Author Archives: charlie monday

the final sequence is titled “the return,” which closes the loop with the depression that started the cycle. it is at once the same and new: a more complex depression that includes the loss of what had at first looked like an escape earned by years of suffering. like passing seasons, moving forward standing still… […]

after many hours strapped to a restraint table, sleep finally comes, and a dream encapsulation of the icarus-like rise and fall that is the manic depressive experience. the visuals come from koyaanasqatsi.

the end of the “restraints” sequence, something like christ’s burial before the ascent to heaven. but in this story, the ascent to heaven only happens in fantasy (the next chapter), and the ultimate awakening at the end of the path is to life in the grave, aka depression. the scene comes from the opening of sunset […]

the second video of three in the “restraints” sequence features scenes from the tenant, the hunchback of notre dame, and dancer in the dark. the christ-like love and connection that marks the peak of a florid manic episode suddenly slopes downward toward destruction and loss, spiraling toward the end which nailed to a cross.

this is the first part in the “restraints” sequence. after showing more and more psychotic behavior, our hero is strapped to a table for a good night’s sleep… the result is a slow implosion, made visual by the beautiful last section of coppola’s the conversation and the end of ‘fall’ in spring, summer, fall, winter… […]

  the third and final piece of the “hospital” sequence, featuring scenes from frankenstein, the matrix, and barton fink.

second hospital segment, finding your new home in the mental ward. featuring footage from barton fink, the tenant, and sunset boulevard. though fred estaire dancing on the ceiling takes the cake…

  first of three “hospital” segments, featuring footage from the wizard of oz, the hunchback of notre dame, and all that jazz.

  in the final “mania” section, the wheels come off and the delusions tip toward insanity, featuring scenes from “an american werewolf in london,” “king kong,” “clockwork orange,” and fight club.

the second of three parts in the “mania” section of the story. after the smily perfection of “perfect day,” our hero starts to behave in a more erratic manner, taking risks and thumbing his nose at danger. the entire visual sequence is taken from buster keaton’s greatest film, sherlock jr.