Film

 

Singular Type of Film: There is one type of film. It is the action movie. Anything else, is shit. Not as a perjorative, but a definition of your bowels, passing, on a Rabbinical Synagogue stool, while eating popcorn and soda. Fat, starch, sugar, and liquid. Hitler mastered this form. As will you, reading this guide. Any other form of film, has failed, in creating the action movie. It is still a movie, but it is only for money.

Agitprop: This is your basic action movie. You want to go after someone, so it is the first in a sequel series. If it is successful, in hunting a target, it is a 'classic'. It killed, your target, the hero, trying to be the hero. The villain, was duplicated by your leadership, in some form of agency, with the agent enforcing (the main character, the villain), as the deus ex machina, the hand of God, the crane, in your film.

Target: This man has cheated an action movie. He is the sequel hero, up against a more difficult form of villain. Every time the first film is cheated, a sequel is added, for the villain that cheats, to follow, as the villain, until the hero is finally invoked, as the hero, and dies. If he doesn't see the sequel, he wins, your film's lead actor got too old, and has to be retired. He has failed in his career, in hunting the man that has cheated your movie by picking up the villain, and framing an innocent man, as the hero, now to become the villain.

Sidekick: This man is your spy, on the inside, of the action movie's sequel. He is placed alongside the hero, as the undercover cop, with no real function, other than guarantees that the hero dies, for having cheated an action movie and then not seeing the sequel. He is to be relegated to the work of film that are not action movies, as a true believer. If he takes a villain, after the sidekick, he has betrayed you, and is no longer a sidekick.

Mastermind: A sidekick, that played as a villain, alongside a hero choosing villain, to become a film school man himself. He is now an espionage professional, one of the greats of film. He gets one chance, at a mastermind film, to betray the hero, the target that he failed to assassinate as the sidekick, and if doesn't do it, he returns to the life of a regular joe. If he takes it, then he gets a producer's slot, in Hollywood, even if the film wasn't meant as him.

Blockbuster: The victory film, of the mastermind, having become a real hero, with his part labeled as the hero, and the villain being the production company that produced the film. The entire work is a work of imagination, except for a single character, hidden narrowly, the pedophile, the framed fate of the man who cheated the action movie at the beginning of our legacy, by posturing as the villain to trap a man as the hero. He is now a real life spy of espionage, through his son or daughter, a man as intelligence.

The Man of La Mancha: A new superhero, or a retake on a past superhero, a hero of children's culture. This man cheated because it was the right thing to do, he was a natural film school man, that cheated because it was the only option (the right thing to do, yet again stated). He cheated and sacrificed his own life, because he was up against the most nefarious thing in film culture: an aeteur, a film savante, using film to hurt people. He killed another spy, but that spy, used film. He is now a man of the kind you'd imagine in film, hunting something horrible. He sacrificed his body, mind, and soul. He is Jesus Christ.