Above:Footprint after todays training. 

One of the-- if not the most forward-trust-infused endurance-training-resources is SealFit, founded by Mark Divine. Here are some of his directions regarding food: "What you fuel your body with is critical for developing strength, recovery, and mental acuity. [...] Processed grain, in the form of breads, pasta, cereal and most other things in a box with label, are the enemy to good health and fitness. These processed carbs enter our blood stream faster than glucose in the form of glycogen, and send our insulin levels skyrocketing throughout the day. When it drops back down we are sent a “hormonal hunger” message in the form of a craving to have more of the same junk. In this vicious cycle, the body burns sugar, and stores fat. That is why we have a billion-dollar industry selling low and no-fat products, as if fat was the enemy. It is NOT. Fat is good (or we should say good fat is good). Become a fat burner and burn fat, rather than store it."

Further reading: http://www.sealfit.com/frequently-asked-questions/

Every training -- fast, slow, long, short, high, low, warm, cold, dry, wet -- is a shard in a mosaic.

Above: FP 30K SAR BL training. Identical to running… " [ a ] movie flows trough real time, like a river carrying you toward your destination. If you ask a question or think about something other than the movie, you're out of the river and up on the bank -- out of the flow. This is seldom good."  -- Howard Suber ' The Power of Film ' (page 168).

Structure: How reality affects story:

 "When I examined what the structure [ of the film 'Au Revoir les Enfants' ] should be, I thought it was important, little by little, to see the war breaking in. The central story is the arrival of this new boy and how he and Julien become friends; there's hostility at first and then step by step we see the birth of a friendship between two children who are equally curious about certain things, probably a little smarter than the rest of the students, and how they find their affinities." Louis Malle in 'Malle on Malle', edited by Philip French (Chapter 5, 'Coming Home', page 170 - 172)

Story: attempted quest for unity by the character(s):

" [...] "I don't want to bother you much with what happened to me personally," he began, showing in this remark the weakness of many tellers of tales who seem so often unaware of what their audience would best like to hear; "yet to understand the effect of it on me you ought to know how I got out there, what I saw, how I went up that river to the place where I first met the poor chap. It was the farthest point of navigation and the culminating point of my experience. It seemed somehow to throw a kind of light on everything about me -- and into my thoughts. It was sombre enough, too -- and pitiful -- not extraordinary in any way -- not very clear either. No, not very clear. And it seemed to throw a kind of light." Joseph Conrad 'Heart of Darkness', first published in 1899 (page 11)

As adapted in the 'Apocalypse Now' screenplay (John Milius and Francis Ford Coppola, narration written by Michael Herr):

               EXT. MILITARY COMPOUND - DAY

               A darkly painted Huey lands in a guarded military compound 
               somewhere in Nah Trang.  The two enlisted men jump out of 
               the helicopter, leading Willard, who seems in much better 
               shape.  As he gets out he sees a platoon of new men drilling 
               in the hot hazy sun.  They are clean and pale.

                                     MEN (Chanting)
                         I wanna go to Vietnam.
                         I wanna kill a Vietcong-

                                     WILLARD (V.O.)
                         I was going to the worst place in 
                         the world, and I didn't even know 
                         it yet.  Weeks away and hundreds 
                         of miles up river that snaked 
                         through the war like a circuit 
                         cable...plugged straight into Kurtz.

               He follows the escort across the fields as the platoon 
               drills.

                                     WILLARD (V.O.)
                         It was no accident that I got to 
                         be the caretaker of Colonel Walter 
                         E. Kurtz's memory, any more that 
                         being back in Saigon was an 
                         accident.  There was no way to 
                         tell his story without telling my 
                         own.  And if his story is really a 
                         confession, then so is mine.

               They approach a civilian-type luxury trailer.  It is 
               surrounded by concertina wire, and its windows have grenade 
               protection, but it still seems out of place in this austere 
               military base.

               CLOSER ON WILLARD

               He stands before the door for a moment, as the M.P.s 
               guarding the trailer check his papers.

Above: FP 30K SAR BL training. Start it, do it, consolidate it.

“A cinematographer is a visual psychiatrist, moving an audience…making them think the way you want them to think, painting pictures in the dark.” Gordon Willis on Jon Fauer's 'Film and Digital Times'

"I’m Gordon Willis. I’m a Director of Photography." Gordon Willis, ASC

"The largest grip/electric truck the world has ever seen backed down Mr. Willis’ precariously steep driveway. One slip of the brakes, and his very large, beautiful  house would be toothpicks. Gordon was watching, looking amused. “What’s with all this stuff?” he asked. Ken Perham,  gaffer, explained that he was under strict orders from Tibor not to scratch, blemish or scrape anything,hence lighting with big HMI PARs from outside, with no heavy metallic feet  touching the inside of the house. “Too complicated,” said Gordon. “Just bring in one Kinoflo.” So, one 4-bank 4-foot daylight Kinoflo it was. After it was all over, Gordon asked the electric crew to turn the light off. “Aha,” he said, “that’s better, isn’t it—no light at all.”" Jon Fauer in 'Remembering Gordon Willis, ASC'

" […] media violence is causing its citizens to accept violence as a viable alternative. Governments around the globe, try as they might, have not been able to [ protect ] citizens [ from media violence ]. And they will never truly be able to control violent crime unless they stop infecting their children. One common response to any concern about media violence is, "We have adequate controls. They are called the 'off switch'. If you don't like it, just turn it off." Unfortunately, this is a tragically inadequate response to the problem. In today's society the family structure is breaking down and even in intact families there is enormous economic and social pressure for mothers to work. Single mothers, broken homes, latchkey kids, and parental neglect are increasingly the norm. The worst thing about the "off switch" solution is that it is so blatantly, profoundly racist in its effect, if not its intent, […] Bronson James, a black Texas-based radio commentator whose show I was on, observed that this is identical to the genocidal process in which for centuries the white man used alcohol in a systematic policy to destroy the culture of the American Indian. For a variety of cultural and genetic reasons, the Indians were predisposed toward alcoholism, and we dumped it into them as a crucial part of the process that ultimately destroyed their civilization. The pumping of media violence […] today is equally genocidal. Media violence-enabling […] is the moral equivalent of shouting, "FIRE!" in a crowded theatre. As a result, murder is the number-one cause of death among black male teens, and 25 percent of all black males in their twenties are in jail, on probation, or on parole. If this isn't genocide, then it is close.

What makes the "off switch" solution so racist is that, if these murders and incarceration rates were happening to the sons of white upper- and middle-class America, you can bet that we would have seen some drastic action by now. Viewed in this light, I think that most individuals would agree that the "just turn it off' solution probably rates right up there with "let them eat cake" and "I was just following orders" as all-time offensive statements. In developmental psychology there is a general understanding that an individual must master the twin areas of sexuality and aggression (Freud's Eros and Thanatos) in order to have truly achieved adulthood. In the same way, the maturation of the human race necessitates our collective mastery of these two areas. In recent years we have made significant progress in the field of sexology, […] After nuclear holocaust, the next major threat to our existence is the violent decay of our civilisation due to violence-enabling in the [...] media." Dave Grossman in 'On Killing: The Psychological Cost of Learning to Kill in War and Society', chapter: 'Introduction to the paperback edition', Page 23 'Just Turn It Off, or Let Them Eat Cake' (first published in 1995)

Gordon Willis interview here: http://www.fdtimes.com/2014/05/20/remembering-gordon-willis-asc/

Above: FP 30K SAR BL training. Training at BL (Best Level) automatically introduces recovery and healthy behaviour into training experiences: overload exceeds BL-territory (leads to injury and drifting away from BL). SAR training is trail-training, focussed upon improvement of technique and effeciency. NO MATTER WHERE, NO MATTER WHAT: create optimum character-exposure and accelerated progression (run, built, jump, plunge, climb, fall, swim et cetera). Evolve alert and creatively and efficient and technically sound. Trough strategic use of available resources, including time, terrain, weather, technical-support (and injury treatment, food and rest).

"Do today what others won't. Do tomorrow what others can't. Hooyah!" - Mark Divine

*) "The task of the lighting technicians is an extremely creative one. A really good lighting man has his own plan, though he of course still needs to discus it with the cameraman and the director. But if he does not put forth his own concept, his job becomes nothing more than lighting up the whole frame. I think, for example, that the current method of lighting for color film is wrong. In order to bring out the colors, the entire frame is flooded with light. I always say the lighting should be treated as it is for black-and-white film, whether the colors are strong or not, so that the shadows come out right."

*) "During the shooting of a scene the director's eye has to catch even the minutest detail. But this does not mean glaring concentratedly at the set. While the camera's are rolling. I rarely look directly at the actors, but focus my gaze somewhere else. By doing this I sense instantly when something isn't right. Watching something does not mean fixing your gaze on it, but being aware of it in a natural way.I believe this is what the medieval Noh playwright and theorist Zeami meant by "watching with a detached gaze.""

*) "What is cinema? The answer to this question is no easy matter. Long ago the Japanese novelist Shiga Naoya presented an essay written by his grandchild as one of the most remarkable prose pieces of his time. He had it published in a literary magazine. It was entitled "My Dog," and ran as follows: "My dog dog resembles a bear; he also resembles a badger; he also resembles a fox…." It proceeded to enumerate the dog's special characteristics, comparing each one to yet another animal, developing into a full list of the animal kingdom. However, the essay closed with, "But since he's a dog, he most resembles a dog. I remember bursting out laughing when I read this essay, but it makes a serious point. Cinema resembles so many other arts. If cinema has very literary characteristics, it also has theatrical qualities, a philosophical side, attributes of painting and sculpture and musical elements. But cinema is, in the final analysis, cinema.""

Akira Kurosawa: "Advice to young people considering a career in filmmaking", adapted by Audie E. Bock, first published in 1975, cited from 'Something Like an Autobiography' (page 191, 'Some Random Notes on Filmmaking')

More: http://bartvanbroekhoven.com/en-US/running/78-sar-11-dirt-dive

See also: http://sealfit.com/blog/