The Wannabe

Writing Update: The Keys

Sat, 18 May 2013 23:27:07 -0700

When I go to the movies, I look for a few things in particular, items I often cite in my reviews that hold great bearing over whether or not like the film.

First of all, you have to care about the characters, and in order for that to happen, you need to know them a little. You need to understand where they are coming from, either through their background or through their relationships with others.

Secondly, the character’s arc needs to be something that’s, you know, interesting. They are on a journey from here to there, and we the audience are watching it for a reason. That reason could be for sheer entertainment, or it could be something thematic, some great point or lesson meant to inspire. If that isn’t there, then the flick is just pointless, and a bad time is had by all, or at least me.

Lastly, the structure of the film should be relevant to the story. Take Memento for example. It’s not just told backwards because it’s a nifty parlor trick (though it is). It’s told backwards because Leonard the protagonist is currently in a confused state (understatement). It’s hard for him to interpret things, and therefore, thanks to the narrative, the audience feels the same way, so we’re right in his shoes with him (hope he’s a large size, ha ha, so clever, shut up). Or Blue Valentine, which shows the start and disintegration of a romance. Both stories are told not only because just hearing the exposition of the beginning plot line would be boring, but because the characters are in the midst of their ending marriage, so there’s no doubt that they would be flashing back to either see where they went wrong or to try and reclaim some of that initial spark.

All of these things are kind of obvious when you think about it, but sometimes it helps to take a moment and remember them, especially if you want to be a professional writer, like I do. I definitely look for these keys in my own stories and do my best to make them come across in the subtext. But then I go back and read the work and can’t help but feel that something is missing. Problem is, I can’t see it, can’t touch it, can’t even smell it.

That’s the problem I’m having now. I’m trying to write my next draft of Play with Fire, but I keep resorting to basically the same outline, minor changes here and there. That doesn’t bode well for a draft I plan to be shorter than the 152 pages Draft 1 turned out to be, and it certainly isn’t satisfying for a self-proclaimed perfectionist such as myself.

I would like to think that the main problem comes from its structure. Like Blue Valentine, there are two storylines, one past, one present, both interspersed. And the purpose of the structure seems sound, with the main character doing her best to escape her past but needing to embrace it in the end in order to move on. However, the problem with the structure seems to be, well, structural. Because of the back and forth, some plot points in the flashbacks might come to late, which push some plot points in the present day story even later, and before I know it, I’m back to a too-long-by-industry-standards screenplay.

Then there’s the problem with perspective. A friend’s brother who is an aspiring director gave me some excellent notes a while back, and one had to do with point of view. The structure seems to take away from or confuse the idea of who the main character is. It can be argued that there are two main characters with two equally important arcs, but predicting how professionals will look at the script, and imagining that it was just a movie I happened to waltz into and was free to judge, it would certainly be a problem they and I would have with the film. But there are important bits and moments for both characters, and so I’m finding it hard to just adjust the focus onto one in particular.

I’d like to think I’ve got time to really hone in on what changes I can make, and technically speaking, of course I do. But I’m giving myself a deadline: Zoetrope, Francis Ford Coppola’s production company, has a screenwriting contest, with a cash prize for the winner and consideration from agencies and studios for the winner and the top ten finalists. That’s kind of hard, nay, impossible to pass up, and I am more than game. I just need to have a screenplay I’m proud enough to enter. I have other ideas that have gone through several drafts to which I can turn my attention, and often times I feel a little ADD and start thinking about these stories. But I’d like to maintain focus on Play with Fire. It’s personal, and I’m very proud of it.

I’d like to be even prouder.

The Office: A Tribute

Fri, 17 May 2013 00:52:00 -0700

The Office came to me by accident. I don’t recall ever seeing the promos before the series first aired, but at the very least, I had a waning interest, despite being a big fan of Steve Carell from his Daily Show days. Then, one evening, I was at my best friend’s Zack’s house. Our good friend Nate was over as well, and I believe he was in the midst of marathonning the entire series up to that point with Zack. I just happened to wander in. I didn’t know any of the characters, I didn’t know what was going on or what relationships there were. I think I was too distracted to fully invest.

Soon after, “Casino Night” garnered big headlines because of Jim’s tearful confession of love to Pam, followed by the kiss every fan of the show had been yearning for. I read these headlines and didn’t understand what the big deal was. So I Youtubed the clip (this was before the days when networks cracked down on illegally downloaded clips…ah, memories)…and I watched it over and over again. Nothing I had ever seen up to that point had had such a visceral impact of me. The realism, the emotion, the satisfaction of seeing these two people that A) I didn’t even know, and B) were fictional, finally coming together…It was obvious from the get-go that they were soul mates, and I could do nothing but swoon. And this was supposed to be a comedy! Perhaps I was vulnerable because, not even a year earlier, I had made my own confession of love to a girl and felt the same sting of rejection, but mine was not followed by a kiss that negated all of that. Either way, I was sold.

The Office was much more than a sitcom to me. The characters weren’t just characters. I don’t believe I’ve ever cared more for fake people than I have for the crew at Dunder Mifflin. Maybe only Lost and Boy Meets World rival them, but The Office cast seemed more accessible. These were people I could get along with, spend time with, that I wanted in my life. That could be because the documentary gimmick created the illusion of reality, or maybe because the actors were just pitch perfect in their roles, but everyone, even Dwight, even Michael, even Angela, even Creed, was someone I looked forward to seeing each and every week, and not just because they made my sides split.

And now the show is over. What am I going to do every Thursday without The Office to look forward to? As series finales go, it seemed to go through the motions: everyone comes together and everything gets wrapped up in a little package. The tone was all lovey dovey, there were a few life changes here and there just because the show’s ending and the characters are allowed to finally move on because the story as we know it is over, and of course there was the fan service that must always be obliged, here in the form of a certain cameo by a certain someone. It was lacking and moments and, really, laughs, though when I did laugh, I laughed hard. But the heart, as always, was there, and the legacy of the characters and the show itself made it a fitting end. Even that cameo wasn’t bothersome because it was so grounded and sincere, and it became a joy to witness, warm fuzzy feeling and all.

That’s what kept The Office so genuine in my mind: its heart. Even in the later years, when the characters became caricatures and the humor became more broad and cartoonish, the heart was always there. I had a lot of negative things to say as the quality of the show seemed to falter, but only because I felt these characters deserved to have the best possible show they could get. Only because…sigh. Might as well confess:

Michael, Dwight, Jim, Pam, Ryan, Andy, Darryl, Phyllis, Stanley, Angela, Kevin, Oscar, Creed, Meredith, Toby, Kelly, Erin, Nellie, and even the new guys, Pete and Clark (never Gabe, forget Gabe): you made me laugh, you made me cry, you made me swoon, you made me frustrated, you made me look forward to 9 on Thursdays every week. I’m really sorry if that’s weird for you to hear, but I needed you to hear it. Probably not good timing, I know that, but…I just needed you to know…Once.

So thanks.

lipsgallagher: I’M A MONSTER! Well, now I know what “Ars...

Thu, 16 May 2013 13:33:00 -0700

lipsgallagher:

I’M A MONSTER!

Well, now I know what “Ars Gratia Artis” means in Latin.

The Office Shuts Off the Lights, by Andy Greenwald - Grantland

Thu, 16 May 2013 10:45:59 -0700

The Office Shuts Off the Lights, by Andy Greenwald - Grantland:

I’ll probably have a little something to say of my own after tonight’s finale, but Greenwald writes a very accurate, pull-no-punches eulogy here.

belatedmedia: Coulson Lives: appropriate reaction

Wed, 15 May 2013 12:37:05 -0700

belatedmedia:

Coulson Lives: appropriate reaction

This website maps every recurring joke on Arrested Development

Tue, 14 May 2013 23:20:53 -0700

This website maps every recurring joke on Arrested Development:

thebluthcompany:

usnews:

An interactive visualization of running jokes in Arrested Development.

This is amazing.

'HIMYM' Season 9 'Will Tell the Epic Story of the Longest Wedding Weekend Ever' | TV Line

Tue, 14 May 2013 11:05:00 -0700

'HIMYM' Season 9 'Will Tell the Epic Story of the Longest Wedding Weekend Ever' | TV Line:

popculturebrain:

I swear, if they spend the entire season on the wedding weekend…

Called it.

While it’s on my mind, I’d also like to mention that HIMYM made splendid use of The...

Tue, 14 May 2013 01:42:18 -0700

While it’s on my mind, I’d also like to mention that HIMYM made splendid use of The Shins’ “Simple Song,” a song I enjoyed but wrote off fairly quick, but will now probably be in my head forever and ever. HIMYM has always made great use of tunes, never exploiting them or rendering them obsolete due to poor editing. They’ve always reached for the core of the moment, the feeling, and enhanced the scenes they were sharing.

So, while I’m still awake, I’d like to list some of the songs that have worked tremendously on the show. I can’t wait to see what songs they use next year, the final year, of one of my favorite shows of all time.

Bloc Party “This Modern Love”
Big Star “Thirteen”
Radiohead “Nice Dream”
Regina Spektor “Better”
AC Newman “Prophets”
Goldspot “Rewind”
Grizzly Bear “Two Weeks”
Jon Brion “Hook, Line and Sinker”
Pixies “Hey”
Band of Horses “The Funeral” (this was already one of my favorite songs)
Fort Atlantic “Let Your Heart Hold Fast”

Official Trailer | SLEEPY HOLLOW | FOX BROADCASTING (by...

Mon, 13 May 2013 22:01:00 -0700

Official Trailer | SLEEPY HOLLOW | FOX BROADCASTING (by FoxBroadcasting)

I’m not into hate-watching, but this looks so ridiculous, I just may need to start. I mean, the Headless Horseman wielding an assault rifle? WHAT?

After Tonight's HIMYM...

Mon, 13 May 2013 21:12:21 -0700

…I have a sneaking suspicion of how the final season will go. More after the cut. (And, duh, spoilers, especially in the first sentence, so watch “Something New” and then come back.)

So we met the mother. And right off the bat, it’s just perfect casting. She looks like she could be the mother of Ted’s kids. Awesome. Great reveal. Great use of The Shins. Still geeking out about it.

But we haven’t had Barney and Robin’s wedding yet. Just everyone heading for Farhampton. And everyone has a big, life-altering change (that was redundant) hanging over their heads. Ted is lonely and moving to Chicago. Lily and Marshall are moving to Rome for a year, but gasp!, Marshall’s going to be a judge, putting a wrench into those Italian plans. And, obviously, The Barnstormer and Scherbs are about to exchange vows and give the ol’ marriage thing a try. Huge stuff for our lovable gang.

But with the reveal of the mother and all these high stakes, what does that leave us for Season 9? They obviously can’t wrap up all these cliffhangers in the season premiere. And I don’t expect them to. In fact, I expect all of Season 9 TO TAKE PLACE AT THE WEDDING.

Now, this is obviously a huge leap, not to mention a very risky prospect. 24 episodes spread out over one day? That’s unheard of (wait a minute…ha, that’s kind of a pun…don’t hurt me, Mr. Sutherland). But I suspect that Bays and Thomas will still hold off on the actual meeting of the mother until the end of the series, or at least until close to the end. Which means stretching out this one event, this one culminating moment in this group’s lives, for the entire year.

How can this be made interesting, especially for a show that, admittedly, has been waning in recent years? Well, with the mother cast, they’ll probably want to show her off, which will probably call for a lot of flash forwarding, as the show has been known to do, more so in recent seasons. We’ll probably get to see the courting process, the embarrassing moments, the inevitable engagement, maybe even the birth of Ted’s children. It’s going to be like Season 4 of Lost, when we knew some castaways made it off the island, but we didn’t see the actual rescue until “There’s No Place Like Home.” So the actual meeting won’t take place until the show is winding down. I can’t say whether or not this will work, and obviously this is all conjecture, but that’s my prediction.

Now, back to geeking out about them revealing the mother. OH MY GOD THEY SHOWED THE MOTHER!!! She looks exactly like her daughter! AHHHH!!! *takes a moment to remember these aren’t real people and calms down*

tomhanksy: Tron Swanson. Hollywood, CA.

Mon, 13 May 2013 14:08:19 -0700

tomhanksy:

Tron Swanson. Hollywood, CA.

The way Slughorn says, “Your body will decaaaaaay, but...

Sat, 11 May 2013 22:16:00 -0700

The way Slughorn says, “Your body will decaaaaaay, but your spirit…lingers ooooon,” never ceases to crack me up.

unbridledkentuckyspirit: “Say ‘ello to my lil’ thumb”

Thu, 09 May 2013 18:59:03 -0700

unbridledkentuckyspirit:

“Say ‘ello to my lil’ thumb”

'24' Eyes Return As Limited Series On Fox, Kiefer Sutherland In Talks | Deadline

Thu, 09 May 2013 17:03:57 -0700

'24' Eyes Return As Limited Series On Fox, Kiefer Sutherland In Talks | Deadline:

popculturebrain:

What.

You know what just occurred to me? The whole notion of a zombie apocalypse? It’s not about corpses rising from the grave. It’s the fact the no television show or film franchise will, from this point forward, never die. It will be resurrected in some fashion somewhere down the line because, naturally, people in the industry are too lazy to come up with any fresh ideas. Sure, I can get excited for some things (24 included, because I was a huge fan), but the principle upsets me to my core. I may watch more 24, but that doesn’t mean we as a people need it.

I’m psyched for Arrested Development, the whole notion of a Veronica Mars movie is intriguing, as is a Party Down story in the big screen, and then there’s the potential of a fourth Jurassic Park (if Universal gets their act together, to which I say, please don’t) and of course a whole lot of Star Wars…but HOLY FUCKING SHIT, can’t some things ends already? At this rate, over the next five years, we’re gonna have a new Harry Potter series, with or without JK Rowling’s input; a return to the island of Lost; and, hell, I don’t know, a new generation Breakfast Club, along with a reboot of Babe. Again, I’m as much to blame as anyone because some of these ideas are things I’d see in a heartbeat, but that doesn’t mean my life would be incomplete if they never, ever existed. I and many others would continue to breathe easy and sleep fine, but those in the entertainment industry will confuse that whole notion with insomnia and asthma, and that’s simply not the case.

Breaking: 'Parks and Rec' Renewed | Pajiba

Thu, 09 May 2013 13:20:08 -0700

Breaking: 'Parks and Rec' Renewed | Pajiba:

Waffles for everyone!!!

thebluthcompany: lesserjoke: Meet the Beardlsey family, who...

Thu, 09 May 2013 09:57:27 -0700

The Beardsley Family collectively goes as Tobias Fünke for Halloween.

Gay marriage pirate and hair-plugs.

Never-nude blue man.

Frightened inmate #2 / Dorothy.

Diamond cream.

Tobias, you blowhard!

thebluthcompany:

lesserjoke:

Meet the Beardlsey family, who decided to dress up as Tobias Fünke from Arrested Development this past Halloween. Yes — all of them. Mother Autumn (Mrs. Featherbottom) explains:

A lot of people have asked how we got our kids to do it. I don’t really know why they do it, they just do. Like I said, the show is part of our family, and has taught us that family is the most important thing (unless of course you mean of the things we eat, in which case it’s breakfast).

More pictures at the link!

http://autumnandbarrett.blogspot.com/2012/11/getting-funke-on-halloween.html

BEST.FAMILY.EVER

Photo

Wed, 08 May 2013 16:32:49 -0700

popculturebrain: Trailer: ‘Ender’s Game’ - Nov. 1 Directed by...

Tue, 07 May 2013 13:27:37 -0700

popculturebrain:

Trailer: ‘Ender’s Game’ - Nov. 1

Directed by Gavin Hood, starring Asa Butterfield, Harrison Ford, Hailee Steinfeld, Sir Ben Kingsley, Viola Davis and Abigail Breslin.

Asa Butterfield kind of gets the short-end of the stick on this one, doesn’t he? I mean, sure, he’s the lead character and he rightfully gets top billing. But then everyone after him is listed as an Academy Award nominee (or winner, in the case of Ben Kingsley). They go so far as to emphasize the pedigree behind the production of this movie (while neglecting to mention director Gavin Hood has an Oscar of his own), and meanwhile, Asa’s left on top, looking down at all the gold, somehow the champion, but not as good as the others.

Meh. Picking at a few crumbs and complaining about a giant mess. I’m looking forward to this (despite Orson Scott Card’s politics), but this particular trailer doesn’t quite do it for me. I don’t know if Hood can handle blockbustery, special-effects driven stories, judging from Wolverine, and this story in particular is much more than just cool gizmos and green screens. We’ll see.

My Take on Iron Man 3

Tue, 07 May 2013 02:17:44 -0700

Superhero movies are inherently silly when you stop to think about it. In the funny books they originate from, it’s much easier to suspend your disbelief when it comes to, you know, reality. But on screen, in the flesh, when it comes to physics, technology, the overall elements of danger, it can become hard to buy into. But part of the fun of superhero movies is that upon buying the ticket, you are automatically buying into it. You’re there to see gravity be defied, to see explosions knock people backwards and them ending up with nary but a few scrapes, to see walk-through holograms diagramming various structures, man- or alien-made and not care that we’re probably fifty years away from seeing tech like that in the real world. They’re supposed to be fun.

Iron Man 3 is most definitely a lot of fun. But (and I say but with a heavy heart) it is ultimately silly, almost to the point where it becomes hard to fully invest. There was just something missing for me. Something at its core. Something that even the universally panned second entry in the series seemed to have, believe it or not. And that something was cohesiveness when it comes to the arc of Tony Stark, especially if you believe this is the last stand-alone Iron Man movie we’re going to get (but with a $175 million opening, I’d say Marvel has a fourth one stashed away for Phase 3 of their Avengers saga. But I digress).

In the first film, Tony’s arc was about redemption. He made his riches by capitlizaing on the pain and misery of others by means of the weapons his company produced. He needed to make amends by, as he says, helping the people he put in harm’s way. And this, of course, comes back to bite him on the ass when the tech he hopes will save many is aquired by someone who means to use it for the opposite. In number two, despite the excess of cartoonishness and mopey dopey woe-is-me bullshit (I actually enjoy the movie, but still), Stark’s journey is one about a different kind of redemption. It’s about his inability to communicate with those closest to him. Pepper, Rhodey, his late father, the government. He’s created this persona that keeps him at an arm’s length from everyone around him (sometimes quite literally, as he doesn’t like to be handed things), and it’s over the course of the sequel that he learns he needs these people in his life to be close to him at all times, lest he be destroyed. Yup, that toxicity in his blood is a metaphor! Didn’t think Iron Man 2 was deep, did you? And obviously, Robert Downey Jr. excels at conveying all of this, even amongst the snarks and jabs and laser attacks (I know they’re not lasers, but I don’t know what else to call them).

In Iron Man 3, however, there seems to be a conflict between two different arcs. On the one hand, Stark is suffering from PTSD after his experience with the wormhole in The Avengers. He battles severe panic attacks and even puts his dear Pepper in jeopardy because of one, something I wish was touched on a bit more. But the film doesn’t seem overly concerned with Tony’s anxiety; it’s mostly used as a plot device, a bit of Kryptonite to render him vulnerable and get the audience on his side and in his shoes, and it neither factors into the film’s climax nor the overarching story. It’s just there.

Meanwhile, there’s the idea that Stark is not really a hero without his suit, something that is never openly talked about, but is dealt with over the course of the film. A lot of the complaints for Iron Man 2 seemed to be that there wasn’t enough Iron Man actually in the movie, and it’s the same thing here, only it feels like there is more purpose to why that is, and Stark proves that he can be a hero without the aid of a suit. But there’s no one he needs to prove this to. Not to himself, not to Pepper, not to the bad guys. It’s almost as if the writers and producers wanted to do this experiement without any real purpose and have this be a Stark-centric outing (similar to The Dark Knight Rises and it’s prominent focus on Wayne rather than his alter-ego), and though they succeed, it still feels hollow and unnecessary. We’re here to see Downey Jr. vamp and kick ass as a pretty cool dude. We know he’s a hero, with or without the suit, and he’s not suffering any crippling doubts or identity crises. Like I said earlier, he’s suffering from haunting memories that, when triggered, stop him dead in his tracks, and these two wannabe arcs never coexist successfully, which lessens the film slightly in my eyes.

And that makes the flaws come out to the forefront. Cool action sequences and special effects are meant to be eye candy, distractions for the audience to ooh and ahh over. In weaker films, this is obvious and is considered a problem, but in strong action/adventures, it’s forgivable, and that strength usually comes from character, direction and narrative flow. As long as though three things are sturdy and we get glimpses beyond the tip of the iceberg, then all will be well. They act as distractions for the distractions, so to speak, and help to create a complete film. Here, we’re lacking a bit in character (despite well-done performances), the direction and editing feel a bit haphazard, and the narrative flow feels slow at times. So every high voltage or high octane or high whatever moment is met with nods of approval, but nothing of the gushing sort. Every time something happens for which I’m meant to toss reality aside, I only look at the logistics and stifle an exasperated sigh. In other words, it all feels silly. Too silly. And I don’t want to be thinking an Iron Man movie is silly. I want to be engrossed, and for the most part, I wasn’t.

But maybe I’ve just been watching too many Honest Movie Trailers and Cinema Sins, and I’m forgetting about the whole purpose behind a film such as this: popcorn. Although all of this sounds like I disliked the film, that’s simply not the case. Despite it’s visible flaws, I found it to be fun and immensely entertaining. I never rolled my eyes, and while I wasn’t truly riveted until the final act (and even then, not to a large degree, but oh well), the rest of the film is still funny and full of stakes and little bits that I haven’t really seen in a comic book flick until now. Downey Jr. is excellent, as always, and probably gives his best performance since Kiss Kiss Bang Bang (not a surprise, considering Shane Black is at the helm); the villains, the Mandarin (Ben Kingsley) and Killian (Guy Pearce) are fresh changes from the previous two baddies (although Pearce monologues a bit too much); and, as I said, the last act kicks things up about a few dozen notches perfectly. Digs aside (not enough Don Cheadle and a rushed conclusion…okay, last digs), Iron Man 3 is a good and worthy time at the movies. After all, there’s nothing wrong with being a little silly.

Rating: Three stars

#literally #literally #LITERALLY #the greatest ending to a...

Mon, 06 May 2013 15:35:27 -0700

#literally #literally #LITERALLY #the greatest ending to a movie #ever

Has there ever been a more true statement? If so, I have yet to read it.