![]() ![]() Æon Flux Composer and Sound Designer Drew Neumannĭrew: Well, the gunshots weren’t a problem on the shorts because they were fairly low budget and they hadn’t really thought through concerning themselves with those things at that point. What were some times where the production of the show’s sound design came into conflict with MTV’s broadcast standards and practices? ![]() But when it came time to make a series, it was as if they decided that they weren’t going to allow us to do many of the things that made the show so appealing to begin with and that was very frustrating.ĭrew, you were the series’ sound designer and composer. And that’s the stuff that people liked, when they were focus testing it. ![]() The thing is, in the original shorts I used all kinds of angles, like the shot inside the character’s mouth or really low angles from a pool of blood. We used to get notes that were just absolutely ridiculous, like you could never show a shot of a woman’s body that did not include a head, because the censors deemed that as objectifying. At the same time they were very strict about broadcast standards and practices. MTV had no experience in making original content, so they just let me do what I wanted to do. I wanted to make a show that was, not just for me as an artist but for the viewers looking for that sort of content, something that could be considered art on commercial television. They often didn’t understand what I was doing with the show, so I had to be pretty cagey about being to candid about what my real interests were at the time. I actually always preferred the Liquid Television version of the title sequence. That was what I originally wanted to use, but MTV thought that wasn’t explanatory enough. In the end, I think it turned out well, but I actually always prefered the Liquid Television version of the title sequence, which is just a close-up of the eye with the fly crawling up the face. I always regretted having to create that sequence. What were the first production meetings for the Aeon Flux title sequence like? What sort of themes and ideas from the shorts and series did you want to incorporate in the show’s sequences? Triple entendres later revealed as feints in a unending game of wills, where the truth more often lies far from what is said, but at periphery of what is seen.Ī discussion with Æon Flux Creator PETER CHUNG and Composer & Sound Designer DREW NEUMANN. While the repartee between Æon and Trevor serves as a centrepiece amid the sequence’s dynamic visuals and idiosyncratic score, their words reveal only the most perfunctory slivers of their relationship and intent. This core visual would later go on to bookend the full length title sequence for Æon Flux’s ten episode run of half-hour episodes. Punctuated by a discordant sting, this image is the essence of Æon Flux made literal: an unflinching force of violence and seduction, manifest in an entity whose true motives are all but alien and inscrutable to the audience. The muscles of the iris part, rolling forward and tightening in focus of its prey. Nowhere is this more succinctly exemplified than in the series’ opening title sequence an errant fly, skittering along the rim of an unconscious eye, only to be trapped in the folds of lashes. Far from being simply enthralling on a visual level, Æon Flux was at once a shrewd deconstruction of Hollywood sensationalism and a savvy examination of the power inherent in the act of both seeing and being seen. Spanning six animated shorts and ten half-hour episodes, Chung’s magnum opus eschewed convention and defied the trite assumptions of what was possible to achieve through network animation. When animator Peter Chung was first approached by Colossal Pictures' Japhet Asher in the early nineties to direct a series of shorts for MTV’s experimental animation block Liquid Television, Chung seized the opportunity to break out of the mold of his previous work on such shows as Transformers and Klasky Csupo’s Rugrats and create a series that was all its own. Combining the far and varied influences of New Wave cinema, artistic expressionism, Franco-Belgian comics, and spiritual gnosticism, the 1991 avant-garde animated series follows the exploits of a mysterious dominatrix-cum-agent saboteur and her authoritarian nemesis/lover Trevor Goodchild – two opposing forces clashing as the pretenses of morality and justice are left morphed and unrecognizable in their wake. Nature porn by Max Shenanigans Outdoor POV Sexy p Lchez, le nettoyer lick it clean (part3) by first75 31 min 360p Tricky Old Teacher - Gorgeous blondie Lola Shine Facial Uniform Teen p We're back! A chat about why we took a break from making our videos and then a quick fuck.The French philosopher Michel Foucault once wrote, “The gaze that sees is the gaze that dominates.” Though originally intended to describe the biological reductionist philosophy of modern medicine, this phrase could easily serve as the maxim of Æon Flux. ![]()
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