Sunday, May 31, 2009

Indoor Voice

So, I work almost every day in some coffee shop or another (usually 2 or 3 with meals or bike rides in between). I am in a Starbucks right now. I have my *headphones on*. I have the Jerry Goldsmith CRANKED. I can still hear the LOUD people sitting behind me. I can't hear my music, but I can hear them yelling at each other. And they are not fighting - they just have the volume cranked to 11. It is really pissing me off, and I can not wait for them to leave so that I can get back to work. I've been working here all evening without problem until they sat down.

Okay. I've vented.

- Bill

Bond vs. Bond

Pierce Brosnan wants his old job back...



- Bill

Thursday, May 28, 2009

Terminator: Salvation

I had the same problem with this film that I had with STAR TREK - that kid is too young to play Kyle Reese!

The strange thing about TERMINATOR: SALVATION is that STAR TREK has all of the same problems - all of them - but for some reason got much better reviews and was more readily accepted by those people on message boards who bitch about movies. I do not know why this is - maybe because most of the past STAR TREK movies haven’t been winners, yet the first two TERMINATOR movies are classics that may be two of the best genre movies ever made. When you see a STAR TREK movie, if it’s enjoyable and in focus it’s good (though the lens flare thing still bugs me)... but with a TERMINATOR movie you can’t help but compare it to the first two - and almost any film compared to a James Cameron film is bound to suffer (unless you are comparing it to PIRANHA 2: THE SPAWNING). You just expect more from a TERMINATOR movie.

Though TERMINATOR: SALVATION has all kinds of problems, it’s still a fun, stupid, somewhat enjoyable action packed summer sci-fi movie... but as a TERMINATOR movie? Crappy. If there had never been any Terminator movies, or if this had not been connected to the franchise - would have been dumb summer fun. Problem is, the "baggage" of the past films means this has to be better than dumb summer fun - and it was not.

Though I do not know the whole script backstory, from press stuff I know that John Conner was a minor character in the original script - which focused on the Marcus character. When they hired Bale and he became the *star*, he had the whole script rewritten and (by Bale’s account) told the writer what he wanted to do. I think this may be the case of an interesting script being turned to crap in rewrites.

I think Marcus is the most interesting character - and all of the John Conner scenes undercut the Marcus story and undercut the film. Had this been all about Marcus, this guy who wakes up in the future after the world has gone to hell and tries to figure out what happened and figure out who he is now and what his place in this world is... that would have been involving and interesting. But when Marcus is often second banana to an emotionless dude who yells and makes speeches on the radio all the time - the film loses just about everything. (For instance - the big reveal scene becomes about how Conner was betrayed by Marcus, instead of how Marcus was betrayed.)

I liked the Road Warrior chase stuff - and was shocked that the kid from ROAD WARRIOR had a sex change and was now a mute little girl, and thought the different terminators were cool - but there wasn't that one cool thing... like the liquid metal T-1000 (or the T-800 in the first film). These different terminators were okay but not mind-blowing cool. The grabber one I liked best - it made me jump a couple of times... but haven’t I seen that in TREMORS? When you think about the first film - the concept of this completely unstopable killing machine from the future that can imitate the voices of your loved ones and repair it’s skin and pass for human... that was all amazing stuff back then. And it’s even amazing stuff now. When I rewatch that film, I forget how cool it is when the Terminator pretends to be Sarah’s mother on the phone... and lures her into a trap. And the cool factor of repairing itself - the exposed machinery under the skin is right out of that Matheson short story. T2 has the amazing shape shifting T-1000 - kind of the voice imitation taken to the extreme. These things are leaps of imagination that are not present in T3 and T4 - and that is a major problem with T4 as a Terminator film. It’s doesn’t have anything so amazing that you wonder how something even came up with that. Though the big *grabber* Terminators and their motorcycle attachments were cool - a great idea within the world of Terminators - there wasn’t anything that was outside what we expect... not a problem for a non-Terminator film, but the mid-blowing elements are what we *expect* in a Terminator film.

Just as STAR TREK had plot holes you could drive a whole convoy of trucks through, T4 has all kinds of plot problems.

The other three Terminator movies are chase films - with an unstopabale killer robot of some sort after a human character. In T1 we have Ah-nuld chasing Sarah Conner. In T2 we have Robert Patrick chasing Sarah and teen John. In T3 we have Kristanna Loken chasing John Conner as a young man. In T4? No one is being chased! No one is being threatened! The biggest problem with this film is that both the antagonist and protagonist have non-existent or hollow goals. Late in the game someone notices that it might be a bad thing for Kyle Reese to be killed - but that isn’t driving the story... nothing really is. And here’s the problem with the Kyle Reese thing - Skynet has a billion chances to kill him and is so inept it doesn’t act. What’s up with that?

Since the Marcus character and Kyle connect early in the film, I wonder if there was a draft of the script that focused on Kyle being the target of a chase, with Marcus protecting him... and eventually going into Skynet to rescue him? And I also wonder if the big reveal happened *near the end* in that Skynet scene that exists in the film?

The “machine stopping signal” thing - and even Michael Ironside (with both arms) in the submarine - undercuts Kyle Reese as a target. By creating a second plot that is all about destroying Sky Net HQ, we now have a second reason to go to Sky Net HQ. So, which is more important - Kyle Reese or blowing up Skynet HQ...

And it seems to be a regional HQ at that - not the thing that changes the fate of mankind, just a minor battle. Though we know this is the first of a proposed new trilogy, we still need to have the ending for a stand alone movie. McG has leaked to the press that he had a darker ending but decided not to shoot it - and even though that ending sounds interesting, it’s still a *crap* ending. It isn’t that big blow-up-the-Death-Star ending we need in a summer movie. Just more ho-hum crap... just more interesting ho-hum crap than the filmed version.

They needed to "build the legend" of the Sky Net San Francisco HQ - so that it is a really big thing, and no one has ever come out of there alive, and they steal people and... do something... to them there. Why do machines need people? Build that up into the thing that drives the story. Maybe there are other Skynet HQs, but none of them are stealing *people* and doing something with them... what could they be doing? There’s a great Philip K. Dick story (turned into the most boring movie in the world) called “Second Variety” about a future man vs. machines war where the automated machine assembly line has come up with a new type of killer machine... but nobody knows what it is. They only know it exists. The story is a quest to discover what this new type of machine is... and they discover it is an infiltration unit that looks and acts human... which leads to everyone pointing the finger at everyone else like in Carpenter’s THE THING and there’s a nice big twist end in the story *after* they think they have destroyed the man-machine. The initial mystery in that story about what the heck this new killing machine is could have been used to fuel T4. And even though *we* know what a T-800 is, and why they need human flesh to create them, the characters wouldn’t - which could be used to create suspense. We know they shouldn’t go in that old dark house where a bunch of people were killed in the first ten minutes, but they don’t. They could have given the characters clues to what happens in that factory, and the characters could have gotten them *wrong* - maybe thinking that they were peeling skin from people as a form of torture to interrogate these people and find out about the underground. That would have built some audience participation - we’d be yelling at the screen: No! They’re stealing people’s skins for T-800s! But they needed to **build** the legend and mystery of the San Francisco HQ so that it becomes the Death Star. It can’t just be some building, it has to be the biggest and most interesting thing in the movie.

Oh, and Marcus gets in too easy.

Oh, and the resistance isn’t ever the underdog in this film - making the story not work on a basic level. Hero must always be underdog. Here - people are constantly outsmarting the machines (oh, the old rope-across-the-street trick!) so that you wonder why we are watching this movie in the first place - humans are obviously going to win this.

Oh, and this was one of the reasons why people didn’t like *T2* - humans are at war against machines. So any time the humans use a machine, that’s stupid. It’s at odds with the concept. Giving the humans a huge airforce and all kinds of other helpful machines doesn’t just stop them from being the underdogs, it also has them collaborating with the enemy! BATTLE FOR TERRA has an *amazing* alien world where wind and wood have replaced metal. I think it would have been cool to create a post-apocalypse world where all machines were suspect, and humans *only* used non-computerized, non-metal, non-electronic devices. Let’s create a future where people actually *fear* machines!

You have great actress Jane Alexander, and she gets a couple of lines of dialogue? No way! I kept thinking she should be like the leader-woman from THE STAND - this could have been a great part! Instead I wondered why the hell she was in this film.

Thought Kyle Reese's speech after he was captured was good, and I liked the allusions to the war on terror in some other character's dialogue, much of the dialogue was OTN crap. Instead of finding ways to recycle some of those iconic lines of dialogue from the first two films, they needed to come up with *new* iconic lines. This is a major problem in the film biz right now - instead of trying to do something new and interesting and unique... a film that amazes us now - everyone seems to be picking through the bones of past films giving us a bunch of remakes that are more of the same. And T4's biggest problem is that it is nothing new - no amazing new ideas and no amazing new lines of dialogue. Find me an original quotable line of dialogue in this film! We can’t predict what is going to stick with the audience, but we can sure as hell write some amazing dialogue that gives them a selection of things they might quote. Give them bland, stale dialogue and they aren’t going to remember any of it.

Another big problem with the film is that it’s not emotional. The great thing about the first two Terminator movies... and even the third one... is that they were filled with big emotional scenes and big emotional decisions. “I now know why you cry.” Man, no line in film has gotten me to tear up like that one... and I was crying for a freakin’ robot played by the future Governor of Califlowernia. We can learn a great screenwriting lesson by tracing that line through the preceding movie - it was set up so well! The set up scenes were great scenes! There was *nothing* in T4 even close to this - the big emotional scenes all belonged to Marcus, and many were undercut by John Conner’s character. Conner had *zero* emotional scenes, and that is the biggest mistake in the film. By making the leader of humanity into this cold heartless idiot, they make me wonder why I should care whether the machines win or not. I mean, why would I want a world where humans act more like machines than the machines do?

I ditched the TV show when it became apparent that they had no idea what they were trying to do. The show jumped the shark in whatever first season episode that was when they jumped up in time - it became a dopey soap opera instead of a show about John Conner learning the skills he would need to lead the human race to victory. I don't think those are *fighting* skills - I think it's learning what makes us human. The first season ender was great - but second season was just more crap. They never figured out what the show was *about* - and that ends up being the problem with T4, too. What is this movie about? What are the big emotional decisions the characters must make?

Remember in T2 when Sarah goes to kill Dyson (the always great Joe Morton) who she thinks is the evil dude who will start Skynet... but he’s a nice guy with a family? And she realizes she still needs to kill him? That is one great scene without a single special effect. Hey, and if we *only* look at the character of Dyson, what an amazing journey that guy takes! How many big emotional scenes does he have? And his final scene - how haunting can you get? I can still hear his raspy breathing in my mind. Every character in T2 has *big* emotional scenes and *big* emotional decisions to make... And even in T3 we get some big juicy scenes - Kate and her father, John realizing he must step up to be the leader, and that ending... Plus, one of the fun elements of T3 was the bickering couple being chased - kind of like Hitchcock’s 39 STEPS - and even though they dislike each other, they are fated to be married. Doesn’t seem likely throughout the movie, until that big ending where we realize it’s inevitable. As much as you may not like T3, it still works as a Terminator movie, and it still has some great emotional moments and one hell of an ending.

T4 - what are the big moments? Where are the emotions? They squandered a great chance for -something- with the relationship between Marcus and the Moon Bloodgood character. A great place to put in those little detail moments that later pay off in “I now know why you cry” moments. But we got nada. And that relationship was nada. I really liked the idea of a hot kick ass woman, but they even squandered that! Hey, this was the CHARLIE’S ANGELS director - you’d think he could have at least got that part, right!

I liked that they brought back Helena Bonham Carter from the opening scene - but that scene was undercut by the earlier reveal. But it seemed like Bryce Dallas Howard (who is hot) is only in the film because her character was in T3... and they needed some way to make Christian Bale seem like less of a machine. And Common - who has one of the most interesting faces in the biz - is completely wasted as Conner’s pointless second in command. Why not give that guy something cool to do? This gets back to the “what’s it all about, McG?” thing - but why weren’t we given different characters with different theories about how best to *have* a future of mankind? Let Common completely disagree with Conner, let Jane Alexander have a strange theory that makes complete sense in this post-apocalypse world, create a *discussion* of what the future of mankind should be. A debate. Give us some *ideas* that we can think about later!

Problem is - I don't think McG knows why we cry.

The film seemed to fight any chance at being more than just summer action crap - it often seemed like they were on to something and then buried it - between Marcus discovering who he is and throblem is - I don't think McG knows why we cry.e signal going two ways (these things seem connected) it seemed like there was a better draft of the script somewhere that got destroyed in rewrites - where the intentions of things like this were not understood by the new writer... or maybe it was just the director who didn't get it.

Like STAR TREK, I think if you are going to do something in a beloved series you have to do something great... not something that just cashes in on the name brand. I still don’t understand why the stupid summer movie that is T4 is any worse than the stupid summer movie that is STAR TREK - they both have the exact same problems (Nero's loopy plot, only one big emotional moment, a massive amount of plot holes, crazy coincidences, how come Kirk & Spock can walk to the Fed Outpost when both had to hide in the cave from monsters earlier, etc, etc, etc). But since most of the previous STAR TREK films sucked, a silly summer movie version of STAR TREK is considered "good". TERMINATOR: SALVATION has to carry all of the baggage of the first two great fims, and the third okay film... and collapses under the weight. I liked the film as a dumb summer action flick, was disappointed in it as a Terminator movie.

Two more films in this proposed trilogy... but did this one terminate the last two?

Classes On CD On Sale!

- Bill

IMPORTANT UPDATE:

TODAY'S SCRIPT TIP: Where's The Beef? and why act 2 should be easy.
Yesterday’s Dinner: Chicken Caesar salad.
Pages:

Wednesday, May 27, 2009

Compulsive Kindness

When I was a little kid, my mother would always get compliments from other people on how well behaved my brother and sister and I were. When we were in public we never raised our voices, let alone ran around and roughhoused. He stood in a straight line. We didn’t touch things that were not ours. We might fight like cats and dogs at home, but in public we never pushed each other or hit each other or even raised our voices. Actually, that was part of it - we didn’t speak unless spoken to. My parents raised us well. We did unto others as we would have them do unto us. None of this had anything to do with religion or threats of being whipped with a belt - it was just good behavior. When we were out in public, we had a code of conduct to follow.

Back then I believe most kids had a code of conduct to follow when they were out in public. I know our friends the Holloway kids did... though I don’t remember them standing in a straight line - that may have just been something my mom came up with. Though some kids were little hellions, most behaved when in public. That’s what was expected of kids at the time. We always said “please” and “thank you” and “excuse me” and “may I be excused” when we had finished dinner. We had to ask permission before doing anything unusual - and if all of this sounds like we were some sort of Stepford Kids, nothing could be farther from the truth. We built forts and dug fox holes to play army and often played in the forbidden creek behind the house if mom was busy doing something and we didn’t think we’d get caught. We were normal kids, who had some manners and did unto others.

The mind set of doing unto others and considering other people has stuck with me into adulthood. So has saying “please” and “thank you”. When I’m working in a coffee shop and they put my drink on the counter, I always say “thank you” even if I am across the room plugging in the laptop. It’s only polite. And this got me thinking about all of the things that I do that are traces of those childhood lessons in being polite.

1) I always say “please” and “thank you” and “you’re welcome”.

2) I always try to have a genuine smile for people. I hate those plastered on fake smiles, and I have been guilty of wearing them every now and then. When I smile at people, 99% of the time I mean it. I also try to be positive - and trust people and be nice to people as my default. I know people who start out suspicious and angry, I don't want to be one of those people.

3) I clean up after myself - I always try to leave things where and as I found them.

4) When I’m at a stop light, I always look *both* ways before turning right or pulling out. I also look both ways before crossing a street - or doing just about anything. Always good to know what's around you - instead of not caring.

5) Probably because I’m often on a bicycle, I stop my car behind the limit line, not in the middle of the cross walk. You know, that extra foot doesn’t get me there any faster. When I'm driving, I go with the flow of traffic - rather than race to the next stop light. Oddly, I get there the same time as the car that races through traffic.

6) When squeezing past someone or crossing in front of their sight line or any number of other things, I say either “excuse me” or “pardon me”. Since many people in Los Angeles speak Spanish as their primary language, I usually say “pardon me” because I think it is easier for everyone to understand. I don’t say “pardon me” for me, I say it to be polite to others.

7) I park within the lines, and as straight as possible. This means it may take me an extra minute to position my car - but that makes it easier for people parked on either side to open their doors and pull their cars out of their parking spot.

8) When I am paying at a cash register, I make sure my money is faced when I hand it to the clerk. When I worked retail I had to face my money at the end of the day, so I know what a pain it is to get a wad of messy money. It takes a second to put all of the bills face up and rightside up before handing it to the clerk.

9) I look before moving. If I’m going to take a step to the side or a step back, I look at the spot where I’m moving to *before* moving so that I don’t step on anyone. Saves me from having someone else's coffee on my clothes.

10) I am patient. Okay, not always - never at the post office - but I try to be patient most of the time. Whether I’m in a rush or not will not change how fast things happen or how fast other people move. Better to just take it easy.

11) By the time I get to the front of the line, I am completely ready to order. I know exactly what I want, and the answer to any of the normal question I might be asked (“Soup or salad?” “Do you want fries with that?” “Room for cream?”) I don’t want to waste the time of the people behind the counter or the people behind me because I am not prepared. By the time I stand in line, I know exactly what I want.

12) When I am walking on the sidewalk, I walk on the right side - never in the center. I want to make it easy for people behind me to pass me, and people coming in the opposite direction to get around me.

13) When I step off and escalator or through a door I continue to walk several steps to make sure I am not blocking people behind me. I usually keep walking and survey my surroundings to see where I want to go, rather than stop and look around. That way I’m not holding up traffic.

14) When I am next in a check out line, I have money in my hand as well as a selection of change, so that nobody has to wait for me to dig into my pocket to find that nickle. I’m *prepared* to pay for my purchases. Oh, and because I’m strange, I often add up my items in my mind and figure in tax and have a pretty good estimate of what the total is going to be. I’m usually within a dollar either way, and that helps me know what kind of bills I should have in my hand when I get to the checkstand.

15) If I’m talking on my cell phone in public, I try to use a quiet voice or go outside - I don’t want to bother other people with my conversation... and I kind of like privacy.

16) I try not to kick a man when he’s down. Once I’ve made my point, I back off. Though I’m sure I’ve kept hammering away at somebody a few times on message boards, I usually back off. Also, when someone has a bad day, I don’t make it worse... even if I hate them and my evil side would love to destroy them. It’s not fair.

17) I always go to the restroom or go outside to blow my nose. It’s gross to do it somewhere people are watching or listening... let alone trying to eat a meal.

18) I gauge traffic when I am merging, and pull out in an opening with enough distance between the car in front and in back of me... and at the same speed they are going. I don't stop to merge - that's silly. I don’t want to cause anyone to jamb on their brakes or have to swerve - I want it to be a smooth blend of my car into the stream of traffic.

19) If I am walking with friends on the sidewalk and others approach us in the opposite direction, I step behind or in front of my friend(s) so that we are walking single-file, allowing those walking towards us half of the sidewalk to pass us. This isn’t always easy - I have some friends who don’t get it, and if I fall back, so do they.

20) When I’m wrong, I apologize, and I mean it.

21) My cell phone ringer is either set low or on vibrate - the rest of the world doesn’t have to know my phone is ringing, and I really don’t care if you hear my cool ringtone or not (it’s the Peter Gunn theme - which is used in a bunch of commercials, and I often reach for my phone when it’s just a Chase Bank commercial on TV.)

22) I don’t block other people in an aisle or a store or a walkway or anyplace else - and I try not to stand in front of things other people might want access to.

23) If I make a mistake more than once, I try to make sure I don’t make it a third time. You are supposed to learn from your mistakes, not keep making them over and over again. Sometimes, if it’s some sort of bad habit, I find some way to punish myself if I keep doing it. I’m too old to have my mom spank me, so sometimes I have to spank myself. Not literally. But I do not reward myself for failure or making mistakes - I take away some pleasure until I stop screwing up.

24) I do not talk on my cell phone when I get to the front of a line - that’s when I need to be focusing on paying or ordering or talking with the person on the other side of the counter. It’s rude to the person behind the counter, it's rude to the person on the phone, and rude to the people standing behind me when I fumble through trying to hold two conversations at once.

25) In the grocery store, I push my cart down the right side of the aisle, and either stay on that right side when grabbing items off the shelves or move far enough away from my cart that I am not blocking both sides of the aisle - one side with my cart and one side with me shopping. I always leave half the aisle empty so that other people with carts can get past me.

26) If I am crossing a street as a pedestrian (or just walking across a parking lot entrance) I look at traffic in all directions - some times it’s easier to wait for one car to pass even though I have the right of way. If I have to wait a minute so that things run smoother for everyone else, no big deal And if cars are waiting for me to cross the street, I walk *fast* - I don’t take my time when I’m also taking other people’s time.

27) I try to be aware of everyone around me and stay out of people’s way. If I’m blocking a bunch of people from getting where they want to go because I’ve got my head in the clouds thinking about something or talking on the phone or whatever - I’m holding up the whole danged world!

28) When I pick a table at a restaurant or a coffee shop, I try not to pick one that would be of better use to someone else - I’m one person, so I don’t take a large table that might be better used by a family or a group, I don’t take a table designed for handicapped access or might be more convenient for an elderly person. Sometimes these are the only tables available, so I have no choice - but I always think about others when I select a table.

29) If I’m walking in a shopping mall or hallway or sidewalk and need to stop, I move to the side (near the wall) and *then* stop, so that I am not suddenly stopping in front of someone and am out of the way *before* I slow down or stop.

30) I try to help people whenever possible - not because of some sort of karma thing where what goes around will come around back to me (that would be nice, but I’m not sure that’s really how the world works), but just because it usually takes the same amount of effort to help people as to put them down or even ignore them. There are all kinds of people who seem to go out of their way to be mean or dismissive to people - and that’s a lot of work just to be negative. Usually it takes the same amount of work to help people - and that makes the world a little better. I don’t go out of my way looking for people to help, I just help anyone whose path crosses mine. That may be holding the door open for someone with their arms full or answering a question on a message board I visit or helping somebody find something if I know where it is (a street, a business, or even an item in the store). Most of these are silly little things that are part of our day-to-day lives, but my “default setting” is helpful. One of those things I learned from my parents.

By the way, I think one of the reasons why my brother and sister and I were so well behaved in public is that my mom encouraged us to *think about playing* and imagine what we would do when we got home and were allowed to run around in the yard and have fun. Or think about our toys and hobbies (my brother and I would think about Hot Wheels, my sister would think about Barbies - Mattel Toys won either way). Or think about our favorite televison shows or the book we were reading. We would sort of play in our minds... and entertain ourselves. No need to be little hellions in the grocery store. Those good manners, and thinking of others as well as ourselves, have stuck with me from childhood into adulthood.

(This was going to be called "Compusive Manners" but that didn't have the same ring to it.)

Thank you for reading this.

Classes On CD On Sale!

- Bill

IMPORTANT UPDATE:

TODAY'S SCRIPT TIP: Strange Heroes and why cops and FBI agents don't work in screenplays.
Yesterday’s Dinner: City Wok sweet & sour chicken.

Movies: Saw T4 on Friday night, and the review is coming.

DVD: LAID TO REST - watched it for my Horror Class - absolutely awful. Written and directed by an FX guy, so the kills are interesting and gory to the extreme... but there is no story to hold them together. A woman wakes up in a coffin with complete amnesia (she doesn’t even know the word for “coffin”) and escapes into a funeral home filled with dead people and a maniac with a chrome skull mask, a video camera mounted on his shoulder, and a large assortment of knives. She wounds him, escapes, gets picked up by a guy driving down the road who takes her back to his house where his wife wonders what to do with this nameless woman who seems to have the mind and vocabulary of a 2 year old.

Not only does “Chrome Skull” find them and start killing anyone around the house, forcing the amnesia woman and the guy to escape (wife is a gross casualty) - this has got to be the only psycho killer in the history of cinema who has *personalized license plates* on his car with his psycho killer’s name! That’s so a character can know it’s the psycho’s car when it’s parked somewhere. That’s the kind of completely stupid script this is.

And to say that none of the characters have any character is an understatement - these people make the lunchmeat characters in the FRIDAY THE 13th movies look like Hamlet! The amnesia woman never becomes anything other than a 2 year old with a smokin’ body - which probably tells us something about the writer-director. The amazing thing here is the cast - practically everyone from the TERMINATOR TV show is here, and a bunch of others you either know or recognize. No suspense, downright stupid plotting and zero in the way of characters - even the psycho killer is so unmotivated he seems completely unrealistic!

When people ask if the killer needs to be motivated, this is a great example of what happens when there is no motivation at all and the whole film falls apart. Jason in FRIDAY THE 13th was getting revenge against the type of kids who allowed him to drown, Freddy Kruger is chasing the children of the people who burned him alive in NIGHTMARE ON ELM STREET, Michael Myers is triggered to kill by strange sexual urges in HALLOWEEN - every psycho killer in every good movie has a *reason* to kill and a specific M.O. for how and who he kills... here we just get random kills that make no sense. It’s complete crap... with good FX.

I have no idea why film makers who have no storytelling talent either write their own scripts or want to find some typing monkey to write up their bad ideas. They should find a good finished spec script, buy it and make it without making any changes that screw it up. Let the writers do the writing and keep your nose out of it. If you can’t find the kind of script you want to direct out there - maybe there’s a reason for that? Maybe you have bad taste and the scripts out there are *well written*? Directors direct, FX guys do FX, and writers write. That’s the way it should work.

- Bill

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Tuesday, May 26, 2009

I was a *Thespian* in High School!

So, over the holidays I had drinks with an old friend from High School, Janet Englebert. We were both in drama class and all of the shows together. She not only had a program from one of the shows - she had *pictures*! Of me at 16 years old! When I was working almost full time, going to high school, and working on or being in all of the plays. No time to eat - so it was one of the few skinny periods in my life.




The Program...


Cast List...


The Star's Bios (I remember this play, have no memory of Gloria Mundi)...


Here is a scene with Janet and me...


And me with a very sharp knife...


And Janet and the very sharp knife...


And Patty Loveland after she sees what happens through the rear window of her apartment...


And my *favorite* part of being an actor in High School - the chance to see girls in their underwear. That's Nora in her bra reflected in the mirror.

My goal was to see every girl in class in their underwear... and maybe even topless! That could happen when there were quick changes backstage.


We did a haunted house every year to earn money to put on plays. That's my severed head...






What a strange thing to see myself that young - and people who were my closest friends at the time... now, just memories. I wonder what happened to them all?

- Bill

Monday, May 25, 2009

Green Latern Trailer

This fan made fake trailer is amazing. It makes me want to see a movie that doesn't exist, and makes me want to ask my friend Paul who is stunt-double for Nathan about all of the behind the scenes stuff (which obviously hasn't happened... yet!).



Things like this make me feel like a thawed out caveman - some danged kid probably made this on his laptop... and I can't figure out how to get my VCR to stop blinking 00:00.

AND: My friend Scott who does coverage for producers for a living, also offers his services to screenwriters. Find out what the studio reader thinks of your script - for $60. Sixty Buck Notes.

- Bill

Saturday, May 23, 2009

I'm on Twitter

As if I didn't have enough to do already.

wcmartell

It's connected to my Facebook page - so you can get all of my tweets there. Trust me, it's not like I'm going to have time to tweet much (and most of the time I'm doing something boring like writing).

HITCHCOCK: Because I was facing a deadline on an emergency article and was only half done with DIAL M and for many folks in the USA Friday was a half day, I decided to postpone that Hitchcock entry until next week.

PLUS: Go over to *Also, I Can Kill You With My Brain* (blog linked in that endless messy stream of links on the right ->) and check out Shakespeare's Star Trek.

- Bill

Thursday, May 21, 2009

Quality Rules

From Patrick Goldstein's LA Times Article:
Even more alarming, especially for studios who've thrived on seducing moviegoers into seeing mediocre product, is the realization that audiences are becoming more quality conscious. In the past, if a forgettable action film hit pay dirt at the box office, it would perform correspondingly well in DVD, allowing studios in greenlight meetings to provide a conversion rate--i.e. that if a movie of a certain genre made $100 million in the theaters, that would equal X millions of units in DVD. But judging from recent DVD sales figures, films that had poor word-of-mouth--signaling significant audience dissatisfaction--were underperforming in DVD, even if they had enjoyed lofty box-office numbers.

The example that made the biggest impact in studio circles involved "Iron Man" and "Indiana Jones and the Kingdom of the Crystal Skull." The two films, released within weeks of each other last summer, did almost the exact same amount of business in their U.S. theatrical runs--roughly $318 million. But when they arrived on DVD, "Iron Man," the film that performed far better in exit polls (not to mention with critics), easily outperformed "Indiana Jones," whose DVD numbers were far lower than expected. Among the big-grossing summer films, "Hancock" was also a poor performer (in terms of box office vs. DVD numbers), while the DVD numbers for such well-liked family films as "Wall-E" and "Madagascar: Escape 2 Africa" held up far better.


The rest of the article: DVD Collapse.

The problem, as on studio chief says in the article, is that they don't know what films will sell well on DVD and what films will sell poorly...

Hmmm.... if quality sells, shouldn't that be the focus?

And quality in this case doesn't seem to mean Oscar winners, those are not doing well on DVD. Quality seems to be big mainstream films that deliver what they promise and are *good* - so that you would want to see them again. IRON MAN... but not the new INDIANA JONES movie.

By the way, for all of you who have asked me over the years where they can get the actual sales numbers for individual DVD titles, the answer is in this article... you can't. They are kept top secret.

Classes On CD On Sale!

- Bill

IMPORTANT UPDATE:

TODAY'S SCRIPT TIP: On The Nose *Scenes* and the brilliant writing if George Lucas.
Yesterday’s Dinner: City Wok sweet & sour chicken.

Movies: CRANK 2: HIGH VOLTAGE - If you like Roadrunner Cartoons, but don’t like animation - this is the film for you. The sequel is just like the first film, only more so. That’s either a bad thing, if you did not like CRANK; or a good thing, if (like me) you thought it was a fun way to kill a couple of hours. These films are so not to be taken seriously, there is no reason for that standard legal disclaimer at the end of the movie that the film is fiction. Folks, this film is so unreal it’s funny - and that’s probably the point. It *is* a cartoon with live actors.

It starts with a clever recap of the end of the last film - an Atari game showing two men falling from a helicopter and shooting and fighting until both are about to hit the ground... then they cut to “real life” as Chev Chelios (Jason Statham) slams into the roof of a car on the street, bounces, and lands right in front of the camera... dead... until one eye pops open. The end of the last film. Then, an unmarked truck pulls up and men in hazmat suits scrape him off the sidewalk and throw him in the back of the truck - taking off before the police and ambulances can arrive.

A couple of months later, Chev wakes up in some back alley doctor’s office hooked up to a million machines - alive - but his heart has been harvested for transplant (because it is the strongest heart of any man alive). Chev has an artificial heart keeping him alive so that the bad guys can sell of any other working parts he might have... including his penis. Chev doesn’t want them to harvest that particular organ and breaks out - fighting a bunch of people - and with his battery powered artificial heart goes on a cross-town quest to recover his actual heart. Even though that Atari game thing was only used for a minute at the beginning of the film, the rest of the movie is no more realistic with humans instead of bad video graphics - and that’s okay. This is a cartoon and cartoon laws of physics apply - also cartoon logic.

After Chev gets into a car wreck chasing his heart, the battery pack on his artificial heart is destroyed and only the small internal battery exists - and it must be manually recharged constantly... in a variety of silly ways that are fun. From jumper cables attached to some gang banger’s low rider car’s battery, to rubbing up against an old woman to create static electricity, to disregarding the Danger: High Voltage warning on a transformer box and just bear-hugging the humming electrical contents. Like Popeye with his cans of spinach, Chev must get charged up before he gets into a fight - and there are many of those. Along the way he finds his true love Eve (Amy Smart) working as a stripper (with strips of electrical tape over her nipples for some reason - makes no sense to me as her breasts are smashed against a police car window at one point just as the breasts of the Catholic High School Girls In Trouble breasts were smashed against the shower door in KENTUCKY FRIED MOVIE - and the combination of crass gratuitous nudity and those little bits of electrical tape modesty end up being funny... and maybe that was intended?).

Now that he’s found his true love, he must find his heart - and as silly and cartoony as this film is - this symbolism is entirely intended and is what made me like the first CRANK movie much more than I liked SHOOT ‘EM UP, even though no one can play a cartoon character like Paul Giamatti. The CRANK movies have heart... even though in this one the heart has been stolen.

As Chev and Eve and the other characters chase and fight across Los Angeles, each one sillier than the one that came before - in one instance turning into giant Godzilla-sized people who battle it out in a bad miniature version of the city, knocking down buildings and power towers, we get some Road Runner-Wiley Coyote laughs and at least one public sex scene on a horse racing track. Eventually David Carradine makes his appearance as the Chinese gang lord who needs a new heart - and wants the strongest heart in the world as his replacement... and the villain from the first film, who is now - much like Walt Disney - a head kept alive by machines. It’s just this crazy movie that never tries to be real or even make a whole lot of sense... and by the time we reach the end, they have set up an impossible situation that you know will lead to the third film in the series. I suspect in that one, Chev will have to borrow people’s skin for short periods of time - so maybe he’ll be able to go undercover? At today’s ticket prices, you have to be a fan of the first film to fully enjoy CRANK: HIGH VOLTAGE in the cinema, but on 99 cent rental night? You can’t go wrong.

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Wednesday, May 20, 2009

Have I Seen Any Movies?

The summer I graduated High School I took off from work and just saw movies. Hundreds of them. All in cinemas (no other choice back then). I averaged three films a day in cinemas that summer - many of those films were in far off cinemas that required hours of driving from one cinema to the next with fast food meals in the car in between. I had a diary, and listed every movie I saw, where and when I saw it, and a couple of lines of what I thought about it.

When I first added the MOVIES element to the Important Updates on this blog, the plan was to start that diary all over again. Great plan, wish it would have worked. The first entries here were often the title of the movie and a line or two about what I thought of it. But some movies I wrote full reviews of, trying to figure out where they went wrong or what they did right and how all of that applied to screenwriting. And that’s where things went wrong. Because those full reviews were often mini screenwriting lessons, and I could use them either to update old Script Tips on my website or as the raw material for whole new Script Tips. Suddenly, the movie entries were more than just part of my daily diary on this blog, they were *important*. I couldn’t just jot down a sentence or two that night before going to sleep or the next morning while waiting for the coffee to kick in - I had to think each movie out and find the screenwriting lesson hidden within and analyze the good and the bad and... well, it became *work* (my least favorite four letter word). So everything depended on how much spare time I had, how much energy I had to write up the reviews, and how much I gave a crap about my website at the time.

I have notebooks filled with notes on films I have seen, but never gotten around to analyzing for valuable screenwriting lessons. Many of those notes have often found the lessons to be learned from these films, but I never found the time or energy or enthusiasm to type it all up for you folks to read... and later for “harvest” into Script Tip material. So months later I come across the movie entry in my notebook and realize that I should type it up, and that goes on the big To Do List along with everything else I never got around to. The worst thing is when I come across the entry for some awful film that is the *perfect* bad example to illustrate how some element of story can be done completely wrong - and I have some old tip that needs an example like this - but my memory of that awful film has thankfully been wiped... and writing it up would require me to see the film again. Um, do I really want to waste the time and money to see a *bad* movie again?

So I am rethinking the MOVIES and DVD update section - and hopefully from now on there will be three kinds of listings there - what I saw last night in a quick paragraph, what I saw last night in a longer review... and sometimes the full analysis of some movie which may have only gotten a quick paragraph the day after I saw it. That way it works as a diary entry... and also allows me to come back later with some details (or not). For a the next few days I’m going to try to clean out some movies recently seen with some quick reviews, starting with....

Classes On CD On Sale!

- Bill

IMPORTANT UPDATE:

TODAY'S SCRIPT TIP: Relationships and Cool Hand Luke.
Yesterday’s Dinner: Massive Buritto at Tortas on Ventura Blvd - so big I can not eat the whole thing.

Movies: GHOSTS OF GIRLFRIENDS PAST - How many movies have stolen the main concept of Dickens’ A Christmas Carol? Some steal it well, like IT’S A WONDERFUL LIFE, but most use the device poorly or for some silly reason that results in a terrible film. Add to that the number of actual versions of CHRISTMAS CAROL, whether they are faithful (like the Mr. Magoo cartoon version) or updates (like the brilliant Bill Murray version) and you have a plot device that is overused. But, where critics are quick to discredit a film because they’ve seen this one before, a familiar story is often an asset to the audience, provided there is some unique twist on it - like being haunted by old girlfriends who show the protag his past, present, and future romantic life. That actually seems like a fairly clever way to spin a rom-com.

But it *was* a rom-com and my hopes were not all that high for this film. Which was probably a good thing, because it was better than I thought it was going to be, mostly due to Michael Douglas doing his best version of 70's stud Robert Evans (producer of THE GODFATHER and many other great films, and sex partner of many hot actresses and starlets). Douglas is funny as hell, and a little tragic at the same time, and pretty much steals the show.

The rest of the film is okay - amusing enough - but the big problem comes with the end and McConaughey’s character - who is a completely uncaring creepy who has slept with a million women (great sight gag as there is a never-ending night club filled with every one night or one hour or 15 minute-in-the-coat-room stand he has ever had... and it juts goes on and on into infinity), but is redeemed at the end and hooks up with the one girl he loved, Jennifer Garner (looking a little wide in the hips, here, compared to the army of hot bods in McConaughey’s past - but maybe that’s a good thing). Just like in Christmas Carol, he wakes up in the morning a completely changed man - and after being a complete jerk for the previous 90 minutes it’s hard to believe the change. The movie gives us a potential love interest for Garner that is everything McConaughey is not - and the problem is, since I like Garner I wanted her to hook up with that guy and not McConaughey. The better end would have been for him to release her to the other guy. That wouldn’t have been the rom-com ending, but after a whole movie about what a jerk McConaughey is, it’s hard to actually want him to hook up with Garner. Instead, you want him to pay penance somehow - maybe become a monk with a vow of chastity.

The film earns points for digging below the surface and giving us real characters and real relationships (like his relationship with his brother played by Breckin Meyer), for fleshing out even the minor characters like the bridesmaids at his brother’s wedding (all are potential bedmates for McConaughey, but each is actually given a unique character even though their screentime is limited), for acknowledging the Christmas Carol roots of the story with some clever gags, and for actually being funny - the film is genuinely funny. Oh, and Matthew McConaughey - not my favorite actor (is he an actor?) - does a great job of playing this jerk in a way that we don’t hate him... we actually like him. He’s smooth talking and funny and can beak hearts in ways that are either so over the top they are some sort of fantasy or so clever that the woman doesn’t realize she’s been dumped. Between the script and McConaughey’s performance, you like this character who by all rights should be unlikeable. You just don’t want him marrying your sister - or Jennifer Garner. And that’s the problem.

- Bill

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Tuesday, May 19, 2009

Loglines For Hit Movies

Many screenwriters have trouble coming up with loglines for their screenplays. A logline is a one sentence description of their story, like the ones used in TV Guide. The idea behind a logline is to sum up the story in themost interesting and provactive way, which will make readers of the logline wish to read the screenplay. So I have compiled three things to help all of you struggling screenwriters.

1) Often writers want to know what the loglines for hit movies look like, to help them construct their own loglines. Here is a place where you can read actual loglines for popular films: Loglines For Hit Movies!

2) And often writers can be stumped for a high concept story idea, so here is a website that will help you come up with the next seven figure script sale concept: Hit High Concept Movie Ideas!

3) And last... and probably least... here are actual loglines from the listings of my movies from the page for the U.K.'s Movies For Men Channels...

Movies 4 Men:
5/20 - 21:10 - Crash Dive - The crew of a nuclear submarine rescues supposed victims of a boat disaster, but the victims turn out to be terrorists intent on capturing nuclear weapons aboard the sub. 1997.

Movies 4 Men 2:
5/21 - 20:05 - Steel Sharks - When a United States submarine is seized by terrorists, a rescue attempt by Elite Navy Seals goes awry. The submarine crew wages a silent war beneath the waves in this tense undersea thriller.

5/23 - 21:00 - Crash Dive - The crew of a nuclear submarine rescues supposed victims of a boat disaster, but the victims turn out to be terrorists intent on capturing nuclear weapons aboard the sub. 1997.

As usual, the writer gives no refunds...

- Bill

Monday, May 18, 2009

Fango Tango 2009

The Sunday before my horror class I was living the horror movie life style at the Fango Horror Convention in Los Angeles. The whole thing began on Friday morning - it’s a three day event - when I met with my friend Rod at the LA Convention Center at 1pm, the convention began at 2pm but sometimes there’s a line for tickets.

Here’s the scam, in case you want to go next year - the 3 day ticket costs $65, but you can get $5 off coupons for every day and only spend $55. So that was the plan.

Another part of the plan - Rod and I split a room at the Holiday Inn across the street from the Convention Center so that we could drink all night and not worry about getting popped for a DUI. Last year a bunch of us closed a bar every night, and it’s so much easier to just walk back to the hotel and crash, than have to drive home and get up the next morning to drive back. Also, the hotel included parking... and Convention Center parking can be expensive (there was a Laker’s game one of the nights and a Brittney Spears concert on the other night - making parking *really* expensive. Those Convention Center lots have signs with all kinds of prices, depending on what’s going on.)

So, first thing I noticed - the event was even smaller this year than last year... and spread out in a crazy way. They had two rooms with speakers and presentations - a big one and a small one - on opposite sides of the Convention Center! You had to run from one event to the next. The screening room was a shoe box, like last year, and they didn’t have anything that was a must see. I always think this is one of those things they could easily turn into the center ring - we have so many new horror films coming out, why not *preview* the hot new films at Fango?

This year they *did* do my suggestion from last year and have some seminars - the screenwriting class was from Clive Barker. Clive is notorious for clubbing all night and then showing up for morning events the worse for wear, and I wondered how his 2 hour class went... and if he even made it there. By the way, his 2 hour class on writing horror cost more than my full day class a week later. Oh, and there were no fliers or adverts at the event for my class (should have been). A couple of years ago I told Tony I’d be happy to do a 2 hour class for them... but I guess Clive is a better draw than I am. Still curious what his class was like. They also had a class in make up effects and a class in low budget film making.

The dealer’s room was literally half the size of last year - same room with a divider down the middle. That may have actually been a good thing, because all of those vendors who had women with their asses hanging out last year were not there. Last year there were all of these crazy sex/horror things - from start up magazines that featured naked girls and horror movies to websites where you could find a hot girl penpal who would pretend to be interested in geeky horror guys (and probably take off their clothes and pose for a fee). That’s where all of the half naked girls came from. This year, those guys were gone - just a single naked girl/horror magazine. There were still some attractive women, but not a hundred half naked women packing the joint so that people would regret bringing their kids. I know that sounds silly when we’re talking about an event featuring people dressed as ghouls and zombies, but kids know that’s let’s pretend stuff and kids also have that love/fear thing going on with monsters and dinosaurs and scary stuff. The horror stuff is make believe, the tits and asses are real... hmmm, okay - the *asses* are real. Hmm, okay, never mind, it’s all make believe.

Corey Haim was there trying to sign autographs but no one was buying. He was in a film the began with a script I wrote that is so bad it is not even available on video in the USA... but I didn’t ask for an autograph, either.

PANELS

Sam Raimi was in the big room on Friday with a preview of DRAG ME TO HELL... which I think we saw the trailer for last year. This year we got some clips - including a great one where bugs are projectile vomited. What’s interesting about Sam is that he started out making these dopey little horror movies but now he’s Mr Hollywood. Maybe this is a return to his roots? Looks cool... and it’s about home foreclosure leading to a Satanic curse. What could be more topical?

One of the problems with Fango has always been a sense of disorganization - they need to resolve this. It’s fine for some small show to be a little ragged around the edges, but the show is no longer something that takes place in some small rented hall - this is the Los Angeles Convention Center. Things need to look professional. When the announcing is just babbling and there are long pauses between guests and often the moderator is not prepared, this isn’t good. They should at least get a moderator who can both be prepared for the interview *and* tell jokes or kill time in an entertaining manner if they are waiting on late panel members. Every year Seth Green and some hot babe are there wandering around the dealer’s room - why not hire him to by MC? There has to be some stand up comic who is also a horror fan.

Oh, and another big problem is the way they do speaker autographs. After a guest or panel speaks in the big room, they go behind the stage to an autograph area... and the Gold Ticket holders in the first ten rows all get up and get in line for autographs... leaving the front of the auditorium vacant for the next speaker or panel. Half the audience is standing in line for autographs instead of sitting in their seats - the audience loses out and the speakers may be insulted by the empty room.

Other panels I went to had some problems. Every year they have a “Spooksmodel” contest to find some hot babe to be the Fango LA Spooksmodel (I have no idea what the duties are, and what would happen if one were not chosen some year - probably complete chaos.) The whole thing is just an excuse to get hot women to model for horror geeks. I have never been to the competition... but last year’s Spooksmodel was supposed to moderate the original cast of LAST HOUSE ON THE LEFT panel, and was about half an hour late. The audience was just sitting there for half an hour without any moderator explaining the problem - because there was no moderator. When she eventually showed up, she was unprepared and asked a bunch of dopey questions. So the panel took over for her and asked each other questions - which was really great. David Hess and Fred Lincoln were like a comedy team.

I went to the panel for my friend Darin Scott’s new movie DARK HOUSE about a Halloween haunted house event in a legendary real haunted house... that goes terribly wrong when the *real* haunts get confused with the fake haunts. The film looks like fun, and stars Jeff Combs and Diane Salinger and a bunch of young actors. But the moderator *only* asked questions to Jeff Combs! It’s like he had a man-crush on him or something. There were about 8 panelists, and all of the questions were directed on *one* of them. This was not only insulting to the other 7 who just sat there, but as an audience member I wanted to hear from all of the other cast members as well. Either Combs or Darin deflected a question to Salinger - who has been in a bunch of movies and TV stuff and was Simone in the first Pee Wee Herman movie! But after she answered, the moderator went right back to Combs... until Salinger finally interrupted and mentioned there were other people on the stage, why not ask them some questions? This got some applause from the audience. Seriously - they need a more professional group of moderators!

I also went to Fred Olen Ray’s panel on the TV show THE LAIR - which I have never heard of, except on Fred’s message boards. It was in the big room, and that was kind of strange, because Fred does little low budget genre films. He directed my robot hooker from outer space movie (and is probably the *nicest* director I have ever worked with). Well, THE LAIR is like a Gay version of DARK SHADOWS that plays on one of the Gay cable stations. Not my demographic. But it seems that Fangoria Magazine is reaching out to the Gay horror audience, which appears to be much bigger than you would think. They have a column on Gay horror, now. I think Dave DeCocteau pioneered that niche many years ago - and while the Fango Convention was running downtown, Dave had a triple feature of Gay Horror Films playing at a cinema in Beverly Hills. Anyway - Fred was funny as usual, and the clips were interesting. Fred said they shot as many as 22 pages in a single day - the budget was low and they had to shoot fast. The average low budget film is probably going to shoot between 5 and 10 pages in a day - and 10 pages is close to impossible. But 22 pages? What does this show look like? Well, the shocking thing was that it looked *great* - in the clips was this really creepy slow dolly shot on a dead body at the morgue which popped up. How the hell can you do dolly shots when you are shooting 22 pages a day? I asked Fred afterwards and he told me his theory of shooting fast (which is the same theory that I have) - most of the shots are going to be standard coverage - a wide shot, then some close ups. But every 5th shot Fred tries to do something interesting and artistic. That way the show has some style. On the robot hooker movie, we always had the camera on dolly tracks and Fred tried to have as many moving shots as possible because low budget films tend to be “sticky” - they look like they were shot on sticks (tripod) with no camera movement. But I’m amazed that Fred can shoot 22 pages (that’s like a whole half hour episode!) in one day and have style, too.

FANGO FUTURE

The big problem with the Fango Convention is that it seems like the same old people we saw last year and every year. The novelty of going to a convention and seeing the actors from some iconic horror film or seeing the trailers for new movies isn’t there anymore. Much of this probably has to do with the internet. It used to be cool to go into the dealer’s room and pick through posters and toys - I remember seeing Quinton Tarantino there one year - before he was famous - looking through posters in the dealer’s room. Now you can go on the internet and look at posters for sale all day. And while you are on the internet, you can see behind the scenes stuff from classic films, or even watch interviews and panel discussions. And there is no shortage of info on horror websites - from old movies to new movies to rumored movies. You know all of this stuff *before* you come to Fango - so what’s left to experience there?

Maybe Fango needs to partner with a studio or two and become *the* place to announce new films and show new footage - like Comicon has become? They need *exclusives* - things you can not see anywhere else but at the Fango Convention. Not on the internet. If they partnered with LionsGate to be the *exclusive* convention for their films - that would make it a must attend event. Problem is - why would LionsGate want to limit their publicity to Fango? They have to figure out an answer to that - a way to make LionsGate *want* to give Fango first dibs on exclusive clips and trailers.

Then they need to find some movies to *premiere* at the screenings. And not some crappy low budget back yard movie - a real big theatrical horror flick. See it here first. And keep an eye out for horror films at festivals that have not been released in the USA, yet - maybe turn the screenings *into* a horror fim fest? Right now DEAD SNOW is playing the festival circuit in the USA... why didn’t it play at Fango? Every time I go to a festival, there are horror films playing at midnight... and sometimes movies like CALVAIRE in competition. Why not snag these films and show them as *events* - movies that are not available in the USA yet, but you *can* see them at Fango! Now the screenings seem like an afterthought - a way to use up that extra room they rented.

AFTER HOURS

Though there was no epic night of drinking with fellow Fango fans in the hotel bar this year, there were a couple of gals in the hotel who were going to the convention for the first time, so Rod and I acted as their guides... and we had dinner together and went drinking in some interesting upscale bar downtown for the two nights they were there. I had no idea there were that many cool bars *downtown* (you know, where they shot SOLOIST). Sunday afternoon they caught a plane back to whatever state they came from, and I have no idea whether they will be back next year... or what the convention will be like next year. Half again the size? Maybe a closet with a single chair in it, like that cinema in the multiplex in BACHELOR PARTY?

How do you make a convention exciting in the age of information when people can find out anything just by going on line? Why is ComiCon growing every year and Fango shrinking? Someone needs to figure out the secret to ComiCon's success and apply it to Fango. I'm sure that it has to do with exclusive content - the reason why you go to an event like this is because you can not get the information anywhere else. Maybe they will figure all of this stuff out and next year will be amazing.


Classes On CD On Sale!

- Bill

IMPORTANT UPDATE:

TODAY'S SCRIPT TIP: Love Racks! and how to make sex scenes interesting.
Yesterday’s Dinner: A couple of Big Burgers at Carls Jr which I think are better tasting than the more expensive burgers they sell.

Movies: - STAR TREK - I did not go into this film with high expectations - I do not think J.J.Abrams is a genius, and am a non-fan of the writers (THE ISLAND, LEGEND OF ZORRO, TRANSFORMERS, M:I:3)... but the film was okay, maybe even good. Just not great - and I think when you are rebooting a beloved franchise you need something better than “good”. On the whole, STAR TREK comes off as enjoyable summer junk food.

The movie opens up *great* - with a really emotionally wrenching *action scene* where Kirk’s father sacrifices himself so that Kirk’s pregnant mother will live... and she gives birth just as his father dies. A great opening scene that really involved me in the story... of Kirk’s father.

From there we get a scene with kid Kirk that is pointless - okay, it shows that Kirk is a troublemaker kid, but that’s an *external* - the scene doesn’t give us anything like the emotional material in that opening scene, and doesn’t take us inside the character. It’s a cool action scene that is also *cold*. The kid Spock scene is much better, showing him picked on in school for being biracial, and struggling to be a good Vulcan.

One reason why the kid Kirk scene doesn’t work is because it’s duplicate information - we have a nice bar room brawl with Kirk when he’s an adult that gives us all of the same info, plus introduces Uhra, plus introduced Pike, plus is the thing that gets Kirk to join Star Fleet. This is a much better scene, but we are still mostly on the exterior of Kirk’s character - we don’t understand why he’s a brawler. Is it because he didn’t have a father figure... or because he can’t measure up to his hero father? These are two opposites, and would take the character on opposite emotional journeys. There are dozens of other possibilities, as well - we get none of them. We just know the symptom, not the reason - so we can not know what Kirk must accomplish in order to become a whole individual. We don’t know what specific things in life will set him off into bad behavior, and what things will put him on the right track to conquering his demons.

And, the film doesn’t seem to really care.

After the great emotional opening, it’s mostly about cool stuff. We get another good emotional scene where a character’s family member is killed before their eyes, but that’s pretty much the end of human characters in this film - we are on to big summer brainless popcorn film.

A popcorn film with some cool scenes here and there, but a loopy plot that seems completely contrived - and not well contrived. I don’t understand what the hell Nero is up to - he wants revenge for something that hasn’t happened yet and also happens off screen - it’s just an excuse for the action, and not one that makes any sense. And though the planet implosion things was cool - and probably the one shot in the trailer that made me *have* to see this film - it’s complete nonsense. Red matter? Doesn’t matter. The Villain and the Villain’s Plan and even the method of that plan and the Villain’s motivations are the engine that runs the story, and this engine doesn’t work very well. It’s just a house of cards that creates conflict.

One of the critical things in an action film is the relationship between hero and villain - think of Indiana Jones and Belloq or Luke Skywalker and Darth or Itchy and Scratchy... Usually the hero and villain either have the same issue but different ways of dealing with it, or are polar opposite sides of an issue. Whatever point your script is secretly making, the hero and villain are the most important elements in illustrating that point. Here, Nero wants revenge and Kirk wants....?

The film gets some of the relationship thing between Kirk, Spock, Bones... but not the banter. Take any episode of the old TV show and these guys are throwing lines at each other and seem like they're the space version of the Rat Pack. I think the two things that made the original show memorable is the relationship between these three guys - always bickering and yet they are friends. It was a buddy comedy in outer space. Here, not quite as fun.

The other thing that made the original series something we think about today is that the shows were *about something* - made in the late 60s, and they always tackled issues. Even a comedy episode like TROUBLE WITH TRIBBLES is tackling an important issue and making a point about our society. In the movie - no issues, none of that basic use of science fiction as a way to reflect our current social problems. And in most of those old episodes, Kirk usually learned some valuable lesson - yes, you may think that kind of stuff is corny, but it’s a basic part of storytelling. You can do it right - and it’s a deeply moving element of the story, or do it wrong and it’s fake. Here - not done at all! It’s almost as if all of the *character* elements from the original series were left out for some reason. I think that’s what makes this just popcorn junk - it is pointless and the characters are all surface, no depth... except for Spock, who - by nature of his biracialness (not a word) - gets to actually wrestle with his identity. He comes off as the best character in the film, and it makes you wonder why the others are so 2D. Was it because Spock has a built in emotional conflict from the original series and none of the others do? Hey, this is an origin story - so let’s dig into the characters and find out what made them who they would become!

Another thing that made the original series fun when I was a kid was that it took us boldly to where no man had gone before - it had that gee whiz factor. A sense of awe and discovery. Here - just kind of mundane. Everything has a “been there done that” feeling that makes the whole film kind of ho-hum. Some complete wrong headed thinking filled the Academy with aliens and had Kirk nailing a green alien girl between classes... hey, that stuff is supposed to come with exploring alien worlds! The original series would take the Enterprise and her crew to a new planet every week where there was a new crises, at least one new form of alien life (and some hot extra terrestrial for Kirk to nail), and some valuable social issue lesson for Kirk to learn by the end of the show (it was the late 60s). But here we get the alien girl is a given - just another girl. And the alien dudes at the Academy - just another dude at he Academy. Nothing special about them. Nothing special about *anything* in this film. Because the strange is made normal, the film seems old and bland. I know they thought they were being clever with this stuff, but the screwed the film for something that isn’t even a laugh - just an acknowledgment of the original show. They destroyed the *spirit* of the show to make a refence to the show. What were they thinking?

STAR TREK isn’t a bad film, it’s a pleasant way to kill a couple of hours. Some amusing scenes, some action packed stuff (but the action was not directed well - choppy and mushy and not as exciting as it could have been). I liked Kirk, I liked Spock, I really liked Uhura, I liked McCoy, I liked Sulu... I hated Checkov. Way too young to be flying the ship. And I *hated* the lens flares - what’s up with that? Calling attention to it being a movie makes it less real! Bad move. But I still enjoyed it more than a lot of the other films I've seen this year.

Oh, and the audience booed the Transformers trailer. I have no idea why, but it doesn’t bode well for the film. Or, maybe it’s just that STAR TREK fans don’t like TRANSFORMERS. Who knows?

- Bill

Labels:

Wednesday, May 13, 2009

Print The Legend

You may have read that bio over there and wondered why the hell I would ever turn down writing ANGELS & DEMONS. Was I crazy?

In the movie I LOVE YOU MAN Jason Segel is giving Paul Rudd lessons on being a man and explains the difference between telling a lie and omitting the truth. He asks Rudd when was the last time he masturbated, and Rudd doesn’t want to answer a question like that... but eventually admits he masturbated to a picture of his fiancé a couple of weekends ago when she was away. Segel asks if he told his finace when she returned. “Of course not!” Was that a lie? No... but there was really no reason to tell her.

You may read that I turned down ANGELS & DEMONS and imagine Ron Howard or Tom Hanks begging me to write the script... and I still said no. I am going to allow you to believe that. Sounds really cool, doesn’t it? Telling Ron Howard to go to hell, you aren’t going to write a script for him... Or telling Tom Hanks - a guy who was born in the same hospital as I was - that I’m just too damned busy to script your damned film. None of that ever happened, but if you imagine it happened that’s okay with me. What really happened is kind of dull and uninteresting.

EXTRA SPICY

One of the problems with being a writer is that you automatically turn everything into a story. Some boring thing happens to you, and you find some way to make it funny or exciting when you retell it to somebody else. You embellish a little. You twist things a little or withhold some information to spice up the story. One of my problems when I tell a friend about a really bad movie I’ve seen is that I tend to make sense of it - I turn a bunch of unrelated incidents that add up to nothing, into something resembling a story. My friends think the film doesn’t sound so bad, but when they see it - well, it’s much worse than what I described. The problem with being a storyteller is that you can’t help but turn those crappy scenes from a crappy film into something that resembles a story when you talk about it. Your mind makes the connections that the person who made the film did not make. You smooth over all of those really rough edges. You take unrelated events and either leave them out when you retell the story or find some interesting way for them to relate. You tell a story.

And when I’m writing a blog entry or telling someone a story, I remove the chaff and retain the interesting parts, and often focus on what is interesting or exciting and leave out the dull stuff. And maybe that dog that just barked at you, growled in the story version and wanted to take a bite out of me? A slight embellishment. Makes the story a little more exciting and it’s not really a lie - the dog may have wanted to take a bite out of me, I don’t speak dog so I don’t know. When a storyteller tells the story, they tend to spice it up a little. The meat is still the meat, you’ve just added some garlic powder. You are still eating steak, it’s just seasoned.

Blog entries here often are written to be more amusing than the mundane and crappy truth - I look back on events and laugh. If I don’t, I’d go crazy. An when I tell some horror story about some film that has my name on it, I tell it from my point of view and try to make it amusing. I have no idea how long I *actually* talked to an actress on the set of one of my films while maintaining eye contact the whole time - difficult because she was dressed *only* in black lace panties and was hired because she was beautiful *and* could act... but when I tell the story it was 45 minutes. I’m sure it was probably ten or fifteen minutes, it just seemed much longer. She was discussing her role with me... I was trying not to look at anything other than her face. I am a gentleman... and probably a fool.

But all of that actually happened. When I tell that story, I stretch it out so that you think I might look down... I spice it up a little. But it’s still true. Probably more true than any film that says BASED ON A TRUE STORY in the credits.

BELIEVING THEIR OWN BS

I have met any number of people who had business cards printed saying that they were producers. Hey - you can get 250 free cards from Vista Print that say you’re President Of Warner Bros Studios if you want. There are websites galore for guys who made a silly movie with their friends with their video camera and now claim they are motion picture producers or even a studio! Hell. I have cards that say I’m a producer. I am kind of like those guys with the video cameras - I’ve produced and directed a bunch of short films, and even made an ill-advised feature on Super 8mm film before - but I’ve made no 35mm films that have played at your local cinema. I’m a *wannabe* producer at this point. So, don’t send me your scripts or loglines.

I’m fairly sure that most of the people with websites and business cards would probably be completely honest if you asked them what they’ve produced... though there was a guy on Done Deal’s message boards recently who was a complete scam artist but would not admit it no matter how many people offered proof. This “producer” charged a $350 script reading fee! And had not produced a single film.

I’ve also had “producers” in real life who have told me stories about all of their various projects around town, but would not get specific. When I looked them up later - no projects around town that I could see. I could tell you stories about fake producers all day - and what I don’t understand is why *they* are telling these stories. It’s pretty easy to look up someone’s credits these days, and even look up what they have in development. And, what’s wrong with being a new producer? Everybody has to start somewhere, right?

When you aren’t just leaving out the negative stuff, but actually making up credits that never happened and *lying*, you are going to get in trouble. I may have mentioned a guy I knew who claimed he wrote one of the BATMAN movies and actually showed me a copy of the script from Warner Bros with his name on the title page... and it was the actual script whichever BATMAN movie that was later released. He managed to attract a hoard of toadies and sycophants from that showing around that script. Later I discovered that he was a *typist* at Warner Bros who made up a cover page with his name on it. That’s why he was still mostly broke and working at his day job even after writing Warner Bros big tentpole film for the year.

I also know an actor who claims he is related to a big movie star - and they have the same last name - but both the big movie star and this actor changed their last names when they went into the biz. So it’s a complete lie he tells people to land roles that is so easy to disprove I wonder why anyone believes it.

SCREW YOU OPIE!

But you want to know the truth behind Bill Turning Down ANGELS & DEMONS, right?

Just as I had that year where all I did was write one treatment forever, I also had a year around the same time where - for some reason - everyone wanted me to read books and pitch my take on them. This is pretty common. Someone reads some spec script from you, likes it but doesn’t buy it (few spec scripts actually sell, most just get you assignments) and thinks you might match a project they are working on. Now, these projects can be anything from a rewrite on a script (I turned those down) to magazine articles and books the production company has an option on that they need a screenwriter for. To get the adaptation gig you read the book or article and then come back and pitch your take on the story. “Your take” is how you would go about adapting the book or article into a script. Sometimes it’s focusing on a specific element as the spine of the story, sometimes it involves a little more imagination - I have never pitched my take on a *board game* but people do that.

So after doing a bunch of these things I landed one - a New York Times best seller. An erotic thriller kind of thing that perfectly fit my skill set. The producer was packaging it with stars and director and, well, things stalled out. He eventually sold the project to another producer... meanwhile I was meeting a whole bunch of other people who owned the rights to books and wanted me to pitch my take. I read a stack of books.

And one of the producers had an option on ANGELS & DEMONS.

At that time it wasn't high profile at all. This was pre DaVINCI CODE, and ANGELS & DEMONS was some odd-ball book published by the new age division of Simon & Schuster. It was probably a “worst seller” at the time.. The publisher had basically dumped it. This producer who I had never worked with before had read some of my scripts and liked them, had read the book and optioned it probably for carfare. I don’t know if anyone else was interested in the film rights to ANGELS & DEMONS at the time, but I doubt it.

The producer was kind of a character - he had a bunch of actual credits (I don’t know whether I looked him up on IMDB or somewhere else) but was an indie guy who worked out of his pool house when he didn’t have a deal with a studio. We mostly met in restaurants between the lunch and dinner hours when they were mostly empty. He liked to eat. He also loved conspiracy theories... and that’s what attracted him to ANGELS & DEMONS. That, and he knew where he could get a Rome set somewhere like Bulgaria. This, friends, is how movies get made. A producer knows where there is a set that looks like Rome and reads a book that takes place in Rome that he likes because he also believes that everything Art Bell says is gospel. We had maybe 4 or 5 meetings, once in the poolhouse office and the rest at restaurants - but never Italian restaurants. Maybe he was concerned that Italian restaurants might have some connection to the Vatican or the Illuminati or whatever.

He gave me a copy of ANGELS AND DEMONS (which I gave back - stupid - probably could have sold it for a fortune on e-bay) and asked if I wanted to adapt it. I read the book, and didn't like it that much (Dan Brown is not a great writer) - but the big problem for me was that the book had two plots that met at the end. This is great for a book, but not so great for a movie. You only have 2 hours to tell a story, and that’s tough to do when you only have 1 plot. I thought we should either go with one or the other - and I think I suggested killing the Cardinals because the blowing up the Vatican thing seemed silly. The producer wanted to do the whole damned book. Could I come back with a version that covered everything in the book? I tried - made notes, tried to outline how I might turn the book into a single movie under 120 pages that stressed the conspiracy aspects and only showed the portions of Rome that existed in Bulgaria... and couldn’t make it work. So on our last meeting I gave him back the copy of the New Age version of the book and told him I didn’t think I could do it. I turned the job down.

I’m pretty sure that I was not the only writer this producer approached... and I think *everyone* turned it down. The producer allowed the option to expire... and then DaVINCI CODE came out and became a bestseller and I felt like an idiot. The producer probably did, too.

If I had just written *one* draft of ANGELS & DEMONS, I would have been first writer on and I’m pretty sure my name would be in the "story by" credits.

But I didn't turn down a best seller, I turned down a non-seller that I didn't think was well written and I didn't think would make a good movie... I guess we will all find out on Friday whether they cracked it or not. If you want to imagine me telling Ron Howard that I simply refuse to write this script and he can go take a hike, that's okay by me.

- Bill
IMPORTANT UPDATE:

TODAY'S SCRIPT TIP: The Story Is The Story and HOUSE BUNNY.
Yesterday’s Dinner: Hot Pockets Calzone and carrot sticks.

Tuesday, May 12, 2009

Book Value Increases

My out of print book sells used on Amazon for about $100 - it's been as high as $321. It's sold on e-bay for $750... I get none of this money. It seems like most of the places on Amazon are book stores and used book stores - I can imagine someone coming in and trading 5 books (including mine) and getting one free... and then the book store sells the book online for $100!

Or maybe $182.15 - the current asking price for a used copy on Amazon!

AMAZON COPIES:



Amazing! I hope the guy who traded it at the used book store got something nice.

I haven't checked e-bay, yet - but maybe there's a copy there for under $200!

- Bill (still working on the new edition)

George Lucas' STAR TREK Test Film

You may not know that Paramount (the distributor of the INDIANA JONES movies) offered the STAR TREK franchise to George Lucas a couple of years ago. Here's the leaked test footage he shot...



Wouldn't that have been better than the version they released?

Classes On CD On Sale!

- Bill

IMPORTANT UPDATE:

TODAY'S SCRIPT TIP: Projectors (how we can read your attitude in the script) & NETWORK.
Yesterday’s Dinner: Burgers at Carl's Jr.
Bicycle: I have been riding a lot. That is good. I did the North Hollywood jaunt yesterday - 6.5 miles, but seems like less because it's just down the street. But I'm taking a couple of days off from riding to rest a bit. I think I've been pushing myself too hard. But on Thursday, the car keys go back in the envelope and I ride into Toluca Lake.

Monday, May 11, 2009

Cheerleading

Saturday I played hooky and rode my bike to the Laurel Canyon bus, went over the hill into Hollywood and then rode to a theater where my friend Danny’s film was playing at MockFest. It was either watch a movie or work on this troublesome scene... and watching a movie won. Danny is a member of the SoCal Film Group, which is comprised of a bunch of people I know from a screenwriting message board who just decided to make their own movies. They pooled their resources and labor and, well, it’s some kind of communism I’m sure. They work on each other’s films and use each other’s equipment. HUAC should be notified of their activities. Their short films play in festivals all over the world and often win awards. They had a film play on USA Network’s Halloween show. And their entries are usually picked every year at MockFest. A couple of years ago the film was CHILDREN OF SCUM, which I played a pivotal role in... and was cut. This year the film showing was TOSSERS about Gay Frisbee dancers. MockFest is all about mockumentaries, and SCUM was the DVD behind the scenes extra doc for a film that doesn’t exist. TOSSERS is a doc about the art of Frisbee dancing - think ice dancing without the ice and with Frisbees.

A couple of years ago MockFest was at a cinema in Beverly Hills, this year it was at a stage theater modeled after the Old Globe, with built in digital projector and sound system... in West Hollywood. Now, for those of you out of town, West Hollywood is the Gay district of Los Angeles, like the Castro in San Francisco. Though there’s a Gay nighclub down the street from where I live in the Valley, there are probably 40 Gay nightclubs in West Hollywood. Not that there’s anything wrong with that.

But this film is about *Gay* Frisbee dancing - would that be a problem in a theater in West Hollywood? When I rode up and locked my bike, it wasn’t just a theater - it was a theater specializing in Lesbian plays. This could be interesting.

The theater *was* interesting, by the way - some old building converted into a theater, not much from the outside but inside they had worked hard to replicate the Old Globe and it was really cool. And the posters on the walls from past and present shows was interesting, too - I never knew there were so many Lesbian plays. Maybe I’ll go back and see one sometime.

Danny and a handful of people involved in the film (or friends of Danny) arrived and they tore our tickets and allowed us into the theater for this program of short mocks.

First film was a promotional film for a very perky and aggressive female real estate agent who wanted you to vote for her as Relator Of The Year. This was a hundred times funnier than the two episodes of PARKS & RECREATION I have seen - and I love Amy Pohler! I’ve been a fan since she played Andy Richter’s little sister on Conan O’Brien. But this short just kept the gags coming. The relator was trying to sell us on this beautiful neighborhood - which appeared to be an un-kept slum filled with neck high weeds instead of a lawn and graffitied houses. Then they showed a series of people who bought houses from her - listing their jobs and credit scores and anything else that was funny. And the people were, well, you wouldn’t want any of them living in your neighborhood even if you lived in that slum. Crazy! Ended with her plea to vote for her as Relator Of The Year... short and sweet.

There were no protestors for TOSSERS, and the film was funny and didn’t make fun of Gay people... it made fun of just about everyone and everything else. There was archival footage of the founder of Frisbee dancing, an interview with the man running the annual competition and organization, and footage of two pairs of dancers as they prepare for the big competition. The male pair consisted of a full of himself artist who works in shopping carts and his boyfriend who believes he’s a werewolf... though he has yet to go through the transformation. The female pair are extreme vegans, one is a folk singer and the other... secretly wants to eat meat. And many complications ensue. I laughed a lot, but he strange thing is that by the end the film becomes a love story that is actually emotional.

The next film was about a couple that break up and then she hops a train at Union station and he follows - and they argue on the train. This was not a mockumentary. The two actors, playing the fighting couple, were on a real train full of real people and the film was about their interactions with the passengers. Now, this could have been a BORAT kind of film with the couple becoming more and more outrageous... but it didn’t go that way. Instead it was realistic and the reactions were realistically uncomfortable and watching it made you feel uncomfortable for the real passengers who were feeling uncomfortable around the bickering couple. And the film was seemingly endless it was a cross-country train journey - I wouldn’t know if it *ever* ended because after half the audience snuck out I followed them when we got the "Day Two" title card (after it had already seemed like a week). Eventually everyone from the TOSSERS group was in the lobby, and we decided to get a drink. Or five.

I like promoting my friend’s projects. That’s what a friend does.

Last week I had dinner with a friend of mine who works at a studio with a Christian specialty division and mentioned that I have two other friends who made a Christian film that is looking for distribution. I haven’t seen this film, but I know these guys and I’m going to support their film. It helps that the film has won at a festival and has some great reviews. The filmmakers are smart guys and I hope the studio picks it up.

I like helping my friends. I’m much better at pitching someone else’s projects than my own. I feel like I’m bragging if I tell someone about my projects, so I either say nothing about them or soft-pedal them. But someone else’s project I can pitch like crazy.

But sometimes cheerleading a friend’s project or a friend can backfire. A decade ago when I was getting three films made every year, I had a friend who would do anything to break in. I’d read one of his scripts and it was pretty good, so when a producer I had worked for in the past was looking for someone to write a script (and I was booked on another script) I did my best cheerleading job to promote my friend as the writer. He got the job... then proceeded to blow through the deadline without getting anything written. He had written a pretty good script, but I guess it took him forever to write it. Or maybe he just choked. Whatever the reason, I’d gone out of my way to tell this producer what a great writer my friend was... only to have my friend drop the bal and cause a major problem for the producer... who now hated me.

And when another friend did a terrible job of promoting his film, I jumped in and pushed the hell out of it for him, sight unseen. Well, that film ended up finding a distrib, and gets solid one star ratings on IMDB - most people saying it is the worst film they have ever seen. If you were to ask me point blank whether I thought that film was any good while I was talking it up, I would not have lied to you - I worried that it sucked. But it was my friend’s film! I was caught between being the supportive friend and being honest. And, I had never actually seen the film, so maybe it *was* good. Plus, there are plenty of bad films out there - and the publicity departments at the studios still promote them as brilliant. I’ve even seen Oscar campaigns in the trades for movies that just plain sucked.

And there are millions of times where I am saying encouraging things to friends when what I really want to say is: Your script sucks, get a day job now! You want to be honest, but at the same time the guy’s your friend. You give some constructive suggestions, but the guy doesn’t listen. I have one friend who gets the same constructive suggestions from all of his friends and completely brutal comments from everyone else... and doesn’t change his script. Oh, and always says that his friends “get him” and others don’t seem to. I think we all want to tell him that his script sucks - I don’t mean this script needs some work, it *completely* sucks. But how do you tell the guy? He won’t take it well. Some people take criticism well, this guy doesn’t take it well at all.

I have other friends who are on the wrong path in their writing and are about to hit a big brick wall. I think about telling them about the approaching wall, but I’m not sure they would believe me. I slammed into it, everybody else I know slammed into it, but they think they will be different. So I just continue to encourage them as I put my hand over my eyes to avoid witnessing the big car wreck that I know is coming. After they hit the wall, they will have learned and I will be there to encourage them when they head in the *correct* direction.

And I can't tell you how many screenings of friends films I've been to where they asked me what I thought afterwards, and I had to find something good about the movie that I could talk about... "Great cinematography! How did you get that shot where..."

I can never figure out what’s the right thing to do - be honest or support my friends?

It’s so much easier when it’s something like Danny’s movie, that is actually funny... and won Best Director Award at Mockfest! Or even my friends with the Christian movie that has also won awards and got good reviews. Then I can be honest and cheerlead at the same time.

Somewhere out there, the friend of the guy with the endless train movie is telling people about that film and trying to make it sound interesting.

Classes On CD On Sale!

- Bill

IMPORTANT UPDATE:

TODAY'S SCRIPT TIP: Take Us Someplace Cool & STAR TREK.
Yesterday’s Dinner: Burrito.