The system is not exact. It creates from cards a number. One that goes up, goes down. That number is then divided, split. As cards are dealt, probabilities change, the space of possibility constrained by each revelation. It is a way to narrow margins, to reverse the flow. To find, in the rough, diamonds.
It is not the only system.
Oscar Isaac is William Tell, though in various overtures to open him up that Tell is itself telling. He has a history. One that he himself is telling. A neat narrow script, ink into an exercise book, one line and margin ruled. A Lamy fountain pen, I think, from that distinctive wire curve of clip a Safari, probably Umbra. Black from black on black, roulette odds would get you 47.4% but European wheels weight green differently.
It starts with bass and baize. Neither immediately discernible, close and uncomfortable. Green and grime.
It is not the only system.
Oscar Isaac is William Tell, though in various overtures to open him up that Tell is itself telling. He has a history. One that he himself is telling. A neat narrow script, ink into an exercise book, one line and margin ruled. A Lamy fountain pen, I think, from that distinctive wire curve of clip a Safari, probably Umbra. Black from black on black, roulette odds would get you 47.4% but European wheels weight green differently.
It starts with bass and baize. Neither immediately discernible, close and uncomfortable. Green and grime.
- 11/25/2021
- by Andrew Robertson
- eyeforfilm.co.uk
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