Ashton Alexander Webb
- Director
- Writer
- Producer
Founder of Two Thousand Word Pictures®, a production company serving as a banner for insightful stories that revolve around the human condition amid the modern world's most existential issues, Ashton Alexander Webb believes with all his being in the mass urgency of the messages he has to communicate to humanity through the medium of story.
In a world where a cinema of escapist spectacle has become the dominant mode of our culture's artistic consumption, rather than emulate what is successful, he strives to mold stories that effectively serve as blinking red dots of alarm(in the spirit of the morality tales from our tribal ancestors warning us of dangers) in an ever-expanding sea of white noise.
For, as he believes that the largely vapid state of cinema today is just as much a cause as a symptom of our society's decay, he chooses to devote his storytelling strengths to what he calls a cinema of in-escapism; a cinema of restoration to heal the damage that is a habitual turning away from our world's increasingly dire problems which is perpetuated by an oligarchy of numbing entertainment. Problems that all of us should be looking at ourselves to fix collectively, provoked by stories that ultimately rejuvenate humanity's will to power by reflecting its horrific shortcomings back onto it & reminding us all that we as a people must stop looking the other way as our children's future inches towards a cliff's edge.
The fact of the matter is, he sees this Earth in crisis from multiple angles; nuclear annihilation, climate change, U.S. imperialist terrorism, epidemic nihilism & multiple other implications of the timeless destructive temptations in humanity, & rather than distracting people from all this, it's shining a profound light through the prism of philosophically impactful stories on these crises that has become the defining aspect of his career as a visual storyteller, in a way that is unique to his sensibilities.
In a world where a cinema of escapist spectacle has become the dominant mode of our culture's artistic consumption, rather than emulate what is successful, he strives to mold stories that effectively serve as blinking red dots of alarm(in the spirit of the morality tales from our tribal ancestors warning us of dangers) in an ever-expanding sea of white noise.
For, as he believes that the largely vapid state of cinema today is just as much a cause as a symptom of our society's decay, he chooses to devote his storytelling strengths to what he calls a cinema of in-escapism; a cinema of restoration to heal the damage that is a habitual turning away from our world's increasingly dire problems which is perpetuated by an oligarchy of numbing entertainment. Problems that all of us should be looking at ourselves to fix collectively, provoked by stories that ultimately rejuvenate humanity's will to power by reflecting its horrific shortcomings back onto it & reminding us all that we as a people must stop looking the other way as our children's future inches towards a cliff's edge.
The fact of the matter is, he sees this Earth in crisis from multiple angles; nuclear annihilation, climate change, U.S. imperialist terrorism, epidemic nihilism & multiple other implications of the timeless destructive temptations in humanity, & rather than distracting people from all this, it's shining a profound light through the prism of philosophically impactful stories on these crises that has become the defining aspect of his career as a visual storyteller, in a way that is unique to his sensibilities.
