But now, these shoes are completely broken in. Soft. Comfortable. They now completely fit my feet... and they are also worn out and ready to be replaced. Scuffed up, wearing out.
I just bought a new pair of Levis, and they are kind of stiff. It’s hard for me to find Levis that fit, because I’m tall... but not freakish tall. Though I could probably shop in some big and tall store, or go to somewhere that has extended sizes, my size of Levis can be found in a normal store. So that’s where I shop. But the strange thing is, Levis are *not* consistent in length size. So two pair that are supposedly the same size may be just enough different that one fits perfectly and the other is half an inch too short (what we used to call “floods” when I was a kid). So shopping for jeans requires a little work - and I own a couple of pair of Levis that are that half inch too short. The pair I’m wearing now are absolutely perfect. They were kind of stiff when I first bought them, but I’ve broken them in - and now they are perfect. The new pair of Levis is still in my closet - wore them a couple of times, but they just aren’t as comfortable as the pair I’m wearing now.
Of course, this pair of Levis came out of the washing machine with a hole in the right side back pocket - where I keep my comb - and I know that every time I wash them that little worn out section will wear out even more... and soon these perfect Levis will be worn out, and I’ll have to break in that new pair.
Why is it that just when something becomes broken in and comfortable, it’s days are numbered?
You can apply this to screenwriting any way you want.
TODAY'S SCRIPT TIP: Understanding protagonists.
Yesterday’s Dinner: Soup on a rainy day - that chunky sirloin burger stuff.
DVD: VANISHING POINT - one of those 70s films that is simple and complex at the same time. Barry Newman delivers cars cross country. He makes a bet with a guy that he can get this Dodge Challenger to San Francisco over the weekend - which means driving non-stop at top speed. When a highway patrol cop wants him to pull over, he just says ef-it and keeps on going. This brings in more police, and road blocks and helicopters and all kinds of problems... but Newman just keeps going. Most of the police cars crash - usually due to their own mistakes. A pirate radio DJ played by Cleavon Little turns Newman into a folk hero - while broadcasting information from the police radio to help Newman avoid road blocks. Newman becomes an anti-authority symbol. Everyone wants him to avoid the police - and the police must stop him to retain control. The entire problems of a nation are played out with a speeding car and a police chase. Along the way, Newman meets a strange old man in the desert who gives him life advice and a naked babe on a motorcycle who wants to give him something else. Great car chase stuff, amazing stunts, things that make DEATH PROOF look mega-lame... and an ending that is simple, yet so complex you will be thinking about it for days afterwards.
Pages: Talk about strange - yesterday I had an idea for a new spec and wrote 5 pages on it. That may be all I ever write on it, who knows.