Alejandro Jodorowsky, if I may presume to have correctly understood his intentions, is an authentic creator who has always understood that magic is greatly reduced without art, but that art is precisely nothing without magic. His inspirational work has always provided a dazzling example of genuine vision coupled with the enormous human strength necessary to realise that vision in this sometimes difficult world of material form and materialist agendas. His example is a blazing beacon to anyone aspiring to work in the medium of cinema; a searing admonishment to remain true to their own unique voice, and eye, and mind; true to the golden information that is pouring through them.
I could list his films with their enduring images, their haunting atmospheres that linger in the heart long after the concluding credits, but if I am honest it was Jodorowsky’s luminous account of his encounter with surrealist goddess Leonora Carrington that most impressed me with the exalted humanity and compassion of the man, and with the heartfelt lucidity of his style, as clear as rain. Anything, any radiant morsel from this artist and magician’s table, is a thing to be treasured in our culture forever, and to contribute in any way to the realising of yet another fugue-state masterpiece could only be the most tremendous honour. -- Alan Moore
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