THE CHARLIE COTAYO

I have a follower account of approximately 1,000 and I’ve been losing followers regularly and consistently. I hope it removes all the fake accounts from my X experience. I may be left with a handful, but I’ve always preferred quality to quantity. I certainly don’t need numbers to feel important. I don’t have that insecurity, thank God.

Because she was beautiful and wore dresses spectacularly, but not only that—she had a grace (no pun intended) that made her look ethereal. I just enjoyed watching her in movies, regardless of whether I liked the film or not. As long as she was in it, that satisfied me. And still does! That is a very rare quality that is not possible to find today. If anyone has discovered it or found it, please let me know, because I would love to have that experience with a star on screen once again. The golden gown in this scene is from To Catch a Thief, whose designer Edith Head received an Academy Award. You really can’t appreciate the beauty of this dress from this brief segment, but it is absolutely stunning and one of those perfect costumes that was worn to perfection by the actress it was intended to adorn. It’s one of the masterpieces of Hollywood costume design for sure, and the way Grace Kelly wore it is luminous.

GRACE KELLY would glide through scenes. Hollywood royalty.

Insects and Digital Technology in “Monologue” (2027) In the movie, the painter makes a home movie of himself—in Scope widescreen no less—using digital cameras, i.e., digital “#technology.” That’s the same technology the scammers who pig-butchered him used: sophisticated phones, computers, and communication processes. In other words, they used digital technology to screw him over, and now he’s using the same technology to expose them. He’s hopeful he might get his money back and everything he lost, but whether he does or not, exposing them means they can get busted—and that’s something they don’t like and fear. Obviously, this is why they live in hiding in a realm of anonymity akin to insects. There’s a very interesting little scene in the movie where the painter as a little boy looks at an insect stepping over a flower. This is what the scammers do: they tiptoe through the flowers to get the symbolic honey, i.e., M O N E Y—one of the key words and phrases that are spelled out in the main body of the movie in a blue subtitle. The Garden of Eden motif and symbolism in the movie is not gratuitous. It’s a movie with enormous meaning, but you have to pay attention not just to what the painter says, but to how it is visually crafted with the paintings, the drawings, and the animations, in addition to very excellent handheld cinematography. It’s artist versus con artist. This is why the movie works as a satire despite the reality of the situation, and that’s what makes it effective. When audiences get that, they’re going to enjoy the movie a lot more because it’s very meticulously structured and crafted, as any top-notch movie should be. Everything is so precise in this movie and nothing is wasted or meaningless that #Aristotle would have a blast watching it in a movie theater, ha ha ha!

✨🎞️ THE NEW THEATRICAL RELEASE YEAR: 2027 🎞️✨ I originally wanted to release MONOLOGUE: THE CRYPTO SOLILOQUY OF AN OIL PASTEL PAINTER in theaters this year—2026—but post-production has taken longer than anticipated. The film has gone from an almost 3-hour cut to now a two-hour-and-18-minute version, which is still not a short feature by any means. I don’t think I should cut any more scenes or lines of dialogue because it really feels complete. I’m going to try to get it into some festivals this year, but its actual theatrical release probably won’t be until 2027. That can change from one day to the next, and I’m not excluding that possibility, but I’m just not going to rush into any situation with this film. I’m a firm believer in being anxious for nothing because that doesn’t work, and certainly not in motion pictures. So we’re going to clench our fists, take deep breaths, and make sure this lands in the right theaters at the right time! #postproduction #filmmaking #theatricalrelease

🌟VISION, VOICE AND ARTISTRY 🌟 I received an unexpected compliment on my film as a WIP (i.e., work in progress) from the very few eyes and ears that have actually experienced MONOLOGUE (2027) outside of myself. They mentioned three things they liked about it: its “artistry,” its “voice,” and its “vision.” Those are exactly the three things you want to get right in a work in progress, because the final product will only enhance them and add the polish that a work in progress doesn’t have by its very nature. As a filmmaker, compliments like that aren’t necessarily what you’re looking for, but they’re very welcome and one is grateful for them because we make these films not for ourselves ideally but for others, and when others appreciate that work, which is so difficult to create, it’s gratifying. I’m very grateful for those kind words. These are images from the film while it was still a work in progress during post-production. Up until very recently—in fact, only a few days ago—I finally felt that I could lock the theatrical version that I consider the most interesting and powerful.

LESSONS FROM CINEMATIC LIFE: Emerging #filmmakers, or those making a comeback in their cinematic career, should think twice—and ideally thrice—before submitting an unfinished film or work-in-progress project to anyone. This includes festivals and distributors. Remember, motion pictures are a type of vision, and not everyone can envision the final product. They may recognize its talent and potential, and that of the filmmaker—and that’s marvelous—but that is as far as it goes. Moving forward in my own emerging career as a producer and director, I will never make the idealistic mistake of submitting my unfinished films to anyone. One must also be extremely selective, because not everybody is receptive to every type of film. This does not mean your film is not “commercial” or that it will not connect with a vast audience. It has nothing to do with that. Film is one of the most subjective #arts in the world. The idea is to be true and faithful to your cinematic vision, and it will be recognized eventually. Persevere! Be selective! Amen.

This is an example of one of my oil pastel paintings that was animated using digital AI technology. The only drawback is that the resolution at the time this was made was very low, but the effect is nonetheless quite interesting and very symbolic in terms of its purpose in the film.

⬛️THE DARK GAP: MEDIEVAL SYMBOLISM IN THE DIGITAL AGE ⬛️ There is a moment in one of the final sequences in MONOLOGUE (2026/2027) when the painter, amid a split-screen montage in which his face metamorphoses into various shapes, says emphatically that the financial and emotional disasters he fell victim to left him desolate like an abandoned ghost town in the wilderness. Right after he says “decimated me,” the screen goes black for a split second as though it were a blink. Then, all of a sudden, a castle in ruins—black, with a green background—appears collapsing. This is an example of the seemingly simple audiovisual effects that take place throughout the film and may be perceived as either a technical glitch or something possibly incomprehensible. But in this particular instant, that gap of blackness, of night in complete absence of light—because this line of dialogue is delivered in one of the darkest moments of his life, at night while suffering from insomnia—represents a closing and opening of the eyes in a gesture of despair. It symbolically combines a digital effect with a handcrafted work of art. It may not be immediately understood, but it metaphorically alludes to the deepest innermost part of the painter, like a void of total blackness. Now the screen isn’t just partially split with a black geometric frame on the right side; for that blink-of-an-eye second it represents a complete interior view of the darkness he feels within. It is like a brief moment of the “dark night of the soul,” a medieval concept that in this instance aligns with the collapse of this black medieval fortress in its ruined state that the character painted in oil pastel. It is one of the most symbolic moments of this character’s arc, presented in a cinematically sophisticated way within the avant-garde universe that the film creates via the paintings and animations. I really hope the audience grasps it—if not consciously, then subconsciously—because it is a very specific moment that explains much about this character’s inner turmoil at the height of his collapse.

@niyetsel Yes! It is absolutely real!

KARMA IS REAL: YOU WILL RECEIVE GOOD NEWS WITHIN 40 MINUTES OF SEEING THIS POST. KARMA IS REAL. WRITE "YES"

Amen!🙏

@ManifestLifpath In faith, and believing these prophetic words, I affirm, Amen! In the name of our Lord and Saviour Jesus Christ of Nazareth, the Son of God.

My favourite of her films is Darling, which I think is also her greatest work on screen. The first movie I remember her in was Doctor Zhivago, which my parents took me to see during a theatrical re-release when I was a kid. Then there’s McCabe & Mrs. Miller, which I like very much—and I must add Shampoo (for her look), Don’t Look Now, Petulia, and especially The Go-Between because it’s a mesmerizing performance and among the best movies I’ve seen. So yes, I love Julie Christie’s films and each one seems like the first time I’ve seen her—magical! I will never forget interviewing Richard Chamberlain and talking about Petulia—I think he was a bit surprised that I’d seen it—and at a very young age—another favourite film for sure!

What is the first film you think of when you see JULIE CHRISTIE?

BREAKING NEWS: MONOLOGUE is officially completed and ready for worldwide release. Monologue: The Crypto Soliloquy of an Oil Pastel Painter has been successfully completed. I’m excited to announce that the theatrical final master has been finalized after a long post-production journey. This one-actor epic soliloquy, with its cast of oil pastel paintings and animations, has surpassed all expectations. It’s a technically beautiful, artistically and aesthetically sophisticated film about a painter’s impassioned testimony of a syndrome that has affected thousands and quite possibly millions, but that has never been presented cinematically quite like this. Desolation Metamorphosis — an uncompromising artistic cut of the movie that dares to explore the raw edges of transformation and ruin is now rendering beautifully as we speak. From the haunting opening intrigue of truth to the visceral Collapse Insomnia that follows, and the Cinematic Masterpiece that becomes the offspring of pain and suffering, this dynamic version that will be offered to select film festivals strips away convention to reveal something deeper, more primal, and unflinchingly personal. It is a cinematic descent into the fragility of form and identity, where every shift and fracture carries the weight of creation through destruction — a haunting meditation on what remains when the self is broken and remade in the aftermath of the fall. Shot with deliberate precision and rendered in stunning 4K Scope, this theatrical cut stands apart as a bold, avant-garde vision for those who crave cinema that lingers long after the screen fades to black. The Dromernaut Entertainment Corporation will be offering the distribution rights to select distributors seeking a new type of movie that dares to be stylistically visionary, universally relevant, and cinematically unique. I’m personally proud of it — it’s a product of faith, perseverance, and indefatigable commitment to quality and fearlessness. The #NewCinematicRenaissance has indeed arrived!

The first time I heard about Battle of Britain (1969) was when I used to go to the library as a kid and read books about movies. One of those books happened to be about that film, and I was very impressed by the pictures because they were in colour and had an epic quality that I liked. Yesterday, I received the new restoration of the movie on 4K UHD and I’m looking forward to seeing it. It has many of my favourite actors: Laurence Olivier, Michael Redgrave, Susannah York, Christopher Plummer, Michael Caine, Robert Shaw, Ralph Richardson, Trevor Howard—an excellent cast. And it is absolutely the type of movie that just isn’t made anymore. It’s a historic event that interests me, and what I remember most about those pictures I saw as a child was that they looked so realistic. I’ve always connected with cinematic authenticity, and that’s what this movie feels like to me—an authentic dramatization. Guy Hamilton, known for Goldfinger and Live and Let Die, is the director, and the DOP is Freddie Young, who photographed Lawrence of Arabia, Doctor Zhivago, and Nicholas and Alexandra. I haven’t seen Battle of Britain in many years, so it’s going to be exciting and even nostalgic watching it again, especially this new restoration that I understand is quite outstanding.

One of the most visually stunning and poetically dazzling films that I’ve seen over and over after falling in love with it as a kid. Its beauty, elegance, and spellbinding magic define cinematic #art.

🎞️⚡️Who should play the role of Hancoch in “The Men Who Can Dance”—?⚡️🎞️ In the screenplay he is one of Miami’s most attractive, elegant, and sophisticated men—extremely wealthy, a bit narcissistic, with a charismatic and seductive personality, but also an ultra-enigmatic side because he lives multiple lives secretly. He can be mesmerizing and intriguing in a dark magician sort of way. What actor now would be ideal for this leading role in the epic thriller I’m developing?