although, now that I think about - maybe it would be fun to have Scorpio cum down on us!

Love, Rifle

 

[rifle]

Gee from the depth of the commentary and the quality of the accolades, it sounds like Spielberg and Coppola have some serious competition.

The thread said 'not for fantasy.' But you have got to be living in a fantasy world if you think that this much forethought went into anything on this site.

If these boys have as much cinematic talent as portrayed in these posts, they would be off making money in legitimate film and/or television.

Go into a modern art museum and see something that looks like a child's scribbling. But you are told it is art because the artist wanted it to look like a child's scribbling. Whereas if a child did it, it would just be scribbling. It doesn't mean you don't like the child's efforts or dislike the child, but you also recognize that the child did not have a master plan behind the effort to say that his scribble represents man's need to be self-realized. It is supposed to be a horsey. Or maybe a house if you turn it upside down.

I have a feeling that I am going to be hated for saying it, but get a grip, these are what they are: amateur videos with a budget and a distribution company. Doesn't mean they are not good, but they are not cinematic masterpieces created by theatrical genius.

Let me borrow a line I used with my children and my now my grandchild -

Ooooh, did the boys go off and play in the sandbox when you wanted to swing? Well you tell me which corner of the sandbox you want to play in and I'll rope it off just for you. No, I won't make them swing with you if they don't want to. And be careful, if they're building castles and you're throwing sand, you might get some in your diaper.

 

[slimvintage]

Let me borrow a line I used with my children and my now my grandchild -

Ooooh, did the boys go off and play in the sandbox when you wanted to swing? Well you tell me which corner of the sandbox you want to play in and I'll rope it off just for you. No, I won't make them swing with you if they don't want to. And be careful, if they're building castles and you're throwing sand, you might get some in your diaper.

It's so nice for the children to have kids their own ages to play with. We love this neighborhood.

 

[slimvintage]

From El Ree-flay...Accepting the point of view of the director that what was happening was happening, and that made it cinema verite. The camera almost became a character as it moved among the performers and was passed from hand to hand. [It was extremely obvious that no one was drunk - in terms of the story - because when part three aired Austin was very sober as cameraman. (However, from a critical standpoint we don't know the actual time between filming of parts 2 & 3, we just know the 'film time')]. But if we accept the director's premise, we must, in analysing it, accept the director's reality and say they were 'drunk.' I did put Austin's 'drunkeness' in single quotation marks and say he was telegraphing his acting. [And, oh, Lord is Danny not tasty when basted!]

I see what you mean. I would then go on to discuss whether I believed any of it, if it had what good theater has (in the sense of sweeping you along with the premises of the script as interpreted by the actors, making you forget the charade). It's really really hard to screw your face up in exactly the way needed to convince someone that you've just drunk a bunch of vodka when you haven't. Ciné verité and reality shows are two different kettles of porn. I'm now more interested in the scandinavian Dogma group than in Truffaut maybe, and possibly more used to seeing boring overweight reality show corpses sleeping with their backs to the camera in a sort of greenish half light, like rocks on the ocean floor, than delighting in a dogma based movie. How we do move on...

 

[slimvintage]

I agree with Slim that this Broke Straight Boys "miniseries" was planned, but I still like the idea of taking the video shoots to another level. It is entertaining and features some very hot sex with some of the best regulars on the site. Bravo to Tyler, Dave and whoever else was behind the scenes for this most entertaining series.

Mike

What did you think of Tyler's pelvic thrusts and swivel hips? He's the most sensuous and sensual human being I've ever watched do that stuff, either on film or in real life. And he's a single, 35 y.o. guy living alone with a kitty, wearing avant-garde underwear, but conventional street clothes. He fooled me completely.

(Off topic again. There's a Party 3 thread for brilliant posts like this one...)

 

[rifle]

I see what you mean. I would then go on to discuss whether I believed any of it, if it had what good theater has (in the sense of sweeping you along with the premises of the script as interpreted by the actors, making you forget the charade). It's really really hard to screw your face up in exactly the way needed to convince someone that you've just drunk a bunch of vodka when you haven't. Ciné verité and reality shows are two different kettles of porn. I'm now more interested in the scandinavian Dogma group than in Truffaut maybe, and possibly more used to seeing boring overweight reality show corpses sleeping with their backs to the camera in a sort of greenish half light, like rocks on the ocean floor, than delighting in a dogma based movie. How we do move on...

We don't. If it were Andy Warhol who brought the dogma of the Scandinavians to our shore, we'd let them sleep for at least eight hours and record every breath and even focus on the fly that walked along the contours of the fat woman's body as it moved from droplet of sweat to droplet of sweat and then label it as art and someone would surely buy into it whether we did or not. Or in modern Reality Show terms, we could so couch it in pseudo reality that even the contestants would be so swept up in the belief that what they were doing was real that they would cough up blood from the imaginary razor blades and run off to vote one of the performers off the show for giving really bad head in a motel room while too drunk to get it up. Or we could give Tyler his due, relax and let him fuck with our minds.

Since he doesn't drink and none of the "devil weed" was visible anywhere on the set, and since I've never seen him have any trouble getting it up - he can fuck with my mind all he wants to! But I have to tell you, what I really like is when he and Austin screw each other's brains out.

Rifle

 

[rifle]

I agree with Slim that this Broke Straight Boys "miniseries" was planned, but I still like the idea of taking the video shoots to another level. It is entertaining and features some very hot sex with some of the best regulars on the site. Bravo to Tyler, Dave and whoever else was behind the scenes for this most entertaining series.

Mike

I agree Mike - that was one of the things most overlooked here and you hit it right on the head. Nothing new in any of the performers, but by subtle manipulation of the background and "storyline" we got a whole different - and refreshing - perspective - without taking away from the premise of Broke Straight Boys What a great break from the traditional without taking a bit of attention away from what we have come to expect from traditional! In fact, it took some performers and gave me a really renewed interest.

Thanks for pointing that out to me
Rifle

 

[slimvintage]

We don't. If it were Andy Warhol who brought the dogma of the Scandinavians to our shore, we'd let them sleep for at least eight hours and record every breath and even focus on the fly that walked along the contours of the fat woman's body as it moved from droplet of sweat to droplet of sweat and then label it as art and someone would surely buy into it whether we did or not. Or in modern Reality Show terms, we could so couch it in pseudo reality that even the contestants would be so swept up in the belief that what they were doing was real that they would cough up blood from the imaginary razor blades and run off to vote one of the performers off the show for giving really bad head in a motel room while too drunk to get it up. Or we could give Tyler his due, relax and let him fuck with our minds.

Since he doesn't drink and none of the "devil weed" was visible anywhere on the set, and since I've never seen him have any trouble getting it up - he can fuck with my mind all he wants to! But I have to tell you, what I really like is when he and Austin screw each other's brains out.

Rifle

I'm fascinated by the whole "Dogma" syndrome, and I love the films that came out of the movement. Here is a quote from an article published in 1999, for anyone who's interested, but isn't familiar with them. Obviously nothing to do with Big Brother. See if it reminds you of something we all cherish lol...

The Dogma group was founded in 1995 by a handful of young Danish directors. The group has established rules aimed at avoiding “artificial” effects. Its members restrict themselves to hand-held cameras, use no artificial lighting or tacked-on music, shoot no scenes out of sequence, etc. Von Trier, one of the founders, refers to this as a sort of chastity belt.

While the rules of the Dogma group have obvious advantages for young directors seeking to make affordable films, the danger exists of a vice, i.e., the increasingly difficult struggle to find financing for films independent of the big companies, being transformed into a virtue—the notion that such basically primitive cinematic means are, in and of themselves, the best method for capturing and transposing reality onto the screen. In fact, intrinsic to the power of film as a medium is the multiplicity of ways it can comprehend, reflect and enhance the complexities of reality.


------------------------------------------------------------------------------

Now this, published 10 years later, in December of last year. How we have moved on: the maverick, nosethumbing, revolutionaries are now solid citizens receiving prestigious awards, lauded for changing the face of European film and the methodology of filmmakers everywhere, including Florida:

EFA Awards 2008 - Nominations - Dogma Founders Honored
12.09.2008
At the 21st European Film Awards ceremony to be held for the first time in the Scandinavian region, in Copenhagen, on December 6, Dogma founders Søren Kragh Jacobsen, Kristrian Levring, Lars von Trier and Thomas Vinterberg will receive an Honorary Award from the European Film Academy, in "recognition of a unique impulse to the world of film" and to honour their "dedication to European filmmaking."
EFA 2008 Nordic Nominations And Salute to Dogma

In its official statement issued on Wednesday, the European Film Academy used an extract from the book ‘Projections 5', published by Faber & Faber: "Coming from Denmark, the Dogma movement has changed the way we look at film: In 1995, a group of Danish filmmakers rocked the film world, establishing a revolutionary set of rules for filmmaking, and invading film festivals and cinema screens with a distinctive, rough and not always comfortable look. Thus Dogma was born... without doubt it has exerted a strong influence on filmmaking and has set an astonishing example for filmmakers all over the world, demonstrating that it is possible to make successful films on a low budget, in a small film nation, and without a tripod."

In an earlier press statement, the European Film Academy announced that five Nordic films have been shortlisted for the nominations of the 2008 European Film Awards. Denmark has two candidates: Ole Christian Madsen's Flame & Citron (Nimbus Film) and Ole Bornedal's Just Another Love Story (Thura Film); Sweden is represented by Jens Jonsson's directorial debut The King of Ping Pong (Bob Film Sweden); Finland by Black Ice directed by Petri Kotwica (Making Movies), and Norway by Bent Hamer's O'Horten.

A total of 44 films from 27 countries are short-listed for the European Film Awards, including the 2008 French Palme d'or winner The Class, and Mike Leigh's Happy-Go-Lucky. In the coming weeks, the 1,800 members of the European Film Academy will vote for the nominations that will be officially announced on November 8 at the Sevilla European Film Festival in Spain. All Nordic films pre-selected for a European Film Awards nomination, were granted support from Nordisk Film & TV Fond.



Heads up Tyler

By the way, it came out some time after the release of the Dogma decalogue (there may have been only 7 or 8 rules in fact) and after the avant garde media had already cum a bunch of times in their UnderArmour about how new and revolutionary it was, that the founders had invented their rules while very drunk and in an especially subversive mood, creating the most ridiculous set of tenets they could imagine as a prescription for the way film should be shot in order to make it "real". Apparently they were also laughing their heads off the whole time they were writing up the rules. Love it.

 

[rifle]

It was also appropriate that the Dogme's dogma was introduced in red leaflet's dropped from the ceiling at the festival at Cannes instead of a speech by von Trier. My first Dogme film was von Trier's "Breaking the Waves" with Emily Watson. It was hauntingly interesting, a story about a young woman whose husband was injured on an oil platform and could no longer have sex with her. He encouraged her to have sex with others and come home and tell him about it. She began to believe these sexual experiences were ordered by God. The Dogme I've seen since has been arrestingly dull. Perhaps they should have taken a lesson from Hitchcock when he made his famous bet with Hume Cronyn and produced "Rope" without editing. It's fun to make bets based on your brilliance and to produce films to show off your skills by tieing one hand behind your back - but the product is not often worth the effort. "Rope" may have Hitchcock's most overtly gay film, but it was also one of his most perversely boring.

 

[raysvq]

Rifle, your analysis is extremely perceptive and saturated with theater nous and written beautifully with the very sharp eye of an excellent critic.

............that this totally brilliant idea wasn't brainstormed between Dave and Tyler and nicely planned to move the site on to another level, but rather a sort of random maverick scheme. Maybe I'm underestimating Tyler, but it seems he has to have taken the idea to Dave beforehand, as something which would give Broke Straight Boys's product freshness and originality, and an air of experiment.

I know this is going to sound lame, especially after the way the posts in this thread have been written & presented , but I would hate to think that the basic format of Broke Straight Boys would change.
Don't get me wrong I love the Party Series, I think it is fresh & something different, seperate to the Broke Straight Boys product.
I would love to see the "Party Series" & any other projects like it be presented in a seperate stream like the College Boy Physicals series. That way 2 things are achieved:-
1. Broke Straight Boys showcases new & fresh talent, which is what we want & expect from Broke Straight Boys
2. A new stream allows us to see the models we wish to keep perving on ... ooops.... I mean admiring.

 

[rifle]

I know this is going to sound lame, especially after the way the posts in this thread have been written & presented , but I would hate to think that the basic format of Broke Straight Boys would change.
Don't get me wrong I love the Party Series, I think it is fresh & something different, seperate to the Broke Straight Boys product.
I would love to see the "Party Series" & any other projects like it be presented in a seperate stream like the College Boy Physicals series. That way 2 things are achieved:-
1. Broke Straight Boys showcases new & fresh talent, which is what we want & expect from Broke Straight Boys
2. A new stream allows us to see the models we wish to keep perving on ... ooops.... I mean admiring.

I don't think that's lame at all. I think that's brilliant! Every so often try out something new on one of the series, judge the response, and if it works, open a new series for a while. Whether it worked or not, all of us have enjoyed at least part of the Party Series. It has given us a fresh view, a fresh perspective of the talent, a fresh breath, but heaven forbid it change what we came here for.

What you said Ravsvq reminded me of a conversation I had in the grocery store with a long time resident of our community the other day. He was talking about the huge influx of new comers who have moved in recently. He said it was wonderful to have all the new folks in the area, but if you came here because you fell in love with the place, why in hell was it, when you got here, the first thing you wanted to do was to make it like the place you left?

I think its wonderful to have Tyler's party series because it gives us a fantasy peak at life behind the futon and I'd love to have the opportunity to choose between Broke Straight Boys, College Boy Physicals, HSB, and PARTY.

Rayvsq - maybe you should ask for royalties - say a piece of the action? Or maybe just a piece?

 

[raysvq]

I don't think that's lame at all. I think that's brilliant! Every so often try out something new on one of the series, judge the response, and if it works, open a new series for a while. Whether it worked or not, all of us have enjoyed at least part of the Party Series. It has given us a fresh view, a fresh perspective of the talent, a fresh breath, but heaven forbid it change what we came here for.

What you said Ravsvq reminded me of a conversation I had in the grocery store with a long time resident of our community the other day. He was talking about the huge influx of new comers who have moved in recently. He said it was wonderful to have all the new folks in the area, but if you came here because you fell in love with the place, why in hell was it, when you got here, the first thing you wanted to do was to make it like the place you left?

I think its wonderful to have Tyler's party series because it gives us a fantasy peak at life behind the futon and I'd love to have the opportunity to choose between Broke Straight Boys, College Boy Physicals, HSB, and PARTY.

Rayvsq - maybe you should ask for royalties - say a piece of the action? Or maybe just a piece?

Can I have a piece of Danny, a piece of Tyler, a piece of Nelson, a piece of Austin, a piece of Sean, a piece of .................. well I guess you get the idea

PS If I am so brilliant how come I just dropped my cell phone on my foot? lol

 

[raysvq]

Can I have a piece of Danny, a piece of Tyler, a piece of Nelson, a piece of Austin, a piece of Sean, a piece of .................. well I guess you get the idea

PS If I am so brilliant how come I just dropped my cell phone on my foot? lol

On a more serious note though
I wouldn't mind being able to go out with a few of the Broke Straight Boys models, just for dinner & a drink or just a quiet conversation - nothing more, in order to get to know them as a person & not just what we "know" as a model.

 

[slimvintage]

I know this is going to sound lame, especially after the way the posts in this thread have been written & presented , but I would hate to think that the basic format of Broke Straight Boys would change.
Don't get me wrong I love the Party Series, I think it is fresh & something different, seperate to the Broke Straight Boys product.
I would love to see the "Party Series" & any other projects like it be presented in a seperate stream like the College Boy Physicals series. That way 2 things are achieved:-
1. Broke Straight Boys showcases new & fresh talent, which is what we want & expect from Broke Straight Boys
2. A new stream allows us to see the models we wish to keep perving on ... ooops.... I mean admiring.

I have all your concerns myself, but am fascinated by the creative process and the idea of improvisation on (sort of cannibalism of) ones own work. The idea of futonfilm cohabiting with evansevents under the same banner, with a lot of the same jargon parodied in Tyler's movies in a sort of homage to Dave's, and using only known faces (in fact Tyler's "mates"), makes a terrific subplot to the original episodes. Also I think they'd be smart to allow Tyler, on his thread, to harvest forum fantasy for some of the stuff he gets up to while "Dave is on vacation". (Dave's existence, 24/7 is a sort of vacation). He could bring all his immediacy and perspicacity to the debate, as he had been doing occasionally. I think the tent is big enough for parallel plots, and more interesting that way.