All better now.
Pretty girl plus Christopher Guest movie will do that.
Actually, to be honest, I wasn't too terribly fond of the movie. A Mighty Wind
, that is. It was no Best in Show
, which was no Waiting For Guffman
, which was no This Is Spinal Tap.
There were just too many damned characters. It seemed like Guest, in a rush to fit in all his (admittedly talented) improv buddies, forgot what made his previous movies so funny, that is, the audience really getting a feel for the people onscreen. Here, we just get caricatures, one or two-joke sketches of these folks before we move on to the next one. Does it have its moments? Sure. Does it have Parker Posey? Yes, but not enough. Is there such a thing as enough Parker Posey? Perhaps only time will tell.
And while I'm in a criticizing mood: Was anyone else left kind of cold by Matrix: Reloaded
? It just-- (WOOT WOOT!)
What's that sound? Why, the analogy train is comin' round the bend! Let's all hop aboard and see where it takes us!
We had to do this project in Creative Writing last semester, writing the first five pages of a screenplay, as well as an outline for the rest of the film. People got really excited by that prospect, the fact that they only had to actually write the beginning of something. The kids in my writing group would turn in these five densely packed pages, full of car chases and disguises and mysterious phone calls, flashbacks to god-knows-what, plane crashes, that sort of thing. Set-ups that would get the audience wondering what the hell's going on.
And naturally, I asked. Who's calling? Who's conspiring against her? Why a monkey?
Uhmm...I haven't really figured it out yet.
The Wachowski brothers seem to be having the same problem. They've set up this fascinating universe, and it worked, for the first film. They got it and so did we. But now they have to hang around, and they've realized they never set any ground rules. What Neo can do, what he can't, that kind of thing. So now, his ability, the crux of the whole film, is being dictated by whatever cool stuff they want to show us and whatever's convinient for the script. Instead of the character shaping the narrative, the narrative, and the desire to pack that narrative with Escalades and Superman-style flying and specteral albino Rasta-men, are shaping the character, and the world he inhabits. Who's the French guy? Why the keymaker? Why won't Morpheus just shut the hell up for one goddamned second? They haven't really figured it out yet.
The car chase scene was bitchin', don't get me wrong. The problem is that, a week after seeing the movie, I couldn't even begin to tell you why it happened.
says it better than I do. Of course.
They're going to do a staged reading
of the play I wrote first semester at the ASU summer student-productions festival, Moondance. I met tonight with my playwrighting mentor and ex-girlfriend's current boyfriend AJ, who's directing it. At my ex-girlfriend's family's house. Surreal? Yes. Helpful? Completely. Fun? Surprisingly so. He's a good guy, and I'm proud to have him at the helm. I've never collaborated on producing something I've written, and I think it'll be good for the script, and, in turn, for me.
The upshot: I have to retool and restructure the whole 113 pages in four days. Hopefully it will be closer to 90 when I'm done.
If you were to say to me right now that life was a strange and yet strangely wonderful thing, I'd probably agree with you.