TNMC
6Feb/120

Live Bullets

I've been a fan of cinematographer Shane Hurlbut's work for some time now. And his decision to shoot the movie Act of Valor primarily with Canon 5Ds had me more than a little interested to see that movie. I shoot with that camera's little brother, so the notion that a stills camera could be used for this level of action movie was pretty exciting.

While watching the Super Bowl tonight I saw the ad for the movie and one shot in particular caught my eye. It was overhead shot of boats full of Navy SEALs firing on something. What caught my eye was the look of the gunfire, which looked very cool but also unlike other movies. Now I know why. Check out this little featurette where they talk about shooting scenes with live ammo. Let me say that again. Those aren't blanks or digitally inserted tracer rounds. Those are real bullets being fired.

These people are crazy. And I totally support such craziness in the service of making a movie.

 

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1Jan/120

Happy New Year

That's it. I just wanted to say it. I completely missed the changing of the year when it happened.

But I'm still writing the novel. 67,275 words and still going.

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30Dec/110

Don’t Try This At Home

Conservatively guessing, I probably watched Mad Max Beyond Thunderdome a dozen times in the eighties. I saw it when it came out and watched it over and over again on cable later. I was aware that there were earlier films but didn't actually make any attempt to see them. I was a teenager, the nearest rental store was three miles away and I didn't have a car. My movie watching in the eighties was strictly whatever came on HBO or Showtime and whatever I could hitch a ride to see in a theater. My dad did all the VHS tape renting and his taste was awful, so I took what I could get when I could get it.

A couple years ago I finally got around to watching The Road Warrior, thanks to Netflix. Good stuff. I enjoyed it thoroughly. It lacked the polish and grandeur of Thunderdome but it was batshit crazy and dripping adrenaline. And it helped fill in the world of Mad Max for me a bit. I was pleased.

Now I've finally watched the original Mad Max, and I hate to say it but I didn't much care for it. This isn't really meant as criticism of the film. I did something director George Miller never could have expected when he made it. I came into the series backwards. As such, the plot of Mad Max is predictable. And I spent most of the movie thinking that the world looked to be in much better shape than it could have. The second two movies sell the post apocalyptic angle a lot harder, so much so that the original doesn't even feel like the world had come crashing down. So combine my confusion over the setting with being ten steps ahead of the plot at all times and then layer on an over the top score. It almost began to play as a comedy.

Keep in mind, I'm not trashing Mad Max. It was shot for next to nothing and discovered a genuine star in the making in Mel Gibson. For what it was, they did a great job. The fault is mine for watching in reverse order. So don't yell at me for putting down Mad Max. If you have to bitch at me, do it for my poor sense of chronology.

But holy shit did that movie not work for me.

7Dec/11Off

Happy Fun Time

The end of NaNoWriMo had me more than a bit nervous. Without the structure of having to write at a certain pace or face public humiliation, I was afraid I'd run out of steam and stop working on my novel. But that hasn't happened and the great part is that I'm now looking forward to writing time.

That sounded bad, like I don't enjoy writing. Of course I do. Even if no one was ever going to pay me to write, I'd keep writing. It's something I'm willing to do, just for the pure pleasure of creation. But novel writing is new to me. It's a much different style from script writing. Scripts are blueprints for movies and so they are focused on structure and movement. It's a very external form of storytelling. Novels are much more internal. They can move more leisurely. In other words, writing a novel means spending a lot of time on the stuff I can't make use of in screenwriting.

That difference was incredibly intimidating to me when I first took a stab at it last November. That's worn off. I'm getting comfortable with the form and starting to look at it more as fun time than work. The words seem to come easier. Hell, one night I managed to write 900 words while falling asleep on the keyboard. Yes, I had to edit out the occasional lines of a single letter but I kept fighting sleep to try and finish a scene while the thought was still fresh in my mind.

So, I'm going to update the blog regularly with progress reports just to keep the pressure on myself. The count is at 57,720 words, which gives me an average of a thousand words a day in December. Not bad when you consider I took two or three days off to celebrate the end of NaNoWriMo.

5Dec/11Off

Golden Hour

Golden Hour

Golden Hour

Not every day is awesome. You didn't need me to tell you that though.

My passions in life are simple: my family, sports and movies. Pretty much everything I write here relates to movies, so that's well covered. My family I don't tend to talk about much here because I don't feel the need to share everything with the world. But sports I can talk about endlessly and often do. Writing about it, not so much. I don't really know why.

Today was a tough one on the sports front. I'm a huge fan of the NY Giants and they lost a heartbreaker today against the Packers, giving up the winning field goal as time expired. It was a great game, hard fought and exciting. But a tough loss. Later in the day came the real crusher though. Jose Reyes, long my favorite player with the NY Mets, left the team as a free agent to sign with the Miami Marlins. That hurt. It's been a tough few years to be a Mets fan. Since 2006 when Carlos Beltran watched strike three go past him to end the NLCS, pretty much nothing has gone right for the Mets. This felt like the exclamation point on five years of futility.

So I haven't been in the best of moods all night. I even made myself a drink, a real rarity for me. But then I dumped the day's photos onto the computer and found this gem. That's my son, learning to ride a bike. That was the good part of the day. One of my passions managed to step up and take the sting out of the failure of another passion. It doesn't manage to make it a good day, but it does make me smile. And that's something.

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1Dec/11Off

Winner

I am a man of my word. The last post warned that there would probably be no further updates until the month was over and I meant it.

NaNoWriMo is done and I am a winner for the second straight year. Actually, I finished two days ago but kept writing because while I hit the target of 50,000 words in a month, the actual novel is not done. And it's probably going to take me some time to get there. This was the case last year too. I made some noise about finishing that novel but the truth is, with a week to go in that campaign, I knew the novel was horribly broken. I was making big monstrous mistakes that took the book completely off the rails in true train wreck fashion. Worse, I knew it was happening and couldn't seem to stop myself.

The problem was that I had a concept for a novel when I started writing. What I didn't have was a story. Now normally that's not necessarily a problem for me. I've taken scripts from concept to polished draft before. But I wasn't writing them against a clock. With NaNoWriMo, I couldn't afford to stop and rethink what I was doing. To complete the challenge, I had to plow ahead and worry about the problems later. And that's what powered the train wreck.

I've tried to explain this to a lot of people and they all give me that little pep talk about not giving up and it can be fixed if you just try hard enough. Blah, blah, blah. They all meant well but they didn't understand that I did NaNoWriMo for the experience, not for a finished novel. I was well aware that most authors write many novels before being published. So I had no expectation that I would be brilliant on my first try. My first script was a turkey too. But both of them served as powerful learning experiences. Failure is fine with me. It's how I learn.

This year I was more prepared to start. I had a concept like the previous year (a different one mind you) but this time I laid some groundwork. Before the month even started, I was busily writing notes down. Characters, places, scene ideas, whatever. Anything that came to mind relating to that concept was thrown in the pot. This gave me the vaguest sense of a story, so I had some direction to go in. And then I never looked at those notes again. This is the same process I use on scripts. The notes are just a way to give my thoughts some substance. Outlines never work for me because I have to write to understand what I'm thinking. The notes serve as a proto-outline, not really directing my story in any manner but acting more like starter fluid for an engine. You just spray a little in to give the process a jolt forward.

Yeah, yeah you're saying now. Enough of your navel gazing about process. What's the novel about? First off, let me say that was a bit rude. Second, I'll say that it's a horror story called Locavore. It's about a farming community in which people start disappearing and the police can't figure out why or how. Right now, it's about 52,000 words and I suspect the finished first draft to come in around 90,000 words. That's if I keep plowing forward NaNo style. Along the way I keep thinking of things that I need to add, change or flesh out. That will inflate the size of the novel but how much will depend on if I allow myself to go back now and make changes (unlikely) or if I do it after hitting the end of the story.

Unlike last year, this novel did not train wreck. It's in reasonably good shape and I have a vague idea of where I'm going with it. My intention is to finish this one. How long that will take is an open question. This is the holiday season, which tends to bite chunks out of my free time and swallow them whole. Plus, I do have other projects that I want to work on. The rewrite of Joe Bob the Messiah is still waiting for me. My video a week project stalled due to NaNo. There's a short script I'm prepping to shoot in the spring. The script Hive needs polishing. And there's my Unholy script still unfinished. That's a lot of stuff. And with a full time job and kids to take care of, it's near impossible to move forward on all of them at once. This isn't me making excuses, just a frank assessment of time management problems.

There are worse problems to have. If having too many great things to work on is my biggest problem, life is pretty good.

21Nov/11Off

NaNoWriMo, take 2

For the second straight year, I'm taking part in National Novel Writing Month. The goal is to write 50,000 words of a novel in the month of November. The point is to teach writers that disciplined regular writing habits can help anyone write an entire novel.

Last year I succeeded in writing the 50,000 words but I can't say that I walked away with a complete novel. Nor can I claim that what I wrote was any good. And I'm completely okay with that. What I wanted was to find out if I could do it or not. I knew the screenwriting process pretty well after five completed feature length scripts but novels are a much different beast. After that month of writing, I knew that I could do it. I also knew that this particular novel had run well off the rails.

Many people encouraged me to keep going, to try and salvage the novel. I let it go. It had been a great learning experience and it made me a better writer. At no point had I thought this would result in a commercial product. Knowing that and knowing full well how badly broken it was, it was easy to set aside.

This year I had higher aspirations. Not only was I going to come up with a completed story but one that people might actually want to read. I'm three weeks into the process and have 35,403 words of a horror novel on my hands. Barring disaster, I will again reach 50,000 on time. How many words are needed to finish the story, I don't know. Length and pacing in novels are much different from screenplays, so my instincts don't work here. I can tell you that at the same point last year, I was becoming aware that it was coming unglued. This year the story still feels solid. I'm surprising myself and taking it in unplanned directions that please me.

So don't be surprised if this is the last post until the end of the month. It's tough to spit out around 1700 words a day and be able to spare the time for a few hundred here.

24Oct/11Off

Back to Reality

Like every year, I spent a five day chunk of my life immersed in a film festival, FilmColumbia to be specific. It's a great festival and a truly surprising one considering it takes place in small town upstate New York. You know, that mythical part of the state north of "The City."

It was a great time and over five days I saw 18 feature films and a half dozen shorts. If you follow this blog you'll notice I wrote a ton on the movies the first couple days and then stopped. This is normal. After that the number of films starts to become overwhelming and the lack of sleep starts to get to me and I just stop writing. I did mostly keep going on Twitter though.

I would recommend pretty much everything to some degree but of course there are stand outs. Anonymous opens this week and is worth a watch, even if it's just for the shock value of watching Roland Emmerich not blow up the world in a movie. I fell madly in love with Downtown Express, but at this point it doesn't have distributor, so finding it may be tough. If you like a slow burn, Martha Marcy May Marlene is well worth your time. If you want to be greatly unsettled, We Need to Talk About Kevin should be on your to do list. The Descendants is another great offering from Alexander Payne. Coriolanus can simultaneously scratch your action movie and Shakespeare itches. And finally, My Week With Marilyn is immensely charming and beautifully shot.

But for me, the highlight will be the screenwriting panel on Sunday morning. Writers bring in a piece of their script and real working actors perform it live for an audience. I brought in a section of the short script No Big Deal that I've been working on since the summer. I was a nervous wreck during the whole event. Until someone else looks at my material, I don't really know what I have. All I know is that the idea interested me enough to write and that I've done my best to write it. There were some really strong entries and my script was the last to be read. By the time they got to mine, I had convinced myself that I had written utter crap and it would be booed off the stage.

This did not happen. The actors were Anna Acciani, Gian Murray-Gianino, Kevin Craig West, Lily Balsan, Glen Heroy and Parker Posey. They knocked it out of the park. I couldn't be more delighted with their performances, particularly Heroy and Posey who found a style and rhythm to an older couple in the story that I never imagined. And what they did was more interesting than what was in my head when I wrote it. Always leave space in your writing for the actors to work in. If they're at all talented, they'll elevate your material if you don't put them in a straight jacket.

After the reading there was discussion and the reaction was easily the best I've had at one of these events. People were fascinated with the idea and my plan for making it. After it was over I was able to talk to most of the actors and pick their brains about producing this short. To say it was informative is a huge understatement. And after the whole thing was over I actually had people in the audience stop me on the street to talk about it. If you're writing scripts, get them read out loud, you won't be disappointed.

So that's it. The fun is over and now it's time to go back to reality. And that first day back is pure drudgery. After a high like Sunday, Monday at the regular job is a big let down. No offense to my co-workers, who are lovely people, it's just not the same.

21Oct/11Off

Downtown Express

I'm writing this out of great selfishness. Downtown Express does not have a distributor at this point, which means that an album of the film's music is not available for sale. And I want that album badly. So I'm going to write about the movie in the hope that it will get more attention and get a distributor so I can get that album. C'mon, somebody pick it up. I'm standing here with cash in hand, ready to give it to anyone who takes a chance on it.

Downtown Express is the story of Sasha (Philippe Quint), a Russian immigrant brought here by his father Vadim (Michael Cumpsty) to study music at Julliard. Sasha is a gifted violinist, trained since the age of three by his cellist father. Sasha is working hard with his teacher Marie (Carolyne McCormick) to prepare for a recital which will launch his career. Vadim's passion for music is off the scale and he often barges into the lessons to correct Marie's interpretation of Tchaikovsky. Sasha is a bit more broad minded about music. We see him walking the streets of New York, thrilling to variety of street musicians he finds along his way. He goes to see the band Downtown Express play at a bar and is so taken with them, and particularly their singer Ramona (Nellie McKay), that he asks to join the band.

What follows is a lot of musical brilliance as Sasha tries to meld his classical violin with a modern alternative style band. The movie's story isn't anything new. The son clashes with the traditional ways of the father but earns his grudging respect by excelling in his own way. But the way that story unfolds, fueled by some truly gifted and charismatic musicians, takes this from something ordinary into something transcendent. Yes, I'm outright gushing here. I'm a guy who has struggled his whole life to put aside other people's expectations to pursue my own artistic creations. The phrase "But artists don't make any money" has haunted me over the years, as well meaning parents tried to push me into more lucrative careers. Money doesn't mean a damn thing to me if I'm miserable earning it. Pursuing art of my own is something I'd do for free. Learning to be okay with that has taken me my entire adult life. This movie is exactly about that struggle. There is a moment when Sasha is rehearsing with the band as they try to perfect their sound on the way to an important gig that literally brought tears to my eyes. This wasn't actors pretending to be musically brilliant as they evolve before our eyes. They really did it. And it is a beautiful thing to behold. Writer/director David Grubin has made something truly magical here.

I can't say enough about Philippe Quint as the lead. He is a monstrously charismatic fellow who backs it up with electrifying violin playing. He's a musician who learned to act for this movie and it's a spectacular debut. He has great chemistry with Nellie McKay, who has acted before but is also a wonderful musician. Cumpsty and McCormick are veteran actors who add a great layer to the movie with their sweetly developing romance. And in the smaller roles, I liked the band members and Sasha's cousin a lot too. It's just a great cast.

So, again, somebody pick this up for distribution. I'm ready to put cash down on a movie ticket, album and DVD right now. Please, take my money.

21Oct/11Off

Melancholia

Despite swearing off being a film critic, going to a film festival brings it right back out of me. And since I'm spending pretty much all week at FilmColumbia, you'll forgive me a few critical indulgences.

Lars Von Trier is a provocateur, plain and simple. And he is very good at it. I have a strong reaction to every film of his that I see, mostly negative. Melancholia is a bit tougher to place than his previous work but it still managed to wind me up. The movie starts with a long section of surreal slow motion shots, mostly featuring Kirsten Dunst staring moodily into the camera while something bizarre occurs, like birds falling from the sky or electricity rising from her fingers. And then the segment concludes with an impressive shot of a rogue planet slamming into the Earth and destroying it. Then the movie backs up and starts over at the wedding of Justine (Dunst).

I found this part of the movie fairly maddening. It has moments of great charm and great humor. But it also has moments of pure acid rancor and self-destructive behavior. By the end of the wedding, I know with great certainty that Justine is someone I don't want to spend time with. Clearly she's suffering great mental pain, but because the style of the film is to jump into the middle of Justine's story, I couldn't find a place to get a grip on her. Similarly, her family is tough to figure out and I needed more than half the movie to make sense of them. This isn't me complaining about not being able to sympathize with the characters. I don't need that. I don't even need to like them. I do need to find a way to get a handle on them though. Something I can sink my teeth in, a point to build from. I've read a few reviews of the movie and from them I learn that Von Trier has suffered from severe depression and that fueled his previous film Antichrist and this one. With that in mind, Justine starts to make a lot more sense to me. Without it, I spent much of the movie wondering what the hell was wrong with her. Her character was opaque to me.

The second half of the movie switches the focus to Justine's sister Claire (Charlotte Gainsbourg). This part worked a lot better for me but at the same time I found it much less engaging. Justine was intriguing, even if I couldn't understand her while Claire was much easier to understand and subsequently less interesting. This section has a lot more to do with the rogue planet and has some interesting stuff about how people process disasters and the inevitability of death. But this is also where Von Trier started to get under my skin. There is an unpleasant nihilist streak running through it that I find it impossible to relate to. He's taking such a polar opposite to my own world view that he might as well just show a photo of himself flipping me off. Same effect. I'm going to avoid discussing this in detail, because you should discover it for yourself, but there is a scene that feels like Von Trier giving us his view of things that turned me off completely.

Von Trier knows exactly what he's doing here. This is a filmmaker in complete control of his medium and from a technical view, I can admire the hell out of that. I can and do disagree with some of his choices, most notably the handheld camera style, but I'm not putting his work down, merely voicing a difference in taste. What strikes me as most odd is that last night I watched Roland Emmerich's Anonymous, made entirely without world ending vfx, and tonight I watched Von Trier make prominent use of world ending vfx. The world has gone mad.