Friday, March 28, 2025

Fridays With Hitchcock: Hitch On Editing

Hitch explains his Three Editing Techniques in this interview, using his favorite film SHADOW OF A DOUBT as his example.



In addition to camera angle, framing and composition, movement, and lighting - the juxtaposition of images (editing) is a critical part of telling a story on film. All of these shots need to cut together, and be cut together in a way that helps to tell the story. Kuleshov's experiment shows that editing images together can create emotions in the audience that aren't actually in the images. One of the things that I look at in EXPERIMENTS IN TERROR are how editing can tell the story, and in Hitch's ROPE experiment without editing, the specific angle and framing and movements of the camera have to take over when you don't have editing. DePalma's split screen work allows the audience to do the editing by looking back and forth between two side-by-side images.

The juxtaposition of images is important!

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.

Espania Folks Click Here.

Canadian Folks Click Here.

Thursday, March 27, 2025

THRILLER Thursday: THE HUNGRY GLASS

The Hungry Glass

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



Season: 1, Episode: 16.
Airdate: January 3, 1961


Director: Douglas Heyes
Writer: Douglas Heyes based on the story by Robert Bloch.
Cast: William Shatner, Russell Johnson, Donna Dixon, Joanna Heyes, Elizabeth Allen.
Music: Jerry Goldsmith.
Cinematography: Lionel Linden.
Producer: William Frye.




Boris Karloff’s Introduction: “A beautiful young face in the mirror, a pitiful old face at the door. Could they have been one and the same? Some people say that mirrors never lie. Others say that they do: they lie, they cheat, they kill. Some say that every time you look in one you see death at work. But most of us see only what we want to see. And perhaps it’s better not to see too deeply into the darkness behind our mirrors? For there live things beyond our imagination, as sure as my name is Boris Karloff. But if you’re skeptical, stay with me and watch “The Hungry Glass” with those others who doubted. William Shatner, Joanna Heyes, Russell Johnson, and Elizabeth Allen. Oh, you’ll be perfectly safe, that is, if you turn your own mirrors to the wall... and make sure that your television screen casts no reflection.”

Synopsis: Have you ever looked into a mirror and thought you saw someone or something behind you, but when you turned there was nothing there?

This is one of those episodes from THRILLER that people often remember, and I like it better than Stephen King’s favorite PIGEONS FROM HELL. Oh, but the story...



It opens a hundred years ago with a beautiful young woman, Laura Bellman (Donna Dixon from BEVERLY HILLBILLIES), looking at herself in one ornate wall mirror after another... dozens of them! Every inch of the wall is covered with a mirror! There is an insistent knock at the door, and she goes to answer it; but the person who opens the door is a shriveled up old woman dressed exactly as that beautiful young woman. On the other side of the threshold are Laura’s sailor nephew who has a hook for a hand and a doctor... Laura hasn’t left the house and her mirrors in months. She says: “Go away! Leave me alone, can’t you? Leave me alone, with my mirrors.”

Present day: Gil Thraser (Shatner!) is a photographer who has finally gotten his Korean War post traumatic stress disorder under control, married a model who is probably close to her pull date Marcia (Joanna Heyes) and bought the Bellman House in Maine. A rambling old fixer upper on the edge of a rocky cliff overlooking the Atlantic about 2 miles from town. They are escaping the city, and hope to turn this place into their dream house. Their belongings have been sent ahead to the house by a moving company and they are waiting in the town’s little general store for the real estate agent to arrive with the keys. A storm is raging outside... and a group of old farts are sitting by the store’s old wood burning stove, staying warm and playing checkers. When Gil tells the Store Owner that they just bought the Bellman House, the old farts joke about how the house comes with unwanted guests, and lots of people who lived there died there as well, and there isn’t a single mirror in the whole place because of, you know...



That’s when real estate agent Adam Talmadge (Russell Johnson, The Professor!) arrives and tells them his wife Liz (Elizabeth Allen) is waiting in the station wagon and he’ll drive them out to the house. But first they need to buy some light bulbs... none in the house. The Store Owner says bulbs won’t matter, there’s no power. Adam says he had the power company turn it on... the Store Owner says the storm turned it back off again. They buy bulbs anyway, and make sure they have candles and batteries for the flash lights as well.

In the car, Gil asks Adam if there are vampires in the house or something? Because of the lack of mirrors? Adam explains that you take an old house where there have been a couple of accidental deaths and the locals come up with all kinds of spooky legends. Ghosts and such. None of it is real, it just gives the people in the small town something to talk about.

When they get to the house, all of there stuff is packing crates in the entry area... to be unpacked later. Adam and Liz come in with them, because they have a little house warming gift... a chilled bottle of champagne and 4 glasses. Adam has got a fire going in the fireplace, too. The living room has an *amazing* view of the ocean. Adam pours the champagne while Marcia looks out the window, and when she turns her back to the window to say something... Liz SCREAMS! Adam drops the champagne bottle, breaking it and slicing open his palm. Liz says there was a man standing outside the window, reaching for Marcia! A man with a hook for a hand! Gil runs to the window and looks out: sheer cliff all the way down to the ocean, no place for a man to stand. Must have just been some freak reflection from the fireplace, right? Adam picks the glass out of his hand... a freak accident... like the glass shards were trying to attack him. As Adam and Liz leave, Gil closes the door and sees the reflection of an old woman in the stairway window... beckoning him.

The next morning, Marcia is putting on make up using her travel mirror when she sees a man’s reflection! It’s Gil, who cut himself shaving when she snuck up on him and he saw her reflection in *his* travel mirror. So they’re even, right? Except Marcia says she hasn’t left this room. They have a great discussion/argument about whether the old house was a good investment or a bad one. They decide either way, they’re kind of stuck with it so might as well make the best of it. That’s when the power comes back on, and all of the new light bulbs turn the spooky old house into... well, less spooky. Gil says he’s going to take a bunch of pictures of the house as it is now to give them something to compare with after they fix it up.



When Gil is developing those photos, he sees a strange image reflected in one of the windows: a little girl. Is it a double exposure? Meanwhile, Marcia pokes around the attic and finds that it’s full of old furniture and things... a gold mine in antiques! She spots a door hidden behind some things with a huge padlock on it. What could be inside? Using a rusty knife from the attic junk she unscrews the hasp and has to put some muscle into getting the door open. On the other side, a storage room filled with dozens of antique mirrors! For a moment she’s blinded by her flashlight reflection... Meanwhile, Gil decides *not* to show the photo of the little girl’s reflection to Marcia (in a great piece of visual storytelling). Then goes looking for her, finds her in the attic. Marcia shows him a couple of antiques that might pay for the whole danged house... it was a great decision the buy this place. Gil asks if she might have used his camera to take a picture of a little girl, she says no. Then she shows him to weird room full of locked away mirrors and asks him to bring one down so that she can get ready for the dinner they’re going to host for the Adam & Liz. When Marcia leaves, Gil looks into one of mirrors and sees an old woman beckoning him... screams and faints!

Gil is afraid that his post traumatic stress has returned, and next he’ll be seeing all of dead people from Korea again. Marcia tells him to just calm down, it was just his imagination playing tricks on him. They have company coming for dinner and they both need to get ready. But Gil worries that he’s losing his mind. Again.



After they have finished dinner with Liz and Adam, Marcia offers to give Liz a house tour and Gil and Adam stay behind... so that Gil can ask about the reason the townspeople might think this place is haunted. Adam doesn’t want to spread silly rumors, but Gil pushes it... and Adam relates the Legend Of Bellman House.

And what a legend! Basically, everyone who has ever lived in the house has been killed by accidents involving mirrors or windows. As Adam explains death by death, including a sailor with a hook for a hand that was Mrs. Bellman’s nephew, we realize that no one has ever gotten out of this place alive. That’s when Gil tells him about the strange double exposure, and they go down to his basement darkroom. Gil shows Adam the photo... and Adam identifies the little girl as a kid who fell off the cliff to her death when the sun’s reflection in the house’s window blinded her. So, not a double exposure... a ghost reflected in the window. Now *Adam* believes the house may actually be haunted, and Gil knows he’s not crazy.

That’s when Liz interrupts them (lots of good jumps in this episode in addition to all of the creepy suspense), to bum some cigarettes. When Gil asks where Marcia is, she says Marcia was showing her the odd storeroom full of mirrors. Then they hear Marcia SCREAMING! Both men bolt up the stairs, Adam stopping to tell Liz *not* to follow them up to the attic. When Gil gets to the mirror room, he sees all of the dead people from the legend PULLING Marcia into a mirror. She screams for Gil to help her. Gil grabs an old fire poker from the attic and hits the mirror again and again until it shatters. When Adam comes in, Gil says they have taken Marcia into the mirror... but Adam points to the floor, where Marcia lies dead... beaten to death by the fire poker!



Adam and Liz try to calm and console Gil... who keeps trying to convince both of them that he saw dead people in the mirror grabbing Marcia and pulling her inside the glass. That he’s not losing his mind, it’s the mirrors! The windows! Any glass that reflects! The police will never believe him, even though it’s true!

Then Gil sees Marcia reflected in the huge living room window, and runs to embrace her... crashing through the window and falling all the way down that rocky cliff to splat on the rocks below, as the waves crash over him. Liz faints, and Adam carries her out of the house, seeing the reflection of Marcia and Gil beckoning to him from the staircase window!



Review: Wow! This episode really delivers. It’s spooky, has some great scares, is wall to wall dread (a great job of building with small spooky stuff), and is *witty* and filled with great dialogue. In fact, if you took away everything else but the dialogue, this would still be a great episode. People don’t just say things, they say it in the most amusing way possible. After Adam drops the champagne bottle and slices open his palm, he says “At least I christened the carpet”. This crackling dialogue makes the episode fun, and adds to the dread... we’re having such a great time when something scary happens it ends up twice as scary! I haven’t read the short story in a couple of decades, but Bloch is an incredibly witty writer who loves to make you smile just before he makes you scream. All of this great dialogue may have been his, or maybe the writer/director used Bloch’s tone as a guide and went with it. I don’t think there’s a bad line in the entire episode.

Director Heyes was responsible for the previous best episode, THE PURPLE ROOM, and here he makes sure every inch of that attic makes you want to get the hell out of there. When Marcia is poking around the antiques, you are waiting for something to jump out and grab her! The basement dark room is also spooky. This is a *great* haunted house story. It’s also *packed* with story... there isn’t a dull *second* in this episode, when they aren’t being scared by the windows and mirrors they are having relationship issues caused by the house or Gil is having a breakdown caused by the house. It’s almost like a feature film squeezed into an hour of TV. Never a dull moment, and the great thing about mirrors and windows and reflections is that they’re *everywhere*! When they walk past a window, you worry!



The cast is *great*, with Shatner gearing up for his TWILIGHT ZONE episode 2 years after this. He does a great job in the quiet moments, as well as going full Shatner in some of the more dramatic scenes. Russell Johnson is a charming real estate guy, completely making you forget that he was the Professor on GILLIGAN’S ISLAND. He not only gets laughs delivering the quips, he give you chills telling the legend. Joanna Heyes is the director’s hottie wife, and does a great job holding her own opposite scene stealer Shatner. Elizabeth Allen probably has the least interesting role in the episode, but screams like a pro and does a great job playing “the wife”. Donna Dixon who was Ellie May on BEVERLY HILLBILLIES is eye candy in her brief role as the reflection of Mrs. Bellman in the mirror.

Aside from the witty dialogue and great pacing, this script has some great visual storytelling (like when Gil wordlessly decides not to show the picture to Marcia) and some awesome exposition hiding... we know the house is 2 miles from the nearest neighbor because of a line about having to walk down to warn them if Liz plans on screaming again. The big chunk of exposition that comes with the Legend Of Bellman House, is a great little ghost story with twists and thrills... so you don’t notice it’s exposition... it’s a campfire story. Great writing, acting, direction...

The creepy thing about this episode is that after watching it, you start seeing things in *your* mirrors... or maybe it’s just my imagination?

Bill

Buy The DVD!

Tuesday, March 25, 2025

Trailer Tuesday: PHANTOM OF THE PARADISE

Directed by: Brian DePalma.
Written by: Brian DePalma, music & lyrics by Paul Williams.
Starring: William Finley, Jessica Harper, Gerrit Graham, Paul Williams.


He sold his soul for rock and roll...

A few years ago Edgar Wright hosted the 40th anniversary of Brian DePalma’s PHANTOM OF THE PARADISE to a sold out crowd in the massive Cinerama Dome in Hollywood. Most of the surviving cast was there, but star William Finley had recently passed away; so this was also a bit of a memorial for him as well. Since PHANTOM is one of my favorite movies, one that I saw in its brief initial run back in 1974, and several times since then... I was in that packed cinema. Wait, you’ve never heard of the film? That’s great! You have something to look forward to!

Buy the border Brian DePalma is one of my favorite directors, and most people know him from BLOW OUT or maybe CARRIE... but those films were made in the middle of his career. He began making odd arthouse films and comedies... and discovered Robert DeNiro (as well as many other actors who would later become famous). His first successful film was an anti (Viet Nam) war comedy starring Robert DeNiro, Gerrit Graham, and Jon Warden called GREETINGS (1968) about three friends who get their draft notices at the same time and each figures out a way to avoid being sent to Viet Nam where they will likely return in a body bag. It’s kind of a series of skits with these three characters that lampoons the time period and the social turmoil in the United States surrounding the war. Jon Warden was the star, with DeNiro and Graham as his sidekicks, and by the end of the film DeNiro is the only one who gets sent to Viet Nam... to return in the sequel HI MOM! (Introducing Charles Durning) which looks at the early 70s, and everything from Organic Food to the Black Power Movement (“Be Black Baby!”).

After a string of successful comedies, they gave DePalma a comedy studio film starring Orson Welles and The Smothers Brothers... which flopped. DePalma went back to indie films and played around with Hitchcock and horror (he had previously done a comedy with Hitchcock overtones called MURDER ALA MOD, starring William Finley... who was a member of his stock company of actors).



His brilliant Hitchcockian horror flick SISTERS was a big hit (I have the Critereon edition) and his next film was going to be called PHANTOM OF THE FILMORE, starring Finley in a mash up of every classic horror movie ever made, plus a satire of the music industry. After writing the script, he approached Paul Williams to write the music figuring he’d start at the top (Williams had written a string of hits at this point) but to his surprise this was *exactly* what Williams was looking for, When you’ve written a string of hit pop songs, you want to try the exact opposite. A rock opera that makes fun of the music biz? Sign him up! Williams also ended up playing the villain, Swan, who has made a little deal with the Devil to look forever young and be incredibly successful. Somewhere along the way, promoter Bill Graham had a lawyer inform them that they couldn’t use the name of his Filmore club, and the film became PHANTOM OF THE PARADISE.

This film came *before* ROCKY HORROR PICTURE SHOW and just about everyone believes it’s better... but it flopped, as did ROCKY HORROR. The difference? ROCKY HORROR’s distrib played it at midnight shows where it became the phenomenon that it is today. PHANTOM was distributed by 20th Century Fox and they didn’t even know what a midnight show was! So everybody was doing the Time Warp Again and nobody remembered PHANTOM. Well, that’s not exactly true. Those who had seen it the first time it came out kept it alive in revival houses where the introduced their friends to the film. I know I dragged friends to it whenever it played in Berkeley. I had the soundtrack on vinyl and played it frequently, and can sing along with every song if required. I also probably know every line of dialogue. Too bad they didn’t do midnight shows back in the day because then *everybody* would know about this film rather than ROCKY HORROR (though we wouldn’t know about Tim Curry, so maybe it’s good things turned out as they did). But what about the story?

Well the story is about a very talented artist who gets ripped off by The Man... something that screenwriters can identify with.

Winslow Leach (William Finley) is a struggling composer working on a rock opera version of Faust who manages to get a gig playing music between shows (when people are leaving the venue, glorified Muzak) for the multi platinum 50's nostalgia band The Juicy Fruits. Mysterious music producer Swan (Paul Williams) who represents the Fruits is about to open a new rock venue and is looking for a new sound... and when he hears Winslow’s music he thinks this may be it. He orders his tubby underling Philbin (the amazing George Memoli, who is also in Scorsese’s MEAN STREETS, ROCKY, Paul Schrader’s BLUE COLLAR and a bunch of other great 70s stuff) to grab the music and ditch Winslow. Buy the border After “submitting his music to Swan” through Philbin and not hearing back, he tries Swan’s office building, where he’s on a “beat up on sight” list, and after recovering tries Swan’s mansion where he discovers a long line of female singers practicing one of his songs. The best of the bunch is the beautiful and talented Phoenix (introducing Jessica Harper) and Winslow learns from her that Swan has stolen his music, claimed it as his own, and is auditioning females singers for the opening of the Paradise Club. Winslow tries to see Swan (by dressing up as a female singer) and gets beaten up and dumped on the street, where a pair of cops plant some heroin in his purse and arrest him.

In Sing Sing Prison (everything in this film is musical) Winslow is volunteered against his will for a medical experiment funded by Swan’s company where they extract every tooth in your mouth and replace it with stainless steel.

Winslow escapes prison, discovers that the Juicy Fruits have recorded an album of his music done 50's style, goes to destroy all of the vinyl record at Swan’s factory... but trips and his head lands in the record press... smashing his face and leaving the offensive album permanently engraved in his skin.

After recovering, Winslow goes to the Paradise Club where the Fruits are rehearsing for opening night (as a new group: the Beach Bums, doing early 60s style music)... and dons a costume and mask from the costume storage room (becoming The Phantom) before planting a bomb that injures the Fruits and stopping them from desecrating his music. Buy the border Winslow is captured by Swan, who locks him away to complete the rock opera for Phoenix to sing... except Swan has no intention of having Phoenix open the club, she’s way too wholesome. And when Winslow has finished his rock opera? Swan walls him into the room faster than you can say Poe’s Cask Of Amontillado.

So Swan has to find a new opening night act for the Paradise in a great *one shot* audition scene that features a dozen music acts so unbelievable that they’re believable... and settles on glam rocker Beef (Gerrit Graham, stealing whatever movie he is cast in). One of the great things about this film, which came up in the panel discussion afterwards, is how well it *predicts* new music trends and even specific bands. It’s kind of like NETWORK in that regard, you see it now and think they are making fun of KISS when they use the Juicy Fruit band members dressed in black with patterns painted on their faces in black and white... but KISS didn’t even exist when this film was made! Though this is a satire of the music business, it’s crazy creations would eventually come true! Buy the border On opening night for the Paradise, Winslow as the Phantom breaks out and threatens Beef, telling him that only Phoenix can sing his songs, and anyone else who tries dies. Beef doesn’t want to go on, Philbin insists... and in the middle of Beef’s CALIGARI style opening number the Phantom zips a neon lightning bolt down at Beef, electrocutes him, and Beef fries on stage... while the audience calls for an encore. Swan has Phoenix go out and sing to calm the crowd... and she’s a massive hit!





Realizing it will take something really amazing to top a rock star burning alive on stage, Swan decides he will *marry* Phoenix on stage, and then have a sniper kill her dead. That’s entertainment! Now Winslow/Phantom must stop this from happening, even though he knows that the woman he loves has willingly agreed to marry Swan in exchange for stardom. No matter what happens, things will not end happily ever after.

Buy the border

After the film, the panel spent about an hour talking about the making of the film (in Dallas Texas standing in for New York City) where their production designer Jack Fisk (his first film) had an assistant named Sissy Spacek who would later star in the movie CARRIE for DePalma after starring in some film called BADLANDS. Jack and Sissy married and are still together, and I bumped into them and chatted at some low rent Oscar party that made the mistake of inviting me. Jack and Sissy were not on the panel, but hammy GerritGraham, still hot Jessica Harper, Paul Williams, Juicy Fruits Harold Oblong and Jeffrey Comanor (who was carried onto stage, then got up and jogged around a little), plus the film’s editor Paul Hirsch, who learned how to edit films with DePalma who then introduced him to his Hollywood Brats friends where Lucas hired him to edit STAR WARS and EMPIRE STRIKES BACK and he later edited MISSION IMPOSSIBLE GHOST PROTOCOL and SOURCE CODE and RAY and a zillion other big films, and William Finley’s widow Susan joined the panel later (she’s in the movie as an extra!). The always amazing Edgar Wright moderated. They had all kinds of great stories about making the film, and Williams talked about making this crazy decision to write music which was the opposite of what he was known for while trashing the industry he was a part of.

It was an amazing night, and the film is just as funny as the day it was made. A real gem waiting to be discovered by any of you who haven’t seen it yet. The songs have great pop hooks and subversive lyrics... you’ll be humming them later. Because it’s DePalma it is filled with all kinds of crazy film experiments and homages, including a recreation of the opening scene from TOUCH OF EVIL as a musical number with the Beach Bums band!



The Panel Discussion (someone videoed it!)

Bill

Buy the border

Thursday, March 20, 2025

Fridays With Hitchcock:
Teresa Wright on SHADOW OF A DOUBT

Teresea Wright talks about SHADOW OF A DOUBT in this interview clip...

You may find this shocking, but SHADOW OF A DOUBT was Wright’s 4th film... and she was the star. She was born in Harlem, parents divorced, bounced around as a kid... but her uncle wasn’t a serial killer, he was a serial person - a professional stage actor, and Wright was interested in trying that as a profession. She worked in various theater companies in New England and then landed a small role in the New York Company for Wilder’s OUR TOWN, as well as understudied for the lead. When the actress playing the lead was whisked off to Hollywood to play the lead in the film version of OUR TOWN, Wright stepped in to play the lead on stage... and was great. That lead to being cast in the Broadway run of LIFE WITH FATHER, and then she was whisked away to Hollywood to be in Hellman’s THE LITTLE FOXES... and was nominated for Best Supporting Actress in her first film! In her next film she played Gary Cooper’s wife in PRIDE OF THE YANKEES, and was nominated for Best Actress! Her next film was MRS. MINIVER... and she WON the Best Supporting Actress Oscar.

So SHADOW being her 4th film isn’t as surprising as her career up until this film. This was Hitchcock’s favorite film, and the combination of small town story and quiet suspense when there’s a potential killer at the dinner table is great. If you haven’t seen this movie, check it out - I would say that it’s unusual for a Hitchcock, film, but Hitchcock was one of the most experimental filmmakers in history, so many of his films were unusual and experimental. Hitch always said that he wanted to take murder fro the dark alleys and bring it back to the typical home and kitchen... and this is a movie that does that.



One of the great things that Hitch does in this film is to compare and contrast the two Charlies.


When we first see Uncle Charles he’s sitting up in bed smoking a cigar, maybe remembering a pleasant experience (which may have included murdering someone). When we first see young Charlie, she is sitting up in bed in the exact same position (though not smoking a cigar), dreaming of having an adventurous experience (though probably not murdering anyone). Both shots are the same composition and have slow dolly ins. Even though whether the camera dollies or not is the director’s job - the writer had to come up with the scenes of both sitting up in bed. Creating that similarity for the director to photograph. Our job is to set up the story and characters so that the director can find the perfect shot(s) to show that these two are very similar people. The writer also decided to give both protagonist and antagonist the same name - which makes the audience automatically look for those similarities between the two. There are many other things Uncle Charles and young Charlie have in common... and this helps us compare the two in order to find their differences.

- Bill



Of course, I have a couple of books about Hitchcock, SPELLBOUND is in the one that is on sale today...

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!

369 pages packed with information!

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



ON SALE!!! $2 OFF!

Click here for more info!

HITCHCOCK DID IT FIRST!

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

Contained Thrillers like “Buried”? Serial Protagonists like “Place Beyond The Pines”? Multiple Connecting Stories like “Pulp Fiction”? Same Story Multiple Times like “Run, Lola, Run”? This book focuses on 18 of Hitchcock’s 53 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock’s *silent* films! We’ll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.

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

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

Only $5.99

UK Folks Click Here.

German Folks Click Here.

French Folks Click Here.

Espania Folks Click Here.

Canadian Folks Click Here.

- Bill

Wednesday, March 19, 2025

Flashback: My First Agent

A rerun from the first year of the blog...

Another one of those flashbacks that screenwriting gurus hate...

After my first screenwriting career writing Drive In Movies (NINJA BUSTERS) ended, I got a job working for Safeway in their liquor warehouse. Driving a fork lift and Big Joe stacker. I did that full time for almost ten years, writing scripts in my spare time and on my days off. I wrote just under 30 scripts in that decade... and got an agent on one of them.

Now I had a Hollywood agent! Cool! I had sent out about a bunch of query letters - targeting agents in Los Angeles. My thinking was - because I lived out of town I wanted an agent who lived in the same city as the producers. Why should both of us be out of town? I kept hammering the same list of agents with query letters until I got somewhere around 3 positive responses, sent scripts and signed with the first agent to say "yes".

This was a mistake.... but what was tragic at the time I now find pretty funny. I had somehow signed with the worst agent in the world - and every time I thought it couldn't get worse, it always did!

My agent had an LA address - in the San Fernando Valley. The letter he sent me was on cheap letter-head stationary and filled with blotches of white out. I was working on a Commodore 128 computer and my query letters were mistake-free, but this was the mid-1980s and the world was still switching over from typewriters to computers. Many offices still had their big IBM Selectrics and bottles of correction fluid. I figured the agent's secretary wasn't as worried about impressing me as I had been about impressing them. And they were probably using the old stationary for me, and saving the expensive stuff for people who mattered.

My agent (it was cool to say that) asked for 10 copies of the script I'd sent him. I made them up and sent them in 2 shipping boxes. He said he would begin sending them out right away. I went to work every day hoping to come home to that phone call that would change my life. When it didn't come for a few months, I decided to call my agent for a progress report. He answered the phone himself, said the script had gone out and he was still waiting for responses from producers. I told him I had a NEW script, and he asked for 10 copies. I made them up and sent them on my next day off. For a while I was sending ten copies of every new script... and my agent would send them out and we'd wait for the producers to get back. The producers always seemed to be looking for rom-coms or comedies or some other genre than what I'd written. Was he sending them to the wrong producers? He wouldn't tell me who he'd been sending the scripts to... so I decided to help by sending a list of suggestions for each of the scripts I'd already sent him.

After that he began sending me the rejection letters or telling me what the producers had said over the phone. I was getting photocopies of letters from The Thom Mount Company and Silver Pictures and other big companies praising the scripts, usually saying that they were developing a similar project or were looking for a script that could star a particular actor, and make sure that they get a chance to read any new scripts from this writer. Mount and Silver wanted to meet with me, but my agent told them I lived out of town. He took care of sending follow up scripts, and I often disagreed with his choices but at least my agent was actually calling me on a regular basis - cool!

I continued to send 10 copies of every new script, and a list of potential buyers. I read an ad in the back pages of Variety looking for a jungle adventure script... and sent a copy of that ad with my new script TREASURE HUNTER (which originally took place in the Amazon). I pressed him to send them the script, he finally did, and the company wanted to option it! My first Hollywood deal!

It was a German production company, and they weren't going to pay for my airfare or hotel. My agent said he'd do the whole deal himself, but I wanted to BE THERE. So I took the time off from work, bought an airplane ticket and made a hotel reservation, and flew to Los Angeles. I was about to get my big break! Despite the cruddy letterhead, my agent had landed me a deal! I had the greatest agent in the world!

I would find out just how great my agent was when I flew to Hollywood to make the deal. I landed at LAX and waited for my agent to pick me up. Whenever a Mercedes or BMW circled near the arrivals area, I expected it to pull to the curb. They just zoomed past. In Hollywood, presentation is very important - so I knew that he drove a fancy car... even if it leased. I was driving a fairly new blue Ford Taurus at the time (thanks to Safeway Credit Union). Maybe my agent drove a Rolls? Or was sending a Town Car? I kept smiling at drivers whenever a luxury car passed by...




Eventually this beat up old Datsun 4 door pulled to the curb, and my agent swiped all of the junk off the passenger seat so that I could sit down. I had to throw my single piece of luggage in the back seat - he told me his trunk was full (of what?). The passenger window was broken and a piece of plastic tarp had been duct taped over it - it was hot but you can't roll down a piece of plastic tarp. Okay... so my agent didn't drive a pretentious luxury car... or keep his old crappy car very clean.... he probably made up for it with his skills as a deal maker, right?

We went directly to the meeting in Beverly Hills. A small office that I think was on Beverly Blvd. The producer was there, as well as a director. These guys had made a couple of small films with casts from recently canceled TV shows and people like George Kennedy who usually played the sidekick. Their previous film starred George Lazenby - the only one film James Bond. This wasn't going to be a big blockbuster, but was going to be a big film for these guys. I was excited.

When they made their first (low) offer, my agent wanted to take it. I thought we should at least TRY to get more money. Because my agent was playing the good guy, I decided I'd better play the bad guy - I told them when they were ready to make a serious offer, they could contact my agent... and I left the office. My agent was shocked. I got about halfway down the block before the pudgy little producer caught up with me, explaining that was just a starting point in the negotiations.

We agreed on $40,000 with a $5,000 option for six months.

When we got back to my agent's pseudo-car, he chewed me out for making waves - I could have blown the deal! Why did I leave the office and make the producer chase me? Why did I ask for so much money? Why didn't I just let him handle the deal?

As we pulled away from the curb leaving a thick cloud of smoke that drifted over Beverly Blvd, I asked if we'd be going back to his office. "NO!" Instead he'd buy me a celebratory dinner. We'd closed a big deal ($40k is a big deal?) and now it was time to celebrate. Would he take me to Chasens (down the street) where Hitchcock dined? Or Spago? Or Mortons? Or one of those trendy LA places where the stars hung out? "Do you drink?" he asked me. A weird question - but maybe he was going to splurge on a bottle of champagne. Some restaurants had better wine cellars than others. If he was planning on order a bottle of Dom Perignon 1957 (like James Bond) you probably have to select a restaurant that has a bottle in their cellar. "Yeah. I've been known to have a beer or two." "A beer drinker! That's perfect!" Sure - a beer drinker would be more impressed with a bottle of 1957 Dom than a wine connoisseur would. We drove into the luxurious Hollywood Hills...

And over the hills into the Valley. We ended up at this crappy bar near the Van Nuys airport that had beer by the pitcher... and a free Happy Hour buffet. After buying the pitcher and handing me a glass, he pointed to the chicken wings and mini-tacos and said "Dinner!" Not exactly Chasens or Spago... or even Denny's. I ate as many chicken wings as I could, but still ended up hammered and hungry and half-deaf from the airplanes flying right over the bar's roof and landing a few feet away. After happy hour was over, he drove me back to my hotel. I ended up walking down the street to a Denny's and getting an actual meal as soon as he was gone.

The next morning I took a taxi to his office before my flight. It was an 8 by 8 room without any windows over a motorcycle repair shop in the slums of Reseda. No secretary - no room for a secretary. With the door closed, the place was like a cave... or maybe like a closet (except for the din of guys using power tools to repair motorcycles). His office might have been in Los Angeles, but it was about as far away from Hollywood as you can get. I found out that his other clients were mostly washed up rock bands from the 1960s - one hit wonders that you didn't know were still around. He was a nice guy, but not much of an agent. I flew back home that afternoon, got my $5,000 check a few weeks later, but the Germans never made the film and allowed the option to expire.

A couple of months later I went to the American Film Market in Los Angeles for the first time (and adventure I'll chronicle later) and I collected a stack of business cards from companies looking for scripts. One particular company had just co-produced their first feature with a Swedish company - a low budget horror movie - and planned on making a couple of films a year. They needed scripts! I'd pitched them one of the scripts that the Mount Company and Silver Pictures had liked, and it was EXACTLY what they were looking for. The VP of Production told me: "Have your agent messenger it to me on Monday." Cool! I had a potential deal with a brand new company with an upcoming theatrical release. I was in on the ground floor.

I drove by my agent's office on the way home and over the din of power tools told him to make sure he messengered a copy of that script to the company on Monday morning. I offered to stay over an extra night and take it myself, but my agent yelled that he'd take care of it. The entire 8 hour drive home I was excited - I probably wouldn't be working at the warehouse much longer! I worked all day Monday on adrenaline (no sleep) but still had trouble falling asleep that night. Every day when I came home from work I expected a message on my machine from my agent that they wanted to buy the script. By this point in time I knew the Southwest Airline schedules by heart and knew the best inexpensive motel in the Beverly Hills area to stay in (the Holloway). I was prepared to fly down as soon as I got the phone call from my agent. After a couple of weeks with no message, I called for a progress report. My agent didn't know anything. I kept calling every week - still no word from the production company. Did they hate the script? Nina Jacobson at Silver and Bess Semans at Mount had loved it. Maybe they were waiting for the release of their horror movie? I called my agent every week for a progress report... MONTHS later he admitted he still hadn't gotten around to sending my script! By that time the film had come out, become a huge hit, and the window of opportunity had closed. Every agent in Hollywood was sending them scripts. The horror film was NIGHTMARE ON ELM STREET, the company was New Line Cinema. Since then they have TWICE paid $4 million for a screenplay... and recently produced the LORD OF THE RINGS trilogy.

I fired my agent soon afterwards. By then I had sold COURTING DEATH to a Paramount based company on my own and my second career in screenwriting was about to begin.

- Bill

Friday, March 14, 2025

Fridays With Hitchcock: On Writing With The Camera

A great 15 minute documentary on how Hitchcock used storyboards to wrestle control of his films away from hands on Producers like Selznick once he came to America, using my favorite Hitchcock film NOTORIOUS as an example. Hey, there are the storyboards!



But the great thing that you see in this examination of how Hitch planned his shots is how each angle, movement, framing, lighting, everything else - is in service of telling the story. Nothing is done just to show off, the shots are often designed to put us in the shoes of the characters so that we can see the story through their eyes and feel what they feel. To help us experience the story, rather than just watch the movie. Though all of this seems technical, it's all in service of being emotional. A character can enter through a doorway (our level) or descend down an imposing stairway (this person is above us in every way, and we must wait for them). These are two different feelings from the audience and the protagonist... and Hitch was the master of making the viewer feel as if the story was happening to them. Make them feel as if they were the protagonist. And that makes us feel what the protagonist feels... identify with their problems and situations. Makes the movie seem like reality... through the use of camera angle and movement and lighting and framing.

That's what films direction IS.

Telling the story WITH THE CAMERA.

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.

Espania Folks Click Here.

Canadian Folks Click Here.

Friday, March 07, 2025

Fridays With Hitchcock: Hitch On Happiness

What makes the Master Of Suspense happy?



"I think hatred is wasted energy."

Interesting that so many creative people whose work is filled with violence and terror and what we think of as negative emotions are the opposite in real life. As someone who writes action and thrillers (and horror sometimes), I think creating these things is a way to control them. In real life it's difficult for us to deal with all of these negative emotions, but in reel life we can tame and control them. I hate tension in real life, but love it in movies and books. This might even be a character element that we can use in creating characters... the crazed killer who reads paperback romance novels. The sweet grandmother who reads Mickey Spillane. But it's interesting to hear Hitchcock talk about what makes him happy - the lack of problems on the horizon that plague all of the characters in his movies.



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.

Espania Folks Click Here.

Canadian Folks Click Here.

Wednesday, March 05, 2025

Movie Premiere Goes Wrong - Homer Simpson

Since the Oscars were Sunday...

Most fans of THE SIMPSONS don't know that APU starred in a trilogy of films by Satyajit Ray or that many of the other names and gags in the show are in-jokes. Since the show has been on so long, many of the in-jokes seem to have lost their meanings. If I said the name "Homer Simpson" you wouldn't instantly think about that character in Nathanael Wests's brilliant novel about Hollywood, DAY OF THE LOCUST. The joke is gone, because Homer is now more famous that the character he was named after.



Nathanael West was the screenwriter of one of my favorite movies, FIVE CAME BACK, which may have been the first Disaster Movie, and certainly inspired the film PITCH BLACK. He wrote a bunch of films in the 1930s, worked as a Hotel Manager in between writing gigs and got to know a bunch of young writers on their way up who stayed there, and wrote 4 amazing novels, two you may have heard of, two you probably have not heard of.

MISS LONELYHEARTS is the book that got him noticed - a really dark story of a male newspaper reporter who becomes the advice to the lovelorn columnist... and learns more than he wants to about people. That one's been made into a film at least 4 times, probably more... and the great comedy-mystery writer Greg McDonald even did a riff novel on it called LOVE AMONGST THE MASHED POTATOES.

DREAM LIFE OF BALSO SNELL is like David Lynch on acid - which is why you've never heard of it.

A COOL MILLION is one of my favorite novels no one has ever heard of - it's a parody of Horatio Alger jr stories (about hard working young men who overcome all kinds of problems and set backs to become very successful). Imagine the ultra-pessimistic version of those stories, and that's this book. By the end of the story, our hero is dancing on stage and several of his body parts fall off... and he's been screwed in ways you can not imagine.

Last and best is DAY OF THE LOCUST - and if you haven't read it, it's probably one of the best novels every written about Hollywood. It's up there with WHAT MAKES SAMMY RUN and the Pat Hobby stories. It's so brutal that you can't believe it was written in the 30s. The book was made into a movie in the mid-70s by John Schlesinger (MIDNIGHT COWBOY) with a script by Waldo Salt (MIDNIGHT COWBOY and SERPICO and 2 Oscars and a screenwriting award named after him) - which was an amazing 70s film... that you have never heard of. While MIDNIGHT COWBOY keeps getting special anniversary editions, DAY OF THE LOCUST was unavailable on DVD until a few years ago and is now out of print. Part of that is probably because of the stars - everybody knows who Jon Voight and Dustin Hoffman are... but William Atherton's career just didn't take off... he's best known now as that obnoxious reporter that Bruce Willis punches in DIE HARD... and "Dickless" from GHOSTBUSTERS. Not a movie star like Hoffman or Voight... though he was in the 70s. And the film is a major downer. That played in the 70s, but not so much now.

So, just to spoil the whole story for you, here is the *end* - a big movie premiere where all of the characters lives intersect... that is completely ruined by Homer Simpson (played by Donald Sutherland). Homer has had very bad luck throughout the novel/film, and finally reaches his breaking point in this scene...



- Bill