143 - Interview - Cannes Film Awards

Before we get started, The Cannes film Awards will be first to point out that they are NOT The Fesitval De Cannes, the big Cannes film Festival in May. they are a month later, in June. You can check out the Cannes Film Awards website here: 

https://cannesfilmawards.com/ 

And find the original of this interview here: https:

https://cannesfilmawards.com/interviews/peter-wick 

Your project has entered in our festival. What is your project about? 

Anza Borrego - Sunrise To Sunset is about something my friend Robert Silk seems to have invented, called Desert Sitting, or Extreme Sitting, although we're still debating what the difference is and where the two things merge. Not all Desert Sitting is Extreme Sitting and not all Extreme Sitting is Desert Sitting, but in the end it's about sitting in the Desert for a full day, as the sun moves across the sky. On a humorous note, another friend of mine, after watching it, called the film, "Sitting For Godot," which I think is a pretty good nickname for the film. 

What are your ambitions with your project? 

As an Indie Artist, I try to keep my ambitions grounded and simple for any project I do, whether it's a film or a book I've written. I just want it to find its audience. If you can find the right audience and build that artist-audience relationship, you're on the right track. 

Tell us somethng about your shooting? What pleasantly surprised you?

Well, you're out in nature, surrounded by natural beauty, mountains, etc. In some ways it's not a surprise, but nature always finds a way to surprise you with its beauty. I found it very satisfying to just turn on the camera and shoot the beauty we were surrounded by. 

For what group of spectators is your film targeted? 

I know that in the marketing world you have to analyze and define every little niche of every audience, but as an artist I try not to do that. I feel that if you calculate your potential audience too much you end up with a calculated work of art, rather than something natural and organic. I think I've tapped into different audiences with different things I've done. My Key West book series probably has a different audience than, for example, those watching my film Rock Paper Scissors on Prime Video. And both of those might be different from the people who have listened to the audiobook of my satirical Sci-Fi, How To Confuse A.I. But different as they probably are, I think there is some cross-over between them. You have to be humble and realize, you don't tell the audience what to respond to. Audiences will tell you what they respond to. So, I just made Anza Borrego because I felt it was compelling and beautiful and fun, and I trust that the right audience will find it and connect with it on some level.

Why should distributors buy your film?

Because it's interesting. It's beautiful. It's sometimes funny, and the viewer can join us on the sit by watching, and just slow down for an hour. This is a much needed reminder in our hyper-active world, to slow down and take a moment in life. Unplug and just sit and breathe.

How would you specify your work? What characterizes your film?

I approached the opening as sort of a 'video essay." It's a documentary, but of course there are as many different kinds of documentaries as there are different kinds of fiction films. We use the video essay approach to set up the idea and the story, and then it settles into a captured experience.

Why did you decide to become a filmmaker?

I always say that in the end, I didn't choose filmmaking. It chose me. It's a very expensive art form to fall in love with, but from the age of maybe 13 I was hooked. I have to be fair to the writer in me, though. I'm a story teller. I tell stories, sometimes fiction, sometimes non-fiction, and I tell them through film, books, any story telling medium that gives that satisfaction of a story well told.

Who is your role model?  

It's impossible to list just one person. There are so many role models. People in my family who were the first influences on me. Of course, I love Stanley Kubrick and Francis Ford Coppola. I find role models in music (Bob Dylan, Miles Davis), the visual arts, painters, I've done a lot of stand-up comedy in my life and I list comedians as role models, writers, directors, actors, friends, family.

Which movies are your favorites? Why? 

For being a comedian, some of my favorite films ar every dark, Apocalypse Now, Blade Runner, but also comedies like Dr. Stranglove, Monty Python's Life of Brian, Woody Allen's Annie Hall and Stardust Memories. I love the Coen Brothers. I've been rediscovering my love for Charlie Kaufman recently; Being John Malkovic and Eternal Sunshine. Terry Gilliam has made some great films. 12 Monkeys might be my favorite of his. The list goes on...

Where do you look for inspiration for your films?

Inspiration can come from anywhere. Of course it can come from a book you read or a movie you watch. It can come from an experience in your life. It can come from a memory, something from your childhood or something from five years ago. The key is just to be open to ideas, to how you as an artist can relate to the world around you, and how you might be able to use your creativity to reflect on the world around you, to interpret it in a unique way, to comment on it, or simply to revel in some aspect of this life.

Which topics interest you the most?

You're going to start seeing a theme here. I try to be open to as wide a variety of topics as possible. Human relationships, wants, needs, desires, culture, society, the decisions people find themselves forced to make in life, history, the future. Interesting things can be found in all these topics, and in many others that you don't expect to be as interesting as they are.

What do you consider your greatest achievement in your career?

As an 'Indie' artist, I think the best thing you can accomplish is just to beat the odds and get your ideas out there. I might not have done as many things as some very successful artists, but five films - two of them documataries - eight books, more on the way. Reaching some kind of audience. Sometimes your job is just to find a way to get something done, regardless of the challenges facing you.

What do you consider most important about filming?

Whether it's making a film, writing a book, recording a song or an album (I also have good friends in the music business), painting an oil painting, acting on stage in a theater producton, taking a series of amazing photographs, all of it is a way of putting this crazy chaotic life on Earth into some sort of manageable context.

Which film technique of shooting do you consider the best? 

It depends on the nature of the story you're telling. different techniques are right for different approaches to story telling. I love classic Hollywood Film Noir - Humphrey Bogart films from the 1940's. But I also love the French New Wave. I love the 'New Hollywood' of the 1970's which was more or less the American generation influenced by the French New Wave. Then you have innovations evolving beyond that in the 80s and 90s with the Coen Brothers, Spike Lee, and Terry Gilliam. They all have different approaches and techniques, but each can be right in the right context.

How would you rate/What is your opinion about current filmmaking?

I'm going to try to be fair and not go off on a rant here. There are great films being made these days, but sometimes they get buried by the big blockbusters. I live in Los Angeles and have experienced first hand how fickle and unpredictable production companies can be. If you read the recent stories about Netflix telling Matt Damon and Ben Affleck, basically, to intentionally dumb down their film, The Rip, you see what we're up against. But despite all the doomsaying about the marketing guys taking over story-telling (which has ALWAYS been a problem in Hollywood) great films still break through. Sometimes they bubble to the surface during awards season. Sometimes you have to go search for them, but they are still finding ways to get made.

What can disappoint you in a movie? 

Cynicism on the part of the filmmakers or the studio. This is why most blockbuster or action films hold little interest for me. They feel like they were written by data points. Let's have a big action scene here and a fight here, and some villain who is pure evil so our hero can save the day. It's not an original idea, and none of the people involved really love the job. It's just a way to bet on big box office.

Who supports you in your film career?

Friends, family, all those people out there who have watched or read anything I've put out. When I think about someone I don't know, watching a film of mine on Prime Video, I think, that is a fine upstanding citizen! May you have great luck in life!

Peter Wick

March 12, 2026

142 - Injuries

 I was involved in a conversation, recently, about kids. "We protect our kids too much these days,"a friend was saying. "When I was a kid we had to learn by making mistakes, falling out of trees, scraping our knees on the pavement when we were learning to ride a bike."

I found my self nodding in agreement, thinking about all the scrapes, injuries, bruises, broken body parts, black eyes, etc, that I lived through while growing up.

Then a thought occured to me; is it possible, among all the injuries, among all the times I knocked my head against walls, floors, book shelves (more on that later), that I suffered TOO MANY injuries as a child? Did I hit my head on too many things? Am I permanently damaged? Is it pssible that all the head trauma I suffered as a child has resulted in a grown up me that is, well, damaged?

Hm, I thought, before standing up and bumping my head into a book shelf.

My childhood was non-stop injuries.

I fell off a table once, landing smack onto a concrete floor with the back of my head. A nice little bump lasted for days. It hurt, yes, and in the moment I wanted nothing but my mom's reassuring care. A few hours later, though, I was proud of the injury and could not stop telling everyone the story; "I fell straight off the table and hit my head. Here! Feel the bump! Pretty good, huh?"

As a middle schooler I was taking time away from Track practice, one afternoon, to jump, spin, and twist onto a high jump landing mat - one of those big cushions that high jumpers land on - doing pretty cool twists during the jump before landing safely on the big cushion.

The only problem? The high jump mat was not out at the high jump area. It was stored next to a building with brick walls. We (myself and a couple other middle schoolers) were jumping from a three foot ledge with a few feet to twist before landing on  the mat.

Then it happend. I jumped, twisted, tried an even more cool twist than usual - one more rotation, I thought, this will be so cool - and as I landed, slightly out of control, my face planted itself smack into the brick wall.

"Aaaah! Gaawd!" I screamed. running away in no particular direction holding my face, certain that I had broken something.

Several people came to my aide. nothing was bleeding, but a nice big knot was swelling up right at the corner above my eye.

For the next several days my black and purple eye was the talk of the classroom.

When I got on the school bus with my sister Becky the next morning, the bus driver did a double take and asked, "What happened to you?"

"She punched me," I said, laughing, pointing at Becky.

Then there was the time I was running up some stairs, The stairway had a book shelf jutting out from the wall right when you reached the landing at the top of the stairway.

"Smack!"

The bookshelf nearly broke the top of my head open. I was almost knocked out for a second before looking around wondering what exactly had happened.

I survived all these injuries. plus many more - too many to include in this short recollection.

So, yes, I still agree that kids these days need to be a little tougher. They need to know what pain and difficulty are, and how to survive these moments. We DO over-protect our kids.

But...there's a limit. Why was I standing on a table above a concrete floor? Why was I running up the stairs without regard for the obvious danger at the top? Why was I doing summersaults in the air next to a brick wall?

Was my brain permenetly damaged by all the head trauma I suffered?

Does this explain so much about me?

Hm...

Well, there's nothing to do about it now. Life goes on. Learn by doing, I guess. Now,where did I put my keys?

Peter Wick

February 14, 2026 

141 - Valparaiso (1st sneak peek)

Valparaiso is a beautiful city in Chile, on the coast, about 75 miles from the capital city of Santiago. It is renowned for its street art, or more accurately, its building art. Murals and scenes are painted on buildings throughout the city. The example below might become a part of the book cover when this book is ready to be released sometime later this year.

I found the city to be the perfect place to set my first entry into the spy world - well, it's sort of in the spy world. The sample below is not from the beginning of the book. As you'll see, it is from Chapter two.

https://creativecommons.org/licenses/by-sa/4.0/ 

Valparaiso, Chapter Two:

CIA Director, Eric Dobbs, stood in front of the room.
 

Agent Lynn Jeffries sat in a chair at the side of the table.

 

Dobbs brought up a picture on the large screen at the front of the room. It showed a crunched, wrecked motorcycle.

“You recognize that,” he said to Lynn Jeffries.

“Scott’s motorcycle accident in Chile,” Lynn said.

Dobbs nodded. He brought up a second picture.

It was Tommy.

Lynn did a double take. “It’s him.”

Dobbs nodded.

“I mean, it’s been a couple years, and he’s let his hair grow longer, but that’s him.”

“He goes by the name Tommy Sands,” Dobbs said. “Runs a restaurant in the town of Valparaiso, about 75 or so miles from Santiago.”

“He faked his death?” Lynn asked.

Dobbs nodded again.

“Since you’re his ex,” Dobbs began, “I can only have you involved in a management roll. I’m not sending you there in person.”

“What’s the plan?” Lynn asked.

Dobbs brought up another picture. “This is Brenda Davis.”

Agent Davis looked to be in her 30s. Attractive. Smart.

“What’s her history?”

“Three field assignments,” Dobbs answered. “Good record. A couple minor things. Arguing a little with supervisors. A little too flirty with a target.”

Lynn looked over at Dobbs with a jaded look.
          

“Don’t tell me you’re having her seduce him.”

Dobbs cleared his throat and did not answer. Lynn laughed a sarcastic laugh.

“Scott’s going to fall for her,” Lynn laughed.

“We hope so.” Dobbs looked at Lynn with a half-smile. “We’re counting on it.”

Lynn exhaled and twisted her neck. “Ok,” she said. “Bring her in.”
            

Dobbs turned to a console and pressed a button. He turned to Lynn and presented as fake a smile as he could.

            

Brenda Davis walked in the door, the perfect picture of someone in control. She closed the door behind her. It opened a half second later as Agent Lionel Miles followed her in. Agent Miles closed the door, and they all sat calmly around the table.
            

Dobbs brought up Tommy’s picture again.
            

“This is Scott Jeffries,” Dobbs began. “Agent Jeffries ex-husband.” He nodded toward Lynn. “Scott was career CIA until two years ago, when he disappeared. He sold classified info on the international black market.”

            

Dobbs looked intently from Brenda to Miles, to Lynn.
            

“Then he faked his death.”
            

Dobbs brought up the picture of the crumpled motorcycle.
            

Brenda Davis was rapt with attention. She soaked up the information as Dobbs revealed it.
            

Agent Miles scrunched his face a little. “What’s stopping us from picking him up?”
            

“We are,” Dobbs said. “There’s more here than meets the eye.”
            

The four agents were silent for a moment.
            

“What’s our mission?” Brenda asked, matter-of-factly.
            

Dobbs cleared his throat. “Become a friend, gain his trust.”
            

“I’ll give you background on him as a person,” Lynn said.

Peter Wick

January 14, 2025

140 - Green River '84

 (NOTE: I definitely did NOT intend to do another 'blast from the past' post this month. I was all set to write some sarcastic satirical piece about how President Trump does not understand basic 5th grade math. I was mulling over and over in my mind exactly how I would expose Trump for the moron he truly is. But... then something happened inside me...I discovered that I did not have the stomach, any longer, to write anything about politics. Any  -  ANY politics. Coincidentally, this week I also stumbled across this little 'band profile' I wrote in 1984, for the final issue of Attack Magazine - you can look it up, but it turns out these days there is also some kind of dance magazine with the same name, but you'll find the right one if you look deep enough. You can also look up the band Green River on Wikipedia. The short history is that they are considered a formative band in the creation of the 'grunge' movement. My old friend Mark Arm asked me at the tine to write him up as Mark Thomas for this - Thomas is his middle name. He told me in an email recently that he did not remember doing this, and was back to being Mark Arm shortly afterwards. The 'Stone' and 'Jeff' mentioned here are Stone Gossard and Jeff Ament, who have spent most of their rock and roll lives in the band Pearl Jam. Mark and Steve of course formed Mudhoney, so together this band Green River did quite a lot to lay the groundwork for what was to come a handful of years later. This was early for them. It's a fun little piece, I think, made even more fun when you realize where they were once the 90s hit. -PW)

Band Profile - Green River (Attack Magazine - final issue, December, 1984)

"We want to rock the hell out of this city," says the smiling Green River guitarist, Steve Turner.

Green River is a Seattle based band formed last May in the wake of Mr. Epp and Splui Numa. Mark Thomas, former guitarist of Epp (with Turner) and Green River's lead singer, met us at his house one Saturday recently while he was cooking breakfast at 1pm. The rest of the band had not arrived yet, one or two calling up to say they had just gotten out of bed.

Mark lives with three roommates in the University District house, and showed us his room, which had a poster from the last Epp show hanging on the wall. He did not express regrets at the breakup of Epp. He keeps the memorabilia as a reminder.

Stone, Green River's second guitarist and the youngest member of the band, at 18, arrived first, with a beer in his hand. "I think I needed one this morning," he said to Mark. "Did you have a hangover?"

"Nope," said Mark, who later revealed that he had made it to bed at 3:00 the previous morning.

Steve Turner arrived around 1:30 and began skateboarding around the living room and out onto the deck.

Mark entertained us by reading Joe Bob Brigs from the previous day's Seattle Times, a tongue-in-cheek column about Charles (Chuck) Bronson's new movie, "The Evil That Men Do."

"We're kind of a funny band," said Steve, as he disappeared on the skateboard out the front door and made a sound as if he were falling down the front steps.

Stone wandered around the living room, sipping his beer and making jokes about Charles Bronson.

Alex Vincent, Green River's drummer, arrived around 2:00 with the bassist, Jeff Ament, and we made the three-block trek to Liz Schmoe's house, where the interview was to be conducted, because she had some Alice Cooper videos which the band wanted to see.

After Epp's last show, in February, Mark and Steve decided to stay together and approached Alex, former drummer for Splui Numa, the band Steve was in before joining Epp, and later asked Jeff, who was merely an acquaintance prior to the formation of the band, if he would like to play bass. 

We played the same riff for three practices in a row," Jeff said, laughing.

"It was a good riff," said Mark.

Regarding Stone's entrance into the band, jokes were mixed with the truth in such a way that the truth itself seems somewhat vague. According to various band members, they let him into the band because he had, a) a Marshal, b) a car, c) carpet, d)  because he brings treats to practice.

"Actually, we haven't decided if he's in the band," joked Mark.

"Yeah, I'm just brown-nosing it," Stone said on his own behalf. "I bring treats to practice so they'll let me play."

"Tootsie Rolls again, oh boy!" said Mark.

At any rate, he was on stage with them as they opened for Black Flag on September 25, and for the Dead Kennedy's on October 19.

"Why were you dumped off the DOA bill?" we asked, in reference to their scheduled opening for DOA on September 15.

"Because of Dismal," Jeff said.

"This town isn't big enough for us and Dismal," Steve said.

Green River lists The U-men as their favorite local band.

they also pay heavy tribute to Alice Cooper, and became restless the longer they had to wait to see the videos.

Peter Wick

November 15, 2025

139 - Academic Words Explained

 (NOTE: this is another blast-from-the-past post I did one earlier this year, something from years ago, that I thought could survive seeing the light of day now. this was actually printed in my college paper back in the 80s (this should explain the reference to people asking me about 'this quarter'). Then, after being printed in the college paper, it made its way into a little collection titled, ALL MESSED UP - And No Place to Go, published (maybe 100 copies or so) by my friend Smitty's Box Dog Press, in 1986. A copy of this little thing - which will stay out of print - is archived at the Seattle Public Library, downtown Seattle branch, along with most (not all) issues of Feminist Baseball Magazine. Here's a picture I took of the little book encased in protective archive plastic, the last time I visited:

ACADEMIC WORDS EXPLAINED

A number of people have come up to me since the beginning of the quarter and asked, "Do you know what such and such a word means?"

While I can understand their confusion over certain large words in the college texts, I find it difficult to answer this question in any way other than to say, "What do you mean by 'such and such a word'? Be more specific." Then I slap them around the room hoping to knock some sense into them.

After several weeks of this I was finally inspired to plunge into the field of academic words and give what help I could to those in the dark.

By "Academic words" I refer to words found in college classes, but found nowhere else in the world.

Keep in mind that some of these words I could not find in the dictionary. In point of fact, I only found one listed there, and in an effort to remain consistent, I disagreed with the dictionary over its meaning. And with that, let us begin.

NEMERTINEA (nem-er-tin-ee-u) noun. 1) The name of the third ship in Columbus' fleet.

Historical development: It followed Columbus home one day and his wife let him keep it, on the condition that he hide it in the garage and resist the temptation to lug it into the living room whenever friends came over.

Suggested conversational use: The Nemertinea has sunk.

NOTE: Do not use it in this way unless it is true. If the Nemertinea has not sunk, talk about basketball instead.

IPRONIAZID (I-pro-nee-aht-zid) Adjective 1) Very small 2) Greek for nazi sympathizer.

Historial development: During World War Two many Greeks could not pronounce 'Nazi' and more often than not it came out 'niazid.'

NOTE: There is a growing school of thought that maintains that rather than 'sympathizer' it really means 'Nazi Synthesizer,' and refers instead to early experiments in electronic sound torture, later perfected by 1980s music.

Suggested conversational use: It is important that you never ever use this word in conversation! Just trust me on this.

OLIGODENDROCITIES (shoe) adverb 1) A statement about a person's manners. 2) Infatuation with feet. 3) Getting hit in the nose

Historical development: Galileo discovered it one day in his microscope and knocked it silly for having snuck into his favorite and most expensive microscope.

Suggested conversational use: I am guilty of oligodendrocities

NOTE: In most cases it is probably best to simply use another word, such as 'perspiration,' or 'over-eating.' If you do, however, insist on using it in this way, you had better expect to be ostracized.

GLIA (glee-u) verb. 1). The act of gliing. 2). To gli.

Historical development: It originally wanted to be the word 'glitter,' but it was roller skating in the castle one day, so the King struck it with his scepter, injuring it terribly, and leaving it to go through life as a cripple.

Suggested conversational use: Must you always glia when I'm trying to read the paper?

HYPOTHALAMUS (og-lee-bor-shnick) noun. 1). Ancient ancestor to the modern day hippopatamus 2). A tennis ball without air.

Historical development: Fossils of the root 'thal' have been dated back to 3,000,000 B.C,, but being that the bones are mangled terribly, scientists speculate that 'Thal' was a jerk and disliked by everyone except a weird guy named Gark. Gark had three legs and no head.

Suggested conversational use: I can't eat that. I've got hypothalamus.

We have only scratched the surface with these five words, but the surface needed scratching, so that's okay. It feels much better now, and should be up and about in a few days.

An in-depth study of academic words would take considerably longer than we have time for.

I trust you have been taking notes, because we have a test on Monday, and anyone who fails it will be ipsalateral for the rest of the week.

Peter Wick

October 15, 2025

138 - Artificial Intelligence, Art, and Comedy

Alexander Solzhenitsyn, the great Soviet/Russian rebel and author, once said, "Live your life, not because of the prevailing politics. Live your life in spite of the prevailing politics."

But this post is not about politics. It is about artificial intelligence, and the salesmen and billionaires who think they are entitled to tell us how we will live in the not too distant future 

So let me adapt Solzhenitsyn's quote. Live your life, not because of the prevailing sales pitch. Live your life in spite of the prevailing sales pitch.

Let me state, though, as clearly as I can, that I am not anti A.I. 

A.I. is a tool, a simple technology that we can use, the way we have used every new technology, from the wheel, to the aqueducts, to the automobile (which many Victorians were certain would 'ruin' society)

I AM very pro human, though. Very pro humanity. And this is the focus of what I am writing. I want to focus on what I am in favor of. I don't want this to come across as being anti-anything (unless it is anti the jackasses who are selling us snake oil).

As a tool, A.I. will be in our human tool box, along with all the other tech we incorporate into our lives every day. I should also say that this is not about anything I have written. I know, this is coming from someone who has satirized and lampooned - not so much the technology - the billionaires who hope to get even richer from it.

Now, let's focus on being human and celebrating our collective humanity.

It is on us - humans - to always re-claim our place as Earth's most creative and imaginative species. And we can certainly step up to this current challenge. I am focused primarily on the creative and cultural aspects of life, because this is my field. Artistically speaking, A.I does not have a chance. A.I. could never have written Jack Kerouac's "On The Road." A.I. could never have made Stanley Kubrick's "Dr. Strangelove."

A.I. could never have created the satirical chaos and hilarious anarchy that is Monty Python's "Life of Brian."

A.I. could 'write' some of these things now, because they already exist, and A.I, is pretty good at plagiarizing what already exists. But human artists and comedians paved the way. Soaring imagination is a uniquely human gift.

As a creative force. A.I. will simply regurgitate things that have already been done. Maybe that's good enough for Marvel movie sequels, but it is the job of the human artist to imagine something uniquely new and daring. If we do this, A.I. does not have a chance.

Now, a little admission; I have used a little bit of A.I. myself. I've been digitizing old video tapes - video tape deteriorates in a unique way, different from, say, old film stock. I paid for a little bit of A.I. cleanup of a couple old tapes I sent in to digitize. The results were...only okay. Not brilliant or anything. Maybe SLIGHTLY better than the original version. Nothing exciting, just a little bit better. So, yes, A.I. is a tool we humans can use. But creativity, imagination, originality, these - I am convinced - will remain the sole territory of human artists.

So, let's stop freaking out about what A.I. will change, and get on with the business of being human!

I was lucky enough to witness first hand the growing 1980s punk scene, that eventually blew up into the early 90s 'grunge' explosion. No one in the music business knew what to do with it. It totally and completely turned what the executives thought they knew, on their heads. It was a genuine, human, emotional and heartfelt movement that caught all the business guys, all the 'experts' completely off guard. This is a good example of something uniquely human - something that defied what everyone THOUGHT was supposed to be popular.

The same went for the French 'Impressionist' art movement of the 1870s and 1880s.

What about all the other ground-breaking creative movements of the past 100-plus years?

Jazz. The early days of Hollywood movies. Pablo Picasso. Beat poets. Rock and Roll. French New Wave Cinema. Andy Warhol. Catcher In The Rye. Street rap music from the early 80s (dismissed by cultural experts) that turned into the foundation of so much music recorded today. The new Hollywood of Spielberg, Lucas, Scorsese, Coppola, of the 70s. The indie film explosion of the 90s.

Humans created these movements. Humans will always be the ones to turn the establishment on its head.

So quit worrying. Start imagining. Create new movements, in that unique way that only humans with human imaginations can. Put A.I. in its place, as an over-hyped, over-sold, limited, slightly dumb phenomenon.

Everything else is just a sales pitch.

Let's put new technology into perspective and roll our eyes at the religiosity in the sales pitch.

My motto going forward is:

Question the rules.

Be creative.

Leave 'em laughing.

Peter Wick

September 13, 2025

137 - Delirium sets in - One More Anza Borrego Sneak Peek

On June 22nd, Robert Silk and I sat in the desert.

Ok, I'll be honest. We both sat in the desert, but only one of us sat from sunrise to sunset.

I took breaks. I went back to the hotel and had a real lunch. But I returned. I sat. I experienced a day like I've never experienced before.

Silk sat from sunrise to sunset. Below are a couple pictures.

We filmed the entire proceedings, and are currently editing what has become our second 'Desert Documentary,' titled Anza Borrego. The desert we sat in is California's Anza Borrego Desert Sate Park.

Sitting in the desert, all day, does funny things to a person. The video clip below is just one example of what we hope will be a fun and often funny documentary. This is what happens to a person late in the day, sitting under the blazing sun...

It will be a while before the full film is ready to watch. But I feel comfortable making one claim this early in the process. This film will have one simple objective...well, two simple objectives. This film's two objectives will be to be both fun and beautiful.

Stay tuned.

Peter Wick

July 14, 2025