Hilarious as always. And the credit sequence is brilliant!
Ok, what’s up ? Kathy Harmening went away. That was not god for LFTI, why did she leave anyway? Did I miss any explanations on the blogg? Anyway, she left. It’s really a pity; she fitted in so well was a very good actor and tough kind of tough I liked her. What was important for her character: She did influence Mason in a way, she was powerful, but she was only dominant when she wanted Mason to do something. She was simply one of the crazy pals, other times. She fitted in. Now, the new “Kate” in the shorts dominates every other character. And she brings in a completely new feeling, a COMPLETELY new feeling and style. She is so different to the others. She is, it seems to me, not well cast, because the others, in the two shorts, cannot play, they cannot develop themselves in the sense any more, they are just dominated by the “Aleinunterhalter” Laura Neufeld - Lou. My impression of the whole thing: LFTI is abandoned by Kathy Harmening, it suffers from missing Kathy Harmening. I suffer from missing Kathy Harmening in LFTI. But, whatever reason she left, I hope one day LFTI comes out of the crisis and will become as brilliant as the first six episodes. I love them. I have all of them in High resolution on my computer and watch them over and over.
OK, I MAY BE A LITTLE BIT SLOW AND I MAY BE A CONSERVATIVE WATCHER OF LFTI. But I did get it in the end: The Times of LFTI 1-6 is past. It was nice, but the variety and the vitality were also in these “Back issues”. When I now resaw “The distractiation Index” for the sixth time, I do like it very much. It has a certain ora. And the whole thing: The series Nr. 7 with Dixon Winn, the three shorts begin to make sense to my view. I can now see that a new Gesamtkunsterk is coming up, the It begins to fit together, series 7-Short 3 in the last month. I keep watching and with more joy now. I’m very impressed how much you produce! And I was always slow. When Jean Marie Straub made the Film “Die Antigone des Sophokles nach der Hölderlinschen Übertragung“ in 1991 I did not like it. I asked Straub, why it was so different from “Schwarze Sünde, 1988“. He just answered „Ja man kann ja nicht sein ganzes Leben dasselbe machen!“ in his ttypical slighty French accent („Well, you cannot make the same thing over and over for your whole life“). I was disappointed with that answer. „Why not?“ I asked myself. And, really, I did not think that change could be an answer itself. But today I see, that an artist / director etc. has different reasons for chance. I need not now these reasons. I can only be interested in the chance he/she shows me or stop watching. Here, at LFTI, I´m interested!
Fantastic, Giorgio! I should not be surprised that you've kept an open mind. Thanks!
I think that if others who may be having similar issues (though I'm not sure that ANY of our other viewers will have issues as complex as yours 
) would give it the thought that you have, they'll see that Laura is a first rate addition to our show!
We're so lucky to have her. She's someone that we've all admired for a while now, and she's only going to make the rest of us better for working with her.
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