Category: Filmmaking

December 6th, 2010

Now go get your shinebox, and Fight Club that shit on my blu-ray!

This is the story of how I rediscovered my two very favorite movies. As my first two blu-rays I got Fight Club and Goodfellas, uh duh, because I’m not retarded. I got this crazy, awesome TV. I’m finally in stead with young 20-something men or the paunchy mid-life crisis sect in terms of my electronics level and I wanted my two favorite movies to christen my new PS3. (I was a good girl this year.)

So along came Tyler Durden, restored, remastered, sparring whilst sweat slowly dripped off his glistening abs in glorious 1080i. It wasn’t my first night at Fight Club, but I came to fight; well after talking through the first 20 minutes about how incredible it looked, so much so that the movie had to be restarted, because I hadn’t watched it for seeing it. I know. I must’ve been a boy in a past life.

Every shot, every extra detail, every camera trick was so familiar, yet so new and plainly visible, my brain exploded with possibility. When I was a kid, I only ever saw The Wizard of Oz on a 12 inch TV, that is until we got one of those giant rear-projection monstrosities and a laser disc player, when I was in high school. When I saw it I was like “Holy shit?! That’s what this movie looks like?”

This was the same experience. I saw details of the Paper Street Soap Company I never noticed, because my TV was so terrible. Bottom line, get the blu-ray. It’s your turn to fight.

Next Goodfellas, what a treat! Marty at his best, and the filmmaking was the star. Every shot, every camera angle, pure pristine planned perfection.

I sat around most of my freshman year at NYU, in all black, smoking ditch weed from Washington Square Rastas, and arguing which was a better tracking shot Goodfellas or The Player. To be fair, I don’t have The Player yet on blu-ray, nor am I still smoking from the Rastas (it was mostly dirt anyway), but this was like watching God himself in cine-motion. Forgive my gushing, but that tracking shot was worth the price of the blu-ray alone. Details I’ve never seen; jokes I never noticed.

For the love of God, I mean, his father is wearing a patterned wife-beater when he smacks Henry in the beginning for not going to school “IN MONTHS! MONTHS!” I never could see that level of detail before on my tragic massive tube TV.

So, what have I learned from my two new blu-rays? That A) THEY’RE AWESOME! and B) They’re great movies. I can’t believe the level of detail that I was now able to see. It so heightened the tension that for the first time, I winced a little while Billy Batts got his beating to Atlantis. It was so real, it was like I was there. The gore was palpable and terrifying and I was in love again. I hit rock bottom and I was reborn, scarred and shipped off to egg noodle and ketchup obscurity. I, like Dorothy, was always home, and suddenly I could see how fantastic it is.

Dear Tyler and Henry, my heart still belongs to you. Now get into the blu-ray ring. No shirts, no shoes and the first guy to tap out, the fight’s over.

November 30th, 2010

A funny thing happened on the way to my blu-ray: The Godfather is boring and long

When my partner Merrel Davis, suggested we watch The Godfather on my new fancy Samsung LED the other night, I thought, sure why not? If nothing else it will look incredible. And while it certainly did look incredibly beautiful, I couldn’t help being alarmingly bored and wishing that the long suspense building shots that I once worshiped in film school would get to the point already. Have I become a film ADD watcher with no attention span, or is The Godfather needlessly long?

I’ve been a fan of the mob movie since Jimmy Cagney first snarled “You dirty rat.” If I drink enough, I could probably do a pretty solid one-woman rendition of Goodfellas. I’ll tell you to get your fucking shine box and I’ll feel sorry I got blood on your floor.

I spent six years, well eight if you count how long they took to air, waiting for Tony Soprano’s exit to Journey. Needless to say, film and the Coza Nostra, were a large part of my cinematic upbringing.

I no longer wanted to luxuriate in the tension this movie so beautifully provides, but rather wanted to get to the meat of the action. While the wedding was immaculately shot, and beautifully colored, I could almost smell the bocci di dama and the gravy bubbling, but it took so long to get through it. I felt like Sonny; hotheaded and ready to kill. This rewatch felt like a complicated chess match filled with players and moves that all seemed pointless and unnecessarily busy, for what is ultimately a straight forward story. There was Sollozzo and McCluskey, Tessio and Luca Brasi. Then there’s the Kay and Apollonia love triangle, which has no real meat to it. It’s just a time waster.

I’m no hater, and this used to be one of my favorite movies, but after watching it with fresh eyes, I found that I had some problems with it this go around and most of them dealt with the book adaptation. Since this came from a novel, The Godfather kept so much of the original story that I felt tied to the minutiae and not part of the bigger picture. The Godfather, if released today, would be touted as an hour too long. I don’t care about any point of the masturbatory time Michael spends hiding out in Italy after he offs Sollozzo and McCluskey. There’s no need to spend almost an hour keeping Michael away from Kay just to have “Monday, Thursday, Wednesday, Friday” and puffy Italian nipples. But tell Coppola to get in and get out of a scene, is like telling Bill Cosby to stop mugging to the camera for pudding. It’s just never gonna happen.

The long Italian foray aside, every scene was filled with names and plotting to kill, but the real meat of the movie is Michael’s ascension to Godfather status. It is the story of a man becoming The Man; a son becoming a father, a boy taking over for his father, the rise of a new empire, and during this last watching I found that this wasn’t the main focus, but rather the little details were more prominent. I was surprised by this because I had remembered it differently. I remembered it with rose colored, ADD speedy glasses, because I remembered the plot points, only I remembered them sped up.

The Godfather is a wonderful movie, don’t get me wrong. I don’t hate it, I don’t think it sucks. Don’t send me tons of hate mail saying I’m a Philistine for not loving The Godfather. I do love this movie, mostly out of nostalgia and a fondness for Vito playing with his grandson in the tomato patch, but I guess what everyone needs to remember is that while some directors are genius and amazing story tellers, even they can reign it in.

So, to answer my question, The Godfather is just too long and yes, I’m probably a little ADD theater. Puffy nipples are definitely a treat, but not worth waiting an extra hour for.  So, I’ll do like I do when I watch Godfather II; fall asleep when Michael lands in Cuba and wake up when Fredo gets killed in the boat. It’s worked for me every time so far.

November 18th, 2010

Covermyscript.com goes to NYC.

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October 21st, 2010

“April Fool’s Day” Audio Commentary

When The Film Warriors asked me to participate in their screening / audio commentary of 1986′s April Fool’s Day, I jumped at the chance. I mean, how often does someone ask you to come over specifically to talk through an entire movie? Uh, basically never in my world. But some movies deserve public mocking and this one is so terrible, I just couldn’t pass up pointing out its every flaw.

And wow, what a terrible movie! Like not a redeeming quality, but I had the most fun hanging out with The Film Warriors. It was non-stop laughter, jokes and low-key film deconstruction. So, please check out our audio commentary, sync it up with the movie if you can stomach Muffy’s antics, or just listen for the laughs.

Thanks Film Warriors… For letting me come out to plaaaaaaay!

CLICK HERE TO DOWNLOAD THE MP3

October 13th, 2010

Networking Tales From an Expo: What NOT to do

This past week CoverMyScript was a premiere guest sponsor of Screenwriter Karaoke at the Screenwriting Expo 2010.  We were there to support our brother event and get the word out about how to make you and your script the best for you. It was under this backdrop of some real fun networking that I’m reminded of the ways NOT to interact at such events.

Make no mistake, your singular purpose and goal of these pitchfest / expos / conferences, where you pay a premium to interface, one-on-one with execs and managers, should be to cultivate relationships. You want to make the good impression that you are a person worth knowing; someone worth doing business with at some point in the future. Ideally, everyone wants to make a sale in the room, but the chances of you selling your pitch, for cash money, on-the-spot, are basically nil. Even Shane Black will tell you that, and he sold a million-dollar movie idea on a napkin over lunch. Where these conferences are concerned, it’s never about the short term. It’s really about beginning your long-term career and fostering these relationships.

But not all writers got the memo. There is the right way to approach and the “not-so-right” way to impress yourself upon someone.

If you find out somebody is an agent or produced writer do not pitch to them willy nilly.

Whether it was the gal who followed us into four (!) elevators to tell us she’s “thinking about writing comedy” or the wait staff that “gave” me his “idea” for “Cheers” that wasn’t “Cheers” even though it took place in a bar and was about the people in it. As thankful as I was to have that already produced gold nugget, my asking you for directions isn’t an open invitation to tell me your life story. Know when it’s appropriate to bombard someone.

Merrel, my partner in crime, was speaking with an agent when an excited expo goer got wind and didn’t even wait for them to finish a sentence. “So you’re an agent?” he said and began to pitch. No! Buy me a drink first before you try and take me home. Warm me up a little bit. Let me like you before you go pitching wild. Cornering someone mid-conversation and giving them an unsolicited pitch wins no points, with anyone. Desperation doesn’t look good in any shade.

Don’t stalk people.

If there’s someone you’re interested in talking with, talk with them. When the conversation is done, it’s done. Pay attention. If they’re not into you, just wrap it up and move on. If it goes well, use your time wisely, impress upon them your message, get their card and keep the train moving. My friend, Zac Sanford, a development exec, remarked after an exhausting impromptu post-panel networking assault:

“My time is valuable. Pick one thing I said that resonated with you, hand me your card, let me give you mine if I want to, and move on. The real work comes after the convention.” And this goes for exhibitors too!

There was an odd fellow who insisted he could and would help with our exhibitor’s booth. He was looking for a job and thought hanging around me might get him one. He then proceeded to loiter and interact with my potential clients as if he were an official representative of my company and that just didn’t fly. Perhaps if he played it cool, and not been so clingy, things might’ve gone differently. But alas, this is a lesson he’ll have to learn the hard way.

Don’t be creepy or gush!

Approach people like human beings, not majestic ponies. If you know of someone from a previous seminar,  online or just from their body of work, don’t exalt them. Just say, “Hey.” And on the other hand, if you know who someone is and don’t like them, do like your mother said and keep your mouth shut. At a networking event, if you can’t say anything nice about someone, wait until you get in the car to bash them.

One gal made an odd and specific point of introducing herself whilst demanding to remain anonymous, “I know who you guys all are, but I don’t want to tell you who I am” she said.   We all respected her choice, however strange it seemed, seeing as she was wearing a name badge. She took it a step further and let me know that she had unfollowed me on Twitter for “talking too much even though I was writerly.” I know I’m not for everyone, but I couldn’t understand why someone wearing a name badge and wishing to remain anonymous, would seek me out just to be hurtful? In what way was she hoping to ingratiate herself to me by being unkind? If you aren’t interested in people knowing who you are or if you aren’t interested in knowing them, keep it to yourself; then they won’t.

Don’t offer unsolicited advice.

If you don’t like my product, you’re not interested in my service, you feel like I’ve got it all wrong, again, keep it to yourself. You are at an event selling yourself. Tearing someone else down or their work may make you feel more important in the short term, especially if it’s someone you’re meeting for the first time and think they’re a schmuck, but you never know who someone REALLY is. This is the techno-age people. Use your phone with the Googles, and find out who that schmuck is before mouthing off to them. They could just be a studio head and you would’ve blown it.

I encountered a man who’s familiar banter went from charming to uncomfortably presumptuous in a bizarre instant. He decided he knew what was wrong with my business and wanted to tell me all about how wrong I had gotten it. Listen folks, don’t spend your time attempting to assert your knowledge onto others. You don’t gain friends, just annoyed glances and a place in my long-memory, next to my unmitigated ire. I shut him down on the spot, because I just don’t care what you think when you come at me so aggressively. If you have constructive ideas, bring them up constructively. Win me over. Make me like you. Sell me on you. You have to earn the right to have my time, and this guy just didn’t have enough cache to keep my interest.

Why So Serious?

Don’t treat your every interaction as though it were life or death. Yes you need to be professional and this is a business event, but be a person not a robot. Come to foster relationships, meet new people, learn new things, grow your craft but get out of your own way too!  Quit taking it all so seriously. We’re making movies; we’re not curing cancer (unless you’re also an oncologist, in which case, keep up the good work). Be light, be open, be yourself. It is the commodity of you that is ultimately the most worthwhile prospect.