Wednesday, February 28, 2018

Film Chums

From 11 Years Ago...

I had a couple of meetings today, and I might as well have combined them - they were the exact same meeting with different people. Both were people I’ve known for about a decade who have gone out on their own as producers - which makes them old film chums of mine. We've survived battles together.

Here’s what happened at one of the meetings - you can just re-read it and you’ll get the other meeting. I was doing a little work at Priscilla’s Coffee Shop in Toluca Lake before the meeting, closed up the laptop and walked down the street to their offices on the Warners lot. I needed the walk to get some blood flowing - this was probably going to be an “instant pitch” meeting.

After the offer of bottled water (I brought an iced coffee) and a couple minutes of waiting, my Film Chum comes out, shakes my hand, tells me how great it is to see me. Now, here’s the good part about meeting with people I know - I’m not the quivering mass of nerves that I am when I’m meeting some stranger who holds my career in their hands. I’m relaxed. I can small talk. One reason why it’s easy to small talk is that we have some history to talk about. We can either gossip about people we have both worked with (we talked about a couple of directors who have more ego than talent) or talk about past projects, or just bring each other up to speed on what we’ve been doing. So the small talk phase went well, and then we got down to business.

In both cases, the reason for these meetings was because I’m an idea guy. One meeting was about the studio sequel project - and the possibility of sequels to *another* studio’s library. The other was about a pair of cablenets that my Film Chum has made movies for in the past, that are looking for new projects. In both cases, the deal is exactly the same...

My job is to come up with a stack of spec one page synopsis (though the other guy only wants a few dozen single paragraphs). These are entirely spec - no payment involved. And they can’t control what I write (because it’s spec) - but they can tell me what *exactly* they are looking for. It’s like pre-notes. The good news is that it helps me focus my synopsis... the bad news is that it’s restrictive. It becomes kind of like a spec assignment. For the cablenet movies, there was more of an “instant pitch” thing - after my Chum explained what they were looking for, he asked if I had any ideas that fit the parameters... and I had to come up with something.

Give me a week and I’ll come up with a bunch of great ideas. Give me a day and I’ll come up some ideas, maybe a great one in the bunch. Give me a second? Well, you mostly get fumbling. The problem is, they aren’t going to ever cut a check for fumbling. Basically, you have to come up with enough good stuff that they don’t kick you out of the room. Both of these guys know *a lot* of writers. It’s kind of like auditions for American Idol - there are a hundred people waiting behind you for their chance, so you really have to make an impression. You have to be *the* performer that makes it to the finals from this city.

So I pitch a few ideas for one of the cable nets. One of the ways I get through these things is by having “deep pockets” - I have done so many that I can start with ideas I’ve pitched somewhere else... and use that time to think of new material that better fits what they are looking for. So I pitch a couple of old ideas - none of these fit. Then I do something strange - I pitch the spec I’m writing now, but change the genre and lead characters fo fit the cablenet. This becomes a completely different idea - I mean, it’s a different genre, a different lead character, and a different story... just the basic skeleton of the current spec exists - kind of the way SPEED was described as DIE HARD on a bus... but both of those are male lead action flicks. Change those elements, too and you have two completely different films.

And this idea connects. He has some pre-notes, which actually help story. And when he thinks one element of my concept won’t work, I show him how it will... and (oddly) this brings it back to the “skeleton” it shares with the spec I’m writing. So if I get this gig, some of the basic outlining and some of the basic character dynamics are already figured out. The characters and scenes will be entirely different, but the structure will be the same.

All of this is nice, but now I have to write up a bunch of one page synopsis for projects that might work for this cablenet and one pagers that might work for the other cablenet... at no pay. My Film Chum will then pitch these projects to the cablenets, and they will treat them the way the judges on American Idol treat all of those people auditioning. “Next!” “Next!” “Next!” They will wholesale reject most of the ideas... maybe even all of them.

Basically, this is fishing.

Sometimes when you go fishing you don’t catch anything. That’s still considered fishing.

All of this is just chumming for work - you throw enough bait in the water and hopefully that will attract a fish and that fish will bite and if you are lucky as hell you will reel it in and get it on the boat. A lot can go wrong in the process, and you won’t land the fish. Much of my job is fishing. You hope for a nibble. You hope to get something on the line. You pray the line doesn’t snag or break or the fish doesn’t swim away with your bait. And you just keep fishing, and keep chumming the water with concepts, until you reel one in.

So my mission now is to pound out a bunch of potential projects, knowing that most (and maybe even all) of this will be for nothing. This will side-track the spec for a while, but I need to have a sale on the horizon. I have to keep fishing until I catch something. Keep chumming the waters with cool concepts until I reel one of these things in. If I don’t catch anything, I don’t eat.

- Bill



IMPORTANT UPDATE:


Yesterday’s Lunch: Apple oatmeal.

MOVIES: Saw RUSH HOUR 3 and it was like warm leftovers. I thought the first movie was fun, did a tip on how the second movie disappointed me but was still fun, and now the third film is even weaker than the second... but still okay (but the worst of the #3s).

What is strange about these sequels is that the second film makes it's money on the quality of the first film. It used to be that the first film made the most money and then each subsequent film makes less, but now it's the *second* film that makes the most. People love the first film - whether they saw it in cinemas or on DVD - and can't wait to see the sequel. They want that same feeling the first film gave them. So the second film does great business on opening weekend. In the case of MATRIX 2, it actually makes more money than the first film within the first couple of weekends, even though most people don't like the movie. The third films tend to dip - people's expectations may not have been met by the second film, so they really aren't flocking to see the third film. Even if the third film is good, it may do less business based on expectations on the second film.

But even a bad third film does business - RUSH HOUR 3 was more of the same, luke warm, with less cool Jackie Chan fighting and more annoying Chris Tucker trying too hard to be funny... and a plot that makes no sense. But some of the stuff is funny, and the Eiffel Tower fight scene at the end looks damned good on film. You leave the cinema thinking it was okay... but I won't see #4 on opening weekend unless they do something radical as far as story is concerned. What #3 needed was a great high concept instead of just dropping the same exact story as the last two in France. And, since it was France, I would have rather had Luc Besson direct the film. And I wouldn't be opposed to pairing Jackie Chan with a local star instead of Tucker - someone with a different kind of humor to bounce jokes off so that we get a *variety* of humor instead of stale Tucker schtick. Something about the sequel needs to be *different* so that I have a good reason to pay to see this movie instead of just watch the DVD of the last one.
2018 Note: Just announced they are making #4.

DVDs: Watched CASINO ROYALE - and that is one effed up structure for an action film. The first two thirds are okay, then the villain is killed (not by Bond) and the movie turns into a love story. What they needed to do was *integrate* the love story so that it's not a huge chunk that slows everything down. Main reason why I watched it again - the action scenes. Trying to get into the groove to write this big action scene today.

Pages: Only 2 pages, because I'm packing for vacation - a couple of weeks in Vegas. Usually I spend my birthday there, but this year London got in the way, so I had to change plans. I was going to spend the time in Vegas hammering out this spec, but now it looks like I'm doing synopsis. Should probably have a week on the spec, but that's not going to getit finished. *Today* I'm working on a *sweet* action scene on the spec, so maybe I'll make my quota *today*.

Tuesday, February 27, 2018

Trailer Tuesday: THE BORDER (1982)

Directed by: Tony Richardson
Written by: Deric Washburn (DEERHUNTER) Walon Green (WILD BUNCH) David Freeman (not the guru, the guy who wrote STREET SMART).
Starring: Jack Nicholson, Harvey Keitel, Warren Oates, Valerie Perrine.


I saw this movie when it was first released and was shopping in Best Buys or someplace where the DVD was on sale, so I bought it... and it remained on my shelf in the shrink wrap ever since. With the news filled with stories of refugee children crossing the border illegally, I thought it might be time to break the seal on the DVD and use the film as a topical Trailer Tuesday. Yesterday’s earthquake in Guatemala made it even *more* topical (and I had to add that line to the already written blog entry).

When I first saw the film back in 1982 I thought it had some great performances and scenes, but the story was trying to do too much at the same time and suffered because of that. Seeing it again in 2014... pretty much the same. There are three different writers on this, and they reshot the end after test audiences hated it. The problem with doing any screenplay around an issue is that the issue might overshadow the story and you end up with a mess... which is probably what happened here.



The story begins in Guatemala after a major earthquake levels a city and kills the young husband of a teen mother, Maria. With aftershocks bringing down any building left standing, Maria (Elpidia Carrillo) and her newborn finds her little brother Juan and they head North with a group of others left homeless by the quake.

Meanwhile in Los Angeles, Charlie (Jack Nicholson) is an Immigration Officer tasked with busting illegal workers. When he enters a sweat shop, the owner begs him not to close him down. All of the employees are illegals, because his business model for maximum profit is to pay employees no more than $6 a day. Busting all of the illegals will put him out of business, not to mention make it impossible for his employees to feed their families. Charlie has been doing this for years, knows how things work in the real world, and says he’ll take *2* employees... and then finds two without wives and families and busts them. The Boss assures the two that their jobs will be waiting for them when they sneak back across the border... both are good employees.

Nicholson gives a great performance in this film, *not* playing Jack Nicholson... but the character. He’s subdued, stuck in a rut at work and at home... and kind of a loser. Charlie and his wife Marcy (the great Valerie Perrine, nominated for Best Actress in LENNY) live in a trailer park, but Marcy dreams of living in her dream home... and goads Charlie into asking for a transfer to El Paso where her cheerleading friend from high school Savannah (Shannon Wilcox stealing every scene she’s in) and her Border Patrol husband Cat (Harvey Keitel) have a duplex... with the other side vacant. It could be their dream home!

Buy the border

El Paso is very different than Los Angeles: it’s the front lines in the illegal immigrant war. There is a constant flow of people being smuggled in by coyotes in vans and cars and delivery trucks... plus individuals who sneak across the Rio Grande. Add to that the drug couriers and mules offered free passage into the United States by coyotes in exchange for taping drugs onto their bodies. The boring job of busting illegal workers in Los Angeles is nothing compared to the chases and shoot outs along the border in El Paso.

Cat (Keitel) is his partner, and Red (Warren Oates) is the boss. My friend Gary Grubbs plays one of the other Border Patrol Officers in his first credited film role! Early on, Cat tells Charlie that illegals are a commodity, and like any commodity, you can make a fair amount of money for delivering them to the right people. Would he like some extra cash? Charlie turns it down, he’s compassionate but not corrupt.

After picking up a group of illegals and taking them to the giant outdoor pens where they wait for processing, Cat introduced Charlie to a slimy Border Officer from Mexico, Manuel. Cat seems to have some side deal going on with Manuel...



While chasing some illegals trying to sneak across the Rio Grande, a boy steals all of the hubcaps off his patrol truck and runs back across to the Mexico side. Charlie chases the boy (who is Juan) but loses him. One of his first days on the job and he’s going to get into trouble for bringing the truck back without hubcaps! That’s when Maria and her baby shows up on the bank of the river to return the hubcaps. Her brother shouldn’t have stolen them. Charlie thanks her.

When they bust a delivery truck full of illegals, Maria, her newborn, and Juan are in the group and get sent to the outdoor pens, which are separated by sex. One of the other illegals asks Maria if she would like her to take care of the baby while she went to get water... and this ends up a ploy to steal the baby. Manuel the Mexican Border Officer has a business stealing and selling babies, smuggling in drugs and illegals, forcing any attractive women into a life of prostitution or sex slavery, and *killing* any competition. The theft of the baby starts a small riot, which is quelled in time for the buses to come and transport the illegals back to Mexico. Maria *does not* want to be taken away from her stolen baby. Maria spits in Charlie’s face: now he has become the enemy to her...



Meanwhile, Charlie’s wife is spending more than he makes turning their half of the duplex into a dream house. Charlie is drowning in debt and asks Cat if there’s still a chance he can do some of that corrupt cop work? Of course! They next bust they make, they find two drug couriers among the illegals and Cat has Charlie load up the others while he deals with the two couriers... and then Cat just shoots them dead. They were not Manuel’s couriers, and part of the corrupt gig is killing the competition. Charlie says he didn’t sign up for killing people... Cat warns him he nets to get along to go along.

Later, when a group of illegals try to escape onto a freight train, young Juan attempts to jump onto the speeding train, falls between cars, and Charlie risks his life to save him. Maria changes her mind about him, he’s not the typical Border Patrol Officer (who would have just let Juan die). Maria says she will do anything to get her baby back... and this becomes Charlie’s mission.

When he goes to Red about Cat and the corrupt border officers group... he discovers that Red is part of it! In fact, Red runs the corrupt group. Now it’s basically Charlie vs. all of the other border officers. Red and Cat set up an ambush an attack Charlie in an interesting if poorly choreographed shoot out in a lots filled with giant earth moves and construction vehicles. Charlie kills both of them, goes to Manuel’s headquarters on this side of the border, kills the toothless dude in charge and rescues the baby... but Manuel gets away. The movie ends with Charlie crossing the Rio Grand to give Maria her baby back...



The story seems scattershot at times, not knowing if it’s an action film or an issues movie or a domestic drama or a SERPICO like corrupt cop saga. All of the acting is top notch, and the scenes between Keitel and Nicholson are a million times better than anything in TWO JAKES. It’s interesting to look up the young actress who played Maria on IMDB, because her career took off big time. She’s the rebel woman in PREDATOR! (And PREDATOR 2!) She’s in SEVEN POUNDS with Will Smith! She’s in the SOLARIS remake with Clooney!

Tony Richardson was a really odd choice for director, he’s best known for costume dramas like TOM JONES and JOSEPH ANDREWS and comedies like TASTE OF HONEY and THE LOVED ONE. It makes you wonder if some early draft of this was a straight drama and they added the action scenes to turn it into the kind of movie that would sell tickets... which might account for the patchwork feel of the story. The action scenes are not well done, even though you cam see the *intentions* by what the characters do. The big “ambush” shoot out is over in a minute, even though you can see that it was written to go much longer (Cat’s death is a cool idea... that isn’t set up in the shoot out at all).



What this film shows is that there is no easy solution to any of this. A few weeks back I watched the 40s movie BORDER INCIDENT with Ricardo Montalban about the same subject, with many similar scenes. Because RKO was one of the producers of THE BORDER I wondered if it was a remake of some earlier film, and when I looked up movies with similar titles on IMDB there were Mexican/American Border movies going back to the silent era! Couldn’t find one from RKO with “border” in the title, so it may have been based on some film with a different title. But there are over 200 movies with the word “border” in the title, and most deal with the Mexican/American border. I may do the Montalban movie sometime down the road because I really liked that one.

THE BORDER is a mostly forgotten film with good performances, but a story that’s all over the place.

Bill

Monday, February 26, 2018

Lancelot Link Monday: $400 Million Domestic In One Week!

Lancelot Link Monday! BLACK PANTHER broke box officer records last weekend, and this weekend as well - becoming on ly the fourth film to make over $100m in its second weekend. So if you thought it exhausted its audience with last weekend's largest President's Day Weekend Ever with $242,155,680 and largest February Opening Weekend (F,S,S) with $202,003,951 or Largest Winter Opening Weekend or Largest Monday... well, you ain't seen nothing yet! Over $400 million domestic after its second weekend... and $304 million overseas. That's a total of $704 million worldwide since opening. Um, it's in profit. And doesn't seem to be slowing down. My capsule review is: If Shakespeare wrote a James Bond movie. Though lots of people are saying between this film and WONDER WOMAN, there *is* an audience for female and minority superheroes, I think it's more about having two good movies. Though I had some problems with the action scenes in BLACK PANTHER, I forgive them because the rest was fun and emotional and had the best villain so far in a Marvel movie. As someone said online - the villain was *right* and by the end the hero realizes this (with a different solution to the problem). Good stuff. What will the Asylum rip off be? While you're thinking about that, here are this week's links to some great screenwriting and film articles, plus some fun stuff that may be of interest to you. Brought to you by that suave and sophisticated secret agent...




Here are a dozen links plus this week's car chase...


1) Weekend Box Office Estimates:
1 Panther ....................... $108,046,000
2 Game ........................... $16,600,000
3 Peter........................... $12,545,000
4 Annihilation ................... $11,000,000
5 50 .............................. $6,915,000
6 Jumanji ......................... $5,640,000
7 15:17 ........................... $3,600,000
8 Showman ......................... $3,400,000
9 Every Day ....................... $3,104,000
10 Early .......,................... $1,700,000




2) Most Anticipated Horror Movies Of 2018.

3) Terrible Tropes! Does Your Script Do This?

4) Welcome To Silent Films - Stunts Without Special Effects.

5) Oscar Nominated Writers Round Table.

6) Film Dumping In February.

7) Hitchcock's VERTIGO, why we love it.

8) Writing The Superhero Film That Should Win The Oscar.

9) The Original Atomic Blonde.

10) One Of My Favorite Directors: Ida Lupino.

11) 150 Scripts To Read!

12) Slumdog Bond?

And the Car Chase Of The Week:



From the UK TV series VILLAINS.

Bill

Buy The DVDs

IMPORTANT UPDATE:

-
Dinner:
Pages:
Bicycle:

Movie:

Thursday, February 22, 2018

THRILLER Thursday: Mr. George.

BEST OF THRILLER THURSDAY: Mr. George.

(Though I have the next episode in season 2 ready to go - I haven't pulled all of the images, yet... and am exhausted today. So I'm playing hooky and doing a rerun.)

The spider web fills the screen, it's Boris Karloff's THRILLER!



Season: 1, Episode: 32.
Airdate: May 9, 1961

Director: Ida Lupino
Writer: Donald Sanford based on a story by Stephen Grendon
Cast: Gina Gillespe, Virginia Gregg, Lillian Bronson, Howard Freeman.
Music: Sweet Jerry Goldsmith score.
Cinematography: John Warren.
Producer: William Frye.



Boris Karloff’s Introduction: “Our little friend Priscilla is obviously on urgent business. But in a cemetery, you say? Ah, my friends, this is no ordinary child as you can see, oh no indeed. You see, she has a very special friend and protector resting here. Oh yes, to the rest of the world her friend is properly deceased and quite quite cold. But since Priscilla is not aware of adult concepts of life and death she simply knows that Mr. George has changed his address. That’s the title of our story, Mr. George, and it concerns the fearful effect his untimely demise has on our leading players. They are: Virginia Gregg, Lillian Bronson, and Howard Freeman... and most importantly, Priscilla herself as played by Miss Gina Gillespe. And Mr. George. I warn you, hold tight to your own concepts of life and death because before the hour has ended Priscilla and her special guardian may change them.”



Synopsis: A mansion (Munster House) at the turn of the century. A little girl Priscilla (Gina Gillespie) watches from the top of the stairs until the adults have left the entryway to the house, then sneaks out to see Mr. George... at a graveyard. She goes to his tombstone and leaves a note on his grave... she wants him to come back and live with them.

Meanwhile, the adults are discussing their problem. Priscilla’s mother was wealthy and owned this house. When she passed away, the house and money was put in a trust for Priscilla with Mr. George (the family lawyer... and maybe Priscilla’s mother’s lover) as executor. Now that Mr. George has died, the trust will be passed to Judge Lambeau... who doesn’t trust these adults, who are Priscilla’s cousins: slightly crazy Adelaide Leggett (Lillian Bronson), stuffy Jared Leggett (Howard Freeman) and scheming Edna Leggett (Virginia Gregg). Edna’s dreams of wealth aren’t going to happen on the monthly allowance from Priscilla’s trust. Edna is already scheming: if Priscilla dies, they are next in line for the fortune. Jared goes upstairs...



Just as Priscilla returns. She waits until he’s gone before sneaking upstairs to her room... but she hits the squeaky step, and Edna races out to catch her. But Priscilla is already gone. Did she hear them plotting?

Edna tries to convince Jared to make sure Priscilla has some sort of accident. Jared tells her not to say such things, especially around Adelaide, since she’s crazy and there’s no telling what she might do... and if she did something and was caught, well, she’d be out her share of the inheritance, right?

In Priscilla’s bedroom, the rocking chair next to the bed begins to move and Mr. George’s ghost (voice of Les Tremayne) talks to her. He verbally tucks her in, wishes her a good night, and then the light goes out (by itself?). It’s a really sweet scene... with an unseen ghost.

In the morning, Priscilla runs downstairs to find the cook gone. Edna has fired her along with the rest of the staff. Priscilla goes outside and has a tea party with her doll. She tells her doll how much she misses Mr. George... then the wind blows through the trees and Mr. George’s voice says that he’s back, to watch over her. She thinks Mr. George is playing hide and seek with her, and looks all over for him.



In the house, Adelaide grabs Edna and points out Priscilla talking to herself. Is Mr. George out there somewhere? Or just the kid’s imagination?

At breakfast, Priscilla tells them that Mr. George was talking to her. Jared tells her she must go to her room, and when she is ready to forget this nonsense she can come down. When she’s gone, Edna tells Adelaide she read in the newspaper about some children who climbed in an old trunk and the lid locked... and they suffocated. If such a thing were to happen to Priscilla, they’d all inherit her money.

Adelaide goes to Priscilla’s room and says she thinks she knows where Mr. George might be hiding... up in the attic. Let’s go up and look for him. Adelaide and Priscilla go up to the spooky attic, where Adelaide tries to get Priscilla to look in an old trunk. But when she gets close enough to push inside, Mr. George calls for her to run to her room. Adelaide yells for her to come back... and the trunk lid falls on Adelaide’s neck and kills her!



After Adelaide’s funeral, George’s sister Laura Craig (Joan Tompkins) comes to visit. When George was ill and thought he might be dying he wrote to Laura... telling her all about the evil cousins. There’s a nice moment where Edna, dressed entirely in black from the funeral, and Laura, dressed in a white hat and light colors; do a sort of verbal tug of war over Priscilla. Edna orders Priscilla go upstairs to her room, and they escort Laura out of the house. Darkness wins.

When Edna goes up to Priscilla’s room, the rocking chair is moving and the little girl is talking to Mr. George. Of course, Edna can’t hear him and thinks Priscilla just has an over active imagination. Orders her to stop fooling around and go down to dinner. Now. When they leave Jared walks past... and sees the rocking chair moving on its own. Could George’s ghost be haunting the house? Could George’s ghost have killed Adelaide?



The next day, Jared sees Priscilla on the swing and thinks this might make for a good accident... so he begins pushing her on the swing. Tells her his arms are getting tired and she should get off, then tries to push the swing at her head! Mr. George tells her to run to her playhouse, quick! The swing blasts at her head, missing it. Jared yells for her to come back... then notices the swing has stopped midair. How is that possible? Then it shoots down and hits Jared in the neck... killing him. Great swing POV shot as it moves back and forth over Jared’s body.

Another funeral wreath on the front doors of the house.

Edna finds Priscilla playing hide and go seek with her “imaginary friend” and punishes her. Priscilla says it is Mr. George. Edna asks how can she know who it is if she can’t see him? It’s all in her mind. Is it? Edna sends Priscilla to her room, then there is a knock at the door... Laura Craig. Judge Lambeau has given Laura custody of Priscilla. Light and darkness face off again. Edna can stay in the house. Laura will come to pick up Priscilla at 10am tomorrow.



The next morning Edna ties a piece of string across the top of the stairs and calls for Priscilla to come down. Priscilla starts to run down, but Mr.George tells her to go down the *back stairs* and go to the playhouse. Edna keeps yelling for Priscilla to come down stairs this minute! When she gets no answer, she goes upstairs to grab her... making sure the string is disconnected first. Priscilla isn’t upstairs. Edna blows a gasket and races downstairs... but the string *connects* all by itself! Edna trips and falls down the stairs to her death.

Priscilla meets Laura at the playhouse and they board the streetcar for Laura’s house. Priscilla tells Mr. George that he’ll have to hurry or he’ll be left behind. Mr. George tells her that Laura will look after her now, so this will have to be goodbye. Priscilla says goodbye to Mr. George (dare you not to cry) and the streetcar takes Priscilla to her new home, as the front gate to the old home closes by itself.



Review: This is a strange little story! A tale of ghosts and murder and revenge... that’s charming and heart warming! How do you maintain that balance for an hour? In a strange way this is similar to last week’s episode, since it deals with an underdog character surrounded by schemers... except this underdog is a completely innocent little girl who gets her revenge through her best friend who is a ghost. Not an evil ghost, but a protective ghost. Last week we had an adulterous wife and no shortage of men who don’t mind that she’s married, this week we get Killing Cousins. Both stories feature dark humor and a whimsical tone. It’s impossible not to root for the happy little girl when these downright evil people descend on her and try to steal her inheritance. While they scheme, she has fun! While they fight amongst themselves, she plays in the play house! They are all about money, she is all about just having a great time. And guess what wins in this parable?

One of the great things about this episode is that all three cousins die *by their own schemes*. Adelaide tries to trap Priscilla in an old trunk, and the trunk lid drops on her neck and kills her. Jared tries to kill Priscilla with the swing, not realizing that what goes up (out?) must come down... and the swing slamming into his throat and killing him. Edna creates the tripline on the top of the stairs, and then trips on it herself. It’s as if their own evil is killing them (with a little help from Mr. George).

Hey, Mr. George is an amazing character! He is never seen, but manages to make a real emotional impression on us. We love this (dead) guy! He seems to be as happy and playful in death as Priscilla is in life.



I mentioned the score in the credits, it’s a sweet Jerry Goldsmith score that kind of reminds you of TO KILL A MOCKINGBIRD. The innocence of childhood with a touch of seriousness (for those lessons we learn in childhood). In fact, this is kind of the ghost story version of TO KILL A MOCKINGBIRD... similar tone of small town (even though this is a turn of the century city where Priscilla knows the driver of the horse drawn streetcar). There’s a real feeling of a simpler time.

Though this is Ida Lupino’s second episode on the series as a director (of nine), this shows what a remarkable director she was. She manages to maintain that tricky tone for the hour without a single fumble. She also does some wonderful camera work for an hour long show shot in a week. Other directors seem content to just set up the camera in the easiest spot and let the action unfold in front of it. Here Lupino opens with a complicated moving shot and then continues to pepper the episode of with great angle (that shot of the two evil aunts) and does an amazing shot where the camera is *on the swing* with Priscilla’s POV on the swing, and later a Swing Eye View as the swing passes back and forth over dead Uncle Jared. Cameras weighed a ton back then, so I have no idea how she pulled off this shot. It’s also a *haunting* shot, as the swing drifts back and forth over Jared’s corpse.

I don’t think it’s a secret that I’m a huge fan of hers, and her work in Film Noir both in front of the camera and behind the camera is remarkable. But how could her work as director on THE HITCH HIKER prepare her for an episode like this? This sweet, tear inducing, ghost story? Before her stint on THRILLER she directed 8 episodes of my favorite western show, HAVE GUN WILL TRAVEL. This is such a sweet episode, that it’s hard to believe she was directing a manly man western show before this! Or that she would direct the ultimate edge of the seat suspense episode of THRILLER only a few episodes from this.

Next week an episode directed by Paul Henreid (Victor Lazlo in CASABLANCA) about a famous pianist and his rival... and a war that goes beyond the grave.

Bill

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Wednesday, February 21, 2018

Special Guest: Harry Connolly on Studying Screenwritng

From 2015...

My friend Harry Connolly has been writing guest blogs to promote his new (awesome) GREAT WAY Trilogy, and knocking it out of the park with each one. All kinds of amazing insight and information on writing that applies to novels, short stories, and screenplays. He should write a book! So my blog is privileged to host this guest blog...



INT. BOOKSTORE - DAY: How Studying Screenwriting Made Me a Better Novelist (Mostly)

Way back in the misty dawn of the 1990s, I was a noob author on the internet, looking for advice.

Boy, did I find it.

One of the earliest places I went searching was from pro novelists. Nice people, but none of the advice they gave me seemed all that helpful. I wanted to know how to put together a really great book, and the responses were, essentially: "Try not to be boring."

Now, this is the ultimate advice. Really, there is no better advice than this. "Be interesting" is the only rule of writing. Everything a writer learns about their craft brings them toward this goal.

But I wasn't looking for that. I wanted to talk dialog. I wanted tips on creating characters and conflict. I wanted concrete rules. That's when I found screenwriting.

Now, this was back in the days of Syd Field, who specified actual page numbers where people should put act breaks. It was very, very rigid. Too much so, honestly.

Not that I knew about Field at first. I was just this guy writing terrible fiction. Some actor friends told me to write a script so they could be in it, and gave it a try. Had I ever seen an actual film script before? Nope. Lots of plays (I studied Modernist Drama in college, mainly because plays are so short) but no screenplays. You can imagine how good they weren't.

Then, while bumping around from one message board to another, I discovered Wordplay.

I think just about every person who goes online is searching for a peer group, even if they don't realize it. They seek out a circle of friendly voices who share their interests, enthusiasms, and ambitions. Someone to cheer them on or buck them up. Someone willing to tell them they're full of shit.

Just as important are contrasts. The horror writer has a lot to learn from the kitchen sink drama writer, and vice versa. The woman who wants her name on big budget summer tentpole movies has a lot to learn from the woman writing arch indies. They define themselves and their work by their differences. And they can argue.

God, how we argued. Antagonists, flashbacks, outlining: it was an endless competition of ideas, and while I argued passionately, I was wrong as often as I was right.

But what did I learn in all that back and forthing that I'm still using today?

1) The elegant flourish. There's an early scene in Budd Schulberg's What Makes Sammy Run where a movie producer complains about an Ivy League playwright he's hired. The script he turned in had a 20 page scene where a husband and wife argued, bickered, and fought, and the playwright insisted every line of dialog was necessary to establish the man's contempt and the dismal state of their marriage. The producer brought on another writer, a guy with barely a high school education. New guy throws out the argument entirely and writes a new scene: The husband and wife are on an elevator. A pretty young woman gets on, and the man takes off his hat.

That was it, a single moment that encapsulated the situation perfectly. Short, simple, telling. I've been searching for ways to do that in my own writing ever since.

2) Hurry up! One of the first things screenwriters at the time were told was that any dialog over three lines was too long. (And script formatting is really narrow for dialog.) Get to the point without being on the nose, then get out.

The same was true for scenes. Start late and end early. Get to the conflict, then the next, then the next. Anything that didn't move the story forward had to be cut.

Novels can be a digressive form, with characters telling little stories about their lives, or doing the dishes, or stopping for coffee with an old friend. That's not a bad thing, and I certainly don't mind reading digressive books. I don't like writing them, though. I try to keep the story moving, and I inevitably get editorial notes asking me to slow things up and take a little more down time.

3) Be the expert. This was a hard one, because it doesn't mean what a novelist would assume it means. It's not an injunction to study sword-fighting before writing a duel, or to interview a bunch of cops before writing a procedural. That advice ought to be so obvious that nobody should need it. This means to be an expert in your own storyΓÇöto know it inside and out.

In fact, this came from the Wordplay column called You're The Expert; the reason screenwriters are supposed to be experts is to effectively respond to studio notes. That's not an issue for my type of writing, but when I'm stuck on a scene, or unsure what direction the plot should go, I ask myself what a really great would do. How would [extraordinary author] write this scene?

It's a surprisingly effective way to break through a block, and research has confirmed that people are more creative when they imagine themselves to be someone else. Research requires actual expertise, but creatively it helps to have the pretend kind.

What about that "Mostly?" There's one aspect of novel writing that studying scripts didn't prepare me for, and it wasn't what I expected. If you watch the opening of The Godfather, you see an amazing outdoor wedding partyΓÇöthe people, the decorations, the food, all of it. In a script, that's covered by the words EXT. WEDDING PARTY - DAY or whatever. A novelist has to do the work of the art department, the wardrobe department, casting, and all the rest.

But I expected that. What I didn't expect was the profound difference in the way prose text operated. In a script, the text doesn't have a lot of flow because so much of it is instruction. Scene headers, dialog names and parentheticals, "legends", all of them break the flow of the narrative and dialog.

Prose has none of that. Not only is the text very linear, it comes in a flow that's largely unbroken (with the exception of chapter headers or asterisks scene breaks). That task of stringing words together into sentences, then tying sentences together into paragraphs, then arranging paragraphs properly, it a lot like beadwork, and it was the biggest hurdle I faced. While revising first drafts, I found sentences in the wrong order, paragraphs that repeated exposition, unnecessary prepositional phrases, and worse.

Learning to control the flow of text and the transitions between sentences over page after page of prose, instead of in small bursts of narration, was the skill that elevated my game to earn a publishing contract and a career.

Obviously, it isn't absolutely necessary for novelists to study screenwriting; plenty of pros have done well without it. One of the strengths of the novel format is the extraordinary variety of styles and subject matters. Nothing really matters except that one rule I mentioned at the top.

But I'll always be wedded to the stripped-down, full-speed-ahead aesthetic of the script, and I'll always be grateful to the screenwriters (including my host here) who taught me what I needed to know to become a pro novelist.

Now watch me gently segue into a note about my latest, blurbed "Epic Fantasy that reads like a Thriller" by Greywalker author Kat Richardson.

The Way Into Chaos Cover

Have I mentioned that it received a starred review in Publishers Weekly? Bill wrote a review of the entire trilogy. You can also find out more about that first book on my website.

If you want to see the fast-paced style I've been talking about, you can read the sample chapters I've posted on my blog.

Thanks for reading.

BIO: Harry Connolly's debut novel, Child Of Fire, was named to Publishers Weekly's Best 100 Novels of 2009. For his epic fantasy series The Great Way, he turned to Kickstarter; at the time this was written, it's the ninth-most-funded Fiction campaign ever. Book one of The Great Way, The Way Into Chaos was published in December, 2014. Book two, The Way Into Magic, was published in January, 2015. The third and final book, The Way Into Darkness, was released on February 3rd, 2015. Harry lives in Seattle with his beloved wife, beloved son, and beloved library system.

In case you missed any of Harry's other guest blogs...

My Favorite Bit.

Why Talent Is Evil.

My Superpower As A Writer.

It's Dangerous To Go Alone.

Failing On Your Own Terms.

The Most Difficult Part To Write.

Experts Vs. Bumpkins.

Always Blame Yourself!

And the books:

Click covers for more info!

Chaos Magic Darkness











PS: Lancelot Links will be on *Tuesday* this week!

Bill

Tuesday, February 20, 2018

Trailer Tuesday:
Seconds (1966)

SECONDS (1966)

Director: John Frankenheimer.
Writer: Lewis John Carlino (THE MECHANIC, THE GREAT SANTINI, RESURRECTION) based on a novel by David Ely.
Starring: Rock Hudson, Will Geer, Salome Jens, Jeff Corey, Murray Hamilton.
Cinematography: James Wong Howe.
Music: Jerry Goldsmith
Producer: Edward Lewis.


I was going to run this last week, but hadn’t snagged the screen grabs yet, so I put it off until this week... and danged if the great Cinephelia website didn’t run an article of SECONDS last week! Hey, it’s a great movie, and if you know about it you want to share it with others.



SECONDS is a thriller about getting a second chance at life and realizing that you take all of your emotional problems with you. This is a slow burn story, but like MANCHURIAN CANDIDATE, it deals with constant paranoia. It is *always* creepy. Where MANCHURIAN deals with the idea that you may not be in control of your own life (mind control), SECONDS deals with having to constantly pretend to be someone you are not... and the fear that people may discover who you really are. Areal man with fake memories or a fake man with real memories. So they are two sides of the same coin, and it’s interesting that Frankenheimer made them back to back. This was kind of his paranoia period, and we will look at SEVEN DAYS IN MAY sometime in the near future.

The film is based on a novel by David Ely (who wrote some great TWILIGHT ZONE type science fiction novels) and I not only have the paperback somewhere in a box, I have the movie poster on my office wall! This is one of my favorite films, and a great example of paranoid thrillers, and we’ll look at that genre a little bit here. Rock Hudson gives the performance of a lifetime - he was a light comedy pretty boy actor before this film... and here he does dark, deep, drama. Some silly online review thought that Hudson was the weak point of the film, but I think it’s the opposite - he’s what makes the film work. A story about bringing your past baggage to a new life is improved by an actor who brings his light frothy fun past film baggage to a story about a man with a severely screwed up life.

One of the things that has to be mentioned upfront is the wild ass cinematography. Almost every shot in this film is strange, and that adds to the general feeling that something is wrong. Most of it is shot with wide angle lenses or extreme wide angles (fish eyes) and the film uses a lot of experimental shots and hand held photography and camera rigs that are similar to steadycam - which would not be invented for another ten years. Who did all of this wild camerawork? Some new kid? Nope! James Wong Howe... who was born in the 1800s. His first credit as director of photography was in 1923, and you may know his work as director of photography on THE THIN MAN or (“Come with me to the Casbah”) ALGIERS or KINGS ROW or YANKEE DOODLE DANDY or a whole bunch of Bogart films or the noir western PURSUED or MR BLANDINGS BUILDS HIS DREAM HOUSE or THE SWEET SMELL OF SUCCESS or HUD or... well, the guy had 141 credits as cinematographer. He was 67 years old when he shot this film, and it’s one of the most innovative films you will ever see.

Lots of places list this film as science fiction, which is strange because there is nothing in this film that couldn’t have been done in 1966... but the concept just seems crazy. It’s a simple idea that we have all thought of, but nobody seems to have written it before David Ely. Haven’t we all wished we could hit the “do over button” on our lives and start all over again? Not make all of those stupid mistakes? Do the things we wanted to do instead of the things we thought we had to do? *Everyone* has wished that. And one of the basics of thrillers is the secret wish that comes true, but not exactly as the protagonist planned.

The Saul Bass title sequence is twisted fun house mirror shot of a human eye, a human ear, a human face... setting us up for weird. Jerry Goldsmith gives us creepy organ music reminiscent of Bach’s Toccata & Fugue D Minor. For the director’s title card - a face completely bandaged except for eyes and screaming mouth, an image that can also be seen in SUTURE (1993) and TIMECRIMES (2007). The crazy warped image of the face warps into... New York’s Grand Central Station.

A Man In A Hat watches middle aged Arthur Hamilton (John Randolph) as he buys a newspaper, then follows him through the station. Paranoia - someone actually is following our protagonist. Some amazing freaky shots here - the camera is attached to the Man In A Hat so that we get a hand held style moving over the shoulder shot and a moving face shot as he follows Hamilton... which makes us feel as if there is something weird about the Man In A Hat. When Hamilton steps onto a train, the Man In The Hat says his name, and when Hamilton turns he hands him a note. Then the train doors close and the train starts moving. Who was that guy?

Hamilton is on a train full of commuters headed home - all in suits, all reading newspapers, all exactly the same. He pulls out the note: just an address: 34 Lafayette Street. What does it mean?

In suburbia, with his middle aged wife Emily (Francis Reid) in his typical suburban home. His marriage is stale, he is no longer excited by his job or his life. The phone rings LOUDLY. On the other end is a man claiming to be his dead friend Charlie Evans. Impossible. But the voice on the phone knows things that only Charlie Evans could know. Things from their college days that no one else knows - a message scratched on the felt covered base of an old tennis trophy they won long long ago. How is this possible? Evans says, “I’m alive! More alive than I’ve been in the past 25 years!” and tells him to go to the address he was given tomorrow at noon. WTF? This story will give us a series of WTF? moments in the middle of a completely mundane setting, and that adds to our paranoia. If a strange thing happens in a strange world, that’s expected. But when some really strange thing happens in our boring real world? Unsettling.

The next day on his lunch hour Hamilton goes to the address... a dry cleaners. What? He asks the Old Man using the steam press if he’s in the right place... and the Old Man ignores him and continues to work. This can’t be the right place, it’s a dry cleaners. Hamilton turns to leave and the Old Man tells him there’s a new address...

A meat packing house. Another completely mundane location - though this one is filled with sides of bloody beef. Also can’t be the right place... but one of the Butchers calls him by the code name and says, “Come with me.” They give Hamilton a butcher’s uniform to put on, walk him through the plant past hundreds of sides of beef, and put him in the back of a refrigerated truck. WTF? When the door is closed, Hamilton is riding in complete darkness to his destination...

A run down industrial building on the outside, a modern office building on the inside. This adds to the strangeness, and makes us wonder how many of those run down buildings we see every day are hiding some secret high tech interior? He’s ushered into an executive office and given a cup of coffee while he waits. He gets sleepy while waiting, closes his eyes and drifts off... exhaustion or drugged coffee? He has this weird dream where he floats into a room, and there is a beautiful young woman in a bed, and he has sex with her, and she screams... and then he wakes up, still waiting in the executive’s office.

He decides to leave, goes to the elevator - but there are no up or down buttons on the wall next to the elevator doors. Weird. He searches the building for a way out, stumbling on a room full of young businessmen at desks. None will tell him where the exit doors are. He is sent back to the executive’s office where Mr. Ruby (the great Jeff Corey) is waiting for him, “I’ve been assigned to go over the circumstances of your death.” WTF? Then Ruby begins talking about cost factors as if he’s an insurance salesman or something. Boring and mundane... Except the conversation is about finding a corpse that is a perfect match for Hamilton and obliterating the teeth and fingerprints and any other form of identification and then creating a realistic accident - they will need an accident because the service costs $30,000 (in 1966 money) and will be paid for with an insurance policy, so there can be no question of suicide or foul play. And Ruby is eating chicken the entire time. “Your death selection is the most important decision of your life.” WTF? Hamilton looks confused, and when Ruby hands him a pen and says, “If you’ll sign right here”, Hamilton doesn’t take the pen from him. So Ruby pulls down a screen in the office and shows Hamilton a little film... where he is having sex with the young woman from his dream and she is fighting him. Blackmail. Ruby leaves the room, and Hamilton is alone...

Until a voice from behind him says there’s a message from Charlie.

Hamilton turns and kindly Old Man (Will Geer) has been sitting on the sofa behind him. WTF? He wasn’t there in an earlier shot, and now he is. He just appeared. Charlie wanted Hamilton to know that rebirth is painful, and the blackmail movie is just to help him make the decision to go forward, he doesn’t really want to go back, does he?

And here, 30 minutes into the film, we discover what all of this is about (though we’ve probably figured much of it out already) - this secret company allows you a second chance at life. You’re a middle aged man who once had dreams of being an artist, but took that day job in a bank to pay the rent. Then you got married, and the rent became a mortgage, and you had children and there was less time for art, and now that the kids have left the nest... you have lost your dreams. You are a banker, not an artist. You are dissatisfied with the way your life turned out, but this company will give you a second life. You die, and are reborn (after extensive plastic surgery to make you look like a young virile Rock Hudson) and can now pursue that youthful dream of being an artist. Much better than buying a sports car and having an affair with a younger woman!

“This is what happens to the dreams of youth,” kindly Old Man says after Hamilton talks about all of the things that are “good” about his life now. When the Old Man hands him the pen, he signs the contract...

35 minutes in, we see the plastic surgery procedure. Very graphic for its time... almost procedural. What sells the transformation are diagrams that show John Randolph’s face and Rock Hudson’s face with notations.

Then we see an obituary for Hamilton - died in a hotel room fire...

And Hamilton recovering, his face completely covered in bandages, his hands and fingers completely covered (fingerprint reassignment). He can’t talk because he’s been given dental implants (dental records) and his vocal cords have been altered to create new vocal chords - he will sound different. His doctor, Innes (Richard Anderson, who would do the same for the 6 Million Dollar Man years later), tells him he will need to hit the gym so that his body matches his new youthful face.

39 minutes in, the bandages come off and Hamilton is swiveled around in his chair to look in the mirror - a great reveal. Hamilton now looks like Rock Hudson, but with gray hair and dozens of stitches on his face... and he cries at the sight. He’s beautiful.

At 40 minutes the exercise montage begins - he’s a middle aged man who must retrieve his 30 year old body from years of neglect.

Guidance Adviser Davalo (Khigh Dhiegh from MANCHURIAN CANDIDATE) talks to him about his future career - they have drugged and hypnotized him to discover what his career dreams used to be before he gave them up. Davalo plays a tape where Hamilton says he wanted to be a tennis pro and a painter. There’s a great shot here where the new Hamilton is reflected in a mirror while listening to the tape of the old Hamilton. Davalo has a whole new bio for him as a artist, complete with past gallery shows. They will supply him with fresh paintings for a while as he develops his own work. “You see, you don’t have to prove anything anymore. You are accepted.” People will believe his new identity until he grows into it.

At the 45 minute mark, Hamilton is now Tony Wilson - Rock Hudson’s face and body and hair - on a plane to Malibu... where he lives. At the airport, a total stranger calls the name Tony Wilson and has a conversation as if he knows him. WTF? This is a great flip of the undercover cop recognized by someone from his real life scene. He has no idea who this guy is. How to talk to him. How to react to him. He may look like Wilson, but he’s still Hamilton on the inside.

Malibu: Tony Wilson has a house in the Colony overlooking the beach and a butler named John (Wesley Addy) who knows his secret and is here to help. Wilson looks at the art in his gallery, the bedroom, the books on the shelf... he’s living a stranger’s life. Will he be discovered? The *concept* creates the paranoia.

Wilson tries to become that person who belongs in this house... begins a painting. Walks along the beach. There’s a great moment where he’s trying to fall asleep and looks at the empty side of the bed... lonely. On the beach he meets Nora Marcus (Salome Jens) and there’s a character based suspense moment when he introduces himself... will he use his old name? Nora is in her early thirties and hot and a little wild. Four years ago she was a typical suburban housewife, and wondered “Is this it?” So she left that life and came here.

We have now escalated the suspense, because he might slip in front of this woman. Now he *must* act like Wilson instead of Hamilton.

At 59 minutes in, Wilson and Nora go on a date to a wild bacchanal at a vineyard where everyone gets drunk on wine, takes off their clothes and crushes grapes naked in a big wood tub. A big turning point for Hamilton/Wilson - this is about as far from middle age, middle class banker as you can get! “Now the season ends, and the old vines are buried deep. Now in dying, Bacchus gives us his blood so that we may be born again!” (Note the thematic dialogue! This film is filled with thematic dialogue and scenes.) Wilson freaks - still Hamilton under his skin - and when Nora takes off her clothes and jumps into the tub naked, he remains an outsider...

Until the crowd strips him naked and tosses him into the tub with all of the other naked men and women. After fighting for a moment, he gives in to his new life... and dances naked with Nora in the crushed grapes surrounded by naked men and women. “Yes! Yes!”

(This is a 1966 movie with full frontal nudity... though that was cut out for theatrical release so you just get backal nudity, the DVD version has restored the rest of the scene, and it’s very much required for the story - imagine being one of those stuffy people in 1966 who was watching this movie and suddenly there were completely naked people on screen. You would react exactly as Hamilton/Wilson does.)

At 67 minutes in, Wilson and Nora are a couple, kissing on the beach as the sun sets.

Now that Hamilton is comfortable as Wilson, he throws a housewarming party for the others in the Colony. John helps introduce him to his neighbors. Wilson has had a couple of drinks too many and we get a great woozy shot with the camera strapped to his body (which will be used in another of my favorite films, MEAN STREETS). The problem is, the more Wilson drinks the more he is liable to slip and expose himself as Hamilton. To ratchet up the suspense, one of his neighbors is a lawyer who went to Harvard... where Hamilton went to collage.

There’s a great moment at the party where Wilson sees a group of men discussing something in the corner and drunkenly goes over to talk to them... and they basically ignore him. At his own party and he’s still an outsider. When he tells the lawyer neighbor that he used to be a Harvard alumnus, but not anymore, Nora tries to pull him away. Soon everyone at the party is surrounding him... and he blows it big time. He reveals himself as Arthur Hamilton, and all of the men at the party grab him and drag him into his bedroom and hold him down...

John comes to the front of the pack and tells Hamilton/Wilson that he hasn’t just blown his cover, he may have blown the covers of all of these men - they are all “reborns”. He screams...

And Nora comes in. Is she one, too? Remember what she said about starting her life all over again?

This is the ultimate paranoia scene, because if Nora and all of these people are part of the “conspiracy” of reborns, how many other people are part of the conspiracy? Can he trust *anyone*? If he goes to the police, will the Desk Sargent be part of the conspiracy? There’s a great Cornell Woolrich short story about a cult that buries its members alive, and the protagonist goes to the police... and the cop is part of the cult! Movie like THREE DAYS OF THE CONDOR use the idea that anyone can be part of the conspiracy in scenes like the one after the massacre at the beginning of the movie when Condor looks from one pedestrian to another and they all seem to be acting strange. Are they all potential assassins? Here we get the same feeling that *anyone* could be a reborn. How can you tell that they aren’t? It’s as if everyone in the world might be out to get you...

At 78:30 into the film, it’s the morning after the party and his dead friend Charlie calls. Hamilton/Wilson tells him he wants out of this pretend life, Charlie says that’s impossible. Charlie also tells him Nora *isn’t* a reborn, but she is a company employee who was paid to become his girlfriend and sleep with him. That doesn’t go over well. Charlie explains that the company knows in the beginning of your new life you might make mistakes, so they provided Nora just in case that happened. And that he and Charlie are tied together, so Hamilton/Wilson has to get his shit together, stay in the Colony until he becomes 100% Wilson.

So at the 80 minute mark, Hamilton/Wilson sneaks out and takes a plane back to Scarsdale. His old home, his old life... and his old wife. Awesome shot while he’s waiting to see his old wife, and looks at a photo of Hamilton and Wilson is reflected over it... and we pull back to see him reflected in a mirror. Mirror shots throughout the film show the duel life he’s living.

When Emily comes in, they have an awkward conversation where he realizes that you can’t go home again. This is a great scene, and you have seen versions of it in films like ROBOCOP (the original) and even a variation of it in THE PUNISHER on Netflix with the Micro character and his family. The great thing about this scene is that Wilson gets Emily’s view of Hamilton... and it’s not what he expected. “He lived as if he were a stranger, here, he never let anything touch hm. He was absorbed in *things* - his job, mostly. He worked hard, but became more detached. We lived our lives in a polite, celibate, truce. Arthur had been dead a long long time before they found him in that hotel room.” Do we create our own hells? Our own traps? Do we always have the choice to live a new life, but just choose not to? One of the great things about this scene is how Rock Hudson *ages* while listening to her - he reverts back to Hamilton. This is a great performance.

I forgot to mention that behind all of the things going on in the scene with his old wife from his old life is an undercurrent of suspense. Will she recognize him? Will he blow it and do something stupid like tell her who he really is? The *situation* creates this suspense. The concept of a thriller often creates suspense.

When he leaves, Emily gives him a wrapped object - the only thing she has left of Hamilton’s - and when he unwraps it on the street outside... it’s the tennis trophy with the message scratch on the base that began this whole story. Then a car pulls up, and John steps out to take him back...

But not to Malibu, to the company. Hamilton/Wilson wants to try again - a new life. Not Hamilton or Wilson, but someone else. John says that may be possible... and we’ve hit the 89 minute mark. Can you hit reset more than once? How many do overs do you get?

At the company Mr. Ruby tells him that in order to go through the process again, he will have to recommend a new client - who will go all of the way through the process as he did. The business is all word of mouth, they can’t exactly advertize in newspapers, can they? Wilson can’t think of anyone off the top of his head, and Ruby says that’s okay, and they escort Wilson to that room full of young businessmen at desks from the beginning of the movie. His job is to cold call anyone he knows who might be interest in a second chance at life. All of these young businessmen? The same as him - people whose second lives didn’t work out. Who carried all of the baggage of their first life with them. This is a frightening scene - more frightening than many horror movies. What if we are the biggest problem in our lives. How do fix that?

The businessman who refused to tell him the way out in the scene at the beginning? His college buddy Charlie (the awesome Murray Hamilton). Wilson has a great speech here about how his life as Hamilton was all about what society said was important - things, not people or meaning. And his life as Wilson was also “things” oriented. But this third time? He’s going to look for meaning...

Then they call Charlie’s name - he finally gets to be reborn again!

Or will he? Because this story has a very dark twist at the end.

But first we get a swell pep talk from the kindly Old Man about how the company keeps plugging away despite it’s failure rate, which is a very cynical look at our lives and our society... and it’s failure rate.

And then we get an awesome fish eye lense sequence and that twist end.

SECONDS is one of those great unknown films that builds real suspense in a realistic setting through its wild concept and even wilder cinematography. It’s a great example of paranoid thrillers that don’t involve spies or political conspiracies or any of the other “action genre” oriented elements, just a man filled with regret over the way his life turned out who gets a chance to start over again. To have a second chance at life. It’s one of John Frankenheimer’s best films, and the kind of movie that you want to tell everyone about after you’d seen it... and now I’ve told you.

- Bill





The Novel:



-

Friday, February 16, 2018

Hitchcock: Content vs. Technique

Here's another bit of advice from Hitchcock while I get some writing done...



- Bill






Of course, I have my own books focusing on Hitchcock...

HITCHCOCK: MASTERING SUSPENSE


LEARN SUSPENSE FROM THE MASTER!

Alfred Hitchcock, who directed 52 movies, was known as the “Master Of Suspense”; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?

This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!

Films Included: NOTORIOUS, SABOTAGE, STRANGERS ON A TRAIN, THE 39 STEPS, REBECCA, TO CATCH A THIEF, FRENZY, FOREIGN CORRESPONDENT, THE LODGER, THE BIRDS, TORN CURTAIN, SABOTEUR, VERTIGO, THE MAN WHO KNEW TOO MUCH (1934), THE MAN WHO KNEW TOO MUCH (1955), SUSPICION, and NUMBER SEVENTEEN. 17 Great Films!

Only 125,000 words!

Price: $5.99

Click here for more info!

OTHER COUNTRIES:


UK Folks Click Here.

German Folks Click Here.

French Folks Click Here.

Espania Folks Click Here.

Canadian Folks Click Here.

And....

HITCHCOCK: EXPERIMENTS IN TERROR






USA Readers click here for more info!

HITCHCOCK DID IT FIRST!

We all know that Alfred Hitchcock was the Master Of Suspense, but did you know he was the most *experimental* filmmaker in history?

Contained Thrillers like “Buried”? Serial Protagonists like “Place Beyond The Pines”? Multiple Connecting Stories like “Pulp Fiction”? Same Story Multiple Times like “Run, Lola, Run”? This book focuses on 18 of Hitchcock’s 52 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock’s *silent* films! We’ll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.

Films Examined: “Rear Window”, “Psycho”, “Family Plot”, “Topaz”, “Rope”, “The Wrong Man”, “Easy Virtue”, “Lifeboat”, “Bon Voyage”, “Aventure Malgache”, “Elstree Calling”, “Dial M for Murder”, “Stage Fright”, “Champagne”, “Spellbound”, “I Confess”, and “The Trouble with Harry”, with glances at “Vertigo” and several others.

Professional screenwriter William C. Martell takes you into the world of The Master Of Suspense and shows you the daring experiments that changed cinema. Over 77,000 words.

UK Folks Click Here.

German Folks Click Here.

French Folks Click Here.

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Thursday, February 15, 2018

THRILLER Thursday: The Last Of The Sommervilles

SEASON 2!!!



The spider web fills the screen, it's Boris Karloff's THRILLER!



Season: 2, Episode: 7.
Airdate: Nov. 6, 1961

Director: Ida Lupino.
Writer: Ida Lupino & R.M.H. Lupino (her cousin).
Cast: Peter Walker, Phyllis Thaxter.
Music: Jerry Goldsmith
Cinematography: John F. Warren.
Producer: William Frye.



Boris Karloff’s Introduction: “And how does your garden grow? Sure as my name is Boris Karloff, this one will flourish. Of courser it’s only proper there be to mark the final resting place of someone so unceremoniously interred. But then, of course, Ursula Sommerville has very little respect for the dear departed... Particularly since it happens to be a member of the family. Our story tonight concerns her slowly dwindling clan, as well as her sinister determination to become the last of the Sommervilles, which by the way is the title of our play. Our leading players are: Phyliss Thaxter, Martita Hunt, Peter Walker, and this odd looking chap is Doctor Farnham. You know I have the strangest feeling that I’ve seen that face before somewhere. Well, come - be my guests won’t you, as we resume our little garden party.”

Synopsis: On a foggy night at the Sommerville Mansion, a cloaked figure drags a dead body across the grounds to a hole and buries it, shoveling dirt over the corpse, then arranging ivy and flowers over the grave. Afterwards the figure pulls off her hood, exposing that this fiend is a woman! Ursula Sommerville (Phyliss Thaxter)... who smiles when she’s finished.

The prodigal nephew Rutherford (Peter Walker) returns to the mansion on a dark and windy night, rings the bell. Ursula answers the door - they have never met, and he assumes that she’s a servant. She tells him that his aunt has been expecting him, and sends him upstairs.

Aunt Celia (Martita Hunt) is a giddy old biddy who loves her nephew, and wonders why he hasn’t visited in the past 15 years. She invested in his African gold mine and some other ventures, and now he’s got a business venture in Paris, but he has this little problem - he needs some money. Celia says they can talk about that later, because tonight is the big party and she needs to bath and change. By the way, Aunt Sophie will be attending. Celia asks “her maid” Ursula where Sophie has been hiding herself, and Ursula reminds her that she left for Europe.

While Aunt Celia bathes, Rutherford flirts with “the maid” Ursula... until he discovers that she’s his cousin, four times removed by marriage. But that just slows him down. She tells him where the liquor is kept, and he leaves.

Later Ursula sees Rutherford passed out in the livingroom, grabs the fire poker and... pokes the fire after a moment where she seems to contemplate braining him. When Rutherford wakes up they have a conversation about Aunt Celia’s health - and her little heart seizures. Both seem to be scheming. Ursula informs him that there is no party, except in Aunt Celia’s imagination. “Nothing wrong with her being a little eccentric as long as it doesn’t interfere with her writing checks.”

A week later, and Aunt Celia has still not loaned Rutherford the money he needs for Paris. Ursula keeps talking her out of it after he talks her into it. Rutherford is becoming desperate, and is ready to leave... when Ursula offers him a deal. She has managed to become the sole financial beneficiary of Aunt Celia’s will, all the remaining living family members - Aunt Sofie and Rutherford - get some baubles. But if Rutherford helps Aunt Celia die, Ursula will pay him a large chunk of money - twenty times what he’s asked Aunt Celia for. “Murderers are often hanged.” “So are stockings.” As sole beneficiary, Ursula needs an airtight alibi for the time of Aunt Celia’s death... but Rutherford won’t inherit a cent so he has no real motive. The police will not suspect him in Celia has an “accident”.

The night of the “accident” Aunt Celia has thrown a monkey wrench into the plan by inviting her doctor to dinner. But is he really coming to dinner or is this just another one of Aunt Celia’s fantasies? Ursula and Rutherford change the plan, so that Dr. Farnum (Boris Karloff) will be a witness. Of course, Dr. Farnum has an interest in marrying Aunt Celia so that *he* can inherit. Rutherford is supposedly in town playing cards and drinking with friends, and after dinner Ursula needs to go into town for a charity auction... and Dr. Farnum offers to take her in his carriage (becoming her alibi witness).

When Dr. Farnum and Ursula leave, and Aunt Celia goes upstairs to have her bath; Rutherford sneaks out of the basement.

The murder plan involves Aunt Celia taking her nightly bath, and a live electrical wire in her sponge. When she uses the sponge, she will be electrocuted, then Rutherford removes the live wire and cleans us and it appears as if she has died from one of those heart seizures. There’s some nice suspense in this scene when Aunt Celia keeps *almost* grabbing the sponge, then grabbing something else instead... there’s a tray of chocolates next to the sponge, some bath oils, etc. She finally grabs the sponge, screams, and...

The funeral at the Sommerville crypt. Afterwards Aunt Celia’s lawyer Mr. Parchester (Chet Stratton) asks if they can read the will a week from Friday. When the lawyer leaves, Rutherford is angry - he’ll have to wait almost two weeks before he can get his money.

Someone begins sending them anonymous notes accusing them of murder... Who could know? Ursula accuses Rutherford of getting drunk in town and letting something slip. Rutherford wonders if Dr, Farnham is behind the notes... and maybe Ursula let something slip. Hmm, maybe the doctor could become victim to an accident? When Rutherford worries about two murders, Ursula corrects him - Three - she killed Aunt Sophie and got away with it. Everyone thinks Sophie is in Europe.

Dr. Farnham stops by unexpectedly, and Rutherford tells him that Ursula is in town. Farnham mentions that a storm is coming, would be a shame if she was caught up in it. Farnham wonders if they’ve told Aunt Sophie, Celia’s sister, about her death? Rutherford says she’s traveling in Europe and they have no idea how to reach her. Farnham keeps hinting around that Sophie’s vacation seems unusual. Everything he says is perfectly innocent... but a veiled threat. He knows.

That foggy night, Ursula - in the hooded cloak - wakes Rutherford and tells him that someone is out on the edge of the estate watching the house. They look out the window and there *is* a figure in the fog. It must be Dr. Farnham. Ursula gives Rutherford a gun and says, “In case there’s a prowler on the grounds”.

Rutherford and Ursula sneak through the fog to attack the prowler... but she leads him into the bog, where he slowly sinks! He aims the gun at her and fires - empty! She watches him die, smiling. Then collects the coat on the branch that was the figure they saw from the window.

The reading of the will: Ursula gets the mansion and everything else (except the small things to the other (now dead) family members. But... to keep the family name alive, she will not be able to collect any of this until she marries her cousin four times removed, Rutherford, and bares a male child. If that is not possible, the entire fortune will be left to her lawyer Mr. Parchester who will be in charge of charitable donations...

Ursula is screwed! She inherits *nothing*!

Until the twist...

Ursula and Parchester were behind this from the very beginning! They’re a couple!

Years later, the mansion is for sale... because Ursula and Parchester died in a car accident.
(you can get away with murder in real life, but not on network TV - Standards & Practices forbids it!)



Review: This is probably the weakest of Ida Lupino’s episodes, but when you compare it to most of the other episodes it’s still probably in the top third as far as quality is concerned. Though all of these episodes were probably shot in a week, and many look as if they were thrown together at the last minute; most of Lupino’s episodes are filled with amazing imaginative shots and camera moves - using the same revolving bunch of cinematographers that the other episodes used. So it’s obvious that the difference between the blandly shot episodes and the amazingly shot episodes is the person calling the shots - director Lupino.

Even though here we get more standard shots that in her other episodes, we still get lots of creativity you don’t see in many of the episodes directed by others. At the beginning of the episode there’s a great point of view shot as Rutherford’s hand grabs the gate handle and pushes it open, then we dolly in maintaining the POV shot until Rutherford steps into frame and we continue with an over-the-shoulder top the front door.

And there’s a great moving camera shot as Rutherford checks himself in a mirror (no camera or crew reflection) and then enters his aunt’s room - all one shot.

Later there’s a nice German Expressionist shot as Rutherford’s *shadow* climbs the stairs - reflected on the wall - until Rutherford reaches the top of the stairs and steps into frame.

And several other nice mirror shots - enough great visual stuff to put this in that top third. The main thing that holds it back is the story itself, which is fairly pedestrian without much suspense or many plot twists. So Lupino does as much as she can with a story told in a fairly bland manner about people killing each other over an inheritance. Plot 53 B.

The only one to blame for the bland story blandly told is... Lupino and her cousin who wrote the script! She usually wrote with her husband Collier Young (even after they were divorced) so maybe he was her other half creatively as well, and her cousin was not. This isn't a bad episode, it's just not her best. Next week another new Season 2 entry... A mystery with not much in the way of thrills.

- Bill

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