Since the Oscars were Sunday...
Most fans of THE SIMPSONS don't know that APU starred in a trilogy of films by Satyajit Ray or that many of the other names and gags in the show are in-jokes. Since the show has been on so long, many of the in-jokes seem to have lost their meanings. If I said the name "Homer Simpson" you wouldn't instantly think about that character in Nathanael Wests's brilliant novel about Hollywood, DAY OF THE LOCUST. The joke is gone, because Homer is now more famous that the character he was named after.
Nathanael West was the screenwriter of one of my favorite movies, FIVE CAME BACK, which may have been the first Disaster Movie, and certainly inspired the film PITCH BLACK. He wrote a bunch of films in the 1930s, worked as a Hotel Manager in between writing gigs and got to know a bunch of young writers on their way up who stayed there, and wrote 4 amazing novels, two you may have heard of, two you probably have not heard of.
MISS LONELYHEARTS is the book that got him noticed - a really dark story of a male newspaper reporter who becomes the advice to the lovelorn columnist... and learns more than he wants to about people. That one's been made into a film at least 4 times, probably more... and the great comedy-mystery writer Greg McDonald even did a riff novel on it called LOVE AMONGST THE MASHED POTATOES.
DREAM LIFE OF BALSO SNELL is like David Lynch on acid - which is why you've never heard of it.
A COOL MILLION is one of my favorite novels no one has ever heard of - it's a parody of Horatio Alger jr stories (about hard working young men who overcome all kinds of problems and set backs to become very successful). Imagine the ultra-pessimistic version of those stories, and that's this book. By the end of the story, our hero is dancing on stage and several of his body parts fall off... and he's been screwed in ways you can not imagine.
Last and best is DAY OF THE LOCUST - and if you haven't read it, it's probably one of the best novels every written about Hollywood. It's up there with WHAT MAKES SAMMY RUN and the Pat Hobby stories. It's so brutal that you can't believe it was written in the 30s. The book was made into a movie in the mid-70s by John Schlesinger (MIDNIGHT COWBOY) with a script by Waldo Salt (MIDNIGHT COWBOY and SERPICO and 2 Oscars and a screenwriting award named after him) - which was an amazing 70s film... that you have never heard of. While MIDNIGHT COWBOY keeps getting special anniversary editions, DAY OF THE LOCUST was unavailable on DVD until a few years ago and is now out of print. Part of that is probably because of the stars - everybody knows who Jon Voight and Dustin Hoffman are... but William Atherton's career just didn't take off... he's best known now as that obnoxious reporter that Bruce Willis punches in DIE HARD... and "Dickless" from GHOSTBUSTERS. Not a movie star like Hoffman or Voight... though he was in the 70s. And the film is a major downer. That played in the 70s, but not so much now.
So, just to spoil the whole story for you, here is the *end* - a big movie premiere where all of the characters lives intersect... that is completely ruined by Homer Simpson (played by Donald Sutherland). Homer has had very bad luck throughout the novel/film, and finally reaches his breaking point in this scene...
- Bill
Wednesday, March 05, 2025
Tuesday, March 04, 2025
Trailer Tuesday: NIGHT MOVES
RIP: Gene Hackman. He once pushed the Walk button at a cross walk in Beverly Hills for me (us). It was surreal.
Director: Arthur Penn.
Writer: Alan Sharp (ROB ROY).
Starring: Gene Hackman, Harris Yulin, Melanie Griffith, Jennifer Warren.
NIGHT MOVES (1975) starring Gene Hackman as mopey private detective Harry Moseby, who is mopey because he thinks his wife (Susan Clark) is cheating on him... follows her... sees her with another guy (the always great Harris Yulin)... confronts her... and she gets mad at him for following her. The other guy is some damned cripple with a cane, can’t really kick his ass without looking like an jerk. And his wife says he’s emotionally distant and doesn’t trust anyone (which is true). So his marriage is on the rocks... when he gets his case.
Runaway daughter Delly Grastner (a teenaged and perpetually topless Melanie Griffith) has a washed up ex movie star for a mother and an ex stuntman as absent father. Each lives on an opposite coast: mother in Los Angeles and father in Florida. Harry has to hunt down Delly in the back alleys of Hollywood and the run down coastal area of Florida. Along the way he meets all kinds of fringe people, from Delly’s druggie ex boyfriend Quentin (an unbelievably young James Woods) to her father’s hippy girlfriend Paula (Jennifer Warren)... and Harry and Paula hook up when Delly’s dad Tom Iverson (John Crawford) isn’t looking. But, true to the genre, nothing is as it seems and soon some people die and Harry finds himself in the middle of a much bigger mystery involving film set accidents that may not be so accidental and scuba diving for sunken treasure (which may be drugs, drugs *are* a treasure, right?). Because this is the 70s, the film has an ending more like CHINATOWN than a traditional detective flick... and it isn’t so much solved as abandoned after too many people die to make solving it sensible. It’s dark and twisted, baby!
The film was written by Alan Sharp, who would later write ROB ROY. It’s a brilliant script that is more about character than crime (though there’s plenty of crime), and has a bleak and ugly world view. Dialogue is great, characters are amazing, and this is one of those films like that other Hackman Harry film where you realize just how great Hackman is as an actor. He is a quiet actor who manages to convey meaty emotions without seeming to be emotional. Alan Sharp wrote action flicks and westerns and the TV movies about the USS Indianapolis and those sharks that Quint talks about in JAWS. He also wrote the *awful* adaptation of DAMNATION ALLEY (one of my favorite novels). He died about a year ago at 79 years old, his last credit was in 2010.
The film was directed by Arthur Penn, who worked with Hackman on a little film called BONNIE AND CLYDE. Penn also directed THE MIRACLE WORKER and LITTLE BIG MAN and was one of those great directors of the 60s and 70s, who didn’t really fit in to the Hollywood of the 80s and 90s. He went from interesting stuff like MISSOURI BREAKS to flops like PENN & TELLER GET KILLED and directing episodes of Canadian TV series. Penn gives the film that glossy grit that 70s films had. Not the ragged and often incompetent look of some of today’s indies, but the professional look of a studio film... just with deep pools of shadow and a realistic look and feel. He makes NIGHT MOVES into a nightmare, with poetic shots and a real feeling of foreboding. All of the actors play it real, and you forget that they are actors playing characters at times. Penn makes you feel that the more Harry does to make things right, the more things will go spiraling out of control and just go wrong. And that tricky tone is maintained expertly throughout.
Cinematography is by Bruce Surtees, who was Eastwood’s DP on many films like PLAY MISTY FOR ME and HONKYTONK MAN, and Eastwood “inherited” him from one of my favorite directors Don Siegel (DIRTY HARRY, and I met Surtees on ESCAPE FROM ALCATRAZ when I crashed the set... on Alcatraz) and Surtees was DP on RISKY BUSINESS *and* BIG WEDNESDAY (one of my other favorites) and CONQUEST OF THE PLANET OF THE APES. One of those great DPs who could shoot films in any genre and make them look great.
Music is by Michael Small, and if you don’t know who that is you haven’t seen many 70s movies. Small did soundtracks for KLUTE, PARALLAX VIEW, MARATHON MAN, THE DRIVER, the remake of POSTMAN ALWAYS RINGS TWICE with Jack Nicholson, and many others. He has a distinctive sound, and when I watch some movie like STAR CHAMBER I know he scored it without reading the credits. Smalll was *the guy* for movies like this.
NIGHT MOVES is one of those “lost films”. No one seems to remember it these days. But it’s a great film, and a fantastic example of the Mopey Detective genre. If you liked CHINATOWN, put this in your Netflix queue and check it out. Oh, it’s contemporary, takes place in 1975.
Bill
BOSCH PILOT (free)
Director: Arthur Penn.
Writer: Alan Sharp (ROB ROY).
Starring: Gene Hackman, Harris Yulin, Melanie Griffith, Jennifer Warren.
NIGHT MOVES (1975) starring Gene Hackman as mopey private detective Harry Moseby, who is mopey because he thinks his wife (Susan Clark) is cheating on him... follows her... sees her with another guy (the always great Harris Yulin)... confronts her... and she gets mad at him for following her. The other guy is some damned cripple with a cane, can’t really kick his ass without looking like an jerk. And his wife says he’s emotionally distant and doesn’t trust anyone (which is true). So his marriage is on the rocks... when he gets his case.
Runaway daughter Delly Grastner (a teenaged and perpetually topless Melanie Griffith) has a washed up ex movie star for a mother and an ex stuntman as absent father. Each lives on an opposite coast: mother in Los Angeles and father in Florida. Harry has to hunt down Delly in the back alleys of Hollywood and the run down coastal area of Florida. Along the way he meets all kinds of fringe people, from Delly’s druggie ex boyfriend Quentin (an unbelievably young James Woods) to her father’s hippy girlfriend Paula (Jennifer Warren)... and Harry and Paula hook up when Delly’s dad Tom Iverson (John Crawford) isn’t looking. But, true to the genre, nothing is as it seems and soon some people die and Harry finds himself in the middle of a much bigger mystery involving film set accidents that may not be so accidental and scuba diving for sunken treasure (which may be drugs, drugs *are* a treasure, right?). Because this is the 70s, the film has an ending more like CHINATOWN than a traditional detective flick... and it isn’t so much solved as abandoned after too many people die to make solving it sensible. It’s dark and twisted, baby!
The film was written by Alan Sharp, who would later write ROB ROY. It’s a brilliant script that is more about character than crime (though there’s plenty of crime), and has a bleak and ugly world view. Dialogue is great, characters are amazing, and this is one of those films like that other Hackman Harry film where you realize just how great Hackman is as an actor. He is a quiet actor who manages to convey meaty emotions without seeming to be emotional. Alan Sharp wrote action flicks and westerns and the TV movies about the USS Indianapolis and those sharks that Quint talks about in JAWS. He also wrote the *awful* adaptation of DAMNATION ALLEY (one of my favorite novels). He died about a year ago at 79 years old, his last credit was in 2010.
The film was directed by Arthur Penn, who worked with Hackman on a little film called BONNIE AND CLYDE. Penn also directed THE MIRACLE WORKER and LITTLE BIG MAN and was one of those great directors of the 60s and 70s, who didn’t really fit in to the Hollywood of the 80s and 90s. He went from interesting stuff like MISSOURI BREAKS to flops like PENN & TELLER GET KILLED and directing episodes of Canadian TV series. Penn gives the film that glossy grit that 70s films had. Not the ragged and often incompetent look of some of today’s indies, but the professional look of a studio film... just with deep pools of shadow and a realistic look and feel. He makes NIGHT MOVES into a nightmare, with poetic shots and a real feeling of foreboding. All of the actors play it real, and you forget that they are actors playing characters at times. Penn makes you feel that the more Harry does to make things right, the more things will go spiraling out of control and just go wrong. And that tricky tone is maintained expertly throughout.
Cinematography is by Bruce Surtees, who was Eastwood’s DP on many films like PLAY MISTY FOR ME and HONKYTONK MAN, and Eastwood “inherited” him from one of my favorite directors Don Siegel (DIRTY HARRY, and I met Surtees on ESCAPE FROM ALCATRAZ when I crashed the set... on Alcatraz) and Surtees was DP on RISKY BUSINESS *and* BIG WEDNESDAY (one of my other favorites) and CONQUEST OF THE PLANET OF THE APES. One of those great DPs who could shoot films in any genre and make them look great.
Music is by Michael Small, and if you don’t know who that is you haven’t seen many 70s movies. Small did soundtracks for KLUTE, PARALLAX VIEW, MARATHON MAN, THE DRIVER, the remake of POSTMAN ALWAYS RINGS TWICE with Jack Nicholson, and many others. He has a distinctive sound, and when I watch some movie like STAR CHAMBER I know he scored it without reading the credits. Smalll was *the guy* for movies like this.
NIGHT MOVES is one of those “lost films”. No one seems to remember it these days. But it’s a great film, and a fantastic example of the Mopey Detective genre. If you liked CHINATOWN, put this in your Netflix queue and check it out. Oh, it’s contemporary, takes place in 1975.
Bill
BOSCH PILOT (free)
Friday, February 28, 2025
MISSION: HITCHCOCK!
The new MISSION IMPOSSIBLE movie is in cinemas this summer!
MISSION IMPOSSIBLE: FALLOUT was the first time the same director has been brought back for a second film... and now there's a third and fourth film by the great Christopher McQuarrie. When they began the series the plan was to bring in a different director for each film, so that each movie had a different feel. The slightly amusing part of this is that the first director, Brian DePalma, set the tone for all of the rest of the films in many ways including his reverence for Hitchcock. My book, STORY IN ACTION: MISSION IMPOISSIBLE looks at how Hitchcock has influenced most of the films.
The first film by Christopher McQuarrie, ROGUE NATION, has a great scene at the Vienna Opera where Ethan Hunt spots *three* assassins aiming sniper rifles at the Chancellor or Austria! The scene is reminiscent of the assassination scene from Hitchcock's "The Man Who Knew Too Much", but director Christopher McQuarrie says it's actually inspired by a Freixenet Sparking Wine commercial. Say what? But the commercial was directed by some guy named Martin Scorsese and supposedly based on a script by Alfred Hitchcock, and is definitely in the style of Hitchcock. So the scene in ROGUE NATION is inspired by a commercial that was inspired by THE MAN WHO KNEW TOO MUCH!
And here is that commercial!
And here is the scene from MISSION IMPOSSIBLE: ROGUE NATION, which uses the opera Turandot - which I point out in my book has a sly extra meaning in the scene, scene Turandot revolves around a riddle with three possible answers... and there are three assassins in this scene.
Here is the scene from the remake of THE MAN WHO KNEW TOO MUCH...
And the scene from the original version of THE MAN WHO KNEW TOO MUCH...
I prefer the original version of the film because Mom is a badass - an Olympic sharp shooter who saves her daughter with an impossible rifle shot at the end. The remake has Doris Day *singing* to save the day, which is kind of dopey.
UK Folks Click Here.
German Folks Click Here.
French Folks Click Here.
Espania Folks Click Here.
Canadian Folks Click Here.
India Folks Click Here.
Austrailian Folks Click Here.
Of course, I have my own books on Hitchcock...
Alfred Hitchcock, who directed 52 movies, was known as the “Master Of Suspense”; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?
This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!
Films Included: NOTORIOUS, SABOTAGE, STRANGERS ON A TRAIN, THE 39 STEPS, REBECCA, TO CATCH A THIEF, FRENZY, FOREIGN CORRESPONDENT, THE LODGER, THE BIRDS, TORN CURTAIN, SABOTEUR, VERTIGO, THE MAN WHO KNEW TOO MUCH (1934), THE MAN WHO KNEW TOO MUCH (1955), SUSPICION, and NUMBER SEVENTEEN. 17 Great Films!
Only 125,000 words!
Price: $5.99
Click here for more info!
OTHER COUNTRIES:
(links actually work now)
UK Folks Click Here.
German Folks Click Here.
French Folks Click Here.
Espania Folks Click Here.
Canadian Folks Click Here.
And...
Click here for more info!
HITCHCOCK DID IT FIRST!
We all know that Alfred Hitchcock was the Master Of Suspense, but did you know he was the most *experimental* filmmaker in history?
Contained Thrillers like “Buried”? Serial Protagonists like “Place Beyond The Pines”? Multiple Connecting Stories like “Pulp Fiction”? Same Story Multiple Times like “Run, Lola, Run”? This book focuses on 18 of Hitchcock’s 53 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock’s *silent* films! We’ll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.
Films Examined: “Rear Window”, “Psycho”, “Family Plot”, “Topaz”, “Rope”, “The Wrong Man”, “Easy Virtue”, “Lifeboat”, “Bon Voyage”, “Aventure Malgache”, “Elstree Calling”, “Dial M for Murder”, “Stage Fright”, “Champagne”, “Spellbound”, “I Confess”, and “The Trouble with Harry”, with glances at “Vertigo” and several others.
Professional screenwriter William C. Martell takes you into the world of The Master Of Suspense and shows you the daring experiments that changed cinema. Over 77,000 words.
UK Folks Click Here.
German Folks Click Here.
French Folks Click Here.
Espania Folks Click Here.
Canadian Folks Click Here.
Bill
MISSION IMPOSSIBLE: FALLOUT was the first time the same director has been brought back for a second film... and now there's a third and fourth film by the great Christopher McQuarrie. When they began the series the plan was to bring in a different director for each film, so that each movie had a different feel. The slightly amusing part of this is that the first director, Brian DePalma, set the tone for all of the rest of the films in many ways including his reverence for Hitchcock. My book, STORY IN ACTION: MISSION IMPOISSIBLE looks at how Hitchcock has influenced most of the films.
The first film by Christopher McQuarrie, ROGUE NATION, has a great scene at the Vienna Opera where Ethan Hunt spots *three* assassins aiming sniper rifles at the Chancellor or Austria! The scene is reminiscent of the assassination scene from Hitchcock's "The Man Who Knew Too Much", but director Christopher McQuarrie says it's actually inspired by a Freixenet Sparking Wine commercial. Say what? But the commercial was directed by some guy named Martin Scorsese and supposedly based on a script by Alfred Hitchcock, and is definitely in the style of Hitchcock. So the scene in ROGUE NATION is inspired by a commercial that was inspired by THE MAN WHO KNEW TOO MUCH!
And here is that commercial!
The Key To Reserva: A Short by Martin Scorsese from Ben Grossmann on Vimeo.
And here is the scene from MISSION IMPOSSIBLE: ROGUE NATION, which uses the opera Turandot - which I point out in my book has a sly extra meaning in the scene, scene Turandot revolves around a riddle with three possible answers... and there are three assassins in this scene.
Here is the scene from the remake of THE MAN WHO KNEW TOO MUCH...
And the scene from the original version of THE MAN WHO KNEW TOO MUCH...
I prefer the original version of the film because Mom is a badass - an Olympic sharp shooter who saves her daughter with an impossible rifle shot at the end. The remake has Doris Day *singing* to save the day, which is kind of dopey.
MISSION IMPOSSIBLE!
All Six Movies analyzed! All of the mission tapes, all of the “that’s impossible!” set pieces and stunts, the cons and capers - and how these scenes work, the twists and double crosses, the tension and suspense (and how to generate it), the concept of each film as a stand alone with a different director calling the shots (broken in the sixth film), the gadgets, the masks, the stories, the co-stars and team members (one team member has been in every film), the stunts Tom Cruise actually did (and the ones he didn’t), and so much more! Over 120,000 words of fun info!
THE MISSION IMPOSSIBLE MOVIES - Only $3.99!
NO KINDLE REQUIRED! Get the *free* app (any device, except your Mr. Coffee) on the order page on Amazon!
UK Folks Click Here.
German Folks Click Here.
French Folks Click Here.
Espania Folks Click Here.
Canadian Folks Click Here.
India Folks Click Here.
Austrailian Folks Click Here.
Of course, I have my own books on Hitchcock...
HITCHCOCK: MASTERING SUSPENSE
Alfred Hitchcock, who directed 52 movies, was known as the “Master Of Suspense”; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?
This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!
Films Included: NOTORIOUS, SABOTAGE, STRANGERS ON A TRAIN, THE 39 STEPS, REBECCA, TO CATCH A THIEF, FRENZY, FOREIGN CORRESPONDENT, THE LODGER, THE BIRDS, TORN CURTAIN, SABOTEUR, VERTIGO, THE MAN WHO KNEW TOO MUCH (1934), THE MAN WHO KNEW TOO MUCH (1955), SUSPICION, and NUMBER SEVENTEEN. 17 Great Films!
Only 125,000 words!
Price: $5.99
Click here for more info!
OTHER COUNTRIES:
(links actually work now)
UK Folks Click Here.
German Folks Click Here.
French Folks Click Here.
Espania Folks Click Here.
Canadian Folks Click Here.
And...
HITCHCOCK: EXPERIMENTS IN TERROR
Click here for more info!
HITCHCOCK DID IT FIRST!
We all know that Alfred Hitchcock was the Master Of Suspense, but did you know he was the most *experimental* filmmaker in history?
Contained Thrillers like “Buried”? Serial Protagonists like “Place Beyond The Pines”? Multiple Connecting Stories like “Pulp Fiction”? Same Story Multiple Times like “Run, Lola, Run”? This book focuses on 18 of Hitchcock’s 53 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock’s *silent* films! We’ll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.
Films Examined: “Rear Window”, “Psycho”, “Family Plot”, “Topaz”, “Rope”, “The Wrong Man”, “Easy Virtue”, “Lifeboat”, “Bon Voyage”, “Aventure Malgache”, “Elstree Calling”, “Dial M for Murder”, “Stage Fright”, “Champagne”, “Spellbound”, “I Confess”, and “The Trouble with Harry”, with glances at “Vertigo” and several others.
Professional screenwriter William C. Martell takes you into the world of The Master Of Suspense and shows you the daring experiments that changed cinema. Over 77,000 words.
UK Folks Click Here.
German Folks Click Here.
French Folks Click Here.
Espania Folks Click Here.
Canadian Folks Click Here.
Bill
Thursday, February 27, 2025
Thriller Thursday: The Twisted Image
The spider web fills the screen, it's Boris Karloff's THRILLER!
Season: 1, Episode: 1.
Airdate: 9/13/1960
Director: Arthur Hiller
Writer: James P. Cavanagh, based on a novel by William O’Farrell.
Cast: Leslie Nielsen, George Grizzard, Natalie Trundy, Dianne Foster.
Music: Pete Rugolo.
Cinematography: Lionel Lindon.
Boris Karloff’s Introduction: “Her eyes. They were often upon him. Candid, admiring, possessive. Her eyes. Her extraordinary eyes. Alan Patterson was aware of her eyes. And used to them. In the lunch counter. In the elevator. He was aware of them for almost a month. And they were to lead him into guilt and terror and murder... as sure as my name is Boris Karloff. Our story is about a watcher, and the watched... and a not so innocent bystander. There’s an outsider, too: Alan’s wife. Four pairs of anxious eyes. But no one could see the shattering effect of... the Twisted Image. Well, I’ll say no more, but I promise you one thing: this is a thriller!”
Synopsis: Successful executive Alan Patterson (Leslie Nielsen) has a pair of stalkers: Lilly (Natalie Trundy), an attractive female employee who has some crazy fatal attraction crush on him... and will do anything to ruin his marriage so that she can become his next wife; and Merl (George Grizzard), an envious mail room employee at the company who wants to take over Alan’s life... once Alan is out of the way, of course. So we have a hybrid of FATAL ATTRACTION and SINGLE WHITE FEMALE, decades before either of those movies were made.
Lilly shows up at Alan’s office at lunchtime, and insists he take her to lunch. His secretary sees them together, and assumes... and when they go to lunch, another business associate sees them together and assumes... But during the lunch, Alan is a bit freaked out by Lilly: she flat out says she’s going to marry him. When he says he is already married and has a kid, she is not deterred at all. She’s crazy! She calls him at home and leaves odd messages with his wife... who thinks he may be cheating.
When Alan has lunch with Lilly to tell her to just leave him alone, she *loudly* professes her love for him in the company lunch room... and is overheard by Merl, who now has some leverage against the boss he love/hates. It’s hinted at that Merl is Gay and also has a strange crush on Alan... he’s very similar to Bruno in STRANGERS ON A TRAIN in some respects. When delivering the mail, Merl steals Alan’s watch from his office.
The more Alan tells Lilly to leave him alone, the more she calls his home and office. His marriage is eroding, his wife (Dianne Foster) is sure that he is cheating on her with Lilly. His life is falling apart!
One night Merl seeks out “Alan’s mistress” Lilly, telling her he has a message from Alan. Merl has a cheap bottle of wine and soon we have *two* drunk mentally unstable people in Lilly’s apartment... both in love with the same man. When Merl puts the moves on Lilly, trying to live out his Alan fantasy, she pushes him away... and he kills her. Oops!
That’s when Alan knocks on the door to demand that Lilly leave him the hell alone. Oops!
But Merl knocks him unconscious, steals his wallet, and wipes away all of his own finger prints... making it appear as if Alan killed Lilly. When wakes up and finds the dead body of the woman who everyone thinks is his mistress, Alan leaves Lilly’s apartment, and he’s seen by the building manager... who then discovers her dead body. Now Alan has to find the real killer before the police catch him.
Merl goes out on the town, using Alan’s money and Alan’s identification.
Alan’s wife goes to have it out with Lilly... arriving just in time to see the police take her out in a body bag. Did Alan murder his mistress?
Alan decides Merl is #1 suspect, goes to his apartment... but Merl isn’t there. When Merl does come back, he sees Alan’s car on the street, and steals it... becoming more like Alan every minute. Wearing his watch, driving his car, dressed to look like him. The transformation is almost complete! But to actually *become* Ala,, Merl goes to Alan’s house and accosts Alan’s wife... *his* wife, now. Then takes Alan’s cute little kid! And holds a gun to her head! Now Alan must race home to save his wife and kid from the maniac pretending to be him.
Review: For the amount of talent involved and the number of great episodes this series would have, not an amazing first episode. Though you might only know Leslie Nielsen from comedies, he began as a serious dramatic actor... and that’s why he was perfect in movies like AIRPLANE! The audience expected him to be serious... as he is in this episode.
You may not be familiar with George Grizzard, but he was a hot actor at the time, cutting his teeth on TV before moving on to films (one of my favorite cop movies you’ve never heard of WARNING SHOT) like ADVISE AND CONSENT... but you would probably recognize the older version of him as the stern father of the bride in BACHELOR PARTY and the old version of Ryan Philippe in FLAGS OF OUR FATHERS. So we have a great cast.
Director Arthur Hiller was a TV veteran at the time, who would go on to direct huge Hollywood hits like LOVE STORY as well as great films like THE HOSPITAL and MAN IN THE GLASS BOOTH... and comedies like the original THE IN LAWS.
Writer James P. Cavanaugh was a writer for Hitchcock Presents, and many other TV crime shows. So we have all of this talent, and the episode is kind of a muddled mess.
Novelist William O'Farrell was probably famous at the time for his novel REPEAT PERFORMANCE, which is kind of GROUNDHOG DAY as a thriller, about a man who must relive the year he commits murder over and over again.
I suspect the reason is that this hour long episode is based on a novel... and what might work over the course of a novel might not work well when condensed into an hour of TV. The two stalkers thing seems unrealistic; this isn’t a movie star, it’s a business executive! In order to flesh out each character we spend some extra screen time on scenes like Merl and his sister having a dispute... which was probably a fine scene in the novel, but here it seems to come out of left field and slow down the story. And compressing all of the things that happen into a couple of days makes it seem like Alan has the worst luck in the world. When the two stalkers come together, that just seems like a huge coincidence. So we have a story that probably worked well in book form condensed into too little time... and all of the things that could be either set up or glossed over in the book now seem abrupt. The story also ends up “too plotty”, so much going on that we don’t get enough time to really see the emotional impact on Alan. Things like Merl transforming himself into Alan are rushed, and often end up more exposition than demonstration. Adding to this is that the thriller aspects don't kick in until the last quarter of the show. Too much going on!
The music for this episode is basically variations on the THRILLER theme, which makes it seem a little cheap. The same composer will do *great* work on later episodes, like PAPA BENJAMIN (about a big band leader, which Rugalo was before doing TV scores) who must deal with a voodoo curse.
Despite all of this, it’s a competent episode... it just probably should have been a two parter or something. The acting and direction is fine, and the idea that an insignificant person in your life could turn your world upside down like this is scary. I almost wish they had split the story into two stories, one with the crazy FATAL ATTRACTION woman at the office and the other with the SINGLE WHITE FEMALE stalker who transforms themself into a clone of you... an unstable, violent, murderous clone. That way each idea could have been fully explored, and more time spent on the suspense of the situation. One of the reason why I loved this show as a kid were the episodes that take a simple situation and ramp up the suspense until it is unbearable. When we come to GUILLOTINE, you’ll see a great example of that: will a poisoned executioner make it to work today? This isn’t a bad episode... but it doesn’t display the brilliance this show will achieve in later episodes.
FADE OUT.
Bill
Wednesday, February 26, 2025
Film Courage Plus: You Need To Keep Writing!
FILM COURAGE did a series of interviews with me at the end of 2014, and then again at the end of 2015. There were something like 12 segments from 2014, and probably around 24 segments for 2015... and that's around 36 segments total. That's almost a year's worth of material! So why not add a new craft article and make it a weekly blog entry? All I have to do is write that new article, right?
You have to keep writing after making a sale!
Welcome To Your New Day Job!
The good news is that you just sold a screenplay or landed an assignment or had a screenplay go out wide - you’re in the business, baby! You can quit that awful day job you have struggled with and finally have time to write full time!
Except for one small problem...
You have a new day job. All of the business bullcrap of being a professional screenwriter. If you think you are now a full time writer, think again! One of the things that happens when you have a script go out wide or sell is that everyone in town wants to meet with you. When I had scripts go to 50 studio based producers, I usually ended up with around 48 meetings and at 2-3 meetings a day that is a full month of your time driving from one studio to another... and you will never have all of your meetings on the same lot! My meetings were always on 3 different sides of town with insane traffic between them. One meeting I was late for because I blew a tire on the freeway and ended up dirty and frazzled when I finally got there. Great first impression!
And no writing got done when I was doing all of those endless meetings. I *wanted* to write, but at the end of the day I was just too tired.
But after that month, you are free to write, right?
Nope. One of the side effects of meetings is the “busy work” of “pitching your take” on projects. Out of those 48 meetings, none of them bought me screenplay but many of them had writing jobs they thought I might be a good fit for - so they gave me books and magazine articles and all kinds of other stuff to read and then return with my take on. Of course, I wasn’t the only one doing this - every writer they had met with over the past few weeks was reading the same book and pitching their take. But you end up spending a lot of time doing this... when you should be writing.
Meetings becomes your full time job, and you have to squeeze in writing in whatever spare time you have left over. It’s like you are back to having a day job!
But here’s the problem: Once you get done with all of the meetings and the meetings generated by the meetings? You need a new script in order to get new meetings. The hope is that one of these scripts sells or one of your takes gets you an assignment. But you need a constant supply of new screenplays.
One of the things I learned the hard way was that it’s a good idea to have a stockpile of scripts ready to go. Though I had a bunch of scripts written, most of them needed some rewrite work to match them with the current market... and that slowed things down a little. The more prepared you are for that big break, the better you can handle it. And you will need to adjust from writing in your spare time with your old day job to writing in your spare time with your new day job... and getting pages done!
Your career is going to be like a treadmill where you need to keep running!
ONE FOR ME
But what if your script sells or lands you and assignment? Will you still need to do all of those meetings?
Yes. That’s part of the problem: you will need to strike while the iron is hot. It’s common for a screenwriter to do all of those meetings for the next gig while you are supposed to be writing the assignment you were just paid for. It’s common to “stack” assignments - use the heat from one job as bait to get other jobs and end up with two or three assignments with similar deadlines.... and now all you have to do is write them all! I once ended up with walking pneumonia because I was working non-stop on a couple of different screenplays that were going into production. A man’s gotta know his limitations - and I learned where mine are!
Your so called career will always be about the next script and the next gig. But even if you land an assignment, you will need to figure out how to squeeze in a new spec script so that you can do the next round of meetings and land your next assignment - because once you finish that assignment you are unemployed! One of the things I did on assignments was treat everything as “one for them, one for me” - I would make sure that I had enough time and made enough money to write a spec script that I could send out as bait for new assignments (or maybe even sell). Even in the years where I had three scripts go to screen (the mid 90s were very very good to me), and all of the rewriting on those three projects; I made sure to write 2-3 scripts a year for myself. So I wrote 5-6 scripts a year, 3 of them got made and went through all of the hell of rewrites. But I had new scripts to recharge my career if need be... and it often did. You are always breaking in!
One of the problems with those extremely low budget gigs that you see on places like Ink Tip is that you can’t earn enough money to pay for the time to write that one for me script, and it’s like the treadmill moving faster and faster. So part of every script deal you make needs to include some plan on your part for writing a new spec script. If you take one of those low pay gigs, you need to make sure you are paid enough to write a one for you. That probably means asking for more money, but if that ends up a deal breaker: “Reading Periods” can be the answer.
One of the wacky things with assignment contracts is that they spell out how much time you have to write each draft, and how much time the production company has to read the screenplay and give you notes before the next draft. Now, *you* must turn in your draft on time... but they often screw up when it comes to the reading period. It might be 2 weeks in the contract... and end up a month! Hurry up and wait! But that 2 weeks which may end up a month? That’s the one for you. When I was having three scripts filmed a year, if they weren’t all happening at the same time, I would use the reading period to work on my own project. A great “palate cleanser”, and I would end up with some work done on the “one for me” script.
The important thing is not to get so tied up with *their* project that you neglect *your* project. I don’t expect you to have three projects going a year for a few years like I did... but that *could happen*!
CELEBRATE GOOD TIMES!
There is a tendency when you sell a script or land an assignment to relax. I think in another of the Film Courage interviews I talk about selling COURTING DEATH to the company with the deal at Paramount and then holing up in my apartment and just leisurely writing - living the dream! But the problem became that after my 2 years of money was gone, I had some new scripts but had done nothing to network or get those scripts to market... and had to scramble to find a deal. I know some people who didn’t even write new scripts... and were in real trouble! You have to keep generating material, even after you are “successful”. Every month there is a new “flavor of the month”.
Here’s the problem with waiting until you *need* a gig to write a bunch of new screenplays - you will be writing from desperation. Instead of having fun writing your spec scripts, you will be trying so hard to make this the one that will start the deals and meetings happening again that the script will suck. I have a friend on FaceBook who has been single for a long time and is at the point of begging women to date him. Do I have to tell you that doesn’t work? Well, it doesn’t work with screenplays either - they can read in your writing that you are trying desperately to make a deal. You want your scripts to be so cool they think they don’t have a chance to date them, not so desperate and needy that they are the nightmare date. So don’t wait until the last minute! Make sure writing new screenplays is part of your “business plan” and included in writing those assignments!
You can have a sale or assignment and think that you have “made it” and can take it easy for a while... but you can’t! You have to keep writing, keep generating new material, and keep getting that material out there in the world so that when this deal has run its course you have a new one waiting. Yes, take a vacation... but that’s a week or two, right? Taking a vacation for a month or six months is probably a mistake. When you are not on vacation, you need to be working! This is a career - a marathon rather than a sprint. You need to always be writing new screenplays... even when you think you have “made it”. The problem with being a freelance writer is that once you have sold a screenplay or completed and assignment... you are unemployed! You will always be looking for work. Which means you will always be working.
Make sure you have a plan to keep writing scripts after you have landed a gig!
Good luck and keep writing!
- Bill
You have to keep writing after making a sale!
Welcome To Your New Day Job!
The good news is that you just sold a screenplay or landed an assignment or had a screenplay go out wide - you’re in the business, baby! You can quit that awful day job you have struggled with and finally have time to write full time!
Except for one small problem...
You have a new day job. All of the business bullcrap of being a professional screenwriter. If you think you are now a full time writer, think again! One of the things that happens when you have a script go out wide or sell is that everyone in town wants to meet with you. When I had scripts go to 50 studio based producers, I usually ended up with around 48 meetings and at 2-3 meetings a day that is a full month of your time driving from one studio to another... and you will never have all of your meetings on the same lot! My meetings were always on 3 different sides of town with insane traffic between them. One meeting I was late for because I blew a tire on the freeway and ended up dirty and frazzled when I finally got there. Great first impression!
And no writing got done when I was doing all of those endless meetings. I *wanted* to write, but at the end of the day I was just too tired.
But after that month, you are free to write, right?
Nope. One of the side effects of meetings is the “busy work” of “pitching your take” on projects. Out of those 48 meetings, none of them bought me screenplay but many of them had writing jobs they thought I might be a good fit for - so they gave me books and magazine articles and all kinds of other stuff to read and then return with my take on. Of course, I wasn’t the only one doing this - every writer they had met with over the past few weeks was reading the same book and pitching their take. But you end up spending a lot of time doing this... when you should be writing.
Meetings becomes your full time job, and you have to squeeze in writing in whatever spare time you have left over. It’s like you are back to having a day job!
But here’s the problem: Once you get done with all of the meetings and the meetings generated by the meetings? You need a new script in order to get new meetings. The hope is that one of these scripts sells or one of your takes gets you an assignment. But you need a constant supply of new screenplays.
One of the things I learned the hard way was that it’s a good idea to have a stockpile of scripts ready to go. Though I had a bunch of scripts written, most of them needed some rewrite work to match them with the current market... and that slowed things down a little. The more prepared you are for that big break, the better you can handle it. And you will need to adjust from writing in your spare time with your old day job to writing in your spare time with your new day job... and getting pages done!
Your career is going to be like a treadmill where you need to keep running!
ONE FOR ME
But what if your script sells or lands you and assignment? Will you still need to do all of those meetings?
Yes. That’s part of the problem: you will need to strike while the iron is hot. It’s common for a screenwriter to do all of those meetings for the next gig while you are supposed to be writing the assignment you were just paid for. It’s common to “stack” assignments - use the heat from one job as bait to get other jobs and end up with two or three assignments with similar deadlines.... and now all you have to do is write them all! I once ended up with walking pneumonia because I was working non-stop on a couple of different screenplays that were going into production. A man’s gotta know his limitations - and I learned where mine are!
Your so called career will always be about the next script and the next gig. But even if you land an assignment, you will need to figure out how to squeeze in a new spec script so that you can do the next round of meetings and land your next assignment - because once you finish that assignment you are unemployed! One of the things I did on assignments was treat everything as “one for them, one for me” - I would make sure that I had enough time and made enough money to write a spec script that I could send out as bait for new assignments (or maybe even sell). Even in the years where I had three scripts go to screen (the mid 90s were very very good to me), and all of the rewriting on those three projects; I made sure to write 2-3 scripts a year for myself. So I wrote 5-6 scripts a year, 3 of them got made and went through all of the hell of rewrites. But I had new scripts to recharge my career if need be... and it often did. You are always breaking in!
One of the problems with those extremely low budget gigs that you see on places like Ink Tip is that you can’t earn enough money to pay for the time to write that one for me script, and it’s like the treadmill moving faster and faster. So part of every script deal you make needs to include some plan on your part for writing a new spec script. If you take one of those low pay gigs, you need to make sure you are paid enough to write a one for you. That probably means asking for more money, but if that ends up a deal breaker: “Reading Periods” can be the answer.
One of the wacky things with assignment contracts is that they spell out how much time you have to write each draft, and how much time the production company has to read the screenplay and give you notes before the next draft. Now, *you* must turn in your draft on time... but they often screw up when it comes to the reading period. It might be 2 weeks in the contract... and end up a month! Hurry up and wait! But that 2 weeks which may end up a month? That’s the one for you. When I was having three scripts filmed a year, if they weren’t all happening at the same time, I would use the reading period to work on my own project. A great “palate cleanser”, and I would end up with some work done on the “one for me” script.
The important thing is not to get so tied up with *their* project that you neglect *your* project. I don’t expect you to have three projects going a year for a few years like I did... but that *could happen*!
CELEBRATE GOOD TIMES!
There is a tendency when you sell a script or land an assignment to relax. I think in another of the Film Courage interviews I talk about selling COURTING DEATH to the company with the deal at Paramount and then holing up in my apartment and just leisurely writing - living the dream! But the problem became that after my 2 years of money was gone, I had some new scripts but had done nothing to network or get those scripts to market... and had to scramble to find a deal. I know some people who didn’t even write new scripts... and were in real trouble! You have to keep generating material, even after you are “successful”. Every month there is a new “flavor of the month”.
Here’s the problem with waiting until you *need* a gig to write a bunch of new screenplays - you will be writing from desperation. Instead of having fun writing your spec scripts, you will be trying so hard to make this the one that will start the deals and meetings happening again that the script will suck. I have a friend on FaceBook who has been single for a long time and is at the point of begging women to date him. Do I have to tell you that doesn’t work? Well, it doesn’t work with screenplays either - they can read in your writing that you are trying desperately to make a deal. You want your scripts to be so cool they think they don’t have a chance to date them, not so desperate and needy that they are the nightmare date. So don’t wait until the last minute! Make sure writing new screenplays is part of your “business plan” and included in writing those assignments!
You can have a sale or assignment and think that you have “made it” and can take it easy for a while... but you can’t! You have to keep writing, keep generating new material, and keep getting that material out there in the world so that when this deal has run its course you have a new one waiting. Yes, take a vacation... but that’s a week or two, right? Taking a vacation for a month or six months is probably a mistake. When you are not on vacation, you need to be working! This is a career - a marathon rather than a sprint. You need to always be writing new screenplays... even when you think you have “made it”. The problem with being a freelance writer is that once you have sold a screenplay or completed and assignment... you are unemployed! You will always be looking for work. Which means you will always be working.
Make sure you have a plan to keep writing scripts after you have landed a gig!
Good luck and keep writing!
- Bill
Tuesday, February 25, 2025
Trailer Tuesday: COOLEY HIGH (1975)
Hey, it's almost the end of Black History Month...
Directed by: Michael Schultz
Written by: Eric Monte
Starring: Glynn Turman, Lawrence Hilton Jacobs, Garrett Morris, Cynthia Davis.
Produced by: Steve Krantz (for AIP).
Music by: Freddie Perren.
Do you want to know the importance of franchises in motion pictures? George Lucas had a massive hit movie which is largely forgotten today and ends up a footnote in his career... a hit film that changed pop culture and opened the door for other huge hit films that imitated it or were inspired by it... a hit that is alluded to in other films and gets a whole subpolot in Brian DePalma’s PHANTOM OF THE PARADISE and surely spawned BACK TO THE FUTURE. But because there wasn’t really any potential for a franchise and the sequel they tried to use to cash in on the massive success of the original flopped (the original’s concept was only good for one story, as opposed to STAR WARS which was originally planned as a 9 film series but still left room for dozens of other films like the upcoming YOUNG JABBA and the next film in the current trilogy). Elton John’s hit “Crocodile Rock” only exists because this film created that mass change in pop culture that brought back the music from the 50's and early 60s. I’m talking about the film that spawned the HAPPY DAYS TV show, that huge hit AMERICAN GRAFFITI. I was in High School when it came out, and suddenly every school dance was 50's themed, Prom and Homecoming Dance, and what kids were wearing - we were all dressed the way our parent’s dressed when they were in High School! The film’s sountrack (of old 50's and 60s’ hits) went Triple Platinum and landed at #10 on the Billboard charts (the STAR WARS album didn’t make it to the top 100... though the disco version of the theme song was a hit single). Did STAR WARS change music or fashion or slang?
The tagline for AMERICAN GRAFFITI was “Where were you in ‘62?” and the film we are going to look at this week takes place two years later in a galaxy far, far away - instead of the suburban high school experience with school dances and cruising and malt shops, we get the urban high school experience. It was also a hit and spawned a TV series (WHAT’S HAPPENING), launched a bunch of careers, and created one of film’s greatest unsolved mysteries...
Where were you in ‘64?
The Chicago Projects?
This Black urban version of AMERICAN GRAFFITI swaps joy riding in stolen cars for cruising, the Cabrini-Green housing projects in Chicago for suburban tract homes, a crappy diner (Martha’s) for the malt shop, Garrett Morris for Terry McGovern as the favorite teacher, a new girl in school for that girl in the white T-Bird, and Motown hits for The Beach Boys and Buddy Holly. Factor in a dangerous neighborhood and you have a cross between AMERICAN GRAFFITI and one of my favorite films MEAN STREETS, directed by a pal of Lucas'.
Preach (Glynn Turman) and Cochise (Lawrence Hilton Jacobs) are best friends and seniors at Edwin G. Cooley Vocational High School. They’ve grown up in the slums, and are likely to stay in the slums unless some miracle occurs. The miracle for Cochise comes in the form of a possible basketball scholarship to some college - he’s the star player in their high school and if he can get out of the projects and into some college he has a chance. Preach would also like to get into some college, but despite being probably the smartest kid at Cooley, he doesn’t apply himself - skipping class constantly. Preach is a dreamer - a writer and poet. Black kids can get basketball scholarships, but poet scholarships? What college needs a bunch of Black poets to win anything? So Preach sees graduation from High School as a possible dead end... and that scares him. There’s a great scene where Preach tells the others of his dream of going to Hollywood and becoming a famous writer, and they laugh at him. Preach blows up and says he won’t work in any factory for the rest of his life. But he knows he probably will.DEFAULT DRAMA
The film opens with a comedy scene where Cochise wakes up Preach so they can head to school, and we get most of the background on these two characters. I have a Script Tip in rotation about how every film, no matter the genre, is a drama by default. A comedy film works because there is drama underneath, and this film uses the conflict of their situation to create comedy. And like the current hit GIRLS TRIP, after a series of funny episodes the drama underneath comes to a head and things that began as comedy slowly turn more dramatic. But that’s after we’ve had a bunch of laughs as we become friends with these characters.
Preach and Cochise cut class along with two of their friends, Pooter (Corin Rogers) and Tyrone (Joseph Carter Wilson), and bumper surf on the back of the bus - hanging on to the outside! - across town to the zoo, where they hop the turnstile, con a girl at the snack shack into giving them some popcorn and candy bars, and just have a fun day goofing off that the zoo. Preach and Cochise have a method of cutting class without getting caught by returning for the last class of the day, so all of the fun they have is kind of against a ticking clock and sometimes it looks as if they aren’t going to make it. In their goofing off, a gorilla throws poop at Pooter - and a big bunch of poop gets stuck to his sweater. No matter how much he tries to clean it off, some of it’s still there. When time runs out, they hop the turnstile on the elevated train and head back - but Pooter’s gorilla poop sweater quickly clears the train car.
When they get to school, there is a chance for Pooter to sweet talk a cute girl, but the sweater ruins it. This film has a great tone - even though the background is the gritty city, the kids get into the usual high school trouble and have all kinds of fun. They are looking for love... and sex... and go to house parties where they break into the liquor cabinet. They have the standard High School romantic issues - Preach is going out with Sandra (Christine Jones) and fears she might get pregnant and he’ll end up as a factory worker instead of a writer. Where Cochise has his future mapped out with college and maybe an NBA career, Preach is a gambler - both with his life and his spare change. He’s constantly throwing dice with guys who are trouble.
Like a pair of neighborhood kids who have “Just Said Yes To Drugs” and “Just Said No To School”, Robert (Norman Gibson) and Stone (Sherman Smith) who are interesting antagonists, since they are childhood friends of Preach and Cochise whose lives have turned to crime. If Preach loses too much money to Robert and Stone, they won’t hesitate to beat the crap out of their childhood pal. It’s an interesting dynamic and kind of sums up the story. Nostalgia and fun... with a hint of danger in the background. In between Preach & Cochise and Robert & Stone is Damon (Maurice Marshall) who is a wanna-be gangster. Damon is a good kid who sees crime as the only future where he’s not broke. Preach is both well read and literate, and a gambler - which brings him into contact with dangerous people.
And gambling at Martha’s Diner is where Preach and Cochise first see the new girl at school, Brenda (Cynthia Davis), who is beautiful and aloof and smart as a whip. AMERICAN GRAFFITI had the blonde in the T-Bird (Suzanne Somers) who was the ideal but unattainable dream girl, and here we have Brenda. She’s out of *everyone’s* league.
But when the guys go to a house party on Friday night, Preach spots Brenda and makes a play for her (hoping Sandra doesn’t notice). Brenda is impressed that he is a poet and writer... but just when you think things are going Preach’s way, Damon starts a fight that pretty much destroys the house. The girl who threw was worried that her parents might find out... and now the door to the bathroom has been broken off its hinges!COMEDY CAR CHASE
Preach and Cochise leave the party and Robert and Stone pull up in a Cadillac they borrowed from a friend - would the guys like to go for a drive? Sure! Preach ends up behind the wheel, and they drive around town having a great time. When they stop at a light next to a police car, Robert and Stone tell Preach to be cool... the car isn’t exactly “borrowed” - it’s stolen. We go from comedy to more serious - but still fun. Preach jumps the light, the police give chase, and now we have a comedy car chase - but with serious repercussions if they are caught. The car chase goes through a series of amusing obstacles, ending when they drive through a warehouse and the police car chasing them gets picked up by a forklift! As the two police officers demand that the forklift driver lower them, Preach and Cochise and Robert and Stone zoom away... laughing at the two cops.
On Saturday Preach, Cochise, Tyrone and Pooter study for a history test... get bored... and decide to go to the movies. But the guys are broke - so they go up to a couple of hookers pretending to be cops, “busting them” and confiscating all of their money. Unlike the movie scene in another High School coming of age movie, DINER, there is no popcorn bucket with a hole in it... but there is a fight Pooter accidentally starts which causes them to race out of the theater.
The story has an episodic structure, with comedy scenes like the zoo and the house party and the car chase and the hookers and movie fight loosely connected together - each is a comedy adventure in Preach and Cochise’s life. One of the issues is that the episodes don’t really add up to anything and don’t escalate in any meaningful way. AMERICAN GRAFFITI has a character arc for each of its characters, and the scenes with each are pieces of those larger arcs. Here we get pieces... that are amusing and have you laughing, but don’t seem to be building to anything larger - even though there is something larger.BETRAYALS
That changes around halfway into the story when Preach and Brenda hook up. After several scenes where we think it might happen and then it doesn’t, and we’ve given up on this potential romance, Brenda agrees to go back to his place. Where she tells him she’s a virgin. Oh, boy! It’s bad enough that he’s cheating on Sandra, but he’s looking for a one night stand... what is Brenda looking for?
Afterwards, Preach lets slip that when he first saw Brenda he bet Cochise that he could sleep with her, and this doesn’t win him any points with her. She storms out, past Preach’s little sister, and there goes any chance of a rematch.
Monday at school, Preach and Sandra are getting ready for class (and that history test) when Brenda comes up to him and gives him a big passionate kiss... then leaves. This starts a fight between Preach and Sandra... and she breaks up with him... secretly rebounding with Cochise. There is a big moment where Cochise considers the repercussions of sleeping with his best friend’s girl - then does it anyway.
Just as Preach and Cochise get ready to take that history test... the police arrive and arrest them for stealing that Cadillac. Robert and Stone have also been arrested. They are taken to the police station and split up, where the police try to turn them against each other. But even though Robert and Stone actually stole the car, they decide not to snitch on them. They’ve known each other since they were kids, right?
Their history teacher, Mr. Mason (Garrett Morris), comes to their rescue. Many of the other teachers know these kids have little or no future so they just go through the motions of teaching them - but Mr. Mason is different. There’s a great scene where Mason and one of the policemen share a confiscated joint and he tells the cop that Robert and Stone are criminals - too late for them, but Preach and Cochise are good kids with futures. Both are headed to college. If they are charged with car theft, no scholarships and no college and no future. The cop decides to let Preach and Cochise go and arrest Robert and Stone.SET IT UP!
Two of the greatest scenes in this film are with minor characters who are never really set up... and that makes them feel more like plot devices than people. If Mr. Mason had been part of the story before this scene, it would have been a much stronger scene. And that doesn’t mean you’d have to spend a lot of screen time with Mr. Mason - just introduce him early and keep him in the background of some scenes. Maybe even make him antagonistic at first, warning Preach and Cochise not to goof off so much. That way when he came to their rescue it would have had more impact. But this is one of those great scenes and characters that could have been used better in the story.
The other character that just pops up out of nowhere and steals a scene is Preach’s Mom (Mary Larkins) who works three different jobs to pay rent and keep food on the table. After hearing about Preach’s arrest and that girl he had up in his room and all of the other things that are against house rules, she tells Preach to go get the belt - the one she has been threatening to use on the kids for years - and prepare to get his ass whooped. Preach goes up to get the belt and prepares for his punishment, but when he gets back downstairs his Mom has fallen asleep. So he kisses her gently and goes out. This is a great moment, but it’s also the only scene that his Mom appears in! Hey, he had a Mom from the very beginning, right? Why not set her up in an earlier scene, instead of just have her show up here as kind of a plot point?
SPOILERS!
There’s a reason why this film is remembered today, why they are talking about remaking it, why it is referenced in songs by the Fugees and others. We’ve laughed, but now it’s time to cry...
Spoilers for the ending of COOLEY HIGH follow.
You have been warned.
Preach discovers that Cochise has slept with Sandra and they get into a huge argument - their friendship is over.
Meanwhile, Robert and Stone - out on bail - believe that the reason why the police let Preach and Cochise go is because they two snitched on them...
Preach escapes Robert and Stone, bumps into Brenda - who tells him that Cochise is waiting under the elevated train tracks. Preach knows that Robert and Stone might find him, and races to save him...
But Robert and Stone and their toady Damon *have* found Cochise, and are taking turns punching him. When it’s Damon’s turn, he wants to show off in front of the real gangsters, and punches Cochise so hard his head hits the train trestle... and dies.
Preach discovers Cochise dead, and breaks down. This is a very serious and unexpected ending to what has up until now been a comedy. We have had hints of danger all along, but no one expects the hero to die.
There’s a great final scene, as Preach waits until Cochise’s funeral is over - and when everyone else has left, says a personal goodbye before heading to Los Angeles.
Just like AMERICAN GRAFFITI there is a “where are they now” credit sequence that tells us Preach became a successful Hollywood screenwriter, Brenda became a librarian and has three kids, Robert and Stone were killed in a liquor store hold up, etc.
Though the film is a lot of fun, that ending is what haunts me to this day. You'll laugh, you'll cry, you'll fall in love... and even if you're a white guy from the suburbs you will identify with these characters and share in their high school experiences - which were similar to mine in many ways. Heck, I saw this movie at the drive in when I was the age of these characters.
Screenwriter Eric Monte went on to create GOOD TIMES and WHAT’S HAPPENING? and write for MOESHA, director Michael Schultz is one of the great directors - he followed this up with CAR WASH and GREASED LIGHTNING and SARGENT PEPPER’S LONELY HEARTS CLUB BAND and one of my favorites BUSTIN’ LOOSE! and he directed Denzel Washington’s first film - over 100 directing credits including lots of my favorite TV shows (ROCKFORD FILES to CHUCK) - how come he’s not famous? You know what happened with the two stars - they continued being stars! But the big mystery is Cynthia Davis who played Brenda - and steals every scene that she is in. Drop dead beautiful, can deliver a comedy line, great in the dramatic scenes... and this is her only credit. She just vanished off the face of the earth! Did she really become a librarian and pop three kids like her character? How did this great talent just vanish?
- Bill
PS: There's an internet site that says Cynthia Davis is a married grandmother - even has pictures.
Directed by: Michael Schultz
Written by: Eric Monte
Starring: Glynn Turman, Lawrence Hilton Jacobs, Garrett Morris, Cynthia Davis.
Produced by: Steve Krantz (for AIP).
Music by: Freddie Perren.
Do you want to know the importance of franchises in motion pictures? George Lucas had a massive hit movie which is largely forgotten today and ends up a footnote in his career... a hit film that changed pop culture and opened the door for other huge hit films that imitated it or were inspired by it... a hit that is alluded to in other films and gets a whole subpolot in Brian DePalma’s PHANTOM OF THE PARADISE and surely spawned BACK TO THE FUTURE. But because there wasn’t really any potential for a franchise and the sequel they tried to use to cash in on the massive success of the original flopped (the original’s concept was only good for one story, as opposed to STAR WARS which was originally planned as a 9 film series but still left room for dozens of other films like the upcoming YOUNG JABBA and the next film in the current trilogy). Elton John’s hit “Crocodile Rock” only exists because this film created that mass change in pop culture that brought back the music from the 50's and early 60s. I’m talking about the film that spawned the HAPPY DAYS TV show, that huge hit AMERICAN GRAFFITI. I was in High School when it came out, and suddenly every school dance was 50's themed, Prom and Homecoming Dance, and what kids were wearing - we were all dressed the way our parent’s dressed when they were in High School! The film’s sountrack (of old 50's and 60s’ hits) went Triple Platinum and landed at #10 on the Billboard charts (the STAR WARS album didn’t make it to the top 100... though the disco version of the theme song was a hit single). Did STAR WARS change music or fashion or slang?
The tagline for AMERICAN GRAFFITI was “Where were you in ‘62?” and the film we are going to look at this week takes place two years later in a galaxy far, far away - instead of the suburban high school experience with school dances and cruising and malt shops, we get the urban high school experience. It was also a hit and spawned a TV series (WHAT’S HAPPENING), launched a bunch of careers, and created one of film’s greatest unsolved mysteries...
Where were you in ‘64?
The Chicago Projects?
This Black urban version of AMERICAN GRAFFITI swaps joy riding in stolen cars for cruising, the Cabrini-Green housing projects in Chicago for suburban tract homes, a crappy diner (Martha’s) for the malt shop, Garrett Morris for Terry McGovern as the favorite teacher, a new girl in school for that girl in the white T-Bird, and Motown hits for The Beach Boys and Buddy Holly. Factor in a dangerous neighborhood and you have a cross between AMERICAN GRAFFITI and one of my favorite films MEAN STREETS, directed by a pal of Lucas'.
Preach (Glynn Turman) and Cochise (Lawrence Hilton Jacobs) are best friends and seniors at Edwin G. Cooley Vocational High School. They’ve grown up in the slums, and are likely to stay in the slums unless some miracle occurs. The miracle for Cochise comes in the form of a possible basketball scholarship to some college - he’s the star player in their high school and if he can get out of the projects and into some college he has a chance. Preach would also like to get into some college, but despite being probably the smartest kid at Cooley, he doesn’t apply himself - skipping class constantly. Preach is a dreamer - a writer and poet. Black kids can get basketball scholarships, but poet scholarships? What college needs a bunch of Black poets to win anything? So Preach sees graduation from High School as a possible dead end... and that scares him. There’s a great scene where Preach tells the others of his dream of going to Hollywood and becoming a famous writer, and they laugh at him. Preach blows up and says he won’t work in any factory for the rest of his life. But he knows he probably will.
Preach and Cochise cut class along with two of their friends, Pooter (Corin Rogers) and Tyrone (Joseph Carter Wilson), and bumper surf on the back of the bus - hanging on to the outside! - across town to the zoo, where they hop the turnstile, con a girl at the snack shack into giving them some popcorn and candy bars, and just have a fun day goofing off that the zoo. Preach and Cochise have a method of cutting class without getting caught by returning for the last class of the day, so all of the fun they have is kind of against a ticking clock and sometimes it looks as if they aren’t going to make it. In their goofing off, a gorilla throws poop at Pooter - and a big bunch of poop gets stuck to his sweater. No matter how much he tries to clean it off, some of it’s still there. When time runs out, they hop the turnstile on the elevated train and head back - but Pooter’s gorilla poop sweater quickly clears the train car.
When they get to school, there is a chance for Pooter to sweet talk a cute girl, but the sweater ruins it. This film has a great tone - even though the background is the gritty city, the kids get into the usual high school trouble and have all kinds of fun. They are looking for love... and sex... and go to house parties where they break into the liquor cabinet. They have the standard High School romantic issues - Preach is going out with Sandra (Christine Jones) and fears she might get pregnant and he’ll end up as a factory worker instead of a writer. Where Cochise has his future mapped out with college and maybe an NBA career, Preach is a gambler - both with his life and his spare change. He’s constantly throwing dice with guys who are trouble.
And gambling at Martha’s Diner is where Preach and Cochise first see the new girl at school, Brenda (Cynthia Davis), who is beautiful and aloof and smart as a whip. AMERICAN GRAFFITI had the blonde in the T-Bird (Suzanne Somers) who was the ideal but unattainable dream girl, and here we have Brenda. She’s out of *everyone’s* league.
But when the guys go to a house party on Friday night, Preach spots Brenda and makes a play for her (hoping Sandra doesn’t notice). Brenda is impressed that he is a poet and writer... but just when you think things are going Preach’s way, Damon starts a fight that pretty much destroys the house. The girl who threw was worried that her parents might find out... and now the door to the bathroom has been broken off its hinges!
Preach and Cochise leave the party and Robert and Stone pull up in a Cadillac they borrowed from a friend - would the guys like to go for a drive? Sure! Preach ends up behind the wheel, and they drive around town having a great time. When they stop at a light next to a police car, Robert and Stone tell Preach to be cool... the car isn’t exactly “borrowed” - it’s stolen. We go from comedy to more serious - but still fun. Preach jumps the light, the police give chase, and now we have a comedy car chase - but with serious repercussions if they are caught. The car chase goes through a series of amusing obstacles, ending when they drive through a warehouse and the police car chasing them gets picked up by a forklift! As the two police officers demand that the forklift driver lower them, Preach and Cochise and Robert and Stone zoom away... laughing at the two cops.
On Saturday Preach, Cochise, Tyrone and Pooter study for a history test... get bored... and decide to go to the movies. But the guys are broke - so they go up to a couple of hookers pretending to be cops, “busting them” and confiscating all of their money. Unlike the movie scene in another High School coming of age movie, DINER, there is no popcorn bucket with a hole in it... but there is a fight Pooter accidentally starts which causes them to race out of the theater.
The story has an episodic structure, with comedy scenes like the zoo and the house party and the car chase and the hookers and movie fight loosely connected together - each is a comedy adventure in Preach and Cochise’s life. One of the issues is that the episodes don’t really add up to anything and don’t escalate in any meaningful way. AMERICAN GRAFFITI has a character arc for each of its characters, and the scenes with each are pieces of those larger arcs. Here we get pieces... that are amusing and have you laughing, but don’t seem to be building to anything larger - even though there is something larger.
That changes around halfway into the story when Preach and Brenda hook up. After several scenes where we think it might happen and then it doesn’t, and we’ve given up on this potential romance, Brenda agrees to go back to his place. Where she tells him she’s a virgin. Oh, boy! It’s bad enough that he’s cheating on Sandra, but he’s looking for a one night stand... what is Brenda looking for?
Afterwards, Preach lets slip that when he first saw Brenda he bet Cochise that he could sleep with her, and this doesn’t win him any points with her. She storms out, past Preach’s little sister, and there goes any chance of a rematch.
Monday at school, Preach and Sandra are getting ready for class (and that history test) when Brenda comes up to him and gives him a big passionate kiss... then leaves. This starts a fight between Preach and Sandra... and she breaks up with him... secretly rebounding with Cochise. There is a big moment where Cochise considers the repercussions of sleeping with his best friend’s girl - then does it anyway.
Just as Preach and Cochise get ready to take that history test... the police arrive and arrest them for stealing that Cadillac. Robert and Stone have also been arrested. They are taken to the police station and split up, where the police try to turn them against each other. But even though Robert and Stone actually stole the car, they decide not to snitch on them. They’ve known each other since they were kids, right?
Their history teacher, Mr. Mason (Garrett Morris), comes to their rescue. Many of the other teachers know these kids have little or no future so they just go through the motions of teaching them - but Mr. Mason is different. There’s a great scene where Mason and one of the policemen share a confiscated joint and he tells the cop that Robert and Stone are criminals - too late for them, but Preach and Cochise are good kids with futures. Both are headed to college. If they are charged with car theft, no scholarships and no college and no future. The cop decides to let Preach and Cochise go and arrest Robert and Stone.
Two of the greatest scenes in this film are with minor characters who are never really set up... and that makes them feel more like plot devices than people. If Mr. Mason had been part of the story before this scene, it would have been a much stronger scene. And that doesn’t mean you’d have to spend a lot of screen time with Mr. Mason - just introduce him early and keep him in the background of some scenes. Maybe even make him antagonistic at first, warning Preach and Cochise not to goof off so much. That way when he came to their rescue it would have had more impact. But this is one of those great scenes and characters that could have been used better in the story.
The other character that just pops up out of nowhere and steals a scene is Preach’s Mom (Mary Larkins) who works three different jobs to pay rent and keep food on the table. After hearing about Preach’s arrest and that girl he had up in his room and all of the other things that are against house rules, she tells Preach to go get the belt - the one she has been threatening to use on the kids for years - and prepare to get his ass whooped. Preach goes up to get the belt and prepares for his punishment, but when he gets back downstairs his Mom has fallen asleep. So he kisses her gently and goes out. This is a great moment, but it’s also the only scene that his Mom appears in! Hey, he had a Mom from the very beginning, right? Why not set her up in an earlier scene, instead of just have her show up here as kind of a plot point?
SPOILERS!
There’s a reason why this film is remembered today, why they are talking about remaking it, why it is referenced in songs by the Fugees and others. We’ve laughed, but now it’s time to cry...
Spoilers for the ending of COOLEY HIGH follow.
You have been warned.
Preach discovers that Cochise has slept with Sandra and they get into a huge argument - their friendship is over.
Meanwhile, Robert and Stone - out on bail - believe that the reason why the police let Preach and Cochise go is because they two snitched on them...
Preach escapes Robert and Stone, bumps into Brenda - who tells him that Cochise is waiting under the elevated train tracks. Preach knows that Robert and Stone might find him, and races to save him...
But Robert and Stone and their toady Damon *have* found Cochise, and are taking turns punching him. When it’s Damon’s turn, he wants to show off in front of the real gangsters, and punches Cochise so hard his head hits the train trestle... and dies.
Preach discovers Cochise dead, and breaks down. This is a very serious and unexpected ending to what has up until now been a comedy. We have had hints of danger all along, but no one expects the hero to die.
There’s a great final scene, as Preach waits until Cochise’s funeral is over - and when everyone else has left, says a personal goodbye before heading to Los Angeles.
Just like AMERICAN GRAFFITI there is a “where are they now” credit sequence that tells us Preach became a successful Hollywood screenwriter, Brenda became a librarian and has three kids, Robert and Stone were killed in a liquor store hold up, etc.
Though the film is a lot of fun, that ending is what haunts me to this day. You'll laugh, you'll cry, you'll fall in love... and even if you're a white guy from the suburbs you will identify with these characters and share in their high school experiences - which were similar to mine in many ways. Heck, I saw this movie at the drive in when I was the age of these characters.
Screenwriter Eric Monte went on to create GOOD TIMES and WHAT’S HAPPENING? and write for MOESHA, director Michael Schultz is one of the great directors - he followed this up with CAR WASH and GREASED LIGHTNING and SARGENT PEPPER’S LONELY HEARTS CLUB BAND and one of my favorites BUSTIN’ LOOSE! and he directed Denzel Washington’s first film - over 100 directing credits including lots of my favorite TV shows (ROCKFORD FILES to CHUCK) - how come he’s not famous? You know what happened with the two stars - they continued being stars! But the big mystery is Cynthia Davis who played Brenda - and steals every scene that she is in. Drop dead beautiful, can deliver a comedy line, great in the dramatic scenes... and this is her only credit. She just vanished off the face of the earth! Did she really become a librarian and pop three kids like her character? How did this great talent just vanish?
- Bill
PS: There's an internet site that says Cynthia Davis is a married grandmother - even has pictures.
Friday, February 21, 2025
Gus Van Hitchcock's PSYCHO
From back in 2009... so that must have been Raindance 2004
Five years ago at the Raindance Film Festival, I met these crazy guys from The Media Lounge who make film collages that play in London night clubs. They had a feature length program playing in the festival called BRING ME THE HEAD OF ROB LOWE, which had me laughing so hard I almost passed out. Basically it was a bunch of great short pieces connected by DVD extra interviews with Robe Lowe where he said *the exact same thing* in a different location. One of the great short bits was where they mixed up the audio track of one movie trailer with the video of another... and they matched! So, the audio voice over from some cute family film with the video from some violent action flick - and the words seemed to describe the images.
I wondered what those guys were up to... and they have a bunch of collage movies on YouTube, including this mash up of PSYCHO and the remake, set to music.
- Bill
Of course, I have my own books on Hitchcock...
Alfred Hitchcock, who directed 52 movies, was known as the “Master Of Suspense”; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?
This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!
Films Included: NOTORIOUS, SABOTAGE, STRANGERS ON A TRAIN, THE 39 STEPS, REBECCA, TO CATCH A THIEF, FRENZY, FOREIGN CORRESPONDENT, THE LODGER, THE BIRDS, TORN CURTAIN, SABOTEUR, VERTIGO, THE MAN WHO KNEW TOO MUCH (1934), THE MAN WHO KNEW TOO MUCH (1955), SUSPICION, and NUMBER SEVENTEEN. 17 Great Films!
Only 125,000 words!
Price: $5.99
Click here for more info!
HITCHCOCK DID IT FIRST!
We all know that Alfred Hitchcock was the Master Of Suspense, but did you know he was the most *experimental* filmmaker in history?
Contained Thrillers like “Buried”? Serial Protagonists like “Place Beyond The Pines”? Multiple Connecting Stories like “Pulp Fiction”? Same Story Multiple Times like “Run, Lola, Run”? This book focuses on 18 of Hitchcock’s 53 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock’s *silent* films! We’ll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.
Films Examined: “Rear Window”, “Psycho”, “Family Plot”, “Topaz”, “Rope”, “The Wrong Man”, “Easy Virtue”, “Lifeboat”, “Bon Voyage”, “Aventure Malgache”, “Elstree Calling”, “Dial M for Murder”, “Stage Fright”, “Champagne”, “Spellbound”, “I Confess”, and “The Trouble with Harry”, with glances at “Vertigo” and several others.
Professional screenwriter William C. Martell takes you into the world of The Master Of Suspense and shows you the daring experiments that changed cinema. Over 77,000 words.
Click here for more info!
Five years ago at the Raindance Film Festival, I met these crazy guys from The Media Lounge who make film collages that play in London night clubs. They had a feature length program playing in the festival called BRING ME THE HEAD OF ROB LOWE, which had me laughing so hard I almost passed out. Basically it was a bunch of great short pieces connected by DVD extra interviews with Robe Lowe where he said *the exact same thing* in a different location. One of the great short bits was where they mixed up the audio track of one movie trailer with the video of another... and they matched! So, the audio voice over from some cute family film with the video from some violent action flick - and the words seemed to describe the images.
I wondered what those guys were up to... and they have a bunch of collage movies on YouTube, including this mash up of PSYCHO and the remake, set to music.
- Bill
Of course, I have my own books on Hitchcock...
HITCHCOCK: MASTERING SUSPENSE
Alfred Hitchcock, who directed 52 movies, was known as the “Master Of Suspense”; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?
This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!
Films Included: NOTORIOUS, SABOTAGE, STRANGERS ON A TRAIN, THE 39 STEPS, REBECCA, TO CATCH A THIEF, FRENZY, FOREIGN CORRESPONDENT, THE LODGER, THE BIRDS, TORN CURTAIN, SABOTEUR, VERTIGO, THE MAN WHO KNEW TOO MUCH (1934), THE MAN WHO KNEW TOO MUCH (1955), SUSPICION, and NUMBER SEVENTEEN. 17 Great Films!
Only 125,000 words!
Price: $5.99
Click here for more info!
HITCHCOCK DID IT FIRST!
We all know that Alfred Hitchcock was the Master Of Suspense, but did you know he was the most *experimental* filmmaker in history?
Contained Thrillers like “Buried”? Serial Protagonists like “Place Beyond The Pines”? Multiple Connecting Stories like “Pulp Fiction”? Same Story Multiple Times like “Run, Lola, Run”? This book focuses on 18 of Hitchcock’s 53 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock’s *silent* films! We’ll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.
Films Examined: “Rear Window”, “Psycho”, “Family Plot”, “Topaz”, “Rope”, “The Wrong Man”, “Easy Virtue”, “Lifeboat”, “Bon Voyage”, “Aventure Malgache”, “Elstree Calling”, “Dial M for Murder”, “Stage Fright”, “Champagne”, “Spellbound”, “I Confess”, and “The Trouble with Harry”, with glances at “Vertigo” and several others.
Professional screenwriter William C. Martell takes you into the world of The Master Of Suspense and shows you the daring experiments that changed cinema. Over 77,000 words.
Click here for more info!
Thursday, February 20, 2025
THRILLER Thursday: WAXWORKS
SEASON 2: WAXWORKS
The spider web fills the screen, it's Boris Karloff's THRILLER!
Season: 2, Episode: 16.
Airdate: January 8, 1962.
Director: Herschel Daugherty.
Writer: Robert Bloch, based on his short story.
Cast: Oskar Homolka, Ron Ely, Alan Baxter, Booth Colman, Antoinette Bower.
Music: Morton Stevens.
Cinematography: Benjamin Kline.
Producer: William Frye.
Boris Karloff’s Introduction: “I can not tell a lie. I cut it with my hatchet. A very famous quote from an even more famous gentleman. But his good father had no trouble obtaining the confession - afterall his victim was nothing more than a cherry tree. While ours? Ours was living flesh and blood. I wonder if an admission of guilt can be extracted from a chap who, as we have heard, has already been executed. Not once, not twice, but three times. Yes, my friends, Vardack the mass murderer certainly should be harmless now. Now that he’s merely a cleverly molded figure in the waxworks. Which, as it so happens, is the setting and the title of our story. A moving amidst models of monsters and murderers you will encounter some very real people. Our players. And they are: Pierre Jacquelin, Master sculptor whose wax companions include no less than fifty of the world’s most diabolical murderers, played by Oskar Homolka. His niece, Annette, beautiful, beguiling, a pleasant contrast to her sinister surroundings, played by Antoinette Bower. Colonel Bertroux, a pursuer as relentless as he is mysterious, portrayed by Martin Kosleck. Detective Hudson, a very young man in a very dangerous business, played by Ron Ely. His more seasoned colleague, Sargent Dane, who is to learn that flesh and blood murderers are much easier to capture than the other kind, enacted by Alan Baxter. And Lieutenant Baily, whose not so enviable responsibility it is to solve the mystery of the waxworks, portrayed by Booth Colman. So come, let us go into the chamber of horrors together! I’ll vouch for the fact that you’ll enjoy yourselves, and it’ll be interesting to see if you can find your way out... alone!
Synopsis: Pierre Jacquelin (Homolka) owns a traveling wax museum of killers, and shows a tour around. Each diorama shows the killer in the act. All look very lifelike... and one of the guests thinks one of the statues are moving. A pretty woman (Amy Fields) is sketching one of the killers - Vardack - who has a bloody ax, and Jacquelin notes that her sketch missed the lift in the killer’s right shoe - one leg was shorter than the other. It’s closing time and everyone leaves... except for the woman who lurks behind finishing her sketch, and is now locked in with the 50 wax killers. The wax figure of killer Vardack that she sketched begins walking towards her - great suspense! We see the feet - one shoe with the lift - as they stalk her in the dark housed of wax. Closer and closer and closer and... She gets to the doors and tries to get out...
The City Morgue: Lt. Baily (Booth Coleman) and Sgt Dane (Alan Baxter) ask the Morgue Attendant (J. Pat O’Malley) about cause of death and other clues - she was killed with the ax, and they will have to wait for the Medical Examiner to finish up with another customer before they can get details. There’s a great bit here where the Morgue Attendant opens one of the refrigerated drawers with a dead body and pulls out his lunch - hey, just keeping it cold! Lots of witty lines.
Police Station: The Detectives look over the victim’s persona; effects... and the sketch pad. The drawing of the man with the ax... her killer? Did she know her killer? And why would he *pose* with the murder weapon? They can’t identify the man in the sketch, so Sgt Dane goes to the Waxworks to interview Jacquelin.
Waxworks: Sgt Dane shows the sketch to Jacquelin and ask if he has ever seen this man. He has... and leads the cop to the diorama of the ax murderer. What? Jacquelin expects them to believe that a wax dummy murdered the girl? That’s crazy! There are 50 wax murderers in the waxworks, Jacquelin knows a lot about murder. Dane asks if Jacquelin has an alibi for the time of death, and his niece steps out of the shadows and says they were working on a new exhibit. When Jacqueline goes to show a group around the waxworks, Sgt Dane question his pretty niece Annette (Antoinette Bower)..
Dane asks if he can search the studio - and Annette allows him to poke around. There is a vat of wax, a work bench, all kinds of wax body parts - it’s spooky as heck! Dane wants to open a closed door, Annette tries to stop him... too late! The Detective opens the closet door and there is a *man* inside. An old bearded man! And he falls out - right at the Detective! Who catches him. Annette moves in to help - it’s a wax dummy. The very one that Jacquelin was working on last night. This is a great shock moment.
After he is satisfied that Jacquelin isn’t the killer, Sgt Dane asks if he can buy Jacquelin dinner and they walk down the foggy street at night... when they hear the roar of a car engine. The car zooms right at them - hitting and killing Sgt Dane! Behind the wheel of the car: The wax dummy that was in the closet!
After Jacquelin makes her statement at the police station, handsome young Detective Hudson takes her home. Meanwhile, Detective Baily has a theory - what if the killer is after Annette? He mistook the artist girl for Annette, and then the car was trying to kill her instead of Sgt, Dane.
As Hudson walks her home, a man follows them in the shadows. They stop at a Chinese restaurant for dinner, and afterwards each lies about what their fortune cookie says. Annette says it reads “Don’t stay out to late on the first date” - when it really says “Beware of the dark stranger.”
Just when they may be about to kiss, the man who was following steps out of the shadows with a gun! He is Colonel Bertroux (Martin Kosleck) - and Detective Baily and Jacquelin blast out of the waxworks doors and tackle him... arresting him for both murders.
Except he’s not the killer - he’s a French detective who has been tracking a serial killer. This serial killer seems to strike wherever the waxworks sets up shop. Every city in Europe where the exhibition set up camp was plagued with killings. Bertroux’s investigation has found no evidence against Jacquelin nor Annette... He believes the wax figures may be doing the killings. The M.O.s for all of the killings have matched the 50 wax figure’s killings. Bertroux has the crazy idea that the wax figures can come to life, and rattles off a series of legends and myths about statues coming to life. He’s wacky!
But Sgt, Dane was killed by a car - none of the wax killers used an automobile. Bertroux says there was a killer who murdered with a car... and the name is the same name as the new wax figure that was in the closet!
The spooky waxworks at night. Pounding at the door. Annette opens the door - to Colonel Bertroux, who has a crazy theory that Jacquelin is stealing hairs from the killers when he makes his death masks and is using black magic to bring them to life. Dude be crazy! He wants to confront Jacquelin, breaks down the bedroom door and pulls back the covers... exposing a wax figure in Jacquelin’s bed. What?
Then Bertroux hears footsteps coming closer. The hook handed killer wax figure enters the room, raises his hook... and kills Bertroux! The wax figures ARE alive!
Lt Baily and Detective Hudson pound on the door of the waxworks - they were following Bertroux. They break down the door and enter the dark, spooky waxworks - filled with 50 wax killers! They pass a wax killer with a huge butcher knife poised to stab a woman - he looks so real! Then Baily realizes that Hudson is no longer behind him, and re-traces his steps. This time the wax killer’s hand is empty - no butcher knife. The knife is in dead Hudson’s back!
A door pops open behind Baily, he spins - it’s Jacquelin. With Bertroux’s gun. Bertroux is in the bubbling caldron of wax in the workshop. Baily says he went through Bertroux’s files before coming here - evidence of murders throughout Europe, wherever the traveling Waxworks was. Baily thinks that the murders were not committed by wax figures, but by a man who disguised himself as those wax figures: Jacquelin.
They wrestle for the gun, Baily manages to grab it. Asks where Jacquein’s niece is. “I have no niece... she is my wife.” Baily opens a closet door and there is Annette... except she’s freakin’ ancient! And a wax figure. You see, she was a murderer witch who was executed and Jacquelin used black magic to bring here back - stole her body and molded wax over her dead form - a wax figure that comes alive. He needs fresh blood to keep her alive - hence the victims. Obviously he’s crazy. He takes a candle to illuminate her face... then tries to grab Baily’s gun. In the struggle Jacquelin is killed and the candle lights the wax figure of Annette and she burns - exposing a skull and skeleton underneath!
Jacquelin wasn’t crazy - Annette was really a wax figure come to life!
Review: This is a great creepy episode, with lots of suspense and twists... Daugherty was one of the “staff directors” and sometimes his episodes are great and sometimes they seem rushed for time (it’s TV, and you have to shoot the episode in time for it to air or there will just be a test pattern). But I wonder how much the writer ended up part of that equation? Robert Bloch is one of mt favorite horror writers, and his work was frequently adapted for THRILLER and often - like in this case - by his own hand. I learned a lot about creating dread and terror by reading his stories, and I assume that he carried those techniques over into his teleplays. If it ain’t on the page, it ain’t on the stage! How many of the scary episodes are due to suspense scenes being in the screenplay, so that they were scheduled into the shoot? That opening scene where the wax killer stalks the woman trapped in the waxworks after closing could have just been: “Vardack kills her” in the script, and scheduled as a couple of seconds of screen time - with only a few minutes to shoot. But if it had been written out as a suspense scene, they would have scheduled more time to shoot it and there would have been time to get all of those creepy shots. Could that be the reason why the same director has different results?
Oskar Homolka was a silent star in Austria back in 1926 who became one of Hitchcock’s great villains ten years later in SABOTAGE, and spent 50 years in the business playing all kinds of great roles including Russian Colonel Stok in a couple of the Harry Palmer movies. He was one of those dependable character actors who could show up for work and knock it our of the park. He’s so charming, here, that you know why he has evaded the police for so long.
Ron Ely is impossibly young in this episode. A few years later he would play Tarzan, and so far he is the only one to play Doc Savage on film. Antoinette Bower began her career in a TV version of Poe’s TELLTALE HEART and has had a huge TV career including playing Berlin Betty on HOGAN’S HEROES and played the principal’s wife in PROM NIGHT... and is still with us. Martin Kosleck had a career playing Nazis in movies and on TV (HOGAN’S HEROES), but I know him as the homeless guy sleeping in the windmill in FOREIGN CORRESPONDENT. Alan Baxter was in Hitchcock’s SABOTEUR.
The story is a semi reworking of Bloch’s YOURS TRULY JACK THE RIPPER with a series of murders that fallow the pattern of previous murders and the driven expert from across the pond who aids the police in their investigation... but also is one of the prime suspects. But the whole things gets a fresh coat of paint and a completely different concept. Instead of Jack The Ripper, we get the very creepy idea of house of wax killers coming to life. Instead of the victims being women and that trip to a 60s strip club, most of the victims are men and we focus on the super creepy house of wax at night. So Bloch took the skeleton of the story and jettisoned everything else, creating a completely new story. I find this stuff interesting. If you are making a living writing and selling short stories, you have to keep turning them out! How do you keep that up? One of the way Lester Dent (Doc Savage) managed to write a novel (or two) a month was to have a handful of story patterns - or formulas - that he could use as the skeleton. You can read all of those books back to back and they seem like completely different stories because the details are different. Here, Jack The Ripper being split up into the 50 wax killers in the house of wax - and the completely different resolution - make it a completely new story. All of the scenes are different. The skeleton is similar.
After last week’s crime story disguised as a horror story (the dream sequence opening), we’re back to real horror - and this is a fun, creepy episode! Next week - a period episode about witches!
- Bill
The spider web fills the screen, it's Boris Karloff's THRILLER!
Season: 2, Episode: 16.
Airdate: January 8, 1962.
Director: Herschel Daugherty.
Writer: Robert Bloch, based on his short story.
Cast: Oskar Homolka, Ron Ely, Alan Baxter, Booth Colman, Antoinette Bower.
Music: Morton Stevens.
Cinematography: Benjamin Kline.
Producer: William Frye.
Boris Karloff’s Introduction: “I can not tell a lie. I cut it with my hatchet. A very famous quote from an even more famous gentleman. But his good father had no trouble obtaining the confession - afterall his victim was nothing more than a cherry tree. While ours? Ours was living flesh and blood. I wonder if an admission of guilt can be extracted from a chap who, as we have heard, has already been executed. Not once, not twice, but three times. Yes, my friends, Vardack the mass murderer certainly should be harmless now. Now that he’s merely a cleverly molded figure in the waxworks. Which, as it so happens, is the setting and the title of our story. A moving amidst models of monsters and murderers you will encounter some very real people. Our players. And they are: Pierre Jacquelin, Master sculptor whose wax companions include no less than fifty of the world’s most diabolical murderers, played by Oskar Homolka. His niece, Annette, beautiful, beguiling, a pleasant contrast to her sinister surroundings, played by Antoinette Bower. Colonel Bertroux, a pursuer as relentless as he is mysterious, portrayed by Martin Kosleck. Detective Hudson, a very young man in a very dangerous business, played by Ron Ely. His more seasoned colleague, Sargent Dane, who is to learn that flesh and blood murderers are much easier to capture than the other kind, enacted by Alan Baxter. And Lieutenant Baily, whose not so enviable responsibility it is to solve the mystery of the waxworks, portrayed by Booth Colman. So come, let us go into the chamber of horrors together! I’ll vouch for the fact that you’ll enjoy yourselves, and it’ll be interesting to see if you can find your way out... alone!
Synopsis: Pierre Jacquelin (Homolka) owns a traveling wax museum of killers, and shows a tour around. Each diorama shows the killer in the act. All look very lifelike... and one of the guests thinks one of the statues are moving. A pretty woman (Amy Fields) is sketching one of the killers - Vardack - who has a bloody ax, and Jacquelin notes that her sketch missed the lift in the killer’s right shoe - one leg was shorter than the other. It’s closing time and everyone leaves... except for the woman who lurks behind finishing her sketch, and is now locked in with the 50 wax killers. The wax figure of killer Vardack that she sketched begins walking towards her - great suspense! We see the feet - one shoe with the lift - as they stalk her in the dark housed of wax. Closer and closer and closer and... She gets to the doors and tries to get out...
The City Morgue: Lt. Baily (Booth Coleman) and Sgt Dane (Alan Baxter) ask the Morgue Attendant (J. Pat O’Malley) about cause of death and other clues - she was killed with the ax, and they will have to wait for the Medical Examiner to finish up with another customer before they can get details. There’s a great bit here where the Morgue Attendant opens one of the refrigerated drawers with a dead body and pulls out his lunch - hey, just keeping it cold! Lots of witty lines.
Police Station: The Detectives look over the victim’s persona; effects... and the sketch pad. The drawing of the man with the ax... her killer? Did she know her killer? And why would he *pose* with the murder weapon? They can’t identify the man in the sketch, so Sgt Dane goes to the Waxworks to interview Jacquelin.
Waxworks: Sgt Dane shows the sketch to Jacquelin and ask if he has ever seen this man. He has... and leads the cop to the diorama of the ax murderer. What? Jacquelin expects them to believe that a wax dummy murdered the girl? That’s crazy! There are 50 wax murderers in the waxworks, Jacquelin knows a lot about murder. Dane asks if Jacquelin has an alibi for the time of death, and his niece steps out of the shadows and says they were working on a new exhibit. When Jacqueline goes to show a group around the waxworks, Sgt Dane question his pretty niece Annette (Antoinette Bower)..
Dane asks if he can search the studio - and Annette allows him to poke around. There is a vat of wax, a work bench, all kinds of wax body parts - it’s spooky as heck! Dane wants to open a closed door, Annette tries to stop him... too late! The Detective opens the closet door and there is a *man* inside. An old bearded man! And he falls out - right at the Detective! Who catches him. Annette moves in to help - it’s a wax dummy. The very one that Jacquelin was working on last night. This is a great shock moment.
After he is satisfied that Jacquelin isn’t the killer, Sgt Dane asks if he can buy Jacquelin dinner and they walk down the foggy street at night... when they hear the roar of a car engine. The car zooms right at them - hitting and killing Sgt Dane! Behind the wheel of the car: The wax dummy that was in the closet!
After Jacquelin makes her statement at the police station, handsome young Detective Hudson takes her home. Meanwhile, Detective Baily has a theory - what if the killer is after Annette? He mistook the artist girl for Annette, and then the car was trying to kill her instead of Sgt, Dane.
As Hudson walks her home, a man follows them in the shadows. They stop at a Chinese restaurant for dinner, and afterwards each lies about what their fortune cookie says. Annette says it reads “Don’t stay out to late on the first date” - when it really says “Beware of the dark stranger.”
Just when they may be about to kiss, the man who was following steps out of the shadows with a gun! He is Colonel Bertroux (Martin Kosleck) - and Detective Baily and Jacquelin blast out of the waxworks doors and tackle him... arresting him for both murders.
Except he’s not the killer - he’s a French detective who has been tracking a serial killer. This serial killer seems to strike wherever the waxworks sets up shop. Every city in Europe where the exhibition set up camp was plagued with killings. Bertroux’s investigation has found no evidence against Jacquelin nor Annette... He believes the wax figures may be doing the killings. The M.O.s for all of the killings have matched the 50 wax figure’s killings. Bertroux has the crazy idea that the wax figures can come to life, and rattles off a series of legends and myths about statues coming to life. He’s wacky!
But Sgt, Dane was killed by a car - none of the wax killers used an automobile. Bertroux says there was a killer who murdered with a car... and the name is the same name as the new wax figure that was in the closet!
The spooky waxworks at night. Pounding at the door. Annette opens the door - to Colonel Bertroux, who has a crazy theory that Jacquelin is stealing hairs from the killers when he makes his death masks and is using black magic to bring them to life. Dude be crazy! He wants to confront Jacquelin, breaks down the bedroom door and pulls back the covers... exposing a wax figure in Jacquelin’s bed. What?
Then Bertroux hears footsteps coming closer. The hook handed killer wax figure enters the room, raises his hook... and kills Bertroux! The wax figures ARE alive!
Lt Baily and Detective Hudson pound on the door of the waxworks - they were following Bertroux. They break down the door and enter the dark, spooky waxworks - filled with 50 wax killers! They pass a wax killer with a huge butcher knife poised to stab a woman - he looks so real! Then Baily realizes that Hudson is no longer behind him, and re-traces his steps. This time the wax killer’s hand is empty - no butcher knife. The knife is in dead Hudson’s back!
A door pops open behind Baily, he spins - it’s Jacquelin. With Bertroux’s gun. Bertroux is in the bubbling caldron of wax in the workshop. Baily says he went through Bertroux’s files before coming here - evidence of murders throughout Europe, wherever the traveling Waxworks was. Baily thinks that the murders were not committed by wax figures, but by a man who disguised himself as those wax figures: Jacquelin.
They wrestle for the gun, Baily manages to grab it. Asks where Jacquein’s niece is. “I have no niece... she is my wife.” Baily opens a closet door and there is Annette... except she’s freakin’ ancient! And a wax figure. You see, she was a murderer witch who was executed and Jacquelin used black magic to bring here back - stole her body and molded wax over her dead form - a wax figure that comes alive. He needs fresh blood to keep her alive - hence the victims. Obviously he’s crazy. He takes a candle to illuminate her face... then tries to grab Baily’s gun. In the struggle Jacquelin is killed and the candle lights the wax figure of Annette and she burns - exposing a skull and skeleton underneath!
Jacquelin wasn’t crazy - Annette was really a wax figure come to life!
Review: This is a great creepy episode, with lots of suspense and twists... Daugherty was one of the “staff directors” and sometimes his episodes are great and sometimes they seem rushed for time (it’s TV, and you have to shoot the episode in time for it to air or there will just be a test pattern). But I wonder how much the writer ended up part of that equation? Robert Bloch is one of mt favorite horror writers, and his work was frequently adapted for THRILLER and often - like in this case - by his own hand. I learned a lot about creating dread and terror by reading his stories, and I assume that he carried those techniques over into his teleplays. If it ain’t on the page, it ain’t on the stage! How many of the scary episodes are due to suspense scenes being in the screenplay, so that they were scheduled into the shoot? That opening scene where the wax killer stalks the woman trapped in the waxworks after closing could have just been: “Vardack kills her” in the script, and scheduled as a couple of seconds of screen time - with only a few minutes to shoot. But if it had been written out as a suspense scene, they would have scheduled more time to shoot it and there would have been time to get all of those creepy shots. Could that be the reason why the same director has different results?
Oskar Homolka was a silent star in Austria back in 1926 who became one of Hitchcock’s great villains ten years later in SABOTAGE, and spent 50 years in the business playing all kinds of great roles including Russian Colonel Stok in a couple of the Harry Palmer movies. He was one of those dependable character actors who could show up for work and knock it our of the park. He’s so charming, here, that you know why he has evaded the police for so long.
Ron Ely is impossibly young in this episode. A few years later he would play Tarzan, and so far he is the only one to play Doc Savage on film. Antoinette Bower began her career in a TV version of Poe’s TELLTALE HEART and has had a huge TV career including playing Berlin Betty on HOGAN’S HEROES and played the principal’s wife in PROM NIGHT... and is still with us. Martin Kosleck had a career playing Nazis in movies and on TV (HOGAN’S HEROES), but I know him as the homeless guy sleeping in the windmill in FOREIGN CORRESPONDENT. Alan Baxter was in Hitchcock’s SABOTEUR.
The story is a semi reworking of Bloch’s YOURS TRULY JACK THE RIPPER with a series of murders that fallow the pattern of previous murders and the driven expert from across the pond who aids the police in their investigation... but also is one of the prime suspects. But the whole things gets a fresh coat of paint and a completely different concept. Instead of Jack The Ripper, we get the very creepy idea of house of wax killers coming to life. Instead of the victims being women and that trip to a 60s strip club, most of the victims are men and we focus on the super creepy house of wax at night. So Bloch took the skeleton of the story and jettisoned everything else, creating a completely new story. I find this stuff interesting. If you are making a living writing and selling short stories, you have to keep turning them out! How do you keep that up? One of the way Lester Dent (Doc Savage) managed to write a novel (or two) a month was to have a handful of story patterns - or formulas - that he could use as the skeleton. You can read all of those books back to back and they seem like completely different stories because the details are different. Here, Jack The Ripper being split up into the 50 wax killers in the house of wax - and the completely different resolution - make it a completely new story. All of the scenes are different. The skeleton is similar.
After last week’s crime story disguised as a horror story (the dream sequence opening), we’re back to real horror - and this is a fun, creepy episode! Next week - a period episode about witches!
- Bill
Wednesday, February 19, 2025
Film Courage: Are Writers Damned?
FILM COURAGE did a series of interviews with me, around 36 (or more) segments total. That's almost a year's worth of material! So why not add a new craft article and make it a weekly blog entry? All I have to do is write that new article, right?
And the first segment...
I had done a full day of classes at Story Expo, it was the hottest day on record in Los Angeles (since broken a few times), I was seriously dehydrated after running from class to class all day, and the first question they ask me is...
A softball questions to start out with, like...
"Are Writers Damned?"
How the hell do you answer that?
Well, yes.
In Woody Allen’s Oscar Winning ANNIE HALL, there’s a great scene where Alvy Singer, who’s perfect relationship has fallen apart, sees the perfect couple walking down the street and decides to ask them the secret to the success of their relationship, and their response is: “I’m very shallow and empty and I have no ideas and nothing interesting to say.” And the woman responds, “And I’m exactly the same way.”
Writers are not shallow and empty, and we have something to say. Where “civilians” move through life not thinking about other people’s secret motivations and hidden agendas and all of the other things that your Mom might be *really* thinking when she says that you could use some new shirts, writers can’t help but think about these things. We know 57 ways to kill someone with a ripe tomato, thanks to research on that screenplay, and when we are in the produce section of the grocery store and see the seemingly nice little old lady trying to find the perfect tomato... we wonder just who she is planning to kill. Is it me? I don’t even know her! But what if this is some sort of STRANGERS ON A TRAIN club, where a hundred people swap murders so that there is no way for any of them to be a suspect, and she ended up doing the murder for some long forgotten person who considers me their enemy? Someone like that guy from SLAUGHTERHOUSE-FIVE who has spent his life tracking down Billy Pilgrim for splashing mud on his trousers decades ago? I once spilled a drink on a guy in a suit in a bar, and that guy had been hitting on this woman, and maybe I ruined his love life forever and now he was part of this Murder Tanda and had given my name to that nice little old lady in the supermarket who was going to kill me with that tomato that she has just selected? As a writer I am constantly thinking about stuff like that - which is probably why I have insomnia - not only is my mind still working and I wish that I could shut it off, but I am a little worried that tonight might be the night that the nice little old lady strikes. I don’t really want to sleep through getting murdered with a tomato.
So we tend to look at the world a bit differently than most people, and over-think things and we can be a little bit paranoid because we know what evil can lurk in the hearts of men... and nice little old ladies. So we are probably damned.
But what about the writing part, Bill?
The other way that we are damned is that nobody knows that screenwriters exist. There’s that line from IN A LONELY PLACE about how the audience thinks that movie stars make up the dialogue themselves, and if they become big enough stars - they do. Heck, even screenwriters don’t know who screenwriters are! A few years ago, for fun, I made up a quiz about who wrote what famous film and posted it on my website... and none of the screenwriters who frequent the site could get all of the answers right (without looking them up). Lots of “I didn’t know that writer wrote that!” Heck, if screenwriters don’t know who wrote the screenplays for movies that they have seen and loved, why would civilians, let alone hot underwear models (you may choose whatever sex you want - they will not be choosing you in return). So screenwriters are never famous. If you subtract the famous *playwrights* who became screenwriters, and writer-directors and famous novelists who became screenwriters, you probably don’t know the single name of a screenwriter who just *writes screenplays*. Like you want to.
So your plans to become a famous screenwriter?
The other common fantasy that goes along with famous is rich, and we have all seen those deals in the trades where some new writer’s screenplay was in a bidding war and sold for $1.2 million. Hey, I can write 3 screenplays a year if all I do is write one page a day, that’s $3.6 million a year... that ought to attract the underwear models! I can buy a Lamborghini every year! I can live in a mansion! I can eat my weight in lobster twice a day! I will be rich! Except, that’s not really how it works. Because that $1.2 million works like this: The $1 million is when and if they make the film - and only around 10% of the screenplays they buy or develop ever get made. So the odds are against you ever making that $1 million. The $200k is what you will be paid - for the screenplay and all of the rewrites, and these days they sometimes decide not to do the rewrites (great! until you realize that you won't be paid that part if the $200k)and you might end up with just over $100k total. That still sounds pretty good, right? But that’s for a screenplay that sold for $1.2 million - which is a huge sale that makes the trades. And a sale - you see, most screenplays don’t ever sell. There are around 1 million screenplays in circulation in any given year and fewer than 100 sell to studios. Okay, there are screenplays that sell to low budget genre companies and companies that make films for Lifetime and SyFy Channel and Hallmark... for much much less. A friend of mine sold a screenplay to a company that makes SyFy Channel movies... for $2k. I didn’t leave out any zeros. This is a tough business to make a living in! Most of the professional screenwriters I know make an okay living... But I often joke that if I had kept my job at Safeway Grocery I would probably be making more now (as a District Manager or something).
So your plans to become a rich screenwriter?
And if you are looking at those million screenplays and fewer than a hundred sell, that means that a whole bunch do not sell. The writers wrote them for nothing!
Or did they?
And that is the key to avoiding being damned.
The writing itself needs to be its own reward.
If you're having a problem getting your scripts finished it may be tied to your motivation - maybe you aren't writing because you want to tell a story, perhaps you're writing because you want fame and glory. Guess what? There is no fame and glory in the screenwriting world - name the three Oscar winning writers of CASABLANCA. You probably can't, and you're the MOST LIKELY person who could do that (you want to be an Oscar winning screenwriter). So if your motivation is fame, is having people acknowledge and love you... you're in the wrong business. Screenwriters are either ignored or blamed or crapped on.
If your motivation is "I like to write" or "I need to write" then it's all about writing and writing is what you should be doing (actually, you'll already be doing it). This is the motivation you want to have - the need or desire to tell stories. That way your motivation is all about the work - not the rewards. I hate to be a cold blanket, but this is a business where the rewards are few and far between and usually out of our control. The only thing really in our control is doing the work. So writing needs to be its own reward!
If your motivation is "I want to write to prove I'm somebody important" or "I want to write to prove my enemies were wrong" then it's not about the writing - it's about your personal problems. If you are writing to solve personal problems (and trying to solve them by changing OTHERS) your focus isn't going to be on writing, so you WILL have trouble finishing scripts or starting them or anything else that has to do with WRITING. If your motivation for writing is anything other than "to write", you're going to run into problems because those other motivations will get in the way of your writing.
If you aren't in the biz because you have to tell your stories, because you're PASSIONATE about writing, you're in for a future of heartache. You don't see screenwriters on eitherr of the Jimmys or Colbert. You don't see them interviewed on ET or Access Hollywood or any other TV version of National Enquirer. Screenwriters just toil away in obscurity... we write because we have stories inside of us that they have no choice but to tell. We are writers.
A writer writes.
I have a stack of unsold screenplays that I am now planning on adapting into novels. I also have a stack of unread screenplays - no one ever requested them. Many of those are from early in my screenwriting "careeer" where I was writing typical genre screenplays instead of focusing on an amazing high concept that could attract producers from the logline alone. Those unread screenplays are good - just not interesting enough. Some I have rewritten with a “high concept injection”, others I have figured out how to adapt into novels with a more interesting central idea. Everything that I have written, from my very first screenplay, is written. It is not just some idea bouncing around in my head, it is something that was fleshed out and set on paper or floppy or whatever. It actually exists. And that is the key to being a successful writer - actually writing.
A writer writes.
A sure fire way to be damned as a writer is to focus on the things that you do not control, instead of the things that you do control. If you focus on the prestige or the money or the respect or anything else that is completely outside of our control... you are going to end up damned disappointed. Even if you are a successful screenwriter, not everything you write will end up on screen, and I guarantee that what ends up on screen isn’t going to be the way you wrote it. Probably mentioned the huge list of unsold and unproduced screenplays by multiple Oscar winner Robert Bolt, and even Oscar winners will get rewritten by a string of other writers. That’s just how it works - out of our control. If you focus on the stuff that you can’t control, you will go crazy. But there is one thing that you control 100% - that is the actual writing. Getting pages done every day. Writing a stack of screenplays that may or may not sell - but they are accomplishments! You wrote that screenplay! You got to Fade Out!
So you probably aren’t ever going to become rich and famous and respected and have your choice of underwear models to fly to Europe with for a weekend with The Countess, but you are going to actually accomplish something that very few do - you will have a growing stack of screenplays or short stories or novels. So if you want to be a writer, you need to enjoy (in some way) the writing part.
Writing needs to be its own reward.
That’s the way to avoid being damned.
Good luck and keep writing!
- Bill
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And the first segment...
I had done a full day of classes at Story Expo, it was the hottest day on record in Los Angeles (since broken a few times), I was seriously dehydrated after running from class to class all day, and the first question they ask me is...
A softball questions to start out with, like...
"Are Writers Damned?"
How the hell do you answer that?
Well, yes.
In Woody Allen’s Oscar Winning ANNIE HALL, there’s a great scene where Alvy Singer, who’s perfect relationship has fallen apart, sees the perfect couple walking down the street and decides to ask them the secret to the success of their relationship, and their response is: “I’m very shallow and empty and I have no ideas and nothing interesting to say.” And the woman responds, “And I’m exactly the same way.”
Writers are not shallow and empty, and we have something to say. Where “civilians” move through life not thinking about other people’s secret motivations and hidden agendas and all of the other things that your Mom might be *really* thinking when she says that you could use some new shirts, writers can’t help but think about these things. We know 57 ways to kill someone with a ripe tomato, thanks to research on that screenplay, and when we are in the produce section of the grocery store and see the seemingly nice little old lady trying to find the perfect tomato... we wonder just who she is planning to kill. Is it me? I don’t even know her! But what if this is some sort of STRANGERS ON A TRAIN club, where a hundred people swap murders so that there is no way for any of them to be a suspect, and she ended up doing the murder for some long forgotten person who considers me their enemy? Someone like that guy from SLAUGHTERHOUSE-FIVE who has spent his life tracking down Billy Pilgrim for splashing mud on his trousers decades ago? I once spilled a drink on a guy in a suit in a bar, and that guy had been hitting on this woman, and maybe I ruined his love life forever and now he was part of this Murder Tanda and had given my name to that nice little old lady in the supermarket who was going to kill me with that tomato that she has just selected? As a writer I am constantly thinking about stuff like that - which is probably why I have insomnia - not only is my mind still working and I wish that I could shut it off, but I am a little worried that tonight might be the night that the nice little old lady strikes. I don’t really want to sleep through getting murdered with a tomato.
So we tend to look at the world a bit differently than most people, and over-think things and we can be a little bit paranoid because we know what evil can lurk in the hearts of men... and nice little old ladies. So we are probably damned.
But what about the writing part, Bill?
NO RESPECT!
The other way that we are damned is that nobody knows that screenwriters exist. There’s that line from IN A LONELY PLACE about how the audience thinks that movie stars make up the dialogue themselves, and if they become big enough stars - they do. Heck, even screenwriters don’t know who screenwriters are! A few years ago, for fun, I made up a quiz about who wrote what famous film and posted it on my website... and none of the screenwriters who frequent the site could get all of the answers right (without looking them up). Lots of “I didn’t know that writer wrote that!” Heck, if screenwriters don’t know who wrote the screenplays for movies that they have seen and loved, why would civilians, let alone hot underwear models (you may choose whatever sex you want - they will not be choosing you in return). So screenwriters are never famous. If you subtract the famous *playwrights* who became screenwriters, and writer-directors and famous novelists who became screenwriters, you probably don’t know the single name of a screenwriter who just *writes screenplays*. Like you want to.
So your plans to become a famous screenwriter?
The other common fantasy that goes along with famous is rich, and we have all seen those deals in the trades where some new writer’s screenplay was in a bidding war and sold for $1.2 million. Hey, I can write 3 screenplays a year if all I do is write one page a day, that’s $3.6 million a year... that ought to attract the underwear models! I can buy a Lamborghini every year! I can live in a mansion! I can eat my weight in lobster twice a day! I will be rich! Except, that’s not really how it works. Because that $1.2 million works like this: The $1 million is when and if they make the film - and only around 10% of the screenplays they buy or develop ever get made. So the odds are against you ever making that $1 million. The $200k is what you will be paid - for the screenplay and all of the rewrites, and these days they sometimes decide not to do the rewrites (great! until you realize that you won't be paid that part if the $200k)and you might end up with just over $100k total. That still sounds pretty good, right? But that’s for a screenplay that sold for $1.2 million - which is a huge sale that makes the trades. And a sale - you see, most screenplays don’t ever sell. There are around 1 million screenplays in circulation in any given year and fewer than 100 sell to studios. Okay, there are screenplays that sell to low budget genre companies and companies that make films for Lifetime and SyFy Channel and Hallmark... for much much less. A friend of mine sold a screenplay to a company that makes SyFy Channel movies... for $2k. I didn’t leave out any zeros. This is a tough business to make a living in! Most of the professional screenwriters I know make an okay living... But I often joke that if I had kept my job at Safeway Grocery I would probably be making more now (as a District Manager or something).
So your plans to become a rich screenwriter?
And if you are looking at those million screenplays and fewer than a hundred sell, that means that a whole bunch do not sell. The writers wrote them for nothing!
Or did they?
And that is the key to avoiding being damned.
The writing itself needs to be its own reward.
MOTIVATIONS
If you're having a problem getting your scripts finished it may be tied to your motivation - maybe you aren't writing because you want to tell a story, perhaps you're writing because you want fame and glory. Guess what? There is no fame and glory in the screenwriting world - name the three Oscar winning writers of CASABLANCA. You probably can't, and you're the MOST LIKELY person who could do that (you want to be an Oscar winning screenwriter). So if your motivation is fame, is having people acknowledge and love you... you're in the wrong business. Screenwriters are either ignored or blamed or crapped on.
If your motivation is "I like to write" or "I need to write" then it's all about writing and writing is what you should be doing (actually, you'll already be doing it). This is the motivation you want to have - the need or desire to tell stories. That way your motivation is all about the work - not the rewards. I hate to be a cold blanket, but this is a business where the rewards are few and far between and usually out of our control. The only thing really in our control is doing the work. So writing needs to be its own reward!
If your motivation is "I want to write to prove I'm somebody important" or "I want to write to prove my enemies were wrong" then it's not about the writing - it's about your personal problems. If you are writing to solve personal problems (and trying to solve them by changing OTHERS) your focus isn't going to be on writing, so you WILL have trouble finishing scripts or starting them or anything else that has to do with WRITING. If your motivation for writing is anything other than "to write", you're going to run into problems because those other motivations will get in the way of your writing.
If you aren't in the biz because you have to tell your stories, because you're PASSIONATE about writing, you're in for a future of heartache. You don't see screenwriters on eitherr of the Jimmys or Colbert. You don't see them interviewed on ET or Access Hollywood or any other TV version of National Enquirer. Screenwriters just toil away in obscurity... we write because we have stories inside of us that they have no choice but to tell. We are writers.
A writer writes.
I have a stack of unsold screenplays that I am now planning on adapting into novels. I also have a stack of unread screenplays - no one ever requested them. Many of those are from early in my screenwriting "careeer" where I was writing typical genre screenplays instead of focusing on an amazing high concept that could attract producers from the logline alone. Those unread screenplays are good - just not interesting enough. Some I have rewritten with a “high concept injection”, others I have figured out how to adapt into novels with a more interesting central idea. Everything that I have written, from my very first screenplay, is written. It is not just some idea bouncing around in my head, it is something that was fleshed out and set on paper or floppy or whatever. It actually exists. And that is the key to being a successful writer - actually writing.
A writer writes.
A sure fire way to be damned as a writer is to focus on the things that you do not control, instead of the things that you do control. If you focus on the prestige or the money or the respect or anything else that is completely outside of our control... you are going to end up damned disappointed. Even if you are a successful screenwriter, not everything you write will end up on screen, and I guarantee that what ends up on screen isn’t going to be the way you wrote it. Probably mentioned the huge list of unsold and unproduced screenplays by multiple Oscar winner Robert Bolt, and even Oscar winners will get rewritten by a string of other writers. That’s just how it works - out of our control. If you focus on the stuff that you can’t control, you will go crazy. But there is one thing that you control 100% - that is the actual writing. Getting pages done every day. Writing a stack of screenplays that may or may not sell - but they are accomplishments! You wrote that screenplay! You got to Fade Out!
So you probably aren’t ever going to become rich and famous and respected and have your choice of underwear models to fly to Europe with for a weekend with The Countess, but you are going to actually accomplish something that very few do - you will have a growing stack of screenplays or short stories or novels. So if you want to be a writer, you need to enjoy (in some way) the writing part.
Writing needs to be its own reward.
That’s the way to avoid being damned.
Good luck and keep writing!
- Bill
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