Monday, February 12, 2007

You haff to verk for money

Phew! So I’m a little worn out, despite getting home at an oddly reasonable hour last night. I think some sort of virus is having a 12 round bout with my immune system which has yet to see a victory either way. It might just be a virulent meme, since I can’t for the life of me get the base line for “Billie Jean” out of my head.

Nonetheless, I headed down to Brick Street (via Liverpool station) last night, clad in notebooks and armed with no less than two pens and a mechanical pencil to defend myself from getting mugged by the awkwardness one can feel when heading to a “hip bohemian venue” on their own. I did, however, get taken aback momentarily when I spotted Arabic (and only Arabic) street signs on some of the side roads I navigated. This was rendered stranger still as I heard more Polish than anything else (non-English) while walking around.

With a few lines of advice from good old Roberto in the back of my mind, I set to a winning start by sitting with my notebook and pint in the wrong half of the bar! It was a very enjoyable part with plush leather couches and all the rest, which I think I shall definitely return to, but not the right one! 93 Feet East (the venue, not an address) strikes me as a pretty successful place if only by merit of its size. It has a very large courtyard with a dozen picnic tables and a BBQ vendor who, if you ask nicely, will allow you to pay just a bit too much for sausages, chicken breasts and the like. Then there is the area where I first sat, with those couches I mentioned set about low wooden tables with a fine black finish, tall windows that look out on the courtyard and an affordably priced bar with nice staff. On that particular evening the DJ (who was, to my amusement, crammed in the upper right corner of the ceiling like a stuffed toy in some girls room) laid down some really relaxing, technically interested sounds.Now these two parts could fool most people into thinking they’d seen the whole place, I’d like to think, but after 40 minutes of sipping Strongbow and writing letters I asked the bar staff if the event was still on and discovered that yes it was, but in the area next door. So I hurried round to a third area, basically a tall roofed rectangle with a stage on one end (with a drop down screen for the viewing) and a larger DJ/Technical booth jammed up against the ceiling in the back. Lucky for me there had been problems with the AV setup which delayed the beginning until about 30 seconds after I found a seat. I then saw 13 London shorts and a handful of bands, I'd expand upon that but then I shall be doing so in my article for CapitalMag. I'll link to that when it's up, should they find my 350-500 words pristine enough to "print".

But for one exception....amongst the short stories, music videos and dubious "concept" videos there was a bit of outright propaganda for one of the looniest organizations I've seen in a while. I mean, O.I.L. are not as bad as some folk but I question this misapplication of fervor when there are so many more tangible and pressing issues to wrestle with than some nauseatingly vague mission to "reclaim love". Then again, perhaps I'm being a bit harsh due to how frighteningly unnerving the facial ticks of their leader were to me. I couldn't find any picutres of her, but imagine if you took a woman with a ratty brown ponytail and performed an operation on her brain so that in one small corner of her mind she would always think that a tiger is leaping down on her from a high cliff...you'd have an idea.

The Shortwave-sponsored event is happening again on the 8th of April and I have to say that I do feel inclined to give it another go, particularly a go in which I won't have to frantically try to write down names of people and production companies in a room darkened for viewing. Not to say that I didn't enjoy playing reporter, I'll definitely do it again some time but I do hope that I can busy myself with enough film work (of a more hands on nature) so that I can't.

Enjoy the pictures, I'm off to collapse after shambling through a day at work...

Saturday, February 10, 2007

(This was in the post below, but I could not get the sodding formatting to behave!)

With the obvious exception of my "Ode to Rotting Tyres By a Railway Station" picture, I have generally kept to the very picturesque with my pictures thus far. Here I choose to deviate slightly. That being said, I find my own aesthetic delights in a lot of these pictures that may come from either a less biased appreciation of the way the world looks or perhaps the kind of naive fascination with slightly grimier things which can come from growing up a clever country lad.

Maybe both.

Ah but I'm being a bit grandiose, this is hardly ghetto - it can just seem that way compared to the two million pound flats around Trafalgar square or when you read about weaponized dog breeders in the same borough as you. For that I'd need to investigate the East End and select parts south of the river. I'm just in a fiddly mode, knowing I need a good nights rest if I'm to be out for eight odd hours drinking and reporting on the Shortwave festival tomorrow night (with work early the next day). Too tired and antsy to write or draw, I turned myself out with the camera for a bit of fresh air is all.

Go to bed old man, before you really get rambling.

A grand does not, in fact, come without some kind of effort






























And the accountants entrails said....

Okay screw it, I'm applying today for the Script To Screen course. The course alone might have been a hard thing to decide on, but that it will give me the ability to register with the Panico Film Society for sixty-five pounds is too sweet an opportunity not to take. The society has events every single Thursday night of the year as well as an in-house job board. That latter benefit really reverbrated through my mind as I read it yesterday during my lunch break from entering the several thousandth track work form that I've entered for Network Rail.
The course is on the 24th, but there is an open to the public event on the 22nd which I'm going to use as a scouting mission to see the place in person. Expect plenty o' news on the matter when it comes to bear.
Meanwhile, here are some pictures I've been meaning to upload. The night time ones are from a month ago when I went out on the towne with my cousin Daniel and the day time ones are general shots around Islington that I took the same day I grabbed pictures of the Banksy piece.

Friday, February 09, 2007

Yeterday we had snow...

...and I swear there are more interesting things going on! But it was awesome, at least five centimeters. In the early morning all the train stops had turned into these classic Canadian ads for multicultural harmony with people of all sizes and shapes having snowball fights (and at my usual station a couple of Chinese fellas had built numerous snow-commuters, placing two on a bench and another was haughtily smoking a pipe that I guess they found).

I've laid down and prayed to The Money and The Money spake unto me: "Oliver, that six week Foundation course would be pretty great but then you'd have a third of the savings you were hoping to have at the end of this contract. You would have a pretty thin financial cushion to catch your ass should you happen to fall on it.".

Which I don't understand because I must have built like twenty craven idols to The Money, but oh well! The Money works in mysterious ways.

For example, I've been stumped on what I could cover (other then the usual ubiquitous movie reviews) for one of the London Film Rags I've contacted. But then I got an email from a film collective south of the river whose mailing list I'd forgotten I'd signed onto. It let me know of an event near Shoreditch which is a free cavalcade of short films from 4pm-7pm then live and upcoming bands (some of whom are sponsored by Giles Peterson). Sounds like one of those "events" which an amateur journalist like myself could cover this Sunday.

Meanwhile I am negotiating with The Money to see if I can't at least take one of the single weekend courses. I'll sacrifice an accountant tonight and see if I can't find guidance from his steaming entrails.

Tuesday, February 06, 2007

At least a good step towards...

...dispelling one of the most tragic attacks of fantasy upon reality one of the more succesful cults.

Monday, February 05, 2007

UFO's and a Giant Phallus, also decisions!

So it seems that during my fairly peaceful weekend I missed an alien armada in my neighborhod?

Also it turns out that London's most phallic building has a public observation deck at one of it's highest levels. I reckon I'll make an expedition to that sometime soon, expect some classy pictures!

I'm really torn, at the moment, as to where to go with the Panico courses. The most expensive (in time and money) option that I am looking at is The Foundation course. Looking at the timetable I can see that though I have some experience with a lot of what is mentioned, I could certainly benefit from further instruction. Not to mention that there is a lot of non-digital filming to be done, which is something I have NO experience with. It's £800, with £200 as an upfront deposit. But at the end of it I'd have a short flick under my belt, the option for membership and those beloved fellow young flm maker contacts (presuming my social skills haven't atrophied too much these past weeks!).

However, this would definitely make a big dent in my potential savings and would probably delay my coming to visit Ottawa in June. But someone I was speaking with last night made the very rational point that I didn't go to all the trouble and expense of coming to England just so I could hurry back to visit Canada!

But if I do take the more conservative route, I'd go with a combination of The Advanced Directing Workshop and the From Script To Screen course, in no particular order. As far as I'm concerned, my writing is at a pretty good level right now. It's not that I couldn't learn more, of course, but that I think your standard scriptwriting courses have nothing new to offer me. I think if I did do a writing course, it would have to be something a bit more special than the standard "So you have characters, right? And they gotta have, like, motivation". Meanwhile both directing and knowledge of the business are areas where I suffer a dearth of knowledge and I'd like to remedy that.

What is a lad to do?

Sunday, February 04, 2007

Film making, how about it?

Graffiti aside, I've been hunting for film courses and collectives which could help me get out into the London film scene. So far Panico Films looks to be the top contender, if only because they are offering courses as well as a continuing source of rentable equipment and local filmscene events. Though they do offer two writing courses I'd have to say that I think I'm already capable of all the things they promise to teach in the first one. The other writing course looks interesting since it takes more of a Director/Producer angle. I'm familiar with some of what it promises to teach, but most of it would be fresh and for all I know there could be some important differences between how, say, agents work in England as opposed to Canada.

There are a couple of other courses that look interesting too...I gotta say, it's getting me pretty excited since the costs are all within my budget. I've just got to decide where to start! A big, added bonus is that this will not only lead to a trifecta of improved skills, contacts and equipment access but it will also help me keep momentum! The past month, though calmer and more comfortable than the previous three, has threatened to turn into a tedious routine which might have left me mired in a whole lot of nothing much.

As fun as my TheMovies shorts are, a dude hungers for more!

Saturday, February 03, 2007

Banksy!

I know at least some of you are already aware of this guy, but since I found some of his work near my place I thought I'd bring him up.
Banksy is arguably the most notorious street artist going, which is saying something given how many there are and how many are focused entirely on gaining widespread recognition. I always admire how he not only manages incredibly daring pieces, like those he did on that wall the Israeli's built so as to destroy any sympathy I might have had left for them and their troubles, but the fact that he shows a great deal of genuine artistic talent and thought in his subversive images.
Though you can find it in his book, I thought I'd post a couple of my own photos of a piece that I discovered just across the street from Archway Station, about five minutes walk from my apartment. I wouldn't say this is his best work, but I do enjoy it.

Tuesday, January 30, 2007

Difficulty? WHAT?

Scriptin' Fancy-Like: Update!
Well I thought I'd have my treatment finished by now, but it isn't (though not for lack of trying). True, I've had such epic distractions as building a desk and China continuing to rediscover the problems of the Industrial Revolution on a grander scale...but I'd say I've spent a fair bit of time hacking away at this over the past while.

But anyways, I reached the end of the second act and I had to decide not if someone would die but by whose hand. This fork in the road would determine an awful lot about the arrangement of the third act, which was largely already written but in a grouping of pieces which have some room to be shuffled depending on which road I took.

I think part of the reason that I breezed throught he first act and took a somewhat leisurely stroll through the second was that I had no and then less continuity stacked behind me to worry about. Now entering the third act (though, really, it's more like the fourth act given how the story plays out) I have to not only make sure that there is a believable causality at play but it has to fit into the previous two acts. Also, I am trying to make sure that all this is built out of strong and engaging ideas?

It feels kind of like I am trying to arrange a long series of glass lenses, where each lense has a pattern painted across so as to paritally block light from going through. If I can just rotate all the lenses correctly to allow an unbroken length of light to enter at one end and exit at the other, then I'll have succeded and be able to move on to the script proper.

Meanwhile I've been taking refuge from wrestling with Content and fiddled about with Structure, specifically character descriptions to help me better visualize things and an experiment of mine. I've set aside a page in one notebook and titled it "...ends up...". Then I'll slap a characters name at the start of that sentence as well as their fate on the other end, repeating it as many times with one character as I feel inspired to do. It's helping and it isn't, since it does help me narrow down where the story can go but it also makes me feel like I'm building another kaleidoscope to align.

WELL

Friday, January 26, 2007

SNOW N' BOOKS

It only lasted half the day, but London had a good dusting of snow Wednesday morning. I grinned the whole way to work.

Meanwhile, could any of you lend me £9,300 for a lifetime membership with The London Library? I'm going to check it out in person tomorrow, but just from looking at the website - my god is it unreal. We're talking stuff like...

- 14 kilometers of shelving
- Exhaustive collections of various serial publications, including a run of the London Times spanning 185 years.
- A membership roster which has included the likes of Arthur Conan Doyle, Charles Dickens and Charles Darwin.
- A private chamber for people like yours truly to masturbate furiously in reaction to the sheer volume of lendable literature avaliable.

Does this make me strange? I don't think it makes me strange.

I hope the chamber is free tomorrow!

Meanwhile, we are nearing the last page of the Treatment. Woooooooo!

I am a man who is highly excited by reading and writing.

Tuesday, January 23, 2007

FIRST WORLD PROBLEMS-MEGA DELUXE

So!
The kindly chump who I've been leaching broadband off of for the past month finally discovered how to lock his network. Thus, here I am back at the internet cafe, waiting until February 1st when British Telecom will hook me up to my own connection - which I can thankfully afford, after getting a few weeks of solid work under my belt. After doing a little budget, I figure I could even rebuild my shattered (LAPTOP/MOVIE/MOVING - THREE HIT COMBO TO WALLET) savings by the end of April. Financial security you say?

Meanwhile I've met up with my cousin Dan and seen the Tate Modern, finally. After that it was a few drinks at an equally few Thameside bars - beware the beer named "St.Fillelens"...or something like that.

The Archbrook treatment inches ever close to completion, with the second act basically wrapped up I just have to tie together all the loose bits I've written down for the third. I am super excited to start on the script proper as it feels like it shall be naught but gravy with the actual story worked out in advance. But we shall see!

Anyways, when my home connection is hooked up next Thursday y'all can expect more posts and a return of both pictures and new Dirk clips. I've redone episode 4 and will send it off to Joey T for a soundtrack as soon as I can.

Take care for now!

Friday, January 19, 2007

Self-taught watercolour painting...

...ain't easy! But then, did I expect it to be?

Meanwhile a hideous beast named Computer Errors made me lose over an hours work on the redo of Dirk Hardwood episode 4.

I am going to paint Computer Errors in all his foul glory.

Then I shall own Computer Errors miserable little soul.

I'm okay!

I'm....I'm pretty okay!

But enough about me as a person, I'm also in full health. A couple of people have written or called me in the past 24 hours to ask if I suffered any hardships or injury as a result of a rogue weather pattern which hit London last night.

Apparently this isn't even the first time such a thing has happened recently.

Meanwhile, during a boring moment at work on my lunch hour, I went to wikipedia and hit "Random Article" for the first time. Though I usually leave "strange internet stuff" to the professionals, I think I will just this once share what I came up with. A book written by H.P. Lovecraft and illustrated by H.R. Geiger would have hard time coming up with something so foul.

I have't clicked it a second time, nor do I plan to - I think I shall quit while I am ahead.

In the realm of the pseudo-mundane, I picked up a half price watercolour painting kit today. I have had some ideas floating around and since I can do a decent impersonation of an artist, I reckon I'll make some of my own wall decorations for my room.

Monday, January 15, 2007

Whoooooo likes pictures?


Carnaby Street - the cafe where I was writing/eating is on the right side.
Onto Regent Street now.

Now into Picadilly Square.

There were plenty of angles I could have taken this one from and I think I made a good choice.
Now into a smaller area called Swiss Court Square. It's filled with movie theaters, including my destination - The Prince Charles Cinema.
SWEET price! Totally worth it for the film I saw.

Sunday, January 14, 2007

We'll see what comes of this...

...but I really do hope that what comes is, you know, something.

To balance this, here is a nice picture from Regent Street which leads from Oxford Circus down into the Soho area. More to come.

Is this little guy a mole, an offensive depiction of a fellow from the Indian sub-continent or what exactly?

Script Writin' Fancy Like - Part 4
Right then, a breakdown of my new approach to writing vs my old one. The method for "Tonight...." is easy to sum up: Sit in front of computer, pound at keyboard until something decent arrives. Repeat.

I might have made some notes on loose paper which have since been lost, but that was essentially it. Even if I thought of an idea while away from the compu-tron, I'd just repeat it in my head until I was sure I could remember until I was at my computer. With the clutter of University and daily life in general, this wasn't the best method. I still have a ghost of a scene, which I know was good but melted away during an exam, wandering the memory halls and rattling its chains.

Realizing what a pile of shit that approach was I bought myself a tiny notebook, which I could fit in most pockets, the November before last. I tried to use it as a catch basin for whatever may pop into my noggin' while I am on the bus, (was) in class, at work or anywhere else. Despite the metaphor, I recommend making very sure that this book is tiny as the smaller it is the more likely you are to take it with you and capture something worthwhile (like cameras, in a fashion). Sure some pages have been hijacked by shopping lists and the like, but you can tear those out! In the end the booklet will be thinner than when you bought it, but what remains should be a nice reserve of story ideas, settings, snappy lines and whatever useful mnemonic devices you may have designed for your later-self.

This improved things, but when at home I often found that I didn't want to boot up the computer just to get down some notion that had hit me and risk being sucked into hours of distraction. But my tiny notebook was too tiny to get down more than a couple of paragraphs without using up gobs of pages. Then I spotted my pal Joey T with a wonderful, hardcover notebook of a rather good size. Larger than the little pocketbook, but not as cumbersome as a standard legal-sized notebook...'twas perfect!

He kindly helped me acquire one and ta-da, bigger idea catch-basin. There is, of course, more room on the larger pages and it's helpful to be able to literally keep more of any one idea in front of your eyes. Plus it's not so cumbersome that I can't stuff it in my regular black carry bag. I love it and it, along with das pocketbook, kept me pretty well sustained for months on end. I initially tried to colour code the pages for quicker reference, something I'd done to great effect in my pocketbook (Ex. Gold line along the top indicates collections of Lines, Silver Line a collection of story ideas and so on). Damned if I know why, but this just didn't stick with the larger notebook.

But whatever, it's invaluable to have and I think one of the biggest things it has over a computer is that you can easily bring it anywhere that you feel might put you in a good mood and therefore be more prone to inspiration. Yes I have a laptop and others with laptops can do it - but when I have an idea these days I want instant accesibility to a method of spitting it out and no distractions. A laptop has to power up, be placed somewhere smart so it doesn't burn your lap, can't really be used in a lot of public spaces at all hours for fear of attracting thieves, is slower to pack up if rain starts and so on. Plus, you know, the million other things than Word which you have at your fingertips which offer temptation and distraction.

Now I am probably getting more anti-computer (in the context of writing) lately because I spend my weekdays sitting front in of one of the damn things inputting data for National Rail - but even before this I was finding myself more and more reluctact to write on the computer, almost to the point of resenting the machine. True, I pour ideas out faster through typing than writing but I am finding the difference to be negligable and also when I have to que up notions in my head while waiting for my pen to catch up....I find that this sometimes leads to a bit of refinement before I lay down the words, whereas with typing I'll just spew and spew with little on the spot management - leaving a bigger job for me to do later in my revising.

Anywho, as my two basins have filled up with bits and bobs for Archbrook as well as other ideas which may or may not grow into something...I found it kind of annoying when I tried to refresh mysef on Archbrook. You see, something I make myself do each time I sit down for a serious go at Archbrook is that I review all the loose notes which came before. But as it became obvious that Archbrook was winning the battle with my other script ideas to win the right to further development, I found it very tedious to have to keep flicking about over the other story notes to get to the next chunk of Archbrook.

On top of this, I knew that Archbrook would be more challanging than "Tonight..." and I wanted to be better prepared when I sat down to write the proper script pages. So I decided I would write the basic story out, from beginning to end in a loose narrative, before I wrote page one of the script - this is the treatment I've been mentioning lately. But something that long and ordered would block up my notebook catch basins like all get out - with those it is important to keep them in a state that I can just jot down whatever, whenever and not worry about where in the book it is.

So I nabbed a cheap booklet of 60 pages with a soft black cover and have given it a similar role to the hardcover, but exclusive to Archbrook. I have mostly been writing the treatment
(which is at a nebulous 50-60% done point, depending on how long I decide to make the story) but whenever I get to a point where I think a scene could be done one of two or more ways, I write the scene that feels strongest first. Then in square parantheses I write out the other two options. Thus they are placed where they would be in the story, helping me keep everything in order in my head, which I think is better than placing them at the back of the book in an appendix.

In anticipation of when I write my first draft of the script, which I also think I'll try out on paper first, I bought a cheap notebook of similar make and page count, but this time a bit larger than legal size paper. We'll see where things go from here!
For the actual generating and laying down of ideas, I don't know that there is a whole lot I can say about this at the moment. I mean, where do you get your ideas? I think that is fairly unique to each person and as I've hinted at, it can fluctuate from day to day. Sometimes I write better in a good mood and other times in a bad one, sometimes better in a quiet library and other times in a noisy public space. The only consistent thing which springs to mind is the binary tug of war between content and structure. You need content or you have nothing to structure (nothing at all, really) but structure is handy for keeping your ideas from simply being a deluge of colorful ejaculations which can ignite the imagination of the reader but not sustain that flame. It's easy to get lost in either side of things, doing too much content without wanting to orangize things because "it's up to the damn stupid reader/viewer to interpret my genius" or to toddle about putting things in pretty spreadsheets when all you are really doing is building sandcastles instead of writing. I'd love to say how to master the balance, but it isn't something easily measured in quantifiable chunks. Managing this balance is, as Chris Onstad might say, the slick dirtle.

Anyways, I really enjoyed writing these. If anybody wants to ask any questions about this or the small amount of production experience I have....go for it, I'd be happy to blather on. Tune in next time for some pictures from my Saturday evening in the Oxford Circus, Carnaby Street, Picadilly square area.

More later, after an exciting trip to the Laundromat!

Thursday, January 11, 2007

Iron Bitters

Scriptin' Fancy-Like - Part 3
Right then, as I have not finished writing Archbrook we are now moving from a sort of guide into an exposition on what I am currently trying.

As I started to go on about last time, I simplified a lot of aspects of "Tonight..." because I knew darn well that I was still something of a beginner at script writing and that if I tried to overcomplicate things then I was likely to make more mistakes as well as probably lose focus of the main idea I was trying to explore in the first place.

With that experience behind me, as well as a few multi-page forays into a half dozen ideas I've tried to develop between "Tonight..." and my starting "Archbrook", I feel that I can get away with ratcheting the difficulty up a few notches. This includes...
  • Sets: Instead of "The Lounge", "The Bar", "Paul's Apartment" etc. I am now trying to fully imagine sets which do more than provide a background to dialogue - or are at least more integral to the mood of the scenes which take place in them.
  • Setting: Inspired during a trip to Broadstairs, yes, but I am not just mentally setting this there. I have actually done a couple of simple sketches of the fictional town ("Bethwick") to order things in my mind. I'd like to think this will lead to more consistency, particularly when it comes to lengths of time between happenings and when characters can "realistically" arrive in one place after being at another. Aside from Bethwick there will definitely be at least mention of London as well as the possabilty of the opening scene taking place in Wales.
  • Characters: For reasons I'll expand upon later, I'm making the entire main cast between the age of 40 and 60. Guess what? I'm not that old. But maybe I can draw upon what life experience I have (particularly my interaction with the middle-aged set) as well as common sense and thoughtful extrapolation?. Also, the characters are mostly English and I am dabbling with one being of Armenian heritage. This might not be relevant past the names, but we'll have to see what is useful to the story and what isn't.
  • History: As I am having a millenia-old cult/religion in this script, I have had to do some research. Though I'm not worried about achieving a remarkably high level of accuracy, I don't want to come off as some fool who is just spouting off whatever comes to mind.
  • Inventing a religion: This is both easy and hard. Yes I can make up whatever I feel like, but not so much if I want it to be believable (within the context of the story!). Believablity isn't enough as I have to make sure that the religion also allows the story to function as I want it to while not feeling too convenient or forced.
These are the new challenges. Next time I'll expand upon how I am trying to meet them as well as some thoughts upon the handful of binary oppositions which need to be perpetually managed in the (my) writing process.

In other news, life is pretty okay! A tad lonely, but then that is to be expected when you go to a big city and have to build an entirely new social life. However I am investigating more interesting places to go to - I've found Time Out magazine to be very helpful and I recommend it to anybody even passing through London, let alone moving here. Work is still pleasantly free of stress, but damn I want to try and find something where I don't just try to hurry up the day. I guess we'll see where I land when the contract ends in April. Finally, here are two pictures I took of a great rooftop reading area at The British Library.

We all live inside "the environment"

This is a good thing to remember! I think that an awful lot of people forget that, somehow.

This is a brilliant idea on how to spread an incredibly important and timely film.
If you haven't seen the film or want to show it to someone you know, you can have a copy of it sent to your home for free with no strings attached, again thanks to this goddamn magnificent website. This is absolutely necessary because we still live in a world where people come out with shit like...

"Condoms don't belong in school, and neither does Al Gore. He's not a schoolteacher," said Frosty Hardison, a parent of seven who also said that he believes the Earth is 14,000 years old. "The information that's being presented is a very cockeyed view of what the truth is. ... The Bible says that in the end times everything will burn up, but that perspective isn't in the DVD."

Meanwhile, as Rome (and everywhere else) continues to get closer to burning...let's have a jolly old laugh at Hitler, that wacky bastard.

But seriously? SERIOUSLY take your hand out of your pants and go to http://sharethetruth.us/

Then and only then, treat yourself to Posterchild's great lil' short "The Departed Astronaut".

Wednesday, January 10, 2007

Racist outbursts are basically not a good career move...

...but it at least gives some clever editors the chance to put together a great lampoon.

SCRIPTIN' FANCY LIKE - PART 2
When last we left off, I had just gotten the ball seriously rolling with "Tonight...". From there to the tenous finish is easily summed up. Whenever I could, I would just sort of will myself to write more. Seriously, that is it - willpower. If I had it in me that day, then I would write...otherewise...

This is by no means what I advise, it's just what happened!

I definitely didn't write it in chronological order and if I had tried to I'd probably still be writing it. I just had to throw down whatever was flowing freely out of me, before I forgot it. Eventually my writing sessions were one part writing to one part joining up the jigsaw pieces. Two parts Hennessey.

The reason I describe the finish as "tenous" is because I feel that I could keep coming back to expand upon and refine that script until kingdom come. I don't claim to be the first to point this out, but I think it is worth saying you can go back to a script almost an infinite amount of times. Eventually you have to say "It's DONE" even if adding an ominous "for now..." at the end of that exclamation. Though I have half an additional scene for "Tonight..." which I sometimes tweak and add to, I feel fine in saying that script is done because:
  1. I've done enough proofreads to feel that the spelling, grammar and continuity are tight enough to give the impression that I am a fellow who is capable of being capable.
  2. The story feels complete and the characters more like people than a collection of cute lines. Though I have an urge to flesh out somebits here and there, I wouldn't say there are any outright gaping holes which would lend a viewer/reader to ask questions such as "But wait? Isn't that dude a secret abortionist? Wouldn't he, of all people, know not to have unprotected sex with that pilot's wife in the apple orchard?" or "Didn't the humans think in the long term about their decision to block out the sun to stop the 100% solar powered robots?".
This being said, I have periodically given it another proofread when posessed of ample spare time (like my recent unemployment in Reading). Just because the car is built and working doesn't mean you never clean it or check for rust!

Being my first attempt at writing a feature-length script, "Tonight..." was a lot of fun and a lot of messy forcing it out onto the page. I paid for this at least twice with continuity problems that cost me a lot of aggro in going back over the script to resolve them. The upside of my full steam ahead approach was that it was easier for me to stay focused on the main idea of the script and so I'm pleased to say that despite featuring a wide variety of conversational topics in the dialogue, the story itself stays on track from beginning to end.

Something else that definitely eased the process for this script was that it was set in "A Metropolitan City" around about "Modern Times". Not to mention that the cast was composed entirely of North Americans in their early to mid-twenties, so I certainly could not be accused of writing what I didn't know. Not that I'm being down on myself, I think it's important to mention these things because I have met so many people who feel too intimidated to start writing. Well let me tell you folk in particular, it's only as terrifying and challenging as you make it. With "Tonight..." I felt that I was up to the task of conveying the themes and ideas I wanted to explore, but not on top of an exotic setting, characters which were outside my realm of personal experience or some ambitious high concept.

I think it is also important to point out that there is no shame in taking the simple approach - particularly in concept. I mean, a lot of classic movies can wind up sounding either daft or boring (or both) when summed up in the original notion. Just becuase hearing your idea in a single sentence doesn't immediately moisten the genitals of every human being within a city block doesn't mean it isn't worth pursuing.

I've also had to devote very little brainpower to coming up with the exactitudes of how the society of "Tonight..." worked or any other abstract systems as one would encounter in, say, a horror story which takes place in a fictional English town and involves a fictional religion. Like, say, the script I am trying to write now - Archbrook. For this I have definitely set the bar higher than what I have tried to write before and so I'm trying to take a more organized, less just do it, just write something so you ain't some chump who says he is a writer but he ain't written nothin' no good approach. We'll get into that next time!

Tuesday, January 09, 2007

Please note, your server has full creative control of your cocktail pleasure

Hello all you guys and dolls out there in internet land. This humble reporter needs a good nights rest and so this shall be a short one. These last two evenings have been mostly spent attending to a deal of the mundane...lord but it takes time to acquire all the little things that let you focus on activities other than acquiring all the little things! Like lamps.

But you can expect, maybe even dare to look forward to, the second installment of "Scriptin' Fancy-Like" tomorrow night. Between now and then, may I suggest that you make for yourself the following. Also, be sure to enjoy it!

Mercury (Martini)
2 1/2 oz
-Absolut Vodka
-Apple Liquer
-Strawberry Juice

Saturday, January 06, 2007

Literacy huh? How 'bout it?

Yowza, today has been a real classic English day (re: grey skies and unrelenting rain). Between that and some other factors, I've ended up staying in today to try and finish the presentation treatment for my Archbrook script.

So, as to take a break from writing this durn treatment, I'm going to try my hand at a little "From the Writers Den" thing. Time for a peak in the, assuredly, exciting mind of somebody who usually gets away with calling himself a writer!

SCRIPTIN' FANCY-LIKE: Part 1

Now, I've taken a couple of courses with the CSTC, nabbed myself one of those fancy shmancy degrees (English w/Honors, minor in Film Studies) and have generally been writing fiction in one form or another since I was able to speak (at which point I apparently dictated a strange tale to my mom about numerous technicoloured peoples, God and lots of nuclear explosions. Also, China?). Though all these things have definitely contributed to whatever level of skill I have, I wouldn't think of them first.

Then we have the time-worn "You learn by doing!" maxim to consider. It is certainly true and I do place this high on my list of Sayings With Something To Them. If all you do is talk about what you'd like to write, then that is all you are - a talker. But just squeezing out shit after shit after shit won't make you a good writer either. There is more to quality, I'd like to think, then quantity!

My current theory as to the necessary "third component" is the willingness to experiment with your writing process and to challenge what you do without mercy (this is not to be confused with being really disparaging about what you do, because you have low self-esteem?). Whatever your exact method, it has to be flexible because you yourself are always subject to change - even if it is just your general mood as it fluctuates throughout the day.

For the sake of brevity and focus, I am going to look at how I wrote my last script (Tonight We Fall In Love) versus how I am writing my current script (Archbrook).

With "Tonight..." I didn't start with a big concept, theme or historical era that I wanted to explore. Simply enough, I had noticed how much the sense of humor that myself and a handful of friends shared in high school seemed to stand out and really enterain people of all shapes and sizes. I thought that if I could try to capture that in a story, then I might be able to do something others could really enjoy.

So I tried to write an engaging dialogue between two characters having an evening drink somewhere. At first my mind was flooded with questions about "What do they look like? Where are they? What are the camera movements?" etc etc. Though I do not discourage multi-tasking, trying to take on everything at once can often lead to serious writers block - particularly in your very early days.

So I shamelessly set it somewhere in real life that I regularly went to, made one character look like me and the other like my oldest friend, let whatever pictures popped into my head dictate what the camera was doing and then got the fuck on with it. But you cannot just have people make jokes back and forth, so I decided to give them a topic. How novel!

But man there are sure a lot of things for people to talk about. I tried picking something at random (Dogs, due to one going past my apartment at the time) and that bombed pretty bad. Looking back, I know what I probably should have tried to think of a topic which I could work a lot of jokes out of - particularly since, at that point, I was just trying to write a scene and not a feature length script. The problem at the time was, frankly, that I didn't give a shit about what the characters were talking about. I got fed up and may have even been heard to say 'The hell with dogs!". That's just the kind of monster I am.

After a few minutes of twiddling my thumbs and being fed up, I did what I usually do when I'm fed up with anything. I turned it around and challenged myself, my fed-uppedness, by asking "So okay, what do you care about? What are you passionate enough about to stay interested in and what these two characters might say about it?". At the time, for reasons I won't expand upon 'less I turn this website into precisely the reason I viciously mocked blogs for so many years, I was pretty uppity about (in)authenticity in people's romantic dealings - particularly as it related to expectations and reactions that clearly were common tropes from film and television...

Next thing I knew, I had twelve pages of chatter and a burning desire to expand it into a feature length script. I eventually broke those pages up into pieces which I plugged into later parts of the full story, keeping only what I wanted to use to establish the main characters and the premise so that this conversation at "the Mercury" could be the opening scene.

Looking at how much I've written and how much more I could write, I think I'm going to stop here and do another installment sometime in the near future. Plus, I am hungry. *Plus* I should get back to my treatment.

Anywho, I hope this was of some interest and/or use!

Now if you'll excuse me, I'm off to cook some delicious dinner.

...

Yeah I guess climate change is a load of baloney to fool us into paying higher green taxes or some such shit. It's not like anything remarkable is happening as a result or nothing, no sir, hey did you hear what Tits #4 did lately?

Friday, January 05, 2007

Not all streets are paved with gold.

It's something of an adventure for me to go diving through my hard drive, seeing as how I've kept transfering all my files from drive to drive since I was about fourteen.

I was a witty, witty guy when I was turning 19. SOOO damn witty.


Gonna try and get some more night time pictures of London tomororow. Let's see what comes of that. ALSO I thought maybe I would do an entry on scriptwriting, seeing as how...
  1. The whole thrust of my coming here had to do with film work.
  2. I have basically been re-inventing the way I write scripts over the past two weeks.
For now, here is a reminder that not everything in England is purty. Don't worry folks, I haven't lost perspective! Sometimes England is all gorgeous monuments to mans potential for creating beauty. Other times it is a pile of rotting tires I saw outside of Blackhorse Road station.

Thursday, January 04, 2007

Seeing...

....things like this remind me of better times, when America had a good leader.

Given that America has recently taken one big leap towards greater resembling Imperial Rome (I doubt I need to expand upon the disgusting event that I am referring to), I would like to use my tiny soapbox to encourage them to go whole hog.

Split in two already! Clinton could lead the more stable, civilized half into a progressive age.

Bush jr. can lead the proud, gold-plated opulent half which will rot out from the inside thanks to an unsustainable economy.

Then be overun by barbarians from the north!

Addendum: I finally wrote the last tenth of a text installment of Dirk Hardwood. I wholeheartedly invite you to enjoy Dirk Hardwood in....THE FOURTH WALL MUST NOT BE BROKEN.

Now please excuse me while I furiously try to write the proper context for me to get away with having a character say that "she broke my heart like it was the fourth wall".

Wednesday, January 03, 2007

New Dirk!

NEW DIRK!

Also
: A very short addendum to the new Dirk Serial! (Make sure to watch this second). I thought I'd fiddle with added dialogue, now that I have my sexy belkin voice recorder.

Tuesday, January 02, 2007

Optimism?

I grabbed this from here, if you'd like to explore further.
------------------------
WILLIAM CALVIN
Professor, The University of Washington School of Medicine; Author, A Brain For All Seasons

The Climate Optimist

Mention global warming at a seasonal social gathering and see what happens, now that skepticism has turned into concern and sorrow. They will assume that you're a pessimist about our prospects. "Not really," I protest. That earns me a quizzical look.

"Wait a minute," she says. "If you're an optimist, why do you look so worried?"

"So you think it's easy, being an optimist?"

Many scientists look worried these days. We've had a steady diet of bad news coming from climate scientists and biologists. To become even a guarded optimist, you have to think hard.

First, I reflected, the history of science and medicine shows that, once you mechanistically understand what's what, you can approach all sorts of seemingly unsolvable problems. I'm optimistic that we will learn how to stabilize climate.

Unfortunately the window of opportunity is closing. Fifty years have now passed since the first unequivocal scientific warnings of an insulating blanket of CO2 forming around the planet. Politicians apparently decided to wait until something big went wrong.

It has. We have already entered the period of consequences. Climate scientists have long been worried about their children's future. Now they are also worried about their own.

Our Faustian bargain over fossil fuels has come due. Dr. Faustus had 24 years of party-now, pay-later—and indeed, it's exactly 24 years since Ronald Reagan axed the U.S. budget for exploring alternative fuels. This led to doubling our use of cheap coal, the worst of the fossil fuels. They're planning, under business as usual, to re-double coal burning by 2030—even though we can now see the high cost of low price.

The devil's helpers may not have come to take us away, but killer heat waves have started, along with some major complications from global warming. We're already seeing droughts that just won't quit. Deserts keep expanding. Oceans keep acidifying. Greenland keeps melting. Dwindling resources keep triggering genocidal wars with neighbors (think Darfur). Extreme weather keeps trashing the place.

All of them will get worse before they get better.

Worse, tipping points can lead to irreversible demolition derbies. Should another big El Niño occur and last twice as long as in 1983 or 1998, the profound drought could burn down the rain forests in Southeast Asia and the Amazon—and half of all species could go extinct, just within a year or two.

Time has become so short that we must turn around the CO2 situation within a decade to avoid saddling our children with the irreversible consequences of a runaway warming. That means not waiting for a better deal on some post-Kyoto treaty. It means immediately scaling up technologies that we know will work, not waiting for something better that could take decades to debug.

This isn't optional. It is something that we simply have to do. The time for talk is past.

"I see why you're worried," she says. "But what's your optimistic scenario for dealing with this fossil fuel fiasco?"

For starters, I think it likely that the leaders of the major religious groups will soon come to see climate change as a serious failure of stewardship. And once they see our present fossil fuel use as a deeply immoral imposition on other people and unborn generations, their arguments will trump the talk-endlessly-to-buy-time business objections— just as such moral arguments did when ending slavery in the 19th century.

Second, the developed nations are fully capable of kick-starting our response to global warming with present technology—enough to achieve, within ten years, a substantial reduction in their own fossil fuel uses. How?

Wind farmers will prosper as pastures grow modern windmills to keep the cows company.

Giant parking lots, already denuded of trees, are perfect places for acres of solar paneling. Drivers will love the shaded parking spaces they create.

The Carbon Tax will replace most of those deducted from paychecks and create a big wave of retrofitting homes and businesses.

Big brightly lit grocery stores with giant parking lots will compete poorly with warehouses that deliver web and phone orders within the hour, like pizza. Smaller neighborhood grocery stores will once again do a big walk-in business and they will compete with the warehouses by offering "green bicycle" delivery.

High-speed toll gates will become the norm on commuter highways. (Yes, I know, but remember that the paycheck was just enriched by eliminating withholding for income tax.)

Speed limits will be lowered to 50 mph (80 kmh) for fuel efficiency and, as in 1973, drivers will marvel at how smoothly the traffic flows. Double taxes will apply to vehicles with worse-than-average fossil fuel consumption, reducing the number of oversized vehicles with poor streamlining. Hybrids and all-electric cars will begin to dominate new car sales.

A firm, fast schedule will be established for retiring or retrofitting existing coal plants. My bet is that adding nuclear power plants—France gets 78% of its electricity that way, New Jersey 52%—will prove safer, cheaper, and faster than fixing coal.

On the quarter-century time scale, let us assume that the new rapid transit systems will reduce car commuting by half. The transition to electric and hydrogen vehicles will shift transportation's energy demands to greener sources, including biofuels, geothermal, tidal, and wave generation.

The highly efficient binding energy extractors (BEEs, the fourth-generation nuclear power plants) will be running on the spent fuel of the earlier generations.

The low-loss DC transmission lines will allow, via cables under the Bering Strait, solar-generated electricity to flow from the bright side to the dark side of the earth.

And in this 25-year time frame, we ought to see some important new technology making a difference, not just improvements in what we already use. For example, we might encourage rapid adaptation of the whale's favorite food, the tiny phytoplankton which provide half of the oxygen we breathe as they separate the C from the CO2.

Since the shell-forming plankton sink to the ocean bottom when they die, their carbon is taken out of circulation for millions of years. Forests can burn down, releasing their stored carbon in a week, but limestone is forever. If shell-forming plankton could thrive in warmer waters with some selective breeding or a genetic tweak, their numbers might double and start taking our excess CO2 out of circulation.

But even if we invent—and debug—such things tomorrow, it can take several decades before an invention makes a dent in our urgent problem. And all this assumes no bad surprises, such as the next supersized El Niño killing off the Amazon and, once we lack all those trees, increasing the rate of warming by half.

By mid-century, let us suppose that we have begun extracting more CO2 from the atmosphere than we add.

This will only happen if the technology of the developed world has become good enough to compensate for what's still going on in the overstressed nations that are too disorganized to get their energy act together.

When CO2 levels fall enough to counter the delayed warming from past excesses, we will begin to see a reversal of droughts and violent weather— though the rise in sea level will likely continue, a reminder to future generations of our 20th-century Faustian bargain.

As Samuel Johnson said in 1777, "when a man knows he is to be hanged in a fortnight, it concentrates his mind wonderfully."

We need to turn on a dime—by which I mean, close to what we saw in the United States after the bombing of Pearl Harbor.

From a standing start in late 1941, the automakers converted—in a matter of months, not years—more than 1,000 automobile plants across thirty-one states... In one year, General Motors developed, tooled, and completely built from scratch 1,000 Avenger and 1,000 Wildcat aircraft... GM also produced the amphibious 'duck'—a watertight steel hull enclosing a GM six-wheel, 2.5 ton truck that was adaptable to land or water. GM's duck `was designed, tested, built, and off the line in ninety days'... Ford turned out one B-24 [a bomber] every 63 minutes....
— Jack Doyle, Taken for a Ride, 2000

Now there's a source of optimism: we did it before. Indeed, GM currently needs a new purpose in life (and I'd suggest repurposing the manned space program as well). All of that talent is badly needed.

With great challenges come great opportunities and I'm an optimist about our ability to respond with innovation. Countries that innovate early will have an economic edge over the laggards.

Our present civilization is like a magnificent cathedral, back before flying buttresses were retrofitted to stabilize the walls. Civilization now needs a retrofit for stabilizing its foundations. It will be a large undertaking, not unlike those that once went into building pyramids and cathedrals. I'm optimistic that the younger generation can create a better civilization during the major makeover—provided that those currently in the leadership can stop this runaway coal train, real fast.

Climate change is a challenge to the scientists but I suspect that the political leadership has the harder task, given how difficult it is to make people aware of what must be done and get them moving in time. It's going to be like herding stray cats, and the political leaders who can do it will be remembered as the same kind of geniuses who pulled off the American Revolution.