Like me, you are a huge fan of anything Michael Ninn does. While standing at public urinals, I often think how Ninn would capture my heroic stream on film. Would he light it differently? Speed up the exposure so the master could imbue each of my spirited drops with purpose? Superimpose a duck so that it would appear as if I were peeing on a duck? You know, a richly erotic duck?
As the media juggernaut continues for Catherine, Ninn’s scribes, writing from within the walls of a 13th century abbey where they spend hours illuminating the man’s vision, sent this along to herald the completion of a trailer:
“No director can honestly say how the public will ultimately respond to their art, but the good ones remain true to their vision regardless of the critical consequences.”
While it is not clear if the first sentence refers to the director’s art or the public’s art (like that great mural of Schwarzenegger near the Barham exit of the 101), the second sentence validates what a grateful world has known for years: Michael Ninn has been making and remaking the same pretentious porn film for the past decade, and he will as long as people continue giving him money to do so.
Pictured: a Catherine production assistant sips a drink and ponders Ninn, the equipment he uses to prove he’s not just any porn director, and Ninn some more.
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