The Film

Saturday, October 1, 2022

Thursday, September 29, 2022

Bijoy Goswami Commentary

Bijoy reflects (in 2008) on the various texts and models referenced in the film. The texts include the Bhagavad GitaDao De Ching and Waiting for Godot

The Gita is a conversation between Arjuna and Krishna immediately prior to the devastating War of Kurukshetra, referenced in the great Indian epic, Mahabharata. Arjuna, the hero of the story, has a moment of crisis and self doubt. Krishna, his charioteer and an avatar of the God Vishnu, counsels him. Mystic Cab replaces the chariot with Grover's cab. Instead of a guru and a disciple (god and man), Grover and Dick become Arjuna and Krishna at various points in the story. 

The Dao De Ching is a collection of poems attributed to Lao Tzu and the yin/yang is a symbol of the Dao. Bijoy reinterpreted the yin-yang not as a static symbol, but a literal flow diagram. We traverse the perimeter of a duality, experiencing its positive and negative aspects. Having explored both sides thoroughly, we eventually integrate the duality into an entirely new model. Grover and Dick are in lockstep around their particular dualities, eventually resolving them with each other's help. We seek out and are provided with these "dance partners" on our journey, who act as mirrors to see ourselves more clearly. 

An unanticipated reference to Waiting for Godot, became clear when Bijoy saw the West End production, starring Sirs Patrick Stewart and Ian McKellen. The protagonists Vladimir and Estragon await the arrival of Godot. Vladimir calls Estragaon "Gogo" and Estragon's nickname for Vladimir is "Didi." They're unable to see that together, they in fact are "God-ot." Not only does God never arrive, but they're looking externally for something that can only be found within. The tragedy lies in them not seeing it and the play has no third act to resolve the tension. The original title of Mystic Cab is "Guru or Disciple? YES!" and makes the same explicit reference to "GoD" with Vladimir and Estragon recreated as Grover and Dick. Only, in this 21st century response they realize the that it is entirely up to them to steward meaning and the story resolves into its third act with an all-confirming "YES!" 

Bijoy's journey into models began, as all ours do, with the models presented by the world. He was unbelievably lucky to receive both eastern and western models. Bijoy's models - MRE, Bootstrap, JOurneY, Human Fugue - are syntheses and extensions of this abundant feast. 

Wednesday, September 3, 2008

Lance Keltner Interview

Lance Keltner scored the film, drawing inspiration from his study of Indian and Rock music. Mystic Cab's aural landscape morphs through each of the scenes, first oscillating between east and west, then finding its integration. Listen to Bijoy's interview with Lance (10min).

Monday, August 18, 2008

Mystic Cab featured in the Bootstrap Film Fest

Mystic Cab was among 5 films that were featured in the inaugural Bootstrap Film Fest

Friday, August 8, 2008

Chris Blankenship Interview

Chris Blankenship did incredible work editing Mystic Cab. He first rendered Nils' visual aesthetic to life, then weaved in additional elements such as the score and text. Here's Chris' commentary.

Monday, February 25, 2008

Nils Juul-Hansen Interview

In an interview today, Nils discusses the synchronicity that led to his directing and producing Mystic Cab along with his wife, Jonna. Nils had a unique vision for the project from an aesthetic, storytelling and experiential point of view. He is not only interested in the final outcome, but the process by which it is achieved. 

The project came together in a magical way, including an amazing cast and crew and locations around town including Trajen Aiport, By George Austin and the Driskill Hotel. Austin's unique creative, collaborative and supportive culture makes it a perfect place for a projects like this. 

The commentary accompanies the film.