Never underestimate the power of

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small groups of people with a camera and a check book.

Movie making is a strange enterprise.

Just as the computer was invented, thoughtwise and then hardwise, by people who had never seen one,

the flickers were invented by people who had no idea of their potential and their potential realized by people who had no previous experience of any kind.

So the cinema essentially invented itself. So, why are so many crappy movies still made?

In this overlong series of documents and documentarians pretending to make documentaries out of soundbites and filmbites, the archival staff and staffival arc of WIPR will attempt to convince you that you might be better off watching a crappy movie in any language than watching this pretentious dreck in Englisch.

The first in this unnexessary series will attack the problem of subtext in color direction and set design. Shoe colour and hair styles wilt be dealt with in the next show.

Penfinally, and doltimately, we will deal with the phenomenon of the screenwriter's mothers, a race of doyens and dowagers and downright frightfully lonely people who just happen to have give birth and life and a typewriter to just the sort who probably should never have encountered a pencil...

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Infinite Improbability Drive

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