Der Movie Haus

New Site! New Direction! Your Movie Dude to the Rescue!

2011-04-13T22:12:00.000-05:00

For those coming to my page looking for new and exciting things, look no further than here:

http://www.yourmoviedude.com

An interesting, yet possibly boring back story might follow at a later date as to how I came to the conclusion to shift gears, but until that unveiling, please enjoy the new site which is being updated daily with reviews posted at least once a week if not more frequent!

Enjoy!

The Perfect Opening Scene

2011-03-13T06:00:00.004-05:00

While I personally believe that this is truly a matter of opinion, I have a feeling deep down in my bones that it'll spark a heated week long debate about why I'm wrong and why 'so-n-so' is right. But I don't care. Opinions are like... oh wait, I don't need to go there. I'm sure you know the quote.

Recently I was asked to share my Top 5 opening film sequences. Leave it to me to ask specifics:
"Opening film scenes, opening title sequences, or opening scene with titles?" Instead of choosing one, I was instructed to provide all three. That's just not happening, at least not today. But it got me thinking: what is my favorite opening scene in a film?

As much as I love a good title sequence like the next cine-file, I really started to rack my brain about what I thought was the perfect opening scene. Title sequences are easier to pick and sometimes the film that follows it isn't as good (sometimes). Either you like it, or you don't. And the farther we've moved into the 21st Century, the less title sequences are used. I'm not sure whether it has to do with our post-MTV generation and their lack of attention, but you just don't see them used as much today as you did twenty years ago.

While a title sequence provides the audience with setting the mood of the film or the style (while providing the names of the guilty parties involved in making it), an opening scene is one that needs to grab you from the start, or at least perfectly establish the story that the filmmakers are trying to tell. I say filmmakers because it takes more than just a director to tell the story. Anyone who has spent countless hours cutting and re-cutting, cutting and re-adjusting and re-cutting a film knows exactly what I'm talking about. (God bless the patience and endurance of the editor.)

While I could provide you with countless lists of film after film of fantastic opening scenes, I'm not going to (not here in this post, at least). My perfect opening scene is from Back to the Future. Now while I'd love to just post a link to a youtube video so you could watch it yourself, at this moment in time, that is not possible. So I will go through a selection of stills that I've taken the time to capture from my own personal DVD and walk you through the entire process.

This brilliantly executed opening scene (which from everything that I've been able to research online was not in any of the drafts of the screenplay) sets up our protagonists perfectly with giving the audience just the right amount of information, but also wanting more. The filmmakers properly used the exposition that they needed to convey without having any of the characters speak it.

Good film exposition has always been show, don't tell. If your lead character has to keep stating plot points in their dialog to make sure that the audience is following, then that is the first sign of poor writing (as well as poor filmmaking). Treat your audience like they have a brain and they will thank you for it later.

We first open with the film's title. There's nothing extremely special about this graphic, but right after it dissolves into black, the sound of ticking is slowly brought into the foreground of the audience's ears.

As we fade in, we see what has been ticking: clocks, and lots of them. Time is the obvious theme emphasized throughout the picture and our storyteller isn't shying away from that subject matter. The camera tracks right and begins a two and a half minute take.

While the camera tracks right, we come across dozens of clocks (maybe a hundred or more by the end of the scene). One of the more important clocks featured here is in the above frame: one made to the likes of silent film era great Harold Lloyd's and his picture Safety Last! where at one point in the film he hangs from the hands of a clock high above the street. A perfectly subtle homage to the past and the straightforward foreshadowing of Doc Brown's clock tower antics at this film's climax.

To add more mystery and intrigue to Dr. Emmett Brown's background, we're given a snippet of information regarding his family's estate. At some point Doc Brown's mansion is burned down, probably due to a risky experiment. But we're also aware that he's been able to probably keep his projects funded by selling his estate (or at least that's my assumption). For those who always wondered where it was that the Doc got his money to create such outlandish inventions, one only needs to watch the opening scene.

As the camera continues to track, it moves down revealing very small sleeping quarters for the Doc. Surrounding where he rests his head are prominent scientists Albert Einstein and Thomas Edison as well as inventor and patriot Benjamin Franklin. These are the men who motivate and inspire him. Also sitting on the bed is the camcorder, which is used later in the film to document the event.

The camera now moves left--still one continuous take, mind you--and we see one of the Doc's basic inventions: a coffeemaker installed with an automatic timer. Our first thought might be "Oops, he forgot to place the carafe on the burner. Is he even home?"

Just past the coffeemaker the television switches on by another contraption invented by Doc Brown. The TV warms up slowly, displaying a morning news broadcast, where we're given another crucial piece of information regarding the entire plot of the film:

"In other news, officials at the Pacific nuclear research facility have denied the rumor that a case of missing plutonium was, in fact, stolen from their vault two weeks ago. A Libyan terrorist group had claimed responsibility for the alleged theft. However, officials now attribute the discrepancy to a simple clerical error. The FBI, which is still investigating the matter, had no comment."

We continue to move left, discovering more ordinary kitchen appliances that have been "altered" to suite a welcoming wake-up call for Doc Brown. Here we see two pieces of toast severely burnt, meaning that the Doc hasn't been at his residence for at least a couple of days. The burnt toast animate on the screen briefly, wafting smoke rises above the toaster.

Now we hit pay dirt. Doc Brown really is quite the inventor. He's created a robotic arm that grabs a dispensed can of dog food, moves it to an another "altered" appliance where the can is opened, and then the contents of the can are released to a dog bowl.

Unfortunately, it looks like that's the fifth or sixth can that's been dumped into Eienstein's bowl without consumption. We definitely know now that no one is at home, and hasn' been for many days. This is also the first cut, almost 3 minutes into the opening scene. It's also disgusting.

Marty, our lead protagonist (who is apparently familiar enough with the residence by making
himself right at home; accessing the key from under the mat) enters. He calls for Doc, but no one answers.

After Marty's reaction to the disgustingly over-filled bowl of dog food, he continues to call for Doc or for his dog Einstein, while his skateboard has rolled under Doc's bed. It gently bumps into the missing case of plutonium.

Marty, however, doesn't care about much, other than to start turning dials and flipping switches on... something. We have no idea what he's doing, but whatever it is, they all must be reached at maximum capacity.

Several needles spike to their highest point, and we're still not sure exactly what it is that Marty is about to do. All we know, is that it will most likely be loud.

Now we've come to the realization that Marty is about to rock. And as if every dial turned to their farthest capability of output, he still has to turn the dial on his guitar to eleven as well.

As we begin to feel the fillings in our teeth rattle by the hum generated by the biggest damn amplifier known to man, Marty unreservedly stands in front of it, pick in hand.

His one (and only) strum sends him flying backwards to the end of the room, where books and debris cover him from head-to-toe after a book shelf falls upon his impact to the ground.

"Whoa... rock and roll" are the only words that express Marty's amazement that he's neither dead nor deaf after being blown across the room, destroying the amplifier. Here's where we realize that Marty could very well be just as careless as his supposed mentor and friend, Doc Brown.

Suddenly we hear the fire alarm, but what we soon discover is that it's hooked to the telephone line. As Marty answers the phone, it's the Doc. Marty is requested to meet him at 1:15 AM at the Twin Pines Mall before being rudely interrupted by a bunch of clocks that have all started to chime, displaying that it's eight o'clock in the morning:

Doc Brown: Are those my clocks I hear?
Marty McFly: Yeah! Uh, it's 8 o'clock!
Doc Brown: Perfect! My experiment worked! They're all exactly 25 minutes slow.
Marty McFly: Wait a minute. Wait a minute. Doc... Are you telling me that it's 8:25?
Doc Brown: Precisely.
Marty McFly: Damn! I'm late for school!

The absurdity of the situation--let alone the experiment--gives the audience the idea that Doc Brown may be a few bricks shy of a full load. And once again, with time being the prevalent theme throughout this film, Marty is late for school.

Marty runs out of Doc Brown's residence, which we now realize is only a garage. The only piece of the parcel of land that wasn't sold to developers to help fund his inventions.

The scene ends with Marty "hitching" a ride from behind a pick-up truck down what we presume is John F. Kennedy Drive.

Cinematic Junk Food

2011-03-06T06:00:00.066-06:00

It is with great apprehension that I broach this subject matter. I usually reserved it for very close friends and family members where the teasing, laughing and pointing of fingers is kept to a minimum (most of the time).

Just as in every normal person's diet there exists some kind of junk food, the same also exists in our entertainment diet. We can choose to watch cinematic masterpieces such as The Godfather, Citizen Kane or Schindler's List. These films can inspire internal reflection as well as entertain us. But just as we need proper nutrition in order to live a healthier life, we often desire--sometimes with every fiber of our being--the caramel cookie crunch of a Twix© candy bar. (Don't blame me if that's not your favorite candy bar.)

The same exists with movies and television. We thrive for fulfilling entertainment but we sometimes crave a gross-out comedy, an over-the-top action spectacular, or the train wreck that is reality television. They can scratch that specific itch or they can help pass the time on a lazy Sunday afternoon.

STEP BROTHERS

Ever since the arrival of Adam Sandler, my generation of men have been unfortunately infatuated with the "man-boy complex": men who refuse to grow up and become self-reliant and independent adults. Instead, these man-boys move into their mother's basement (mostly to avoid being seen in an attempts to save the self respect of their mother), working a part-time job to pay for their weed and video games, never really learning life skills to become a functioning member of society.

My friends and I spent many an afternoon--in high school as well as in college--watching the likes of Dumb & Dumber, Billy Madison, Happy Gilmore, and Ace Ventura: Pet Detective, just to name a few. Obviously seeded with a desire of not wanting to grow up ourselves, we lived out these outrageous and ridiculous fantasies by watching retarded, stupid, and immature movies about grown men who harbored some, if not all, of these attributes.

Seventeen years have come and gone and our generation of males is still obsessed with the man-boy complex. Just look at the material that Adam Sandler, David Spade or Will Ferrell still puts out. Step Brothers is the shinning example, the epitome, the crème de la crème shall we say of the man-boy complex displayed in motion pictures.

Will Ferrell and John C. Riley perfectly embody two middle-aged losers, who are forced against their will to live together as roommates when their single parents fall in love, get married and move in together. While this film doesn't have anything that even resembles any kind of redeeming value, I can't help but watch it when it's on. It's definitely not a movie that I would recommend to my parents, my grandmother, or anyone else easily offended. Be that as it may, if you're still even remotely interested in seeing this movie, I must point out that it is extremely crude and crass, with a healthy dose of foul language and lots of adult humor.

ROCKY II, ROCKY III, ROCKY IV, etc.

For all intents and purposes, any Rocky movie that's followed by a roman numeral, quickly degrades its predecessor: the original Oscar-winning film Rocky. To be completely honest, Rocky II really isn't that bad and I almost feel wrong putting it in the midst of its successors. And while the sixteen year belated arrival of Stallone's final chapter in this series isn't as poorly executed as Rocky V, Rocky Balboa still demonstrates how outlandish and implausible Sylvester Stallone is as a storyteller. For further proof of this statement, just slide your finger to the left just a little on the rental store shelf and try to lose yourself in the enlightening Rambo franchise: Rocky's cinematic twin brother who does more mumbling, has even less dialog, and who is extremely violent. (He's the less appreciated, abundantly angst-filled black sheep of the family.)

Every year or so I get in the mood to watch Rocky. What unfortunately follows is the rest of the saga, sometimes within the same day (but not always). I can't help it. It has somehow been ingrained in me to like Rocky Balboa. He fought for the little man, the underdog. He fought for America and our freedom, damn it! This probably stems from my generation's 1980s indoctrination of believing that the United States was the greatest country on the planet (which it still is... all sarcasm aside). Heaven forbid we have any kind of national pride these days. The last thing we want to do is offend someone.

But I think I've discovered why these movies have become so addictive. By the time you've reached Rocky III, you have Mr. T... excuse me, Clubber Lang, in all of his glorious bad-ass attitude. Rocky IV brings us the death of Apollo Creed, the introduction of the evil Soviets, their communist regime and their secret weapon: Ivan Drago. But as good as those characters and themes are, this is not what draws you into these movies. What I've realized is that these film's addictive quality is their training montages.

The training montage worked well in the first two films, where they showed the determination and dedication of our protagonist; and they only clocked in at around three minutes (for examples, see it for yourself here: Rocky, Rocky II). Stallone took full advantage of this and overloaded this young boy's sensors with the next two movies by making ninety minute boxing music videos.

Rocky III, however, opens with a four minute music video, showing Balboa's climb to fame and fortune after his triumphant victory over Apollo Creed. Stallone also gives us our cherished and coveted training montage as well. However, by the time we reach Rocky IV, Stallone has amped up the voltage and added a good fifteen minutes or more of training and music video montages. If you don't believe me, put in a copy of Rocky IV--or better yet, do a youtube search--and rediscover for yourself the Ultimate Rocky Training Montage. It's a downright disgrace to the craft of filmmaking; a horrible shortcut to show the passing of time, considering the film is only 91 minutes long... but I am unable change the channel. Curse you, Stallone!

In conclusion, the truly bad part about all of this is the adverse affects on me while doing the research for this post. Now all I want to do is heed to the commands of the young boy inside me, whispering the wanted desires to sit down and watch all of the Rocky movies straight through once again. These films, as corny or cheesy as they may be, still adhere themselves to the backbone of this writer, who sometime can't say no to the barbaric boxing charisma and charm of Philadelphia's underdog... the Italian Stallion himself... Rocky Balboa.

Until next time, dear readers.

The written word... spoken on film, Vol. 1

2011-02-27T12:00:00.135-06:00

Over the past week or so I've been pondering more and more about what I consider some of the greatest film dialog ever written. Being a novice filmmaker and screenwriter myself, it can be extremely difficult to get the right words, out of the right character, at the right time. When it does happens, however, it just instantly clicks and you know it's right.

What people have to understand with delivering the perfect line is that it's a group effort. It may be brilliant on page, but if the director and the actor(s) don't understand the importance of those words--and don't execute it thusly--then it could very well end up on the cutting room floor. I learned this lesson from personal experience when shooting my first film.

Here are just a few of my favorite pieces of dialog ever filmed, whether they're one-liners, monologues, or a conversation.

THE USS INDIANAPOLIS MONOLOGUE
Film: JAWS
Year: 1975

Sometimes brilliant dialog will come from one writer, one voice. This was not the case here. Instead, it was originally conceived by playwright Howard Sackler, put into the script by screenwriters Carl Gottlieb and Peter Benchley (adapted from his novel), extended by John Milius, and then eventually rewritten by Robert Shaw, who was delivering the lines.

The scene starts out in a very fun and amusing manner, where Quint and Hooper begin to compare scars and share "war stories" about their adventures out on the sea. Within a few minutes, the mood takes a 180 turn when a scar is questioned by Brody about Quint's removed tattoo of the USS Indianapolis. The end result is one of the eeriest monologues ever told, all while bobbing around on the ocean waiting, wondering when the shark is going to appear next. With Shaw it was all about the pacing, timing, and delivery of each word:

Japanese submarine slammed two torpedoes into our side, Chief. We was comin' back from the island of Tinian to Leyte... just delivered the bomb. The Hiroshima bomb. Eleven hundred men went into the water. Vessel went down in 12 minutes. Didn't see the first shark for about a half an hour. Tiger. 13-footer.

You know how you know that when you're in the water, Chief? You tell by looking from the dorsal to the tail. What we didn't know, was our bomb mission had been so secret, no distress signal had been sent. They didn't even list us overdue for a week. Very first light, Chief, sharks come cruisin', so we formed ourselves into tight groups. You know, it was kinda like old squares in the battle like you see in the calendar named "The Battle of Waterloo" and the idea was: shark comes to the nearest man, that man he starts poundin' and hollerin' and screamin' and sometimes the shark go away... but sometimes he wouldn't go away. Sometimes that shark he looks right into ya. Right into your eyes.

And, you know, the thing about a shark... he's got lifeless eyes. Black eyes. Like a doll's eyes. When he comes at ya, doesn't seem to be living... until he bites ya, and those black eyes roll over white and then... ah then you hear that terrible high-pitched screamin'. The ocean turns red, and despite all the poundin' and the hollerin', they all come in and they... rip you to pieces.

You know by the end of that first dawn, lost a hundred men. I don't know how many sharks, maybe a thousand. I know how many men, they averaged six an hour. On Thursday morning, Chief, I bumped into a friend of mine, Herbie Robinson from Cleveland. Baseball player. Boatswain's mate. I thought he was asleep. I reached over to wake him up. Bobbed up, down in the water just like a kinda top. Upended. Well, he'd been bitten in half below the waist.

Noon, the fifth day, Mr. Hooper, a Lockheed Ventura saw us. He swung in low and he saw us... he was a young pilot, a lot younger than Mr. Hooper. Anyway, he saw us and he come in low and three hours later a big fat PBY comes down and starts to pick us up. You know that was the time I was most frightened... waitin' for my turn. I'll never put on a lifejacket again.

So, eleven hundred men went in the water; 316 men come out and the sharks took the rest, June the 29th, 1945. Anyway, we delivered the bomb.

AN OUTRAGED (AND DRUNK) LT. KAFFEE
Film: A Few Good Men
Year: 1992

As much as a I hate to admit it, but only because of this writer's political standings, I am a huge Aaron Sorkin fan. The unfortunate fact is that if I was forced to stop watching films made by those who are a part of the liberal elite, my film library would quickly be reduced to films by Clint Eastwood, Bruce Willis, and Jon Voight. But I digress...

Aaron Sorkin has written so much material that it's sometimes hard to reference just one specific piece. After writing almost every single episode of The West Wing's first four seasons, along with several films, and even more television shows, his library is rather vast with source material. His writing also suites actors that have the uncanny ability to memorize--and deliver, mind you--a very large amount of dialog crammed into a small scene. If you don't believe me, then watch the first scene of The Social Network and discover why he'll win the Oscar on Sunday night.

It was hard to pick one, but left to think on it overnight, I came to the conclusion to use the scene where Lt. Kaffee arrives drunk and addresses his legal team that they no longer have a solid case. He then reveals that their defendants have lied, that their surprise star witness has committed suicide, which leads to a boiling over of Kaffee's anger and fear of a possible court-martial if he puts Col. Jessep on the stand and accuses him of conspiracy.

It's the perfect example of a excellent third act scene where our protagonist has been pushed so far that he feels like he cannot continue on in his journey. It is a little long (at least for this post), but the payoff is fantastic, especially Tom Cruise's bubbling-yet-ferocious sarcastic execution.

JO: Are you drunk?
KAFFEE: Pretty much. Yeah.
JO: I'll make a pot of coffee. We have a long night's work ahead.
KAFFEE: She's gonna make coffee. That's nice. (Pause) He wasn't in his room. He wasn't even there. (Pause) That was an important piece of information, don't you think?
JO: Danny, it was just a setback. I'm sorry. But we'll fix it and then move on to Markinson.
KAFFEE: Markinson's dead. You really gotta hand it to those Federal Marshals, boy. It's not like he hanged himself by his shoelaces or slashed his wrists with a concealed butter knife. This guy got, into full dress uniform, stood in the middle of that room, drew a nickle plated pistol from his holster, and fired a bullet into his mouth. (Pause) Anyway, since we seem to be out of witnesses, I thought I'd drink a little.
JO: I still think we can win.
KAFFEE: Then maybe you should drink a little.
JO: Look, we'll go to Randolph in the morning and make a motion for a continuance. 24 hours.
KAFFEE: Why would we want to do that?
JO: To subpoena Colonel Jessep.
KAFFEE: What?
JO: Listen for a second--
KAFFEE: No.
JO: Just hear me out--
KAFFEE: No. I won't listen to you and I won't hear you out. Your passion is comforting, Jo. It's also useless. Private Downey needed a trial lawyer today.
JO: You chicken-s**t. You're gonna use what happened today as an excuse to give up.
KAFFEE: It's over!
JO: Why did you ask Jessep for the transfer order?
KAFFEE: What are you--
JO: In Cuba. Why did you ask Jessep for the transfer order?
KAFFEE: What does it matter--
JO: Why?!
KAFFEE: I wanted the damn transfer order!
JO: Bulls**t! You could've gotten it by picking up the phone and calling any one of a dozen departments at the Pentagon. You didn't want the transfer order. You wanted to see Jessep's reaction when you asked for the transfer order. You had an instinct. And it was confirmed by Markinson. Now damnit, let's put Jessep on the stand and end this thing!
KAFFEE: What possible good could come from putting Jessep on the stand?
JO: He told Kendrick to order the Code Red.
KAFFEE: He did?! Why didn't you say so!? That's qreat! And of course you have proof of that.
JO: I--
KAFFEE: Ah, I keep forgetting: You were sick the day they taught law at law school.
JO: You put him on the stand and you get it from him!
KAFFEE: Yes. No problem. We get it from him. (to SAM) Colonel, isn't it true that you ordered the Code Red on Santiago?
SAM: Look, we're all a little--

KAFFEE: I'm sorry, your time's run out. What do we have for the losers, Judge? Well, for our defendants it's a lifetime at exotic Fort Levenworth. And for defense counsel Kaffee? That's right--It's-- A Court-Martial. Yes, Johnny, after falsely accusing a marine officer of conspiracy, Lt. Kaffee will have a long and prosperous career teaching typewriter maintenance at the Rocco Columbo School for Women. Thank you for playing "Should We or Should-We-Not Follow the Advice of the Galacticly Stupid!"

MICHAEL DORSEY, HIS AGENT AND THE CAMERAMAN
Film: Tootsie
Year: 1982

There are so many fantastic lines of dialog spoken in Tootsie that it was hard to pick just one. Michael Dorsey, a hypocritical out-of-work actor who teaches a workshop telling his pupils that they need to adapt to the material, but has a hard time finding work because he won't compromise his craft, finds work disguised as a woman working on a soap opera.

Instead of choosing just one, I've selected four segments from Tootsie that demonstrate the comedic genius of Larry Gelbart and Murray Schisgal, the direction of Sydney Pollack, and the spot-on timing of Dustin Hoffman (as well as the rest of the cast).

The first two examples I'll be sharing both take place in the same scene, where Michael argues with his agent played by Sydney Pollack, about how difficult an actor he is to work with. So much so, that he can't find work anymore on either coast.

George Fields: Where do you come off sending me your roommate's play for you to star in? I'm your agent, not your mother! I'm not supposed to find plays for you to star in - I'm supposed to field offers! And that's what I do!
Michael Dorsey: 'Field offers?' Who told you that, the Agent Fairy? That was a significant piece of work - I could've been terrific in that part.
George Fields: Michael, nobody's gonna do that play.
Michael Dorsey: Why?
George Fields: Because it's a downer, that's why. Because nobody wants to produce a play about a couple that moved back to Love Canal.
Michael Dorsey: But that actually happened!
George Fields: WHO GIVES A S**T? Nobody wants to pay twenty dollars to watch people living next to chemical waste! They can see that in New Jersey!

Michael Dorsey: Are you saying that nobody in New York will work with me?
George Fields: No, no, that's too limited... nobody in Hollywood wants to work with you either. I can't even set you up for a commercial. You played a tomato for 30 seconds - they went a half a day over schedule because you wouldn't sit down.
Michael Dorsey: Of course. It was illogical.
George Fields: YOU WERE A TOMATO! A tomato doesn't have logic. A tomato can't move.
Michael Dorsey: That's what I said. So if he can't move, how's he gonna sit down, George? I was a stand-up tomato: a juicy, sexy, beefsteak tomato. Nobody does vegetables like me. I did an evening of vegetables off-Broadway. I did the best tomato, the best cucumber... I did an endive salad that knocked the critics on their ass!

The third line makes me laugh every time I hear it or even just think about it. Already knowing that Dustin Hoffman does not make a very attractive man, let alone a woman, the cameraman is instructed to pull back his camera during Michael's screen test.

Rita: I'd like to make her look a little more attractive, how far can you pull back?
Cameraman: How do you feel about Cleveland?

My final selection comes at the end of the film. Throughout the picture you discover that Michael Dorsey has very few redeeming qualities. By the end of the film, however, he's learned how to respect women and in doing so has become a better man.

Julie: I miss Dorothy.
Michael Dorsey: You don't have to. She's right here. And she misses you. Look, you don't know me from Adam. But I was a better man with you, as a woman... than I ever was with a woman, as a man. You know what I mean? I just gotta learn to do it without the dress. At this point, there might be an advantage to my wearing pants. The hard part's over, you know? We were already... good friends.

Is It Silverado?

2011-02-20T12:00:00.008-06:00

If there's one thing that my wife is good at, it's figuring out how to get under my skin (in a fun and teasing way).

A few years ago, soon after we were married, she started to ask me one specific question whenever I came into our bedroom at night, movie in hand, attempting to watch something before we fell asleep. I would say that the probability of her asking this question is at least a 75% chance. The odds are almost always in my favor.

I'm not exactly sure what spurred the question in the first place--that's something you'll have to ask her yourself--but the question almost always comes immediately after the appearance of the studio's logo, just before the opening credits.

"Is it Silverado?"

In fact, the image you see above is the exact image that is displayed before the opening credits of Silverado. She knows this (I think). I know this (absolutely). She knows that I know this. She also knows what a freak I can be at times regarding specific details pertaining to mundane and/or pointless trivia involving movies, especially movies that I love.

I believe the question might have started out as a legitimate query. In fact, I'm almost certain it was. However, those days have long since past, and at one time she would ask at random occasions; just enough to keep me guessing as to whether she was truly being serious. She knows that I have the patience of a saint, and sometimes she uses it to her advantage. Sometimes she uses it for her evil plans to take over the universe. Most of the time she uses it to get my goat (in the most fun and enjoyable way).

The irritation has long since past, but whenever this question is presented, I usually ignore it. It's usually followed by both of us snickering and laughing at how absurd and bizarre our sense of humor is and what it takes to get me to crack:

"Is it Silverado?"
"Baby, we're in the car listening to the radio. Seriously?"
This is then followed by copious amounts of laughter as we drive home in the rain.

It's just one of the million and a half things that I love about her, and why she's so precious to me.

Dead Inside. A Short Story. Part 3.

2011-02-13T12:00:00.000-06:00

To read the previous installment, please click here.

Chapter 3

Tired of repeating himself, after Lily was unresponsive to his last question, Trent bites his lip, raises his voice and says, “I think he’s right. Dr. Cruzan said this getaway is going to be good for us, provided you can leave your work, along with your cell phone, in the car when we get there.”

The radio quietly plays some unidentifiable 1950’s country relic in the background as their Land Rover quickly exits the highway. Would it kill you to stop what you’re doing and actually listen to me for seconds? Almost oblivious to Trent’s existence in the car, Lily presses a few more keys on her Blackberry and drops it in her purse.

“Just stop. I hate how you think that my work doesn’t matter.”

“I never said that.”

“You do it all the time.”

“I just mean that you might actually get something out of this if you--”

Before Trent can finish, Lily interrupts him, “I know what you meant. Maybe it’s easy for someone who works at a third-rate bank, giving loans to grandmothers who want to sell their peanut brittle, but not me.”

A cold sweat slowly creeps down Trent’s back at Lily’s words. “Nice,” is all he can muster as his mouth fills with cotton. His eyes suddenly fill with blinding sunlight, causing Trent to veer off the road briefly before regaining control. Hardly noticing their brief off-roading excursion, Lily rolls back over on her side, trying to sleep away what’s left of this dreadful journey.

A small part of him wishes he had lost control of the Land Rover, knowing that Lily hardly ever wore her seat-belt. Maybe if “the tank”—-a nickname that he gave to Lily’s luxury SUV immediately after driving it off of the dealership’s lot-—had flipped, he wouldn’t have to worry about trying so hard this weekend on making their relationship better. Trent never used to think about things like this, but one can only take so much verbal abuse and abandonment before the thoughts start to creep into his head.

----

Thirty minutes pass by before Trent tries to spark possibly another disastrous conversation. He rubs his eyes, stretches while steering the car with his knee, and then yawns dramatically, hoping to catch Lily’s interest, praying that what he says next won’t fall on deaf ears.
“You know, I’m up for a promotion next month.”

Lily’s chest slowly rises and falls, but her gentle purr isn’t present, making Trent believe that she isn’t asleep, but rather ignoring anything that leaves his mouth. He tries not to let it bother him as he continues. “Mr. Robinson said I was a shoe-in as bank manager for the new branch opening up next month up in Freedom.”

Pushing out her last breath in palpable frustration, as if she had just opened a cryogenic freezer, Lily cranks her seat upright. It’s obvious to Trent that she’s more than just a little pissed, but at this point in the trip, he doesn’t mind.

“What, so you can work another ten hours on top of the fifty you’re already putting in at the bank? I don’t think so.”

Her remarks are like fingernails on a chalkboard. Grinding his teeth, Trent swallows hard and wonders if he should switch from using the shovel he’s been using this entire journey or just go right ahead and use the back hoe.

“I’m just trying to support our family, Lil.” Yep, the back hoe it is.

“Well, you better pray it’s for a VP spot, because that’s the only way you’re going to make enough money to support us.” Lily’s words are quick and decisive. There she goes again, using that tongue of hers like a scalpel, trying her best to remove his heart. How could she come back at him so quickly and so coldly, as if what he said meant nothing at all to her?

More words, possibly better words, sit at the tip of his tongue, but all that he can force out is, “What’s that supposed to mean?”

“If you want me to quit my job, play house wife and get knocked up, then you’re going to need to earn a hell of a lot more than what you’re pulling down now, because your salary won’t even cover half of our mortgage on the condo.”

Another quick-fire answer and she didn’t even have to pause to reload first. Trent wished he could be as quick on his toes as Lily, but he knew it wasn’t his game. He felt that if Lily hadn’t stayed to run her father’s foundation, she would have made a brilliant trial lawyer. Winning an argument with her meant pulling an all-nighter doing research at the library. Needless-to-say, Trent became accustomed to losing.

“So… we’ll move.” Ping! Another shot from Trent’s BB gun fires, but fails to pierce Lily’s armor.

“Not on your life. There’s no way I’m giving up something that means the world to me.”

Biting his lip, Trent’s eyes start to water, but he successfully holds back the tears. He wondered which part of her life meant more to Lily: their condo or her lifestyle. Unfortunately either one wasn’t him and just like that, he was starting to lose faith that this excursion would repair any part of the irrevocable disaster that was their marriage.

Chapter 4

With the fuel gauge teetering closely towards the E, Trent pulls their Land Rover into the next gas station he sees. A cool breeze helps push his door open as Trent get out of the vehicle. He stretches, twisting at his waist and pulling his arms back; his shoulders popping, sounding like they might dislocate, if only it didn’t feel so good.

At first glance, the gas station looks as if it had been recently transplanted from 1954. Upon further examination, Lily notices a thin film of dirt and grime covering every surface exposed to the elements and decides to stay planted in her seat. Breathing in the fresh air around him, Trent feels reinvigorated already. The sun shines warmly on his back, like a fresh shirt recently removed from the dryer; just enough so he doesn't feel the need to grab his jacket from the back seat. He leans down before shutting the door and asks, “You need anything?”

“I’m fine,” Lily’s response is still icy after their last conversation.

“What can I do ya for?”

Jumping back and slightly startled, Trent looks up and sees the gas station attendant, scratching his dandruff-laden head which is temporarily blocking out the sun. Filling his well-worn overalls is a physique that probably feasts on a steady diet of fried foods and light beer.

Completely covered in the attendant’s shadow, Trent say, “Uh… fill her up.”

“Sure thing.”

And with that, the attendant reaches over and places the nozzle in the tank. The pump starts to tick as he proceeds to wash the windshield. With every new breath of fresh air, Trent slowly meanders away from their car, forgetting about the last four grueling hours. By the time he reaches the end of the concrete lot, kicking a small rock across the road, Trent can hardly remember what he was arguing about with Lily in the first place.

As the gas attendant slowly squeegees the sudsy water that clings to the glass, the passenger side door opens forcefully. Lily exits the vehicle and asks, “Bathrooms?”

Unaffected by Lily’s curt rudeness, still focused on cleaning the windshield, he mumbles, “Inside. Towards the back by the fountain drinks.”

Trent turns around and sees Lily dashing towards the store. Hardly raising his voice, Trent says, “Lily? You okay?” His tone shows concern, but not much.

Lily covers her mouth with one hand while briskly swinging the door open with the other, disappearing inside.

Without even the slightest interruption in his work, the gas attendant moves on to the other windows and mumbles, “Bathroom.”

“Oh.” Trent heads back towards the vehicle as the handle clicks off. The attendant swiftly pops the nozzle back onto the pump and pauses for a moment as he tallies up the total.

“That’ll be forty-two seventy-five.”

Digging into his wallet, Trent pulls out a fifty. “Keep the change.”

“Thank you, sir. Want me to check under the hood, top off your fluids?”

“Yeah, sure.”

The hood creaks as it’s quickly opened by the gas attendant, easily lifting it up over his head. Squeezing, pinching and pulling, his hands rapidly move about the vehicle’s entire motor cavity, almost as if he’s trying to play a tune on an instrument that only he knows. Looking back at the store front, Trent watches for Lily’s exit. No sign of her yet.

“So, you folks just passin’ through?”

“Huh?”

“Asked if you folks are just passin’ through?”

Pulling a crumpled piece of paper out of his pocket, Trent turns and says, “Actually, were headed up here. I couldn't locate it on my GPS.”

“You’re all good here, mister.” The hood slams down in a hurry as the gas attendant grabs an oil-stained handkerchief from his back pocket to wipe his brow. He takes the piece of paper from Trent's fingers and looks at it closely. He hands Trent back his slip of paper, blowing his nose into the rag and then briskly stuffing it into his pocket.

“Why you headed up there?”

A slight tone of concern is laced in his voice, causing Trent's hair to stand up on his neck. He nervously folds the piece of paper in his hands until resembling the size of a small piece of chewing gum, burying the paper, and his gut reaction, into his pocket. Extracting the car keys from the same pocket, he begins to caress them, wondering what might be keeping Lily.

“The wife and I are headed up there for a retreat.” The words hesitantly pour out of Trent's mouth, as if suddenly concerned to give this complete stranger as little information as possible about their trip.

“That's Dr. Cruzan's place.”

The gas attendant's acknowledgment of their final destination only bothers him even more. Backing up, Trent stammers, “Yeah... yeah... Dr. Cruzan. You know him?”

Uneasiness settles down deep in Trent's stomach as he slowly makes his way over to the driver's side door. Following closely is the gas attendant, who looks like he still has more to say.

“Cruzan's bad news, fella. I'd stay away from him if I was you.”

Fumbling with door handle, Trent asks, “Why do you say that?”

“Look, I don't have the time to go into all of the details. Cruzan isn't--,” He pauses, looking over his shoulder towards the store front. Standing outside, sucking down the remains of a Marlboro Red is his boss, the station owner. Suddenly the gas attendant squats down to the ground, pulling out his tire gauge. As he places it on the valve of the front passenger’s side tire, gesturing to Trent to come and get a closer look.

Trent resists at first, but decides that he's already gone this far, so why not continue this strange encounter with the Gomer Plye-like gas jockey. The best thing out of all of this might be a really good story to tell his friends back at the bank on Monday morning. The worse… well, he really didn’t want to think about that. The man continues to check the tire while resuming their conversation.

“Cruzan isn't-- well, he just isn't who you think he is.” Shuffling to the next tire, he goes on, “Look, another couple was here, maybe thirty minutes ago. Filled up and promptly asked where Dr. Cruzan's cabin was. These two were super gung ho. Couldn't talk them out of going there, even if they knew they were headed straight for the gates of hell.”

Trent can't resist and interjects, “Are they the headed straight for the gates of hell?”

“No,” he replies in a matter-of-fact voice, with just a touch of frustration. “You, on the other hand, look like you got a smart head on your shoulders. Why don't you take your pretty wife, turn your car around, and go home.”

As the gas attendant stands, he comes face-to-face with his boss. Clearing his throat, he clams up and proceeds to inspect the next tire on the other side.

“Is everything thing alright here, sir?” The owner's voice projects a wheezing nasally tone as he crushes the cigarette under his work boot. Standing up, Trent looks at the owner, trying not to gag on his horrible bad breath before saying, “Just fine, thanks.”

They stand there momentarily, staring at each other as the gas attendant finishes checking the last tire. The station owner breaks first as he looks away, abruptly turning back towards the store.

Standing back up, the attendant brushes off his knees and says, “Anyhow, that cabin ain't too far from here. Take a right, just over the hill. Two, maybe three miles tops. Can't miss it.”
Feeling slightly concerned, Trent asks the attendant, “Is everything alright?”

“Yep.”

“Are you sure?”

“Look, they're all on to me, so I really can't say anymore.” Rubbing the back of his head, he starts to head back towards the garage as he crosses paths with Lily.

“Ready?” asks Lily as she opens the passenger door.

Slightly confused, wanting more information from this strange, yet awkward gas attendant, Trent opens his door but doesn't move. “Um... thanks for all your help.”

“No problem. Just be careful. Mountain lions have been known to kill people up there.”

“I'll be sure to do that.”

Uncertainty drowns out any reason that might be going to through Trent's head. He continues to stand there for another moment staring at the gas attendant, but he doesn't look back. With one fluid motion, Trent climbs inside and turns the engine over. The gas attendant slowly makes his way back into the garage, swallowed up by the shadows as Trent and Lily's Land Rover quickly ascends up a small hill, disappearing behind it shortly after.

Music To Write By...

2011-02-11T11:12:00.009-06:00

In between my search for new or temporary employment (yes, again, I know), I've decided to spend 1-2 hours each day writing. I've always had an interest in writing, especially in the past few years as I've learned to write scripts with a partner (James Falcon) as well as branch out on my own and attempt some short fiction. You've witnessed--and hopefully read--the first two chapters I've posted so far. If not, here's a shameless plug to get you to read it.

Writing is not a simple task--at least for me--and sometimes I have to help myself set the mood. Or I have to motivate myself in some way shape or form. Sometimes, for example, if I finish this one page, then I reward myself with being able to read my book for 30 minutes or I can watch some television. Rewarding myself doesn't come very often, since most of the time I find that when I finish a segment, page or chapter, I already feel a sense of accomplishment and that's a reward all by itself.

What I've discovered recently, however, is that sometimes it's hard to start. I may have a deep down desire to write today, but that doesn't mean that I won't sit in front of the computer for 30 or 45 minutes staring blankly at the blinking cursor in MS Word. Sometimes the spirit is very willing but the brain is stuck in park. Just because I've put gas in the car doesn't mean I'm going anywhere if my engine has seized.

That's why I almost always have to have some kind of music playing in the background. Anyone who's seen my film score library would already know I'm a film score/soundtrack nut, but not every soundtrack works for me when writing; on the other hand, most of them are perfect for reading.

When selecting music to write by, it has to meet at least one specific requirement or style of music. It either has to be an inspirational yet non-intrusive film score or it must be music that has a forceful rhythmic drive, causing my brain to work like a machine. Every day is different, and sometimes I can spend a good portion of time just trying to select the right style to remove my brain from park and to get moving.

This also isn't a guaranteed formula, but what I've come to discover is that it usually works 8 out of every 10 times. Occasionally it's just music that I need, but those instances are rare. Here's a brief list of music that I like to write by:

The Social Network Soundtrack
Trent Reznor and Atticus Ross

It's not your traditional soundtrack by any means, but I had to acquired this album after seeing the film. Already being familiar with Trent Reznor, I knew exactly what to expect, and most of his work with Nine Inch Nails is also very good for getting my brain moving. This score fills both roles for what I look for in music to write by. For a sample of this soundtrack, please click here.

Blade Runner Soundtrack
Vangelis

If you've ever heard the theme from Chariots of Fire, then you know Vangelis. Known in the industry primarily for his heavily synthesized music, he also created two iconic film score in the 1980s. While Chariots of Fire is still widely known today, with it's score playing in my head while running in slow motion, especially on the beach, (and I love the soundtrack, too) I find the work he did for Ridley Scott to be superior. For a sample of this soundtrack, please click here.

Road to Perdition Soundtrack
Thomas Newman

Probably one of my favorite film composers of recent years is Thomas Newman who has several brilliant scores under his belt, including American Beauty and The Shawshank Redemption. This score is my personal favorite of his most recent work; a beautiful melancholy score that unobtrusively inspires me while I write. For a sample of this soundtrack, please click here.

A Serious Man Soundtrack
Carter Burwell

Overlooked by the Academy for over 25 years, Carter Burwell has provided some of the best minimalist scores I've ever heard. Primarily used by the Coen Brothers, his score for A Serious Man is one of his best, where the mood is very haunting yet inviting, and is as mysterious as the film's ending. For a sample of this soundtrack, please click here.

Dead Inside. A Short Story. Part 2.

2011-02-06T14:00:00.004-06:00

And now the unveiling of my second chapter. Chapter one can be located here, if one wishes to start from the beginning.

Chapter 2

“So?”

The view outside wasn't spectacular by any means, not even interesting, but Lily was content with it as she drowned out a voice that sounded suspiciously like Charlie Brown’s parents. Mesmerized by the cars zipping in and out of the strip mall, Lily wonders why she wastes her time coming here every week when the end result is always the same.

“Lily?” This time Dr. Cruzan grabs her attention. Sitting on the edge of his desk, he writes briefly on a small note pad and then slaps it down the desk. She jumps slightly, “I'm sorry.”

“That's quite alright. I know the landscape out there is mesmerizing.”

Oblivious to his sarcasm, she straightens her posture, tugs on her skirt nervously and squirms in her seat. The uneasiness is hard to hide when you've been put on the spot knowing that you haven't been paying attention. Dr. Cruzan continues, “I was just asking how you two have been doing. Have you guys been doing the exercises that I recommended last week?”

“I've just been so slammed at work.”

Sitting next to Lily, Trent grunts in objection to her answer while chomping on his fingernails. His eyes dart back and forth between Lily and the doctor.

“That doesn't sound very encouraging.” Dr. Cruzan glances down at his tie and rubs his finger a small stain; or an ugly spot. It was hard to tell. He looks over at the clock on his desk, thankful that this is his last session for the day.

“That's because it isn't,” Trent interjects, pulling his hands out of his mouth and placing them on his lap.

“How so?” Dr. Cruzan scratches his balding head.

“Friends, family, and the foundation. They always take precedence over us.”

“So... distractions.”

“It's called life,” chimes in Lily. She's not going down without a fight on this one.

“I call it an excuse,” Trent antes up while adjusting himself on the couch to face Lily directly. A resurgence of confidence always bubbles to the surface when he knows that Dr. Cruzan backs his plays.

Irate to the point where she can't breathe, her blood begins to boil as she glares at him. How dare you confront me in front of someone else! Her mouth cracks open slightly about to retaliate when Dr. Cruzan interrupts, trying to pour some water over the slowly rising flames that have generated between his patients. “Well, I think I might have--” He pauses, trying to give proper description to the next word that comes out of his mouth, “--a solution.”

Grabbing the note pad that startled Lily only moments ago, he scribbles down a few lines and tears off the sheet. Standing up straight, Dr. Cruzan's back cracks like bubble wrap. He makes his way to Trent and hands him the small sheet of paper as Lily's phone vibrates.

Dr. Cruzan clears his throat and says, “I‘m holding a small marriage retreat and workshop this weekend. I do this every year, but right before your session, I had a couple cancel, so I do have an opening. I know it‘s very short notice.

“Now normally I wouldn‘t spring something like this on you two so suddenly, but I really think you would benefit. It‘s only a few hours’ drive north from here. It‘s out of the way and a perfect place to just disconnect from everything. No distractions except for the beauty of Mother Nature.”

Looking at the small piece of paper, Trent rubs his chin with intrigue. Dr. Cruzan attempts to finish off his sales pitch, “Fishing, hiking. It‘s a great little town to just get swallowed up into. Trust me, after this weekend, you won‘t be able to leave.”

There's a brief pause as Dr. Cruzan attempts to place the icing on the cake, “And since its short notice, I won‘t even charge you for the retreat.”

With his eyebrows raised, Trent has given away his tell. Now all he has to do is convince his wife. “Lily?”

“I don't know.” She can't even look up from her Blackberry. An uncomfortable quiet fills the office. She stops tapping on the tiny keyboard and looks up, realizing that she's now been placed at the center of attention once again. “I've got a ton of things going on right now. And I need to finish them this weekend.”

“You need to stop making excuses, Lily.” Dr. Cruzan sits down on the coffee table, now at her eye level. “If you want to make things work with you and Trent, then I would suggest going on this retreat. No friends. No family. No foundation. And no distractions.”

With a smile plastered a mile wide, Dr. Cruzan looks down at her Blackberry and then back up to Lily and says, “Oh, and no cell phones.”

Turning to Trent, a look of sheer desperation fills her face. Trent could care less. This is what he's been waiting for. Laying his cards all out on the table, he says, “I‘m game. It‘ll be good for us to get out of the city. Take in some fresh air, commune with nature.” Trent can hardly believe the corny words that he hears coming out of his mouth, but he knows they're true just the same. Grabbing her hand, he makes his final plea, “Lily, we need this. It would mean so much to me.”

“I don't know.” Her ears start to ring as her cheeks turn red. Her heart begins to pound quickly in her chest, as if trying to escape. I've got a bad feeling about this. The thought circles around inside Lily’s head, multiplying at lightning speed until they start to adhere to the inside of her skull, like freshly installed wallpaper. Something about this just doesn't feel right.

Making his way behind his desk, Dr. Cruzan sits down with superiority. He pulls out a pipe and packs it firmly with a small wad of tobacco. A small lighter flicks three times before producing a flame that lights his pipe. Puffing slowly and deliberately, Dr. Cruzan finally lets out a large trail of smoke and says, “I think he's right, Lily.”

Dead Inside. A Short Story. Part 1.

2011-02-01T07:13:00.015-06:00

PREFACE

About six months ago I started writing a short story. The idea came from a failed screenplay that my writing partner and I had finally given up after three solid attempts to resurrect it from a failing third act.

At first I thought we might have struck gold. The idea was something just different enough that if we kept at it, we thought we might have the beginnings of an excellent independent feature film. Unfortunately, that was not the case. We needed to exercise the demons and start on something fresh.

When we had both come to the crossroads once again, I told James that I was pulling the trigger on this one. The script wasn't going anywhere and we kept getting stuck around page 60. The idea first came about when James had been fighting some personal demons; ones that had been haunting him for a long time that he used as inspiration for spinning this story.

So now you get to read my feeble attempt at short fiction. I'm not sure how long this short story will be, since I have yet to finish it myself. However, if I hold myself accountable by posting this story, a chapter at a time at regular intervals, I just might finish it.

I hope you enjoy it. Your comments are most welcome. If at any time this story suddenly disappears from my posts, it means that the idea has one again been resurrected into script form (probably inspiring James to pick it up again). Until then, I give you the first chapter of...

DEAD INSIDE

A short story by Nathan J. Eddy

Chapter 1

“So, what do you think?”

No response. Trent turns to look at his wife only to see her stare absently out the passenger’s side window. So beautiful, he thinks, not glamorously beautiful, but naturally beautiful. He never did understand why she tries to hide behind so much make-up. A trait that was more than likely passed down from her mother.

Trent clears his throat and tries again; this time a little louder. “What do you think?”

“Huh?” Lily responds, whipping her head towards him, but somehow avoiding eye contact. She looks down, distracted and detached.

“I was asking what you thought about this weekend.”

“Honestly Trent, I could care less.” Lily turns her head back to the window, re-engaging her blank stare, then closing her eyes.

Trent grips the steering wheel a little tighter now; his knuckles slowly turning white. Six words, six little words strung together as they were cutting with the precision of only the most skilled surgeon. Comments like that make him wonder why he ever got married in the first place. Exhaling slowly, and trying not to draw attention to himself, he fiddles with the radio, hoping to find a solid signal.

With her eyes still closed, Lily blurts out, “I can’t believe you didn’t bring anything to listen to knowing we were going to be on the road for four hours.”

“I didn’t forget my CDs on purpose Lily, if that’s what you’re implying. I don’t normally drive this car, remember?”

“Whatever.” Lily turns on her side, facing the passenger door. Maybe if she can fall asleep, this mind-numbing trip will end that much sooner. Trent smiles briefly at his small victory.

In that small moment of peace, if you want to call it that, their Land Rover speeds down the two-lane highway as the sun slowly rises over the horizon, filling the muddy blue-black sky with hints of orange and magenta. Pine trees and Douglas firs populate the mountains; the winding slab of asphalt marring the beauty of what very well could be a Bob Ross painting.

Running his hands through his short blond hair, Trent clicks off the radio in frustration. What's the point? The driver's side window slowly descends as he presses his finger firmly on the button when Lily barks, “Don’t even think about it.”

“But baby, I need some fresh air. If I have to drive without any music, I need at least a steady stream of cool air to keep me from dozing off at the wheel.”

“It’s not my fault you wanted to leave this early, so suck it up. It’s freezing outside and if you open that window, I’m never going to be able to fall back asleep.”

Feeling torn, wanting to catch a glimpse of Lily's long auburn hair blowing around her face, hear her laugh, remembering drives like these not so terribly long ago. The driver’s side door hums as Trent’s window moves back up into its original position. He squints several times and smacks himself in the face trying to wake up, then looks down at his watch: 6:43 AM. He rolls his eyes and focuses his attention back on the road.

A quiet buzz emanates near Lily’s feet. Casually reaching down to her purse, hoping Trent won't notice, she digs around and pulls out her Blackberry. Swiftly, Lily types a response with her nimble thumbs. In a short glance, Trent tries not to show that he’s upset, but his cheeks flush just slightly. Not wanting to acknowledge what he sees her doing, his hands find their way back to the dead air that is the car stereo.

Without taking her eyes off of her phone, “Stop wasting your time. You’re never going to find anything out here in B-F-E.”

“Do you have to be so damn negative all the time?” Toying with the knobs ever-so-gently, Trent hopes to find a signal that might make his wife eat her own words.

“I’m just trying to save you the eventual grief of your futile attempt for a radio station. That’s all.”

“Why don’t you stop worrying about my futile attempt and get back to what’s more than likely a work email that you can’t even leave alone for the weekend?”

Hoping to breathe some life into his valiant efforts, Trent flips the bands from FM to AM. White noise fills the car with no avail. All of a sudden a voice breaks through, loud and flamboyant; an evangelical preacher trying to save the souls of his listening audience. Finishing her message, Lily presses send on her Blackberry as she places in her lap.

“Do not leave it on this.” Her annoyance level already reaching Def-Con 1.

The preacher’s voice fades in and out and then away completely before Trent can respond, almost in obedience to Lily’s command. His search continues, pausing several times, but still with no success. After several near misses, the sounds of a mariachi band pops from the speakers. Trent chuckles at the music and announces, “I didn’t even know we had Mexicans living this far up north.”

Lily looks down at her phone waiting for it to vibrate again. After Trent’s comment, Lily starts to wonder why she ever tied the knot with this ass. She starts to think about Trent and what he used to be. What he used to represent and how much he’s changed since then. He had such aspirations; talked of greatness back when they met in college.

Sometimes it felt like yesterday, when they ran into each other at the library. She was doing research for her Poly-Sci paper while he was just wasting time while his roommate was making his moves on a girl that he'd been pining over for the past three months from his business accounting class. Flipping through the latest hardback Stephen King novel he had just checked out, with his nose buried in the third chapter, he didn't even notice her on the ground tying her shoe.

But even after four rejections, Trent asked her out once more as they crossed paths for the fifth time in less than a week. He felt it was more than just coincidence while Lily thought that she might as well just put this guy out of his misery. Just say yes, and then you can get back to your life once this date goes down flames on Friday night. Six months later they were engaged.

Lily was drawn to Trent in many ways, but mostly she was drawn to him because he wasn't her father. Trent was someone who wouldn’t jump down her throat when she came home late. He never asked questions because he trusted her. He didn’t judge her by her actions, but by her character. And as the years past, she began to realize how much she was just trying to get out from under her father’s grasp and how she used Trent as an escape; whose ambition went flying out the window when he took the first job offered to him for security right out of college. Now she’s running her father’s foundation and Trent has moved all the way up to the invisibility of middle management.

The mariachi music cuts out quickly as Trent hits the seek button once again. Static and interference once again pollute the Land Rover as he desperately tries to find anything better than his last two failed attempts. Almost reaching his breaking point, Trent hits the seek button once more when a warbling Hank Williams fills the airwaves with “Lovesick Blues.” His hand—at first hesitant, almost ready to keep searching—dangles in mid-air for a brief moment before settling back onto the steering wheel.

“You have got to be kidding me,” growls Lily in protest to The Drifting Cowboy. “There’s no way I’m going to listen to this country bumpkin crap!” Lily’s phone vibrates and she immediately picks it up. “I feel like we should be in a pick-up truck with a dog in the back.”

“Ah, come on. It’s not that bad,” defends Trent. He’s ecstatic that he’s found anything on the radio at the moment. “Besides, this station’s got both kinds. Country and Western.” Trent smirks, looking at Lily, but disappointed, realizes that the joke has gone over her head. He lets it go, turning his attention back to the road.

Lily begins to mash the keys on her Blackberry; an outward defiance to the torturous melodies emanating from the speakers. The last thing she wanted to do was to listen to country music for the remainder of the trip.

Before she can counter with another argument, Trent turns the radio down to a tolerable volume level in hopes of keeping the bickering to a minimum. Lily turns her attention back to her Blackberry, which has received another message.

His eyes cut over to Lily’s phone but he decides not to say anything else. The fact that she hasn’t piped up again in protest over the music was a triumph. Opening his mouth to comment on her working while they’re supposed to be disconnecting from their world for the next two days would just have to wait until they arrived at the cabin. Besides, he always felt better confronting Lily when Dr. Cruzan was present. Trent knew he didn’t have a backbone, but he also didn’t care right now. All he truly cared about was that this weekend could be the big breakthrough he's been wanting all along.

Pixar Will Always Hold A Special Place In My Heart

2011-01-21T15:00:00.005-06:00

Last week, upon the viewing of Toy Story 3, I came to a revelation. A cinematic discovery that shook the very foundation on which I had built my admiration for the art and craft of filmmaking; my overall love of movies. It wasn't destroyed (and probably never will be), but I know for certain that it will never be the same again.

In all honesty, I had been noticing cracks in this foundation for years. As I grew in my maturity and knowledge of film, mindless dreck became less appealing. The days of flooding my senses with new releases on a weekday afternoon with my buddy Ryan after college classes has since past. Every once in a while a guilty pleasure will still appease the mindless drone that I had once been, but for the most part, my tastes have slowly changed.

How is it that the creators at Pixar can unleash tears, can reach inside of you and touch emotions that you haven't felt in years, yet the rest of Hollywood stays pretty much the status quo, releasing emotionless, prepackaged, vacuum-sealed garbage?

Now I will confess that there was more that I could relate to in Toy Story 3 than in other films by Pixar. The fact that the film effortlessly moves towards the conclusion that we all grow up and have to let go of our childhood did not affect me quite as much as the writers and director's ability to create such compelling, admirable, and unforgettable characters over the course of three films. The acceptance of their fate, all while travelling down to the incinerator to their inevitable death, and willing to accept it together, is what pulled at my heart strings the most.

Pixar's brilliance as a creative juggernaut has been throwing a wrench into the very works of the dream factory known as Hollywood ever since it's first theatrical release, Toy Story, in 1995. It's beyond even my fullest comprehension that even after fifteen years, they're still associated with the creatively bankrupt Disney, whose track record has been less-than-stellar over the past two decades. In all actuality, it's most likely due to the fact that since 2006 they've been a subsidiary of The Walt Disney Company, allowing Pixar to have complete and total control over all of their films; whereas if they had split from Disney, like they had planned to several years back, they would have lost all story and sequel rights to their original intellectual properties.

I'm sure it also helps being nestled in Emeryville, California, a small city located in Alameda County, approximately six hours north of Hollywood. That separation has helped them immensely; to stay true to themselves and not to conform to the likeness of Tinseltown. There are countless studios scattered throughout the Los Angeles basin, all striving to make the next Matrix, Jurassic Park, E.T., Star Wars, or Godfather. Most of them seriously fall short, producing the likes of such garbage as Superbabies: Baby Geniuses 2, or other screen atrocities not even worth mentioning.

At Pixar, each story is nurtured through a multi-step process. Just creating the the computer-generated animation for these films is a daunting task in and of itself, but before they even get to that stage, they take the time to develop the story. To develop the characters. To create a wonderfully detailed and enchanting environment around each one of their protagonists. Toy Story 3 took two and a half years to write the screenplay and create the storyboards alone. Most studios would never devote that much pre-production time to one film, but as you might have already guessed, Pixar is not most studios.

A typical Hollywood studio (e.g., Universal Studios, Columbia Pictures, Warner Bros., 20th Century Fox, Paramount) releases between 20 and 40 feature films every year (this does not include distribution, which greatly changes these numbers, depending on the studio). In the sixteen years since their first full-length feature, they've released a total of eleven films.

So, in honor of Pixar and the outstanding entertainment they've provided for millions of children and adults alike, here's a short breakdown of each of their theatrical releases, my personal comments, as well as any notable accolades each film has achieved. The wins are represented in bold and marked with an (*) asterisk.

TOY STORY (1995)
Directed by John Lasseter
Screenplay Written by Joss Whedon, Andrew Stanton, Joel Cohen, & Alec Sokolow
Story by John Lasseter, Pete Docter, Andrew Stanton, & Joe Ranft

The first feature-length animated film to be theatrically released using Computer Generated Imagery (CGI), Pixar introduced us to the likes of Woody (voiced by Tom Hanks) and Buzz Lightyear (Tim Allen). The concept was simple, but still an outstanding one at that: What do toys do when they're not being played with? Well they come to life, of course! And what happens, when after being your owner's faithful companion for years, you're replaced by a new toy? A power shift occurs and mayhem ensues.

Toy Story is a brilliantly executed concept from start to finish, where the attention to detail is so extensive, that even the toy soldiers have distinctive marks from where they've been released from their plastic mold. Watching them come to life, with their limited movement, was like a trip down memory lane. In fact Andy's room was like walking into a time warp, where even in 1995 most children didn't play with the likes of the toys that filled his room. The Speak & Spell, Etch-A-Sketch, and Mr. Potatohead among others didn't reside in most rooms of the children I used to babysit back in high school. Thankfully, most toys depicted in this film transcend time, crossing over multiple generations for all to relate and enjoy in unison.

Trivia Worth Noting: Each frame took anywhere from 4 to 13 hours to render, depending on the complexity of the shot. There are 24 frames in one second of film. This film is 80 minutes long. You do the math.

One Of The Funnier Quotes:
Mr. Potato Head: Oh, really? I'm from Playskool.
Rex: And I'm from Mattel. Well, I'm not really from Mattel, I'm actually from a smaller company that was purchased by Mattel in a leveraged buyout.

Academy Award Nominations:
Best Writing, Screenplay Written Directly for the Screen
Best Music, Original Song - "You've Got A Friend In Me"
Best Music, Original Musical or Comedy Score
Golden Globe Nominations:
Best Motion Picture - Comedy/Musical
Best Original Song
Producer's Guild Nominations:
*Special Award of Merit

Toy Story was entered into the National Film Registry in 2005.

A BUG'S LIFE (1998)
Directors: John Lasseter, Andrew Stanton
Screenplay Written by Andrew Stanton, Don McEnery, & Bob Shaw
Story by John Lasseter, Andrew Stanton, & Joe Ranft

A "loose" remake of legendary Japanese filmmaker Akira Kurosawa's epic masterpiece, Seven Samurai, A Bug's Life is the story of quirky outsider Flik, an ant who goes on a pilgrimage in search of "warriors" to bring back and help his colony battle the bullying grasshoppers, who consume their hard-earned harvest every year.

Even with the voice talents of Dave Foley, Keven Spacey, and Elaine Benes, err... I mean Julia Louis-Dreyfus, the film's actual staying power has faded quite a bit, overshadowed by Pixar's ever expanding library of memorable characters. Enjoyable nonetheless, Pixar's second entry into feature-length films still demonstrates their keen eye for detail as well as a wonderful biting sense of humor.

Trivia Worth Noting: The two mosquitoes trapped in the light of the bugzapper ("Frank, don't go towards the light!" "I can't help it - it's so beautiful!") are the voices of the co-directors, John Lasseter and Andrew Stanton.

One Of The Funnier Quotes:
Slim: What's the point of going out there? They'll only laugh at me.
P.T. Flea: That's because you're a clown!
Slim: No, it's because I'm a prop. You always cast me as the broom, the pole, the stick... a splinter!
P.T. Flea: You're a walking stick. It's funny! Now go!
Slim: You parasite.

Academy Award Nominations:
Best Music, Original Musical or Comedy Score
Golden Globe Nominations:
Best Original Score

TOY STORY 2 (1999)
Directed by John Lasseter, Ash Brannon, & Lee Unkrich
Screenplay Written by Andrew Stanton, Rita Hsiao, Doug Chamberlin, & Chris Webb
Story by John Lasseter, Pete Docter, Ash Brannon, & Andrew Stanton

With the genius of Toy Story still lingering throughout Disney, Toy Story 2 was green-lit quickly, initially slated as a Direct-to-video release with a run time of 60 minutes. Impressed with the imagery, Disney studio executives pushed the film for a theatrical release. John Lasseter, upon his return from Europe, discovered that the story was not up to par (at least for Pixar's standards) and had the entire script rewritten over a weekend and pushed the production to be completed in a staggering nine months. And thus began the ongoing turmoil between Pixar and Disney, which would last until 2006.

A worthy sequel by any standards, Toy Story 2 reunites their audiences with Woody, Buzz, Mr. Potato Head, Rex, and Hamm among many others as Woody is stolen by a toy collector who is trying to complete his a set to sell to a museum to be displayed in Japan. The internal struggle for Woody begins to take place as he considers being immortalized for everyone to see.

Pixar's shift with Toy Story 2 demonstrates their ability to adapt and overcome the stereotypical situations that make most movie-makers stumble when developing a sequel. Additionally, bringing their audience to the realization that some toys do have a second life when introduced by a collector, but it's usually only motivated by financial gain. With the entire Toy Story Series, Pixar does an excellent job of surpassing themselves, making each new film at least equal, if not better than the original.

Trivia Worth Noting: The dust in the scene where Woody meets Wheezy set a record for number of particles animated for a movie by computer.

One Of The Funnier Quotes:
Tour guide Barbie: And this is the Buzz Lightyear aisle. Back in 1995, short-sighted retailers did not order enough dolls to meet demand.

Academy Award Nominations:
Best Music, Original Song - "When She Loved Me"
Golden Globe Nominations:
Best Motion Picture - Comedy/Musical
Best Original Song

MONSTERS, INC. (2001)
Directed by Pete Docter, David Silverman & Lee Unkrich
Screenplay Written by Andrew Stanton, Dan Gerson, Robert L. Baird,
Rhett Reese & Jonathan Roberts
Story by Pete Docter, Jill Culton, Jeff Pidgeon & Ralph Eggleston

A shining example that Pixar's creators have an amazingly active imagination, they break past more boundaries with Monsters, Inc. Their fourth entry, released in November of 2001, introduced us to Mike (voiced by Billy Crystal) and Sully (John Goodman), two average monsters working their 9-to-5 job scaring children, whose screams are contained and used to power Monstropolis, a non-human city in which they live.

Of all of the Pixar films, this one is my personal favorite. I never had a problem with monsters hiding in my closet when I was a child, but since the theme is so universal, it's relevant to the audience and their children on so many different levels. Monsters, Inc. is special to me for many reasons, but the biggest is that I seem to identify with Sully. He's big and appears that he could seem rather intimidating; but on the inside, he's just a 'big softie', just like myself.

Trivia Worth Noting: It normally took 11 to 12 hours to render a single frame of Sulley because of his 2.3 million individually animated hair strands (Total number of hairs: 2,320,413).

One Of The Funnier Quotes:
Yeti: [Referring to despondent Sully] Aw, poor guy. I understand. It's not easy being banished. Take my buddy Bigfoot. When he was banished he fashioned an enormous diaper out of poison ivy. Wore it on his head like a tiara. Called himself "King Itchy".

Academy Award Nominations:
*Best Music, Original Song - "If I Didn't Have You"
Best Animated Feature
Best Music, Original Score
Best Sound Editing

FINDING NEMO (2003)
Directed by Andrew Stanton & Lee Unkrich
Screenplay Written by Andrew Stanton, Bob Peterson & David Reynolds
Story by Andrew Stanton

In Finding Nemo, Marlin (voiced by Albert Brooks), a clown fish and over protective father, travels to Sydney in search of his son, Nemo, who gets scooped up by a diver after directly disobeying his father. Along his journey, he befriends a forgetful regal tang named Dory (Ellen DeGeneres) and encounters dangers, having to learn how to takes risks, and to trust his son.

Pixar's fifth studio release once again topped the charts in box office gross as well as landing on several critics top ten lists, creating a similar path for most its successors. A beautiful heart-warming story, Finding Nemo was their first film that made me notice small cracks in the foundation that would later be demolished. If you don't believe me, then you watch the opening scene and try not to be emotionally moved; if you're not, then you have ice for blood.

Trivia Worth Noting: The Great White shark's name in the movie was Bruce. "Bruce" was the nickname given to the models used for the shark in the original Jaws, named after Steven Spielberg's lawyer, Bruce Ramer.

One Of The Funnier Quotes:
Marlin: Now it's my turn. I'm thinking of something dark and mysterious. It's a fish we don't know. If we ask it directions, it could ingest us and spit out our bones.
Dory: What is it with men and asking for directions?
Marlin: I don't want to play the gender card right now. You want to play a card, let's play the "let's not die" card.

Academy Award Nominations:
*Best Animated Feature
Best Music, Original Score
Best Sound Editing
Best Writing, Original Screenplay
Golden Globe Nominations:
Best Motion Picture - Musical or Comedy

THE INCREDIBLES (2004)
Written & Directed by Brad Bird

Brad Bird, director of the critically acclaimed animated film The Iron Giant (another personal favorite of mine), joined with Pixar to bring to life their sixth feature length film, The Incredibles. Another brilliantly conceptualized idea, The Incredibles pairs the voice talents of Craig T. Nelson, Holly Hunter, and Samuel L. Jackson (among others) as superheroes who retired from their crime-fighting lifestyle and assume civilian identities, settling down to start families. This plan fails after fifteen years when Mr. Incredible and his family are called back into action in order to save the world.

Due to the more intense action sequences as well as subject matter, this was the first Pixar film to be rated PG. Outside of the superhero aspect of the film, all of the characters are very well-rounded and easily identifiable. Just like myself, even after three years of marriage to my beautiful wife, the desire to follow my heart but also own up to the responsibilities of being a husband, has been a constant struggle; finding and/or feeling complete along with a sense of accomplishment with recent employment opportunities, has been a rather daunting task as of late. The Incredibles is still personally relatable to this very day.

Trivia Worth Noting: In the whole movie, you can see 35 explosions, 189 buttons being pressed, and approximately 640 gunshots.

One Of The Funnier Quotes:
Lucius: So now I'm in deep trouble. I mean, one more jolt of this death ray and I'm an epitaph. Somehow I manage to find cover and what does Baron von Ruthless do?
Bob: [laughing] He starts monologuing.
Lucius: He starts monologuing! He starts like, this prepared speech about how feeble I am compared to him, how inevitable my defeat is, how the world will soon be his, yadda yadda yadda.
Bob: Yammering.
Lucius: Yammering! I mean, the guy has me on a platter and he won't shut up!

Academy Award Nominations:
*Best Achievement in Sound Editing
*Best Animated Feature Film of the Year
Best Achievement in Sound Mixing
Best Writing, Original Screenplay
Golden Globe Nominations:
Best Motion Picture - Musical or Comedy
Producer's Guild Nominations:
Motion Picture Producer of the Year

CARS (2006)
Directed by John Lasseter & Joe Ranft
Screenplay Written by Dan Fogelman, John Lasseter, Joe Ranft,
Kiel Murray, Phil Lorin & Jorgen Klubien
Story by John Lasseter, Joe Ranft, Jorgen Klubien & Brenda Chapman

Cars, Pixar's seventh theatrical release, featured the voice talent of Paul Newman, Owen Wilson, and Bonnie Hunt where Lightning McQueen (Wilson), a hot-shot race car, is waylaid in Radiator Springs before a big race. While there, he connects with Doc Hudson, where he finds the true meaning of friendship and family.

While the story is cute, this was the first Pixar film that felt like it really didn't hit the mark. It wasn't critically-panned by any means, but the film just seemed to lacked heart. The film looks great, and in all seriousness, which Pixar film isn't great to look at? However, Cars seemed to drive home (sorry, but that pun was not intended) a sense of Disney marketing that just seemed much more evident that in any of their other films. Compared to other children's fare, it's still exemplary, but measuring it to Pixar's standards, it falls short.

Trivia Worth Noting: The film's animators drew up over 43,000 sketches for designs of the cars.

One Of The Funnier Quotes:
Harv: It is such an honor to be your agent that it almost hurts me to take ten percent of your winnings. And merchandising. And ancillary rights in perpetuity. Anyway, what a race, huh, champ? Uh, didn't see it, but I heard you were great.

Academy Award Nominations:
Best Music, Original Song - "Our Town"
Best Animated Feature Film of the Year
Golden Globe Nominations:
Best Animated Film
Producer's Guild Nominations:
*Animated Motion Picture

RATATOUILLE (2007)
Directed by Brad Bird & Jan Pinkava
Screenplay Written by Brad Bird & Jim Capobianco
Story by Jan Pinkava & Brad Bird

Pixar's eighth feature-length release dabbles in the subject of French Cuisine. In Ratatouille, Remy (voiced by Patton Oswalt), has culinary aspirations to become a chef but there's just one obstacle in path: he's a rat. Remy, who has a keen sense of smell, and whose job before his pack scattered was to smell out rat poison for his fellow rodents, soon bonds with Linguini, a restaurant garbage boy whose position is quickly promoted when Remy assists in recreating a dish, astonishing his boss, Skinner (Ian Holm). Bonding and mayhem quickly ensues and they strive to keep the restaurant a float while dealing with food critics and a potential rat infestation.

Only seeing this film once, and a good two or three years ago, the film hasn't made a lasting impression on me. It was critically praised while it pleased the millions of audience members who drove up it's box office sales, but a majority of the characters really didn't seem stick with me. Since my viewing, I have learned to love cooking, and this picture might appear in my Netflix rental queue once again. Maybe a second viewing will change my outlook on the possiblely missed genius of this film. Until then, I can only convey a passing interest in Ratatouille.

Trivia Worth Noting: To create a realistic-looking compost pile, artists photographed and researched the way real produce rots. Fifteen different kinds of produce were left to rot and then photographed, such as apples, berries, bananas, mushrooms, oranges, broccoli, and lettuce.

One Of The Funnier Quotes:
Emile: [notices Remy walking on his hind legs] Why are you walking like that?
Remy: I don't want to constanly have to wash my paws. Did you ever think about how we walk on the same paws that we handle food with? You ever think about what we put on our mouths?
Emile: All the time.
Remy: When I eat, I don't want to taste everywhere my paws have been.
Emile: Well, go ahead. But if dad sees you walking like that, he's not gonna like it.

Academy Award Nominations:
*Best Animated Feature Film of the Year
Best Music, Original Score
Best Achievement in Sound
Best Achievement in Sound Editing
Best Writing, Original Screenplay
Golden Globe Nominations:
*Best Animated Film
Producer's Guild Nominations:
*Animated Motion Picture

WALL-E (2008)
Directed by Andrew Stanton
Screenplay Written by Andrew Stanton & Jim Reardon
Story by Andrew Stanton & Pete Docter

In a conscious effort to promote their concerns with consumerism and the environment, Pixar boldly released their ninth film, WALL-E. Set in the year 2805, "WALL-E" is one of an army of small trash-compacting robots, left to clean up earth after it is deemed toxic and unlivable for humans. 700 years later, WALL-E, the only functioning robot left on the planet who has also gained the ability to feel or perceive, spends his days compacting trash, along with collecting miscellaneous items that seem special to him. Upon the discovery of a seedling growing among the trash, WALL-E encounters and falls in love with another robot, EVE, who is sent in to extract the specimen, proving that earth's ecosystem has been restored.

The ingenuity and complexity of WALL-E and his environment left me speechless. On a visual standpoint, this film is Pixar's crowning jewel in its cinematography and art direction. Pixar's shining achievement with WALL-E, besides to masterfully tell a great narrative story with minimal dialog, is their social commentary on man's unfortunate attraction and surrender to consumerism. Yes, some of their observations may seem a little heavy-handed, but not by very much. Their representation of "Buy n Large", an obvious knock to the likes of Wal-Mart, displays our all-too-easy willingness to conform and line up like sheep to find the easiest and cheapest form of consumption.

Trivia Worth Noting: Most of the robots are voiced by Ben Burtt, two-time Academy Award winner known for his sound designs for the Star Wars films, among dozens of others, through mechanical sounds of his creation.

One Of The Funnier Quotes:
Captain: Well, good morning, everybody, and welcome to day 255,642 aboard the Axiom. As always, the weather is a balmy 72 degrees and sunny, and, uh... Oh, I see the ship's log is showing that today is the 700th anniversary of our five year cruise. Well, I'm sure our forefathers would be proud to know that 700 years later we'd be... doing the exact same thing they were doing. So, be sure next mealtime to ask for your free sep-tua-centennial cupcake in a cup. Wow, look at that.

Academy Award Nominations:
*Best Animated Feature Film of the Year
Best Music, Original Score
Best Music, Original Song - "Down To Earth"
Best Achievement in Sound
Best Achievement in Sound Editing
Best Writing, Original Screenplay
Golden Globe Nominations:
*Best Animated Film
Best Original Song
Producer's Guild Nominations:
*Animated Motion Picture

UP (2009)
Directed by Pete Docter & Bob Peterson
Screenplay Written by Bob Peterson & Pete Docter
Story by Pete Docter, Bob Peterson & Thomas McCarthy

In Up, Pixar's tenth theatrical release, we're introduced to Carl Fredricksen (voiced by Ed Asner) who sets out to fulfill a lifelong dream to see the wilds of South America... by tying thousands of balloons to his house. Unfortunately, right after lifting off, Carl comes to the realization that he's not alone as Russell, a boy scout trying to earn his final merit badge for "assisting the elderly" clings for dear life out on his front porch. Once they arrive in Paradise Falls, they begin an adventure that they'll never forget.

Falling right in line with almost all of the other Pixar films, Up evokes a true sense of learning from one's past and a deep-seeded desire to follow your dreams. This was their first film to bring me to tears, watching Carl live out his life with his wife, Ellie. When they aren't able to have children, Carl and Ellie save their money for a trip to Paradise Falls, yet end up spending it on things with a more pressing need. Unfortunately, before they get a change to go, Ellie passes away.

One of my favorite insights into the creators of this film is their true understanding of man's best friend. Dug, a dog that Carl befriends after landing in Paradise Falls, wears a collar that allows him to speak. Any dog owner knows that they captured the true spirit of the canine when they sketched out the character of Dug, and what a dog might say, if they suddenly had the ability to speak. A truly touching film, Up became a much more personal and relatable film being a married man. If I had been single upon my first viewing of this masterpiece, I'm not sure if I would have had the same reaction.

Trivia Worth Noting: Dug's 'point' pose, where his entire tail, back, and head is in a perfectly straight line, is an homage to the identical pose that Mickey's dog, Pluto, often makes. Dug also shares a similar colour scheme to Pluto.

One Of The Funnier Quotes:
Carl Fredricksen: This is crazy. I finally meet my childhood hero and he's trying to kill us. What a joke.
Dug: Hey, I know a joke! A squirrel walks up to a tree and says, "I forgot to store acorns for the winter and now I am dead." Ha! It is funny because the squirrel gets dead.

Academy Award Nominations:
*Best Animated Feature Film of the Year
*Best Music, Original Score
Best Achievement in Sound Editing
Best Motion Picture of the Year
Best Writing, Original Screenplay
Golden Globe Nominations:
*Best Animated Film
*Best Original Score
Producer's Guild Nominations:
*Animated Motion Picture
Motion Picture Producer of the Year

TOY STORY 3 (2010)
Directed by Lee Unkrich
Screenplay Written by Michael Arndt
Story by John Lasseter, Andrew Stanton & Lee Unkrich

Finally, after fifteen years (and five days of writing this post), we arrive at Toy Story 3, where we re-enter the lives of Woody, Buzz and the rest of the gang who are dealing with an uncertain future as Andy prepares to leave for college. What happens to your toys, when they've served their purpose and your owner grows up? Do you spend the rest of your days trapped in a bag residing in the attic? Are you sold at a yard sale? Or are you donated to a daycare, where you're played with forever, as new children continue to join in the fold?

The latter of the three scenarios becomes a reality, and they're deposited in the "Caterpillar Room," where underage children violently play with each toy, breaking it into submission or destroying it altogether. Woody, who was supposed to go with Andy to college, discovers what really happens there and works his way back into the daycare facilities, in order to break out his friends.

As I expressed earlier in this post the reason I found this film so moving wasn't due to the nostalgia factor; growing up and letting go of childish things, much like 1 Corinthians 13:11, "When I was a child, I talked like a child, I thought like a child, I reasoned like a child. When I became a man, I put childish ways behind me." It was beyond letting go. It was the fact that Pixar, unlike most Hollywood pictures, was capable of creating three-dimensional characters that you truly cared about. Toy Story 3 is a monumental achievement, where Pixar has created the perfect movie trilogy, joining the ranks of, if not possibly surpassing the likes of the original Star Wars or The Lord of the Rings trilogy.

Trivia Worth Noting: Originally, a sequel was planned when it seemed that Disney and PIXAR would split over creative differences in 2004-2005. Disney started up an animation division titled 'Circle 7,' which would have been in charge of churning out sequels for PIXAR films that would not involve the original creators at PIXAR. Entertainment Weekly published an article that said the original plot for Toy Story 3 was going to be about Buzz Lightyear having a defect. Buzz would then be shipped to Taiwan to be fixed, but the other toys find out that the toy company is just replacing the broken Buzz toys with new ones, so they ship themselves to Taiwan to rescue him. This script had to be canned when PIXAR and Disney made amends. Part of their agreement was not to further develop projects that had been planned during their fallout.

One Of The Funnier Quotes:
Sergeant: [Three of Andy's army men are preparing to jump out the window with parachutes] We've done our duty. Andy's grown up.
Army Man 1: Let's face it. When the trash bags come out, we army guys are the first to go.
Buzz Lightyear: Trash bags?
Woody: Who said anything about trash bags?
Sergeant: It has been an honor serving with you. Good luck, folks.
Army Man 2: You're gonna need it!
[They jump out]

Academy Award Nominations:
*Best Animated Feature Film of the Year
*Best Music, Original Song
Best Motion Picture of the Year
Best Writing, Adapted Screenplay
Best Achievement in Sound Editing
Golden Globe Nominations:
*Best Animated Film
Producer's Guild Nominations:
*Animated Motion Picture
Motion Picture Producer of the Year

Roasted Chestnuts, Vol. 1

2010-12-23T15:35:00.011-06:00

'Tis the season to make at least one more post before we close the book on 2010 and what better way to celebrate than with my favorite Christmas Songs.

Now this list is anything but traditional, but you'll find a few sprinkled throughout, along with a couple of classics. Last year I may have written something with a similar flair, but I implore you to read on as this will not be the same post re-hashed with just 50% new material.

When I sat down to make this list, the first thing that came to mind was a conversation I had with Lisa. As we reminisced about our favorite songs, we came to the realization that the ones that are highly regarded as genuine "Christmas Classics" (specifically of the 1940s and 1950s) were considered very modern at the time of their initial release. So, when you hear the "Next Generation X-mas Tunes" that plague the pop radio airwaves today, one could very well argue that they might be acknowledged as modern classics 50 years from now.

It's hard to imagine that songs released over this past decade (or even a bit farther back if you strain your ears) by the likes of Lady GaGa, Maria Carey, 'N Sync, David Archuleta, Now That's What I Call Christmas 4 or even the Glee Christmas Album could ever be considered to join the standard ranks of holiday hits by, Nat King Cole, Bing Crosby, Johnny Mathis, Dean Martin, or even the more modern Amy Grant or The Carpenters.

I'll even admit that some of the songs that I heard, while growing up in the 1980s, are starting to sound a lot like "Modern Christmas Classics" more and more, and probably would be labeled as such if I were armed with a Brother P-touch. So, it'll be hard to argue with the youth of today that their Christmas music will never be considered a classic in any sense of the word.

So, without further adieu, here's my list of some of my favorite Christmas songs, in no particular order. Feel free to click on the title to hear the song.

The Christmas Song

By Nat King Cole

Album: The Magic of Christmas

The song was originally recorded for the first time back in 1946, but it's the fourth and final stereophonic re-recording in 1961 that's the true masterpiece. Crooned by the timeless Nat King Cole, the song was written in 1944 by Mel Tormé and Bob Wells and is commonly subtitled "Chestnuts Roasting on an Open Fire," or by its original subtitle "Merry Christmas to You." According to BMI, it's the most-performed Christmas song ever recorded.

Christmastime

By Michael W. Smith

Album: Christmastime

I'll admit that I'm going to re-hash exactly what I wrote on this song last year if only for the reason that it's written so well...

Written by Joanna Carlson and Michael W. Smith in 1998, 'Christmastime' sounds more like a modern day carol than a pop song. It encompasses the lyrical and melodic beauty of heaven and earth rejoicing the arrival of the Son of God. I could listen to this song a dozen times a day and never grow weary of hearing it. ‘Welcome to Our World’ and the instrumental ‘Hope of Israel’ are two additional Christmas gems, all located on the same album.

Christmas Eve / Sarajevo

By Trans-Siberian Orchestra

Album: Christmas Eve and Other Stories

I have yet to tolerate an entire album by Trans-Siberian Orchestra, but almost every instrumental track that they've produced I've been inclined to seek out and give it a listen. This track was my first introduction to the group many several years ago but even after all of the time that has past I still find this track quite enchanting as it blends 'God Rest Ye Merry Gentlemen' and 'Carol of the Bells' with a symphony rock punch to the gut.

Wizards in Winter

By Trans-Siberian Orchestra

Album: The Lost Christmas Eve

This instrumental track invokes of what fun Christmas can be. A blend of progressive rock, symphonic metal, and influences of classical music, 'Wizards in Winter' was set to a Christmas light show back in 2005 by an electrical engineer from Ohio who took two months to dressed his home in 16,000 lights. The result is an amazing home light show that you can see when you click on the song's link above.

Alfie the Christmas Tree/Carol for a Christmas Tree/It's In Every One of Us

By: John Denver and The Muppets

Album: A Christmas Together

Originally broadcast as a television special in 1979, A Christmas Together was a brilliant collaboration of Jim Henson's genius and the warmth of John Denver's voice and lyrics. Together they bring to life a simple, yet charmingly sweet story of Alfie, a Christmas tree who doesn't want to leave the forest until it realizes that there are children who still don't know the joys Christmas.

White Christmas

By Bing Crosby

Album: Merry Christmas; Films: Holiday Inn, White Christmas

Know as one of the most popular and best-selling singles of all-time exceeding 50 million copies worldwide, 'White Christmas' was written by Irving Berlin and became a huge hit in 1942 after appearing in the film Holiday Inn, including winning the Academy Award that year for Best Original Song. The song's imagery resonated strongly with the U.S. soldiers abroad during the European Campaign in World World II, many who hadn't ever been away from home until now. Crosby's coolly-crystal vocals give me chills almost every time I hear it.

Next year I'll probably post second volume to this list, but until then, I wish you and yours a very Merry Christmas and a Happy New Year!

Until next year, dear readers...

(This post would have been much longer if work hadn't gotten in the way, which is a very good thing considering the way things had been going this year. Hence the reason for the adding of 'Vol. I' to the post title. Lisa and I have been very blessed and very fortunate this year with my hit-and-miss employment ventures, so I'll gladly use the excuse of a bountiful paycheck which kept me from an extended list post any time.)

Favorite Horror Films III: The Son of Sequel

2010-10-27T17:28:00.004-05:00

AN AMERICAN WEREWOLF IN LONDON (1981)

Written and Directed by John Landis

Originally written back in 1969, when John Landis was working on the set of Kelly's Heroes, An American Werewolf in London was turned down by several studio heads as either being "too funny to be a horror movie," or "too scary to be a comedy." Thankfully, ten years later, after proving himself at the box office with hits like Animal House and The Blues Brothers, Landis had garnered enough reputation and was able to bring to life a "one of a kind" werewolf movie.

Set in London in the early 1980s, David and Jack are two young American tourists travelling through the English countryside when they're attacked by a werewolf. What eventually ensues is a roller-coaster ride of horrific proportions that also aims to tickle your funny bone (and quite well, I might add).

Noted for its ground-breaking special effects make-up that catapulted Rick Baker's career, the film also portrays the likes of male puberty in an entirely different light and the changes one might go through if one became a werewolf. Due to it's salty language and not-so-brief-nudity (along with the blood and gore that normally comes with most horror films), this isn't a film I can recommend to just anyone. But those who are willing to endure it, will notice the creative directorial achievements of Landis, letting the audience see the beast as little as possible, the subway scene, as well as the epic and highly-coordinated car crash finale. Anyone who's my age, should also notice the some similarities of this film with Michael Jackson's Thriller video, which also happened to be directed by Landis.

Not only did the Motion Picture Academy of Arts and Sciences first recognize make-up as a category in 1981, but Rick Baker also won the Oscar (who also has since won 5 additional Oscars since then for Harry and the Hendersons, Ed Wood, The Nutty Professor, Men in Black, and How the Grinch Stole Christmas along with 5 more nominations). Although werewolves were not rare to the silver-screen, Landis' film is a landmark is cinematic history. In my honest and most humble opinion, no one has truly been able to replicate the ingenious and authenticity of Baker's make-up brilliance, including Baker himself, with the 2010 remake of The Wolfman.

Interesting Trivia:

Studio executives hoped John Landis would cast Dan Aykroyd in the role of David and John Belushi as Jack. John Landis refused.
During a preview of the film the marquee said, "From the Director of Animal House." Because of this, many people in the audience thought they were seeing a comedy. Reportedly, people ran out of the theater when they discovered it was a horror film because they were frightened.

THE THING (1982)

Directed by John Carpenter

Written by Bill Lancaster

Remake of The Thing From Another World (1951)

Like most of John Carpenter's films, I wasn't introduced to a majority of his work until after I graduated high school. I didn't grow up watching them, or any other kind of horror movie, when I was a kid. My parents believed, as so do I, that children shouldn't be subjected to, or have access to, certain kinds of material at such an early age.

However, this 'golden rule of parenting' wasn't followed in every household when I was a kid, which makes perfect sense now, as I sit back and think about some of the people that I used to worked with, what they claimed that they watched at home, and how peculiar (and I'm being very kind by using this particular adjective) they ended up becoming. Let's just say that it was bad enough getting really frightened watching a specific scene in Superman III, that I can only imagine what I'd be like today if I actually enjoyed these kind of things as a child. But I digress...

The Thing stars Kurt Russell (one of Carpenter's favorite leading men), who plays R.J. MacReady, a helicopter pilot who takes charge of a twelve-man research team when an alien buried in the snow for centuries, soon thaws and wreaks havoc around them. The subtle genius of The Thing comes with the limited cast on screen. Along with the isolation of these men, the freezing temperatures of Antarctica, and the thoughts of having an alien creature imitating one of the few humans around you, works just enough by itself. But combine that with Carpenter's direction, Dean Cundey's camera work, Rob Bottin's special effects make-up, and Ennio Morricone's under-played score, and you have the perfect elements for one of the best sci-fi/horror cinematic experiences of the past three decades.

Not initially one of my favorite John Carpenter films, The Thing slowly grew on me after repeat viewings over the past few years. I now personally rank it as Carpenter's best work, followed closely by Halloween, Big Trouble in Little China, and Escape From New York. Upon its theatrical release, it was received poorly by critics and as a result, failed at the box office. Others note of it's failure at the box office were probably due to the recent release of Steven Spielberg's E.T. the Extra-Terrestrial two weeks earlier, with it's more optimistic scenario of alien invasion, as well as sharing the same release date with Ridley Scott's Blade Runner. Since then, it's become a cult classic, noted for it's ground-breaking visual and special effects make-up, and is currently listed as #165 on IMDb's Top 250 Films.

Interesting Trivia:

There is a character name "Mac" and another named "Windows"; since the film was made in 1982, this is purely coincidental.
There are no female characters in the film. The only female presence in the movie is in the voice of MacReady's chess computer and the contestants seen on the game show that Palmer watches. A scene containing a blow-up doll was filmed and then left on the cutting room floor. According to John Carpenter, only one crew member was female but she was pregnant and this forced her to leave the shoot; she was replaced by a male.

POLTERGEIST (1982)

Directed by Tobe Hooper

Written by Steven Spielberg, Michael Grais, Mark Victor

I honestly can't remember the first time I saw Poltergeist, but I'm pretty sure that it wasn't at my house. Now I don't want to sound repetitive, but these kinds of movies were not allowed to be viewed in my home growing up. And I'm pretty sure that they still don't watch movies like this to this day. Scary, suspenseful, or supernatural movies just wasn't my father's cup of tea. Whether it was because of his Christian faith or just because he had such a kind heart, it really didn't matter to me, so I always respected that.

The origins of this film came from the ever-expansive mind of Steven Spielberg, who seemed to do no wrong throughout this entire decade. With terrors of a tree outside of his window and a fear of clowns that plagued the filmmaker as a child, he eventually adapted his fears along with many more, with this film as the end result. Acting also as producer, Spielberg brought on board veteran horror director Tobe Hooper, who already had success with The Texas Chainsaw Massacre and Salem's Lot.

Although Tobe Hooper is given screen credit as director, several accounts differed from actors while on the set. Hooper apparently had a laid-back directorial style and wasn't very prone to taking charge, so rumors began to spread that the film had been equally directed by both Spielberg and Hooper. However you want to read into this, there is no denying that Spielberg's genius can be seen throughout the film.

The more I've watched it over the years, the more I appreciate the brilliance in its storytelling and the filmmaker's technical prowess. Not being a person who believes in the occult, ghosts, or supernatural phenomenon, this film still strikes a chord in me today as it did the first time I ever saw it: remembering watching television late at night when it ended its broadcast day, living in a neighborhood that looked an awful lot like the one in this film, and to always be aware of what was on the land before they built your house.

Interesting Trivia:

The shot of the chairs that position themselves in the amazing balancing act on the table was all done in one take. As the camera panned along with JoBeth Williams, who was getting some cleaning materials, several crew members quickly set an already organized pyramid of chairs on the table, then took the single chairs away before the camera scrolled back.
JoBeth Williams was hesitant about shooting the swimming pool scene because of the large amount of electrical equipment positioned over and around the pool. In order to comfort her, Steven Spielberg crawled in the pool with her to shoot the scene. Spielberg told her, "Now if a light falls in, we will both fry." The strategy worked and Williams got in the pool.

Favorite Horror Films II: The Sequel

2010-10-26T16:30:00.005-05:00

Since it is the season, at least the season for ghouls, ghosts, and goblin, I felt inspired to share with you a few more of my favorite horror films that didn't make my original list back in 2006. For those who are interested in reading that post, you can find it here.

The reason for this list, to be completely honest is two-fold: I either forgot about it when I wrote my first post or it grew on me immensely after several viewings over the past four years.

In other words, creating this second list gives me a chance to write a little bit while I try to fight off a headache caused by the change in weather system that's currently moving through our part of the state. The films have been placed in order of their release date.

DRACULA (1931)
Directed by Tod Browning
Written by Hamilton Deane, John L. Balderston
Adapted from the Play by Garrett Fort
Based on the Novel by Bram Stoker

Bela Lugosi had starred in dozens of films before landing the lead role in Tod Browning's adaptation of Bram Stoker's Dracula. He even played the title role in the stage play for three years before becoming what would eventually typecast him as the embodiment of pure evil, Count Dracula. Unfortunately, his reputation quickly declined after filming Dracula, accepting practically every role offered, soon parodying the once powerful presence for a paycheck. Lugosi's reputation, however, doesn't derail the fantastically-envisioned Gothic horror classic.

Although the Stoker's novel had been adapted into a film by German director, F.W. Murnau in 1922 entitled Nosferatu, it was sued for plagiarism and copyright infringement by Stoker's widow, who ordered all prints of the film to be destroyed (which obviously didn't happen). A loose adaptation at best, Dracula still embodies the overall theme of Bram Stoker's work. The film works on many levels, but most importantly the atmosphere created from the art direction, sets it apart from other horror films released in the 1930s (Frankenstein excluded). So important were these sets to Universal, that Dracula's Transylvania castle among others stood long after filming was completed, to be used for another decade.

My only reservation with Dracula is partly due to it's direction. Being a prominent silent film director, I feel that Tod Browning struggled with certain elements, relying too much on extended periods of silence and character close-ups, which usually lent itself to Lugosi's stolid acting style, who also was a distinguished silent film actor. Rumor has it that Browning struggled with fully embracing sound films, and eventually directed his last film in 1939.

Interesting Trivia:

A Spanish-language version of Drácula was shot on the same set at night at the same time, using Spanish-speaking actors.
Universal Studios commissioned a new musical score from Philip Glass in 1999, performed by the Kronos Quartet.

Both of these versions of Dracula, along with the new score by Philip Glass, can be found on the 75th Anniversary Edition DVD.

FRAKENSTEIN (1931)
Directed by James Whale
Written by Garrett Fort, Frances Edward Faragoh
Adapted from the Play by Peggy Webling
Based on the Novel by Mary Shelley

Anyone who has read Mary Shelley's Frankenstein would probably notice that there are more differences than there are similarities with the film. The reason for these differences is that the film was adapted from Peggy Webling's play, which in and of itself was a loose adaptation of the novel. And we all know what happens when you make a copy of a copy, don't we? (Insert Multiplicity joke here if you like.)

Released only nine months after Dracula, Frankenstein completed Universal's 1-2 knockout combo, introducing to us the two most iconic silver-screen monsters the world has ever known.

However, the best thing to do with it is to disconnect it from the novel and have it stand alone as a film. As a stand alone film in its own right, Frankenstein lives up to it's grandiose vision put onto screen from director James Whale. Boris Karloff, now recognized as one of the most iconic figures of early horror cinema, got his big break when he was cast as The Monster in Frankenstein. He would reprise his role as The Monster several times over the next two decades along with other iconic roles in films such as The Mummy, Isle of the Dead, and a few Abbott and Costello comedies.

This film also relied heavily on the brilliance of its set direction. But in addition to that, Henry Frankenstein also became the mold and inspiration of many horror films from the 1930s to the 1950s, exploiting the "mad scientist" as a creator of evil. On a directorial standpoint as well as visually, the film surpasses Dracula only due to the auteur filmmaker that was James Whale. From the opening scene, in which the graveyard is framed so beautifully, to the climatic finale with the burning windmill and angry villagers, Whale's imagery has become synonymous with the classic Hollywood horror film.

Interesting Trivia:

Boris Karloff offered to remove his partial bridgework as part of the monster make-up process to create the sunken cheek look.
Bela Lugosi was offered the part of The Monster but refused on the grounds that his character did not speak (though eventually he played the role in Frankenstein Meets The Wolf Man).

PSYCHO (1960)
Directed by Alfred Hitchcock
Written by Joseph Stephano
Based on the Novel by Robert Bloch

Alfred Hitchcock had already established himself as one of the most premiere and sought out directors of the past several decades, with movie stars and studios alike, lining up in hopes to either star in or release his next motion picture. Already creating such classics as Rear Window, Vertigo, and North by Northwest, Hitchcock had also built a reputation as a television producer with his series Alfred Hitchcock Presents. While still under contract with Paramount Pictures for one more film, Psycho was filmed on the Universal back-lot with his television crew. This provided Hitchcock again with complete control over the production, but it also reduced costs considerably by already having a production team in place.

Psycho broke many rules that Hollywood followed back in the late 1950s. The biggest rule was that it was shot in black and white. The reason for this, Hitchcock had stated, was that it would be too gory in color. However, the main reason was that he wanted to make this film as inexpensively as possible (under $1 million). His philosophy was if so many bad black and white "B" movies did so well at the box office, what would happen if a really good black and white movie was made.

Other firsts for this film were: first American film showing a toilet flush; killing off what we assume is the lead actress in the first 30 minutes; using the word "transvestite" and to give the clinical psychological term. The technique and skill of a master storyteller is still visible by Hitchcock's ability to frame every shot, from the brilliance of the pull back on Janet Leigh's eye to the dead body of Marion Crane, to the disorienting shot of Detective Arbogast falling down the stairs. Exact precision and execution from one of Hollywood's elite filmmakers. A true delight... if you're into the whole murder thing.

Interesting Trivia:

The blood that we see in the shower scene was Bosco chocolate syrup.
The last shot of Norman Bates's face has a still frame of a human skull superimposed on it, almost subliminally. The skull is that of Mother.
Shooting the shower scene involved over 70 different camera angles and set-ups, which took roughly 7 days to show a 45 second clip of 78 individual cuts of film.

Like most horror movies and their sequels, stay tuned for the Part III, which should be posted by the end of the week.

A Big Dose of Common Sense

2010-08-25T11:38:00.017-05:00

Love him or hate him, Glenn Beck can always strike a chord with the American people. He wrote this amazing letter to his daughter while she was attending Freshman Orientation. He later shared it at his commencement address at Liberty University. I heard it on the radio yesterday and was floored. I thought it was worth sharing.

My daughter just started her first year in college and as I was flying here today, I didn't feel like I had anything to share with you that you hadn't already learned here. I took out my journal and looked up the things that I wrote to my daughter as she was sitting there listening to one of her professors on her first day as a Freshman. These are the things that I wrote to tell my daughter:

“You are never alone and there is never trouble that is beyond help. Your father loves you and your Heavenly Father loves you. Yesterday is gone. Tomorrow may never come, but as long as we have today, it's never too late. Question with boldness. Read what they tell you not to. Challenge everything. The educated of this time are growing arrogant, and arrogance leads to darkness. Sunlight is the best disinfectant. However, sanitizer is a must, especially in New York City. In New York City, honey, it's best both times just not to touch.

“Look for the exits. They may save your life. Respect others. Know that they are most likely afraid, just like you. In fact, I found more arrogant and forceful they become, the more afraid they are. The worst thing in life you can do is dishonor yourself or your family and then go living a life without setting it right. Marry for love, marry for laughs, but most importantly, as my wife Tania taught me, marry with God. For without God, life's storms are too strong to withstand.

“Wealth and fame are an illusion. We've been rich, we've been poor. We've been happy both times. The only times I've truly been miserable is when I was lying to myself or to others. Alcohol and drugs make life easier for a very short time and then they destroy. There is no experience that is bad. Experience just is. It's what you do with that experience, how you'll use it. Will it shape your life for the better and help you become a stronger person? Or will you allow those experiences to smother and destroy you? Call 911 first and then call your dad.

“Always have a picture on your desk of someone you admire. Don't let life wash over you wave after wave. You're not a rock. Learn from the waves. Learn from the currents. Choose to sail. 'I am that I am' is the most powerful phrase in any language, as it is the name of God. Never use it in vain. Use it to create who you want to be. I am, blank. But know if you don't fill that blank in, someone else will. You can ignore it, but if you do, it will be filled in by others or just life. There will always be many that will try to fill that blank in but only you can fill it in and be happy.

“The Lord lives and He is personal. He loves you, and He's always there to help. But we have to train ourselves to hear it. We have to use our faith and exercise it like a muscle. The more we use faith, the louder He becomes. Serve Him in all things. Stand where He asks you to stand. Stand, for you do have a purpose. Your job is just to remember who you are, remember what you agreed upon. We're meant to be happy. But remember, no pain, no gain. Life is hard and then it gets harder. And then you die. But every single second of life is worth it.

“Always say what you mean and mean what you say. Turn the other cheek and always forgive. But don't forget so much that you put yourself in the same situation. Question authority, including everything that I've just told you. Make these things true because you know them to be true. You have everything you need. You have everything you need to be happy. May you figure that out before I do.

“Freedom, rights, are given to man by God. They are His. Protect them. You are the guardian. Private jet travel is the only material thing that can actually change your life. However, refined manner, gentleness, meekness, kindness, will be the only currency of any true value. Stuff doesn't matter. Forgiveness is divine. The atonement is real. You are worthy. Hell is an eternity of regret, not being able to forgive yourself. Walk a lot and never stop noticing things around you. When you do, change your ways or change your address.

“People are good. They want to do the right thing. Give them the opportunity. Shadows are darkest at noon, and it always gets colder before sunrise. It's never wrong to do the right thing. Learn to love others that you don't know or really don't like. Read the scriptures every day. They are alive, and He speaks to you through them. There are no coincidences in life. Learn, laugh, love. Sleep hard and sleep less. Pray on your knees.

“To whom much is given, much is required. You've been given the world and beyond. Only date those who love you as much as I do. Only date those who will treat you as I have tried. Never want anything too much. You'll always end up paying too high of a price one way or another. If you must shoot, shoot to kill.

“Labels are meaningless. Someone you meet today is afraid or suffering. Find them. Comfort them. Never let the sun go down without saying you're sorry for your wrongs. Your dad misses you. Call him. Call him now. What? Why haven't you called him yet? Life goes by far too fast. Keep a journal. Write what you think; write what you question; write what you know. There is order in all things. Stay in that order. Stay in the flow. You will find very few real friends in life. Cherish them. Things will change and you'll fall in and out of each other's lives, but when you do come back, it will be as if you never left.

“The hardest thing to do is to admit failure, to admit weakness. Only the very strong do. The weak never ask for help. Fasting is prayer. Fasting without prayer is a diet. And why? Why haven't you called your father yet?”

Until Next Time, Dear Readers.

Just in case those concerned with the fact that Glenn Beck is a Mormon, this is not my support of him or his beliefs in Mormonism. Removing that fact, this is still a beautiful letter from a father to his daughter. For reasons why I don't support Mormonism, please read here:

http://www.seafox.com/mormons.html

Thank you.

15 Movies in 15 Minutes

2010-05-06T06:47:00.004-05:00

This was a Facebook post that I wrote last year. Felt it was worthy of lifting and placing here, since it has to do with movies.

Here were the rules: Don't take too long to think about it. Fifteen movies you've seen that will always stick with you. First 15 you can recall in no more than 15 minutes.

These are by no means in any specific order. And you know me; I can’t just name the movie. I usually have to give a reason as to why, which I feel is especially appropriate, considering the origin of the list in the first place. And you'd never guess, but I took longer than 15 minutes.

1. Fight Club – I looked at consumerism and individuality in a completely different light after seeing this movie for the first time. It’s also probably one of the most faithful adaptations from novel to screen I’ve ever seen, in my honest opinion.

2. Requiem for a Dream – The perfect "Don't Do Drugs" PSA Film. I still feel, to this day, that this film should be required watching for all teenagers before they enter high school. Is it shocking? Absolutely, but what better anti-drug/anti-addiction message to give to your children before they enter the real world.

3. The Exorcist – I’ll never forget the movie that shook me to the core. It shook so hard, it rattled my soul and made me appreciate where I stand in my faith. “You believe that there is one God. Good! Even the demons believe that--and shudder.” James 2:19

4. Saving Private Ryan – Only after viewing this film did I truly understand some of what my grandfather’s did to help fight and secure our freedom. Maybe they weren’t directly involved with D-Day, but that doesn’t mean anything less to me. I garnered a new found respect for them after watching this film and still hold strong to that conviction today.

5. JAWS – Sometime between the young and tender ages of 10 and 12, I somehow became infatuated with this movie. I had yet to see it (being too young and my parents wanting to shield me from images that may disturb my innocent mind at that time) and I distinctively remember my dad telling me the narrative of the film, from beginning to end, one day on a drive down to visit my grandpa in Huntington Beach, California. He had also expressed how vividly unsettling the novel was to him and to this day, he will neither watch the film nor read the book again. I, on the other hand, still have a issue with swimming in the ocean (my honeymoon presently excluded). This is one of those movies I can watch at any time.

6. Blade Runner – Don’t always judge a movie by its first viewing. I couldn’t stand this picture the first time I rented it. I thought it was horribly slow and boring as hell. Little did I know that I had not completely matured as a true cinema nerd just yet. Only after a second, then third, and a final fourth viewing did I finally come to discover the true brilliance of this now science fiction classic.

7. The Blair Witch Project – Guerilla internet marketing can really work. They even got me (for a while) to believe that the events that take place in this film were actually real. When in fact it was all just a great big hoax. Thankfully I discovered this before going to the theater. It made me realize that you don’t have to have a huge budget to make a good movie. This movie cost $60,000 to produce and market (although when watching the film, you wonder where the money went--that would be the marking, not the production). It grossed over $140 million over the course of 14 weeks and set the filmmakers, cast and crew up for life (or at least a moderate life) as millionaires with earning percentage points. 1% of the gross earnings yielded the cast a $1.4 million check. Talk about brilliant!

8. Batman – Was I seduced by marketing or did I just talk myself into it? Probably a little bit of both. Batman was an incredible theatrical experience for me; it was dark, moody, funny, action-packed and just plain ol’ weird – everything a growing young teenage boy needs. Yeah, it’s a little dated now, but it still encompasses fond memories, like looking for every piece of merchandise that was Batman-related, and wondering how I could talk my parents into buying it for me (which usually failed about 97% of the time).

9. Willy Wonka and the Chocolate Factory – I would eat my weight in chocolate if it could get me into Wonka’s factory. I love Gene Wilder’s brilliance, the Oompa Loompas morality lesson-filled songs, but most importantly, candy at every turn. I still fantasize every once in a while what it would be like to have snozzberry-flavored wall paper, fizzy lifting drinks, three-course dinner chewing gum or most importantly, an ever-lasting gobstopper.

10. The Big Lebowski – It’s a modern day Raymond Chandler detective story film noir. Its subtle brilliance is hardly detected upon first viewing. It’s rather laced with profanity, and some of the subject matter can be rather questionable, but the Coen Brothers broke the mold when they produced this film.

11. Superman: The Movie – Honestly, what little boy in the late 1970s or early 1980s didn’t have Superman pajamas, Underoos, t-shirts and anything else that their parents could afford? I loved Superman. That movie embodied what it meant to be a superhero. The John Williams theme, to this day, still gives me chills.

12. The Muppet Movie – Nothing quite brings a smile to my face more than watching the Muppets. The film externalized the brilliance of Jim Henson, being able to break free from the limitations on “The Muppet Show” set and produce a grand adventure for all of his fans (from child to adult) to enjoy. I can’t even tell you how often I listened to the soundtrack as a child and I’m sure at one point ended up breaking the cassette tape. "I seem to have lost my sense of direction!" "Have you tried Hare Krishna?" - Best running joke ever in a movie.

13. Back to the Future – I specifically remember my parents going to see this movie first, making sure that the subject matter and its content was suitable for their two children. And thank goodness it was! This was the first movie that caused me to daydream constantly about the endless possibilities if time travel was at all feasible, of course.

14. The Shawshank Redemption – I truly understood the complexities and the triumph of the human spirit the first time I watched this movie. This also had one of the most satisfying movie endings I’ve ever watched. “Forget that... there are places in this world that aren't made out of stone. That there's something inside... that they can't get to, that they can't touch. That's yours.”

15. The Matrix – I wish I could walk into a theater and see this movie for the first time again. I wonder if I would have the same reaction I did ten years ago. It was an amazing concept, with breakthrough visuals that no one had ever seen before, and probably never will again.

My Favorite “Original” Christmas Songs Written Over the Past 40 Years

2009-12-18T15:30:00.021-06:00

Every day for the past few weeks, I've been stuck in an office for eight hours a day, forced to listen to a somewhat limited variety of continuous Christmas music. A 'Soft Rock' station plays Christmas music 24/7 from Thanksgiving all the way through December 25th (Heaven help me if it plays through the New Year!) and it's the only time we can have music playing in our office throughout the whole year. Seems rather hypocritical, but I'm not even going to get started on that!

While trying not to puncture my ear drums throughout the day, it got me thinking about my favorite "original" Christmas songs over the past 40 years. Christmas music, in my honest opinion, can be separated into three catagories: Carols, Traditional, and Pop/Modern; but one can only be subjected to "Rockin' Around the Christmas Tree," "It's the Most Wonderful Time of the Year," "Silent Night," "Little Drummer Boy," and "Winter Wonderland" among many others, before you end up in the psychiatric ward no matter which Christmas song I hear.

Thankfully, there are several songs, that no matter how many times I hear them, I never grow tired of them. And what I have listed below are those songs. These songs are in no particular order of preference.

Celebrate Me Home
By Kenny Loggins

Written by Bob James and Kenny Loggins in 1976, 'Celebrate Me Home' radiates great warmth and a nostalgic feeling every time I hear it. It’s very much in the same vein of ‘I’ll Be Home for Christmas’, with the core message of the song hinging on memories of home “whenever I find myself too all alone, I can sing me home.” It’s conveys the perfect emotional tone of the arrival home and a loving family's embrace.

All I Want for Christmas Is You
By Mariah Carey

Written by Mariah Carey and Walter Afanasieff in 1994, ‘All I Want for Christmas Is You’ perfectly embodies the bubble gum pop of the 1960s while still staying fresh fifteen years later. It’s a great saccharin sweet love long that conveys the message that material gifts come in a distant second compared to spending Christmas with the one you love.

Christmastime
By Michael W. Smith

Written by Joanna Carlson and Michael W. Smith in 1998, 'Christmastime' sounds more like a modern day carol than a pop song. It encompasses the lyrical and melodic beauty of heaven and earth rejoicing the arrival of the Son of God. I could listen to this song a dozen times a day and never grow weary of hearing it. ‘Welcome to Our World’ and the instrumental ‘Hope of Israel’ are two additional Christmas gems, all located on the same album.

Tennessee Christmas
By Amy Grant

Amy Grant and her then husband Gary Chapman wrote this Christmas staple back in 1983. The album was a constant in our Christmas record rotation soon after its release, but only after moving to Tennessee and getting married here did it begin to hold a special place in my heart. Certain outdoor elements of Christmas may be appealing for some, but being surrounded by family and friends back home “is the only Christmas for me.”

Alfie the Christmas Tree/Carol for a Christmas Tree
By John Denver & the Muppets

John Denver & the Muppets released my all-time favorite Christmas album, ‘A Christmas Together’, back in 1979. It blended traditional carols, contemporary favorites, and new material with the crazy and joyful bliss that only Kermit and his pals could successfully deliver. Written by Lee Elwood Holdridge and John Denver, they bring to life a simple, yet charmingly sweet story of Alfie, a Christmas tree who doesn’t want to leave the forest until it realizes that there are children who still don't know the joys Christmas.

A Whole Lotta Thankfulness

2009-11-25T16:37:00.021-06:00

Every year at around this time, I send out a fairly thoughtful and retrospective post that would reflect on the things that have occurred in my life over the past 12 months. This year won’t be any different. However, my goal is that the tone will be a little different; I plan to express my thankfulness for several events that have taken place over the course of 2009… that and the fact that I’m posting it about 30 days early.

The month of January brought my recent tumultuous employment career to a head. My current employer at that time was Circuit City. On November 3, 2008, Circuit City announced the closure of 155 stores and to lay off 17% of its workforce in attempts to regain their footing of their fledgling financial woes. Unfortunately, only seven days later, on November 10, they filed for bankruptcy. Now I don’t know about you, but that's like being told you’re going to have to have your toe amputated in order to stop the spread of gangrene, only to come in a week later for a check-up and your doctor cuts off your entire leg, and then tells you that the test results (which they had had the entire time) stated it had spread throughout the entire appendage. In hindsight, it was completely pointless.

Now I know I’m not the first individual to work through the entire holiday season wondering if I’ll have a job come January 1st. However, I think the hardest part was accepting the fact that our jobs would soon be gone, even though all of our managers kept trying to put on the positive spin that a buy-out was going to happen, saying ”we’ve been in business for far too long for us to just close the doors” or "remember that K-mart filed for bankruptcy and they're still around." With a lengthy background in retail, I should have seen the rats scurrying off of the sinking ship. So when they announced that Circuit City would be liquidating all of their assets and closing their doors in February, it really came as no big surprise to me.

I think the hardest part was trying to put forth the amount of effort to coming in day after day, with a smile on my face. As the days grew closer and closer to February 16th, the more difficult it was. Do you know how hard it is to swallow your pride and attempt to be as courteous as possible to customers who get pissed off at you, I might add, as to why the clearance prices aren’t cheaper than during Christmas? Eventually you let these emotions slide, and sometimes you blow up at the customer, but all you really want, is just five minutes alone with all of the goons up in corporate. Unfortunately, they’d been let go right after the announcement, so there were a few things to be thankful for those last two months.

For some amusing personal anecdotes related to the liquidation, please click here.

When something bad comes your way, like being passed over for promotion, getting laid-off or even fired, the most you can do is make the best of your situation. Only do you discover that as much as you are in control of your own life, you can always see the hand of God gently (or sometimes not so gently) guide you down a different path. My wife always says that when God closes one door, He often opens up a window. I’ve started believing that when God closes a window, He redirects your sights on the doggy door. How you get through it, however, is entirely up to you.

February… March… April… and then May came and went. I rediscovered that I am my own worst boss when that job is searching for employment while unemployed. As grateful as I am for unemployment benefits, all they do is reinforce an apathetic attitude towards finding a job. Hey, if I can’t find anything that’s going to pay more than what I’m pulling down weekly with the State of Tennessee, then why should I even try? Unemployment benefits are a blessing and a curse and I wouldn’t wish them upon my worst enemy. This is the biggest reason why I don't support goverment programs to the likes of Welfare and Food Stamps. A nation of entitlement creates a nation of apathy--and that's not good for anyone. Alright, I'll get off my soap box now.

Then the month of June arrived; and with it, sheer unadulterated panic and desperation. My unemployment benefits were quickly evaporating and if I hadn’t landed some kind of job, even part time, they’d be dry as a bone by mid-July. More and more applications and submissions of resumes went out and by the second week of June I had received three callbacks within 48 hours. (Ironically, 2 of the 3 had nothing to do with the added volume of applications I was sending out.)

One was for a very large retail establishment that wanted to pay me twenty-five cents over minimum wage (with my 12 years retail experience, mind you) slinging boxes and stocking shelves at three o’clock in the morning. The second was for a warehouse supervisor position that called me back almost two months after I had submitted my resume I the first place. The third was from a temp agency that had seen my resume online and wanted me to come in and take some tests for a customer service representative position for a logistics warehouse.

Now I was desperate mind you, and $7.50 an hour, as much as it was an insult to my ego, was better than nothing and that is exactly what was biting out there on my job search fishing line. I went down to the store, signed some documents and waited for my background check to come through. At the very same time, I was trying to acquire employment through the other two job opportunities, because both of them paid more than minimum wage. To make a (what could very well be a) long story short, I politely turned down the retail box-slingin’ job and landed the customer service spot via the temp agency instead. The warehouse supervisor position, even though it was a well-paying job, that required working overnights four days a week and in a freezer, turned out to be a dead end; and although I was brought back for an unexpected impromptu second interview (apparently being one of their four finalists), I wasn’t truly satisfied with how the interview went anyway.

So, after free falling for several months out of the unemployment airplane, I discovered that a parachute was attached to my person and then--YANK! I slowly and tenderly float back down to the earth’s surface. I sighed in relief and I began my first full work week, not realizing how agonizing it is to work until six o’clock in the evening for someone like myself. For close to a decade I’ve continuously worked early morning shifts. When 3:30 PM made itself known every day, I was almost always headed out to my car or already on my way home. I never realized, until now, how two and a half hours can literally drag on into eternity. I’m still not under the umbrella of permanent employment, and it's definately not my dream job, but I haven’t been without a weekly paycheck since June 19th and I’m pretty thankful for that.

At around the same time, I reconnected with a very good friend and that good friend brought with him a short film script that he had recently written. James and I, for the better part of a decade, had long desired to make a movie--or rather, a short film. As you know from previous posts of mine, filmmaking has been a dream of mine since I graduated high school. There was a short stint somewhere in there where I wanted to be an accountant, but that didn’t last very long.

James and I spent the next two months writing and re-writing his very thin 12 page script into a very dialogue-heavy 33 page script. By the end of the day, we were pretty happy with what the final product turned out to be. Now the question was: How in the world are we going to get the money to shoot this? Thankfully, James was the money guy. Not in the sense that he was funding this project, but he knew of individuals who would be able to put up the funds in order for us to shoot this project. Even better.

Thanks to the ever-resourceful Craigslist.org, and the all-consuming filtering process one goes through when trying to find cast and crew for a film shoot, the next two months were spent with cast and potentional crew interviews and auditions—all of this while we were still working our 9 to 5 jobs (or in my case, 9 to 6). When the dust had finally settled during our Pre-production phase, we had acquired a full cast and crew. And while everyone we brought aboard really liked the script and had a passion to make the film, most worked for either peanuts or a deli and fruit tray provided by the local grocery store during our three-day shoot. James and I are forever in their debt for the time and dedication they put forth in trying to make our film the best it could possibly be. I thank James Falcon and his ever-faithful friendship. Thanks for your faith in me, your determination, and your never-ending flow of ideas while giving me the power to veto 95% of them.

Only time will tell, as well as the resourcefulness of our other editor (Andrew Hobbs, you're a lifesaver; thank you for your dedication to this project), whether what we have will be of the likeness of film festival material. This will be a topic that will be address at an undisclosed future date next year. I'll keep you all posted on how our short film, PUNCHBUG, is progressing.

So, suffice it to say, 2009 has been quite the eventful year. It was a rollercoaster, full of life’s ups and downs, but in the end, I wouldn’t trade it for the world. And none of this would have been possible without the unwavering support of my amazing, wonderful and beautiful wife.

Lisa,

Thank you for always being there. I know things haven’t been the easiest this year for us financially or emotionally. We both held on to things a little too long before placing them on the table for open discussion. And I know it was hard for both of us to admit where our faults were and how we could overcome them. But I thank God everyday for putting you in my life and being the wind in my sails, but also my anchor to keep me from drifting out to sea. Thank you for believing in me and helping me accomplish my dreams. None of it would have been possible without you.

And that, dear readers, is how you end on a high note.

Happy Thanksgiving!

October 13, 2007

2009-10-13T15:00:00.004-05:00

It was a beautiful partly cloudy day, with the temperature barely scooting past the 70 degree mark on the thermostat. I awoke several times throughout the night but finally dragged myself out of bed at half past eight, just barely missing the obnoxious alarm clock. I didn’t think I would have a problem waking up, but I wasn’t taking any chances today.

I hopped into the shower, just like my normal routine, except a few hours later in the day than normal. Usually I’m out in less than ten minutes (five if I’m running late) but today I take my time. I tinker with the new gadget that I’ve recently installed: a fog-free mirror that attaches to the shower head. I adjust the lever and water flows through the mirror, keeping it at the same temperature as the shower. Low and behold… no fogging!

I slowly emerge from the shower thirty minutes later, slightly pruned yet refreshed for the day ahead of me. After throwing on some shorts and a t-shirt, I walk into the guest room and grab a hold of Ryan's foot that's sticking out from under his blanket. Then, just like my dad did to me a thousands times, I gently shake it, pulling him out from his quiet slumber.

After a few minutes, Ryan jumps in the shower as I sit down in the living room and go over my “honey do” list that needs to be taken care of before heading out to the reception cite and then the church. As I looked over the list, I hoped that I would receive a text message in time from my soon-to-be wife, so we wouldn't need to go through with the U-haul rental for storage of the tables and chairs once the festivities were over for the evening. No such luck just yet.

As Ryan flopped onto the chair next to me, I expressed to him that I really didn't have much of an appetite but I knew I needed to eat something. I really didn't know where I was going to go for breakfast, but there wasn't much in the alternative compared to the heavy and greasy southern-fried restaurants. However, after a few moments, I came to the conclusion of Donut Country (a must for any donut connoisseur well past the newness and “not really that special“ Krispy Kreme). Nothing too heavy there, unless you considered eating your weight in glazed and jelly-filled donuts.

We were off to Donut Country shortly after my revelation, sinking our teeth into the best apple fritter this side of the Mississippi. Even the apple fritter had a hard time seducing me with its perfectly glazed crunchy exterior and soft and doughy apple-filled interior. I couldn't finish it. However, the upcoming events outweighed the delicious donut, so I tossed the remaining carcass in the garbage and headed out to run some errands.

As I stopped by the bank to make a withdrawal, I receive a text message that a U-haul truck will not be needed. I practically shout for joy, quickly headed to the rental office to cancel our reservation. Walking into the office, I see a line of at least a dozen people, all waiting to get their truck on a Saturday morning around nine thirty in the morning. I didn't have another hour to waste, so I opted for the less painful route: calling them from home to cancel the reservation.

Ryan and I took our time relaxing around the house until it was time adorn our penguin suits and head up to the church. We picked up the two cakes and ever-so-gently placed them in the back the SUV we borrowed from Lisa's uncle and darted off to our last detour -- Cedars of Lebanon National Park. Trying to avoiding visual contact from of my bride-to-be, we passed each other on the road and dropped off the cakes and a dozen cases of bottled water. As I drove off, I couldn't wait to go back there, knowing that all the pressure would soon melt away coming back to where our reception was being held.

Time started to quickly blur past me soon after I arrived at the church. Ryan and I paced every square inch of the establishment before being summoned to the sactuary for pictures. After several family photos, I waited patiently as Lisa entered into my sights. She was the most stunning and beautiful woman I had ever known and she was now walking down the aisle towards me. It was hard to hold back the tears. Pictures were snapped, and we were rushed out of the sactuary in order to start ushering in our guests waiting outside.

Once the butterflies had passed, I suddenly had gained the will to eat again and found myself down in the church kitchen, with my bride, cramming a couple of ham sandwiches into my face. Thankfully, no mustard was spilled and I was eventually escorted to a hallway behind the sactuary; waiting to be given the signal to enter. I waited patiently, for what seemed like an eternity. I was told several stories by our minister as we waited; one involving a very nervous groom who at the very last moment, proceded to decorate Fred's dress robs with his recently consumed lunch. I nervously swallowed and then entered the sactuary.

Now as far as I can recall, and as well as you can read, I had no problem remembering everything that lead up to the cerimony. In fact, I remember most of what happened afterwards. The problem I have, and I know I'm not the only one, is that I can't really remember the cerimony. There are FLASHES, but that's it. FLASH: Lisa walking down the aisle. FLASH: We light our candle. FLASH: I place the ring on her finger. FLASH: We kiss. FLASH: "I would like to present to you for the first time, Mr. and Mrs. Nathan and Lisa Eddy."

I remember wanting to get to the reception more than anything in the world. However, before we could get there, I had to make a Coke run for my wife at a gas station en route. And there are pictures to prove it, when half of people attending your wedding are following like a caravan right behind you.

The rest of the evening was a little less of a blur as we went from table-to-table-to-table chatting and catching up. I could almost recall what the food had tasted like, if I hadn't eaten it so quickly. I hadn't been that hungry in the first place, so it wasn't that much of a loss. Once we got to the toasts, I was ready to crash. Giving a best man speech isn't easy. Trust me, I know from personal experience. Ryan succeeded in many ways... and then he told everyone there that we had met on eHarmony - in which I responded sarcastically with, "we're shooting the commerical next week!"

After Ryan came Tanya, who proceeded to give her speech over the course of the next ten minutes. Our photographer, who will be remain nameless, and who couldn't seem to take much of anything of value, snapped away while she babbled on and on. Ryan refilled his drink at least twice during her speech, parched from being so nervous only moments before.

The evening winded down as my friends floated the keg. I held Lisa close as we danced to our song, probably putting my hands in inappropriate places -- but I didn't care. The remainder of the night was spent on the dance floor dancing in groups to songs we all loved. We laughed, we cheered and we cut-up with each other until it was time to go.

As we said our goodbyes, hugs and kisses were given around the room. As I watched our family and friends break down the tables and chairs, we strolled out to the car. I'm not sure how many people actually witnessed us leaving. It didn't matter. All we wanted to do was get to the hotel room and crash.

After ordering room service, which arrived to our room cold, all we really wanted to do was sleep. We had a long day ahead of us: cleaning laundry and packing and two sit-down meals with both sides of the family. I laid my head down on the pill and thought: "I'm going to wake up happy and to the most beautiful woman for the rest of my life and can't imagine anything better."

Top 20 Soundtrack Moments

2009-07-12T06:37:00.071-05:00

You know when you're listening to the radio, or watching television and a song starts to play and that song instantly makes you think of a specific movie?

Well, I've created a list of my Top 20 most memorable soundtrack moments. This list is dedicated to the songs, that when heard, instantly pop an image into my brain of a specific movie. Additionally, my only intention was to mention songs that had already been recorded, before they were placed in the movie (and on the accompanying Original Motion Picture Soundtrack). Outside of number 20, I believe I achieved that goal.

--#20--
THE SONG: "King of Wishful Thinking"
THE FILM: Pretty Woman (1990)
THE ARTIST: Go West
Directed by Gary Marshall

SCENE DESCRIPTION: Opening Credits - Edward (Richard Gere) gets lost driving his friend's Lotus Esprit through Hollywood and runs into Vivian (Julia Roberts), a prostitute. (I know, I know... you're thinking "this doesn't fit his profile about being a film snob", but honestly, I really like this movie.)

Click here to hear the song... and watch the horribly dated music video.

--#19--
THE SONG: "It's Your Thing"
THE FILM: Out of Sight (1998)
THE ARTIST: The Isley Brothers
Directed by Steven Soderbergh

SCENE DESCRIPTION: Opening/Closing Credits - The song bookends the film, perfectly reflecting the spirit and attitude of the main protagonist, Jack Foley (George Clooney).

Click here to hear the song.

--#18--
THE SONG: "Uptight (Everything's Alright)"
THE FILM: Mr. Holland's Opus (1995)
THE ARTIST: Stevie Wonder
Directed by Stephen Herek

SCENE DESCRIPTION: Glen Holland (Richard Dreyfuss) attempts to teach one of his students (then unknown Terrance Howard) how to keep rhythm.

Click here to hear the song.

--#17--
THE SONG: "This Must Be The Place (Naive Melody)"
THE FILM: Wall Street (1987)
THE ARTIST: Talking Heads
Directed by Oliver Stone

SCENE DESCRIPTION: End Credits (It's such and odd little number, but for some reason the song just stuck with me after all of these years.)

Click here to hear the song... and watch the Talking Heads live in concert.

--#16--
THE SONG: "Lust For Life"
THE FILM: Trainspotting (1996)
THE ARTIST: Iggy Pop
Directed by Danny Boyle

SCENE DESCRIPTION: Opening Scene - Renton (Ewan McGregor) and Spud being chased down the street by the police. (A brilliant introduction of the four main characters.)

Click here to see the opening scene.

--#15--
THE SONG: "Sister Christian"
THE FILM: Boogie Nights (1997)
THE ARTIST: Night Ranger
Directed by Paul Thomas Anderson

SCENE DESCRIPTION: Dirk Diggler (Mark Walberg) sits with his buddies through a very nerve-racking drug deal, while Rahad (Alfred Molina) talks about how he makes his own mixed tapes and a young Asian male randomly sets off firecrackers. (It's one of the most silly-yet-tense scenes I've ever witnessed on film.)

Click here to hear the song... and watch the horribly dated music video.

--#14--
THE SONG: "Your Nobody Till Somebody Loves You"
THE FILM: Swingers (1996)
THE ARTIST: Dean Martin
Directed by Doug Liman

SCENE DESCRIPTION: Opening Credits - Montage of still photographs of people enjoying the nightlife in Los Angeles. (This was the only song that I couldn't find on youtube.com as the right version played in the film.)

--#13--
THE SONG: "Where Is My Mind?"
THE FILM: Fight Club (1999)
THE ARTIST: The Pixies
Directed by David Fincher

SCENE DESCRIPTION: Final Scene/Ending Credits - As Tyler Durden expresses to Marla that she's met him during a "very strange time in my life," buildings off in the distance detonate one-by-one.

Click here to hear the song.

--#12--
THE SONG: "Fortunate Son"
THE FILM: Forrest Gump (1994)
THE ARTIST: Creedence Clearwater Revival
Directed by Robert Zemeckis

SCENE DESCRIPTION: Forrest Gump (Tom Hanks) and Bubba are dropped somewhere in the middle of South Vietnam by a UH-1 Huey helicopter. (The 32 song double-disc soundtrack is just fantastic.)

Click here to hear the song... and watch some disturbing videos of H-bomb detonations.

--#11--
THE SONG: "Blinded By The Light"
THE FILM: Blow (2001)
THE ARTIST: Manfred Mann's Earth Band
Directed by Ted Demme

SCENE DESCRIPTION: After sealing the deal with Pablo Escobar, a photo slideshow flashes across the screen of George Jung (Johnny Depp) and the thousands upon thousands of drug deals that take place afterwards. (I honestly can't go more than a week to ten days before I end up hearing this on the radio.)

Click here to view the scene.

--#10--
THE SONG: "Six Blade Knife"
THE FILM: Desperado (1995)
THE ARTIST: Dire Straits
Directed by Robert Rodriguez

SCENE DESCRIPTION: Opening Scene - Steve Buscemi enters a bar, drinks "piss warm" beer and proceeds to tell the the bartender, along with all the patrons about the mysterious Mariachi. (This mostly unknown Dire Straits song sets the mood perfectly for this scene.)

Click here to view the scene. -NSFW

--#9--
THE SONG: "In Your Eyes"
THE FILM: Say Anything... (1989)
THE ARTIST: Peter Gabriel
Directed by Cameron Crowe

SCENE DESCRIPTION: "In Your Eyes" plays on the radio after Lloyd (John Cusack) and Diane have sex in the back of his car; Lloyd plays this song again, standing outside of Diane's house, holding a boom box over his head, trying to change her mind about their relationship.

Click here to hear the song... and watch the vintage "80s" video.

--#8--
THE SONG: "I'm Shipping Up To Boston"
THE FILM: The Departed (2006)
THE ARTIST: Dropkick Murphys
Directed by Martin Scorsese

SCENE DESCRIPTION: This song over-powers your senses as we watch Billy Costigan (Leonardo DiCaprio) transform into an undercover Massachusetts State Police Officer while in a state prison. (After I heard this song I had to go out and buy the Dropkick Murphys CD that had this song... and I then proceded to play it about a dozen times on my way home from work.)

Click here to hear the song.

--#7--
THE SONG: "Oh Yeah"
THE FILM: Ferris Bueller's Day Off (1986)
THE ARTIST: Yello
Directed by John Hughes

SCENE DESCRIPTION: End Credits - Principal Rooney gets a ride back to his office on a crowded school bus, after his unsuccessful attempt at catching Ferris Beuller all day. (Honestly, who doesn't think of this film when they hear this song?)

Click here to hear the song... and see the rather twisted music video.

--#6--
THE SONG: "Tiny Dancer"
THE FILM: Almost Famous (2000)
THE ARTIST: Elton John
Directed by Cameron Crowe

SCENE DESCRIPTION: After a tumultuous night, band members from Stillwater, along with their traveling companions, sing along to Elton John's "Tiny Dancer" while riding on the bus en route to their next destination.

Click here to watch the scene.

--#5--
THE SONG: "Bohemian Rhapsody"
THE FILM: Wayne's World (1992)
THE ARTIST: Queen
Directed by Penelope Spheeris

SCENE DESCRIPTION: Wayne (Mike Meyers) and Garth (Dana Carvey) head-bang to this Queen tune while driving with some of their buddies in the back seat of Garth's AMC Pacer. (One of my favorite rock songs of all time.)

Click here to view the scene.

--#4--
THE SONG: "Jungle Boogie"
THE FILM: Pulp Fiction (1994)
THE ARTIST: Kool & the Gang

SCENE DESCRIPTION: Opening Credits which lead into the second scene - "Jungle Boogie" oozes from the car radio as Vincent (John Travolta) discuss with Jules (Samuel L. Jackson)legalities the of marijuana in Amsterdam, frequenting a McDonald's while there, and the metric system. (This was a hard choice to make, since every song on this soundtrack makes me think of this film.)

Click here to hear the song... and watch Kool & the Gang's performance on Soul Train.

--#3--
THE SONG: "Just Dropped In (To See What Condition My Condition Was In)"
THE FILM: The Big Lebowski (1998)
THE ARTIST: Kenny Rogers & the First Edition
Directed by Joel Coen

SCENE DESCRIPTION: The Dude (Jeff Bridges), after being drugged, succumbs to quite an elaborate dream sequence, where he's starring in his own porno entitled "Gutterballs." (The perfect blend of 1920s spectacle, neo-noir and bowling.)

Click here to view the scene.

--#2--
THE SONG: "Stuck In the Middle With You"
THE FILM: Reservoir Dogs (1992)
THE ARTIST: Stealers Wheel
Directed by Quentin Tarantino

SCENE DESCRIPTION: The sadistic Mr. Blonde (Michael Madsen) tortures a captured police officer while dancing a little jig. He then proceeds to cuts off his ear with a straight razor. (This scene haunted me for quite some time. Now I really enjoy the brilliance of Tarantino's direction.)

Click here to view the scene. -NSFW

--#1--
THE SONG: "Layla"
THE FILM: Goodfellas (1990)
THE ARTIST: Derek and the Dominos
Directed by Martin Scorsese

SCENE DESCRIPTION: The bodies start to pile up when Jimmy (Robert De Niro) doesn't want to share any the money from the Lufthansa robbery with gangsters who help him do the job. (You almost forget that there's two parts to Clapton's masterpiece; it's almost as if they're two completely different songs.)

Click here to view the scene (approx. 2:40 in). -NSFW

Please feel free to reply and post your favorites as well... or if you think that I might have forgotten one.

MJV - A Life in Videos

2009-07-02T21:41:00.027-05:00

Since Michael's passing, I've come across several sites that are listing his best music videos. For those reading this that grew up watching MTV when they actually played music videos for more than 45 minutes a day, then you'll understand the importance of them and how they revolutionized the music industry.

With that being said, Michael Jackson's videos were about 12 levels above almost anyone elses, since a majority of them were mini-movies, or better stated, short films. MTV wasn't really tolerated in my house (and for a very good reason). But that didn't mean I wouldn't watch it when my parents weren't around.

Whenever Michael Jackson premiered a new music video, the broadcast always became a major event. In the 1980s, the world stopped what they were doing, gathered around the television, and waited to see what wonderful sights and sounds Michael was going to present to them.

So, in honor of the "King of Pop" passing, I'm going to share with you my favorite Michael Jackson music videos.

One additional note before I proceed: I have only selected a few to show you. The reasoning behind this is that as much as I am a fan of his early material, some of his videos, as spectacular as they may be, felt too corny upon revisiting them.

Smooth Criminal was Michael Jackson's seventh single release from his album Bad (1987). It was watching this video that I realized how brilliant a physical performer Michael Jackson could be. Everyone was amazed when they first saw him "moonwalk" on stage for the first time, but this video transended his physical abilities way beyond what I could comprehend. This was, however, where I first started to notice the the downward slide in quality performances by Michael (screaming while firing a tommy gun, for example), as well as any other big celebrity name they got to star along side him.

Bad was Michael Jackson's first single release from his 1987 album of the same name. An 18 minute short film written by Richard Price (Clockers) and directed by Martin Scorsese (Goodfellas) that stars Michael portraying a androgynous-looking (which was kind of a new image for him, and something that he unfortunately never got away from after this video) high school-aged kid returning home to the projects after completing a semester at a private school. He comes to discover that his old "gang" of friends have turned to a life of crime. Almost every Michael Jackson video features an entire section dedicated to his dance choreography, and this one isn't any different. It's too bad Scorsese wasn't as good with the whole music part of the music video, since it's really difficult to see Michael Jackson as anything but bad.

Michael Jackson MTV Music

Billie Jean was the second single released off of Jackson's 1982 Thriller album. Considered by many as the video that brought MTV, an unknown music channel, into mainstream attention. It was also the first video by a black artist to be aired by the channel, as they felt that most "black music" wasn't "rock" enough. It's probably one of Jackson's shortest music videos, where he didn't get the taste of lengthy musical celluloid until the release of his single, Thriller, at the end of 1983. What fascinated me most about this video was how they illuminated almost everything that came into contact with Michael, especially the concrete beneath his feet. Simple by today's standards, but still rather effective.

Thriller was the sixth single release off of Jackson's 1982 album release of the same name. A true masterpeice in it's own right and considered by many as the greatest music video ever made. Directed by John Landis, Thriller follows Michael and his date, Ola Ray, at the movie theater. His date isn't thrilled at all with the horror movie their watching, so she storms out. As Michael chases her down, and begins to tease her with the opening verses of the song. I don't really remember catching the "World Premiere" of this video, but I sure do remember seeing it dozens upon dozens of times as it played on MTV endlessly, eventually being reduced to under a running time of 5 minutes.

Michael Jackson MTV Music

In closing, I've selected the words of one of my close personal friends who said it best:

"Michael Jackson, no matter your feelings on the mans private life and legal troubles, was an amazing man. His music, charity and presence touched millions and millions of people all over the world. He adored children, which in case caused some of the trouble he ran into. He felt the pain and did millions of things to end suffering and starvation of people and children all over this world. From his appearance and the first time he did the moonwalk on stage to his last appearance and plans for a new tour, the man defined the Motown experience and defined pop music."

Flea Market Photo Safari

2009-05-27T11:46:00.027-05:00

My apologies for not staying updated on my current review series. I've recently tripped over a rather large writer's block that had been sitting right in the middle of the living room, so I'm tending to my wounds as we speak.

My wife coined the phrase of this blog title when she shared some of the same pictures on her FaceBook page. Lisa, Christina (my sister for those of you who are not aware) and I went to the Nashville Flea Market that takes place once a month at the Tennessee State Fair Grounds.

We brought our camera along with twenty bucks to see exactly what we could find. Outside of obtaining a cheap, "Made in China" camo bucket hat, a DVD that I had been searching years for, and some tube socks, the three-hour-trek produced several pictures that I wish to share with you.

Today's flea market is brought to you by the letter "A." (Photo by Lisa)

(Photo by The Dude)

(Photo by The Dude)

(Photo by The Dude)

(Photo by Lisa)

(Photo by The Dude)

(Photo by Lisa)

(Photo by The Dude)

(Photo by Lisa)

(Photo by Lisa)

(Photo by The Dude)

My original intentions were to comment on each photograph, but then decided to let them speak for themselves. Hope you all enjoyed them as much as we did taking them.

First Sign of the Apocalypse

2009-03-04T08:42:00.007-06:00

George Lucas green lit the DVD release of his failed masterpiece, Howard the Duck on DVD March 10, 2009.

What's next, the 1978 "Star Wars Holiday Special"?

Here's a collection of clips from the vomit-inducing television special:

If this ever gets released, you know we're all in seriously deep doo-doo, right?

Friday Fiction: Note

2009-02-27T16:49:00.004-06:00

A character discovers a note in an antique book. What does the note say?

Grant Shepherd stood idle as his eyes scanned the bookshelf. The store had labeled the section where he browsed, "Slightly Used." As his fingers gently brushed the spines of several quite tattered novels, Grant suddenly came across a title that caught his attention, "The Count of Monte Cristo" by Alexander Dumas.

As he carefully pulled the book from the third shelf down, a small yellow piece of paper softly fell to the floor. Rather than examining the book further, Grant placed the well-worn volume back upon the shelf and squatted down to retrieve the slip of paper.

The piece of paper, which had turned yellowed due to age, was folded in half. Inside the note, written with a thick felt-tip pen was "This isn't the book you're looking for."

Grant, suddenly overwhelmed with fear and paranoia, promptly put the note back into the novel, placing it right where it sat before he had moved it. Grant quickly made his way to the front of the store, exiting out onto the busy street.

5 Reasons Why The Liquidation Didn't Suck

2009-02-20T11:03:00.000-06:00

#5 - MAKING YOUR OWN SCHEDULE / DRESS CODE

When the final weeks had arrived, several supervisors had been stripped of their title, their register and time card overriding abilities and had their keys taken away. Most of them, along with every other associate, decided that they didn't care what they wore, as long as they still wore their Circuit City shirt. For at least one former supervisor, he came in everyday in jeans, tennis shoes and a ball cap. He was so fed up with everything that by the time the last day came, he walked in, realized that he couldn't take it anymore, shook my hand and walked out.

#4 - FRUIT LOOP

Three days before close, an irate customer came in claiming that he had spoken to our corporate offices and said he was allowed to return his Circuit City Advantage Plan (extended warranty). Our store director was brought in, who then quickly shouted, "This is private property, sir and I want you to GET THE HELL OUT OF MY STORE!" and then proceeded to escort him to the door. He said he wasn't going to leave, but was going to stand right outside the store and call our corporate offices again.

A few minutes later my store director contacted me on our two-way radios and asked, "Nathan, has that fruit loop left yet? Cause I've printed out all the documentation about our return policies during liquidation." I jokingly replied, "Yeah, he left. Once he got off the phone, he came in and asked which car he could key and I pointed him in the direction of yours." We all had a nice laugh.

#3 - READING WHILE WORKING

Getting stuck up at the receipt-stamping table stunk if you were there most of your shift. The days began to drag horribly because you had nothing to do but answer the most retarded and mundane questions from every customer that walked into the store. What was worse than all of it, was having apathetic sales employees who were standing at my table who weren't willing to assist the continual flood of customers who kept asking for help out on the sales floor. Once I had to endure one 8 hour shift, I decided to bring in my book and read it in between stamping receipts. It probably cut down on the stupid questions by a good 20% and I finished my book with two days to spare.

#2 - CUSTOMERS CALL THE POLICE

Three days before closing, a couple came in and purchased a $330 monitor for approximately $50. It was an open item, possibly a display. They returned to the store soon after the purchase, as they had discovered it wasn't working. They paraded up and down the entire store, trying to get someone "in charge" to process a return for them. When they discovered that little stunt wouldn't work, they tried another one: calling the police.

When the police arrived, the customers accosted the poor officer, who had to stand there and listen to them bitch for what seemed like 15 minutes. They tried to convince the officer that they had been a victim of "theft by deception." The officer politely, but blatantly, pointed to the sign outside and said, "Look. Right there. The sign reads 'GOING OUT OF BUSINESS SALE.' There are signs posted throughout the store, as well as stamped on your receipt, 'ALL SALES FINAL. NO RETURNS.' What part of that do you not understand?"

#1 – THE BEST LUNCH BREAK EVER

As the days wore on, it became increasingly difficult to find things to do if you weren't scheduled in the morning. If you weren't assigned to either a register (which was hard enough to get customer service to stay put), or stuck at the receipt-stamping table, you either got stuck walking the sales floor "assisting customers," hiding in the back while surfing on the Internet, or most associates ended up standing around the receipt-stamping table bulls***ing with everyone else.

Not wanting to waste the entire day doing nothing while getting paid (I know it sounds like a dream job, but knowing what the end result will be, it got to you after a while if you're generally a productive person), so I decided to do what any other bright-minded individual would do with an afternoon to spare: Go to the movies!

At approximately 12:40 pm, I left the store, swung by Wendy's and wolfed down three burgers, on the way to the multiplex. As I sat in the darkened theater waiting for The Wrestler to start, I was half expecting to get at least one phone call or text message from a manager asking me where I was. Thankfully that never happened. What was even more amusing was that the film started 10 minutes late and had at least 20+ minutes of trailers before the feature even started. I didn't stroll back into the store until a quarter past three. Not one question was asked to where I had been. It was like I had never left in the first place.

Honorable Mentions: Telling customers that we couldn't return their product, which for some reason, they couldn't seem to comprehend; Stashing product in the warehouse until the sales dropped to 70% off; Playing Liquidation BINGO.

Top 15 Albums

2009-02-17T14:15:00.002-06:00

I was recently challenged to name my Top 15 Albums of all time. Something like this is much harder for me to put into place than films. The reasoning behind it is that there are certain albums that are so personal that it's hard to even describe how they've affectived your life emotionally. Also, it's pretty hard for me just to give a list without some kind of explanation or personal insight for each one.

So, without further adu, my Top 15 Albums:

1. Ten : Pearl Jam

The quintessential album of the 1990s. I can't even remember the first time I heard this album, but it soon embodied what everything was about high school and how this specific genre of music, known as grunge, seemed to speak to my generation. Pearl Jam has yet to ever trap lightening in a bottle again as they did with this recording, although their sophmore follow-up, Vs. was pretty close.

2. OK Computer : Radiohead

I didn't really care for Radiohead when they first hit the music scene with their single "Creep." It wasn't until about three years after this album released that I was re-introduced to them by my new co-worker and friend Dave Nelson. I bought the CD, popped it into my deck as I drove home and didn't really care for it. But then something happened. I kept listening to it over and over again. Before I knew it, I had to force myself to listen to something else. This was, in my honest opinion, the perfect example of Alternative Rock.

3. In Loving Memory Of... : Big Wreck

Sometimes the best finds are the ones you get for free. My friend Brandon gave me a copy of this CD when I was working with him several years ago. He told me it was one of the best produced albums he had heard recently (like I really knew or understood what that meant at the time). Since it's introduction to my collection (with a legitimate copy, I might add), I still find the album thoroughly refreshing. Too bad the Canadian band didn't get much air play down here in the states before they broke up.

4. Achtung Baby : U2

This was, if memory serves me correctly, the first Compact Disc I ever bought. It was when they were still packaging them in the long cardboard covers used as some kind of theft deterrent. U2 seemed to be one of only a few music artists of their time that were capable of reinventing themselves, and they did just that with album. It was such a diversion from what they had done in the past, it was nothing that I had ever heard before. I was taken by it almost immediately.

5. Train of Thought : Dream Theater

Dream Theater was another band that took some time before I actually enjoyed listening to them. I recognized their talent almost immediately, but wasn't familiar nor comfortable with their style just yet. It took several years and many re-visits to certain CDs to appreciate them. This album, however, spoke to me immediately and I feel it is their most accomplished set.

6. Crash : Dave Matthews Band

I was never on the inside track when indie and college campus artists were starting to hit the scene. I knew a few friends who enjoyed Dave Matthews Band who loved them before they were all over mainstream radio. However, once they broke through, I couldn't get enough and this, to me, is their best recording, while Under the Table and Dreaming is a close second. I also gained a new admiration of this album when I started dating my wife.

7. The Bends : Radiohead

I purchased this album along with OK Computer. Both albums had the same affect upon their first playing. I didn't like it. But it eventually grew on me and now I can't imagine ever being without this CD in my collection. Either Radiohead was ahead of it's time musically or it took some time before I matured in my musical appreciation.

8. American Idiot : Green Day

Political themes aside, I was blown away the first time I listened to this album from beginning to end. I had been a Green Day fan for close to a decade when they release this back in 2004. It made me realize how much Billie Joe Armstrong had matured as lyricist as well as a musician. While most believe that Dookie is their unsung masterpiece, I will always point to this album first.

9. The Dark Side Of The Moon : Pink Floyd

My best friend Ryan started listening to Pink Floyd soon after high school, but I wasn't having any part of it. It wouldn't be until much later that I learned to appreciate the brilliance of David Gilmour and Roger Waters. I still have a hard time connecting with anything involving Syd Barrett. I am sorry to admit, however, that I have yet to play this album simultaneously while watching The Wizard Of Oz.

10. Abby Road : The Beatles

My good buddy Travis turned me on to listening to The Beatles, and while I greatly enjoyed the brilliance of Sgt. Pepper's Lonely Hearts Club Band, I really connected with Abby Road. Each song plays like a mini masterpiece, showing how much depth and range each member had and what they brought to the table contributed to the uniqueness of each track.

11. Third Eye Blind : Third Eye Blind

I almost gave this CD away upon it's first listening to a co-worker. Fortunately for me, I never got around to bringing it in to work and it eventually found it's way back into my CD player a few years later. I was never an angst-ridden teen, but if I had been at that time, this album would have spoken to me in so many ways. Instead I just appreciated the way Stephan Jenkins could take themes like teen suicide made them so personal without sounding heavy-handed.

12. Rage Against The Machine : Rage Against The Machine

When I was driving to work back in 1992, "Killing In The Name" played on the radio and suddenly rock music never sounded the same again. This was the first CD I had ever purchased that had the "Parental Advisory" sticker on the front (this was also before they forced retailers to check IDs). As if the album cover wasn't shocking enough (click here if I've peaked your interest) the pure and unfiltered rawness of Tom Morello's guitar mixed with Zack de la Rocha's vocals was something I had never heard before. It changed how I looked at life and my country (to a degree). The album isn't vulgar, but be aware of the "Explicit Content" as Zack drops the f-bomb throughout the entire album, except for the last track, which is rather odd.

13. Empire : Queensrÿche

I think I wore the tape out on this album, only skipping past the overplayed "Silent Lucidity" that plagued MTV in 1990 (when MTV used to play music videos). Queensrÿche had the ability to walk the the thin line between rock and heavy metal, making Empire very accessible to the general public without bashing your head into the wall. They also seemed like the first "hair metal band" that had a leader singer who actually had a decent voice and knew how to use it.

14. The Joshua Tree : U2

I was familiar with U2 for several years. My sister had followed them throughout most of the 1980s, but I never really dug into their back catalog until after graduating high school and came across this gem. Everyone had said it was a fantastic album, probably their best, but as much as I enjoyed the singles from that record, I never learned to appreciate it until much later.

15. Mer de Noms : A Perfect Circle

What do you get when you remove the wierd tendancies from Tool, but keep the haunting vocals of Maynard James Keenan and add their former guitar tech into the mix? A Perfect Circle. When I first heard the single "Judith" on the radio, I was wondering when the new Tool CD was going to be released. Maynard's voice is unmistakable, but the sound was rather different. Once I discovered the album, I couldn't stop playing it. It's production value was so clean and crisp without the strange eight-minute sound effect tracks that usually came with most Tool releases.