Film School Confessional

Five Great Movies to Watch for Thanksgiving

2012-10-30T11:26:00.001-04:00

Christmas isn’t the only holiday that gets love from Hollywood. Though there are a lot of movies set at or around Christmastime, what many people may not realize is that there are just as many great movies set around Thanksgiving as well. Beyond sitting down with the family for a nice turkey dinner this year, consider popping in one of the following classics to really let you enjoy the holiday with a little extra help from people like Steve Martin, John Candy and acclaimed directors Terrence Malick and Woody Allen.

Planes, Trains and Automobiles

“Planes, Trains and Automobiles” stars Steve Martin and John Candy as two very different guys trying desperately to make it home for Thanksgiving. This comedy classic is a staple of cable television around November and December, and with good reason. Between Steve Martin’s deadpan comedic timing and John Candy’s broad sensibility, this is one holiday classic that you need to have in your collection.

The New World

“The New World” is director Terrence Malick’s take on the founding of Jamestown, Virginia and the historical legends of John Smith and Pocahontas. If you want to bring a little history into your home with your Thanksgiving dinner, “The New World” is one of the best ways to do just that. The film stars Colin Farrell, Christopher Plummer, Christian Bale and Q’orianka Kilcher.

Hannah and Her Sisters

“Hannah and Her Sisters” is Woody Allen’s third greatest film that happens to be set at Thanksgiving. It tells the story of very different people over an entire year and is as heartwarming and dramatic as it is downright hilarious. Highlights include Woody Allen as a hypochondriac who learns that his greatest fears may have come true, and a bravado performance by Michael Caine in what is still one of his finest roles.

Funny People

“Funny People” tells the story of comedy legend George Simmons as he mentors up and coming standup comedian Ira through the trials and tribulations of his own career. George learns that he has a very serious form of cancer and starts to take another look at the decisions he’s made in his life. Perhaps the most poignant scene in the film takes place at Thanksgiving dinner where George recounts experiences from his youth and tells everyone that “these are the times you’ll always remember.”

Dutch

Before he was Al Bundy, Ed O’Neill was the titular character in the Thanksgiving comedy “Dutch.” Dutch is tasked with getting a young boy from his private school to his home for Thanksgiving, which requires long hours in a car with two people who couldn’t be more different and absolutely can’t stand each other. In the pantheon of road trip comedies, “Dutch” is definitely near the top.

Comic Books That Even People Who Aren't Fans Can Enjoy

2012-08-24T16:12:00.001-04:00

The comic book medium has had to fight the perception that it is “just for kids” for much of its existence. Since the 1930s, people have commonly associated comic books with colorful superheroes and fun stories that don’t really mean anything. This perception couldn’t be farther from the truth. Even if you’re the type of person who can’t stand superheroes and doesn’t like some of the more science fiction related elements present in many comics, there are still a number of stories that you can enjoy.

Maus

“Maus” is a retelling of the Holocaust in comic book format. It was written and illustrated by Art Spiegelman and is based on interviews conducted with his own father who was a Holocaust survivor. In the book, Jewish citizens are depicted as mice. Germans are portrayed as cats and the Polish are portrayed as pigs. It was the first comic book to ever with the Pulitzer Prize. It was released in 1991 and was an immediate critical success.

Road to Perdition

Many people know the story of “Road to Perdition” from the successful 2002 film that starred Tom Hanks and Paul Newman. People might not realize that the film was based on a very popular and critically acclaimed comic book. “Road to Perdition” is the story of a man who is trying to escape from his mobster lifestyle after the death of his wife and son, and of the surviving son that is traveling with him.

Grant Morrison’s Animal Man

“Animal Man” was a character published by DC Comics who had the ability to communicate with animals, which he used to fight crime. In the late 1980s writer Grant Morrison revamped the book into a deconstruction of comic books and superheroes in general. Throughout the course of Morrison’s 20+ issue run, Animal Man slowly begins to realize that he’s a comic book character and eventually even travels to Scotland to meet Morrison himself.

Y: The Last Man

“Y: The Last Man” is the story of the aftermath of a plague that wiped out every living male on the planet, both man and animal. The sole exception was a young magician named Yorick and his pet monkey, also male, named Ampersand. Yorick travels the post-apocalyptic countryside trying to find his long lost love. He must fight his way through the aftermath of a society that just lost half of the population and can no longer reproduce.

Preacher

“Preacher” is a popular long running comic book published by DC Comics’ “Vertigo” imprint. The book, designed for adults, tells the story of a preacher named Jesse Custer. After being granted the power of God, Jesse goes through a crisis of faith and decides that he’d like to sit down and have a little chat with his maker. He is accompanied by his ex-girlfriend Tulip and a drunken Irish vampire named Cassidy.

Random Thoughts Regarding "The Dark Knight Rises"

2012-07-23T10:48:00.000-04:00

Instead of a traditional review, I've decided to just post random thoughts that I had while watching "The Dark Knight Rises" this weekend. Note that there are some mild spoilers, so if you're one of the three people who haven't seen it yet you might want to avoid what follows.

Why did Bruce Wayne need to be broke? Just so he could give Talia the "please don't use this bomb as a bomb" bomb? Wayne Enterprises is a publicly traded company that was already tanking. Couldn't they have just... done that? Without Bane doing that?

I was disappointed when Bane wasn't disguised as a janitor like he was in that comic for kids. The fact that he was disguised as a biker in the world's largest biker jacket helped, though. Still not as good.

I don't understand why they didn't just have Blake's real name be Dick Grayson. I thought that's what they were doing, until they made one of the most bizarre left turns in history (hyperbole!)

I had secretly hoped that John Blake was going to turn out to be this kid, and was mildly disappointed when he wasn't:

Bale's befuddled Batman stare will never not make me laugh. SO MANY TIMES there will be a shot of someone talking, and then they cut to the reverse of Batman and he's just standing there like a dope.

It's weird to see Batman walk so many places. He just walks casually a shocking amount in that movie.

Cillian Murphy showing up was the best. It's the one thing about Batman that Nolan seems to truly understand: The Scarecrow is at his best when he's someone else's bitch and is enjoying himself despite that. "Death... by EXILE!" made me laugh out loud.

They definitely re-dubbed Bane in the prologue, but it's almost like they did it begrudgingly. It's SO LOUD in places, and Tom Hardy totally doesn't sound into it. Most of the rest of the movie just sounds like he did in the prologue, so it feels like they just went "Ugh. Fine. Here."

This movie had a shocking amount of silly comic book movie conceits. When Bane breaks everyone out of prison, he does so by blowing up a conveniently placed giant door. In order to hurt Bane, Batman has to punch the little tube things on his face. Which Talia immediately replaces and he's fine again. I don't understand why he couldn't just do that himself. Only like two of them were broken. Grow a pair, Tom Hardy.

For the most part, Tom Hardy's eye acting was awesome. Except that one scene where he's giving that long speech and his eyes are going INSANE. I wonder what the original dialog was there, because that intensity really doesn't match the delivery of the voice over.

I don't know why they had to have the movie take place over the course of a year when they were just going to time jump everything anyway.

Nolan has this incredible ability to make a three hour long movie where every scene is integral to the plot and it's still mostly boring. I don't understand it. You can't argue that it isn't impressive.

I don't understand why Jim Gordon thought it was a good idea to open a speech with "You guys wanna know the truth about Batman and Harvey Dent? Ehh... nevermind. On that same subject, Harvey Dent was definitely pretty sweet..." I think it would have raised some questions.

Is the implication that Joseph Gordon Levit-Batman is going to hand pick his new Robin from the boy's home upstairs? He can have ALL THE ROBINS!

Christopher Nolan just made his THE GODFATHER PART III.

Television Review: Aaron Sorkin's "The Newsroom"

2012-07-08T14:02:00.001-04:00

Aaron Sorkin is the award-winning creator of such television shows as “The West Wing” and “Sports Night,” and the Academy Award-winning writer of films like “The Social Network” and “Malice.” He returns to television on HBO’s new show “The Newsroom,” which features a behind-the-scenes look at what goes on at a major cable television news network. The question on a lot of people’s minds is no doubt whether or not the show is actually good. Luckily, that question has an easy answer.

Sorkin’s trademark and instantly recognizable dialog is on full display in “The Newsroom” from the very start. As with most of his pilots, we are introduced to lead character Will McAvoy in the middle of a tirade that ends up landing him in hot water with both his network and his audience. McAvoy is a typical Sorkin character who is brilliant but opinionated and likeable but off putting. When most of his staff resigns as the result of his tirade at a public speaking event, his ex-girlfriend MacKenzie comes in and takes over the show. If you’re a fan of Aaron Sorkin, there’s a lot to like in “The Newsroom” from the very beginning.

“The Newsroom” assembles perhaps the best cast for an Aaron Sorkin television show to date, and that’s saying something. Jeff Daniels stars as McAvoy and plays him expertly. Emily Mortimer stars as MacKenzie and plays her with a stunning confidence. Though, as the character calls for, it is always clear that insecurities and neurosis rests right below the surface. Rounding out the cast of the first episode of “The Newsroom” are veteran actors like Alison Pill and Sam Waterston who bring the fictional news network to life. If there’s a problem with “The Newsroom,” it isn’t the cast.

The story of the pilot itself is a little more uneven than it probably should be. The first half deals almost exclusively with the fallout from Will’s disastrous public speaking fiasco. While the characters and the interactions are ultimately compelling, this whole section drags on for just a little too long. The second half, however, deals with the crew of the fictional news network as they learn more and more about a breaking news event. This section of the pilot is always riveting and compelling and ultimately shows exactly where the strengths of this show really are. If you can make it to the second half, it will likely be difficult to impossible to turn the show off before it ends.

If the rest of the series is anything like the second half of the pilot, “The Newsroom” shows an incredible amount of potential. As the characters are all fascinating and expertly played, the show seems like it can get a lot out of their relationships and interactions. Watching the staff of the fictional news network deal with real life breaking news events (the pilot deals with the BP Oil Spill from 2010) is also terrific entertainment. The only hurdle to overcome will be the preachy nature inherent in the first half of the pilot. If Aaron Sorkin can get off his political soapbox long enough to tell a good story, “The Newsroom” is going to be on the air for a very long time.

The Five Best Documentaries About Filmmaking

2012-07-06T07:15:00.000-04:00

With the advent of the DVD home video format, more and more releases of popular films came packaged with documentaries detailing their production. Some of these documentaries were “fluff” pieces of little to no artistic merit. Everyone has seen one at some point – a five minute piece where the director and lead star only talk about how much fun they had and how good they think the movie is. Other documentaries are made by people with a real love of the craft and of the people and films that they are covering. Certain documentaries are better than the movies they actually cover. If you’re an aspiring filmmaker or just have an interest in how hard people work to bring entertainment into your home, there are a few documentaries that you’re not going to want to miss.

Dangerous Days: Making 'Blade Runner'

Produced expertly by Charles de Lauzirika, “Dangerous Days” chronicles the making of Ridley Scott’s 1982 science fiction epic. The documentary clocks in at over three hours, which is longer than the actual film itself. Every aspect of production is covered in amazing detail, from the original conception to pre-production all the way through the film’s initial lukewarm release and eventual rise to cult status. Nearly every key member of the crew is interviewed at some point, and many are very candid in their responses. This documentary is available on all versions of “Blade Runner” released on DVD or Blu-ray from 2007 onward.

BUY: Blade Runner (Five-Disc Complete Collector's Edition) [Blu-ray]

Requiem for Krypton: Making 'Superman Returns'

If you want to know what it’s like to make one of the most expensive genre movies of all time, “Requiem for Krypton” is the documentary for you. Produced by Robert Meyer Burnett, this documentary actually begins before director Bryan Singer ever signed on to direct the movie in the first place. The casting process and all the way through the end of production are covered in great detail. What makes “Requiem for Krypton” special is that much of it is told from the point of view of Brandon Routh, the unknown actor plucked from obscurity to become the next Man of Steel for a new generation. This documentary is available on the two-disc “Superman Returns” DVD, the one-disc Blu-ray release and in the “Anthology” collection DVD and Blu-ray sets with the other three Superman theatrical films.

BUY: Superman: The Motion Picture Anthology, 1978-2006 [Blu-ray]

Wreckage and Rage: The Making of 'Alien 3'

“Wreckage and Rage” chronicles the troubled production of the third film in the “Alien” franchise. The movie seemed doomed from the start, as promotional material was being made even before a script was finished. First time director David Fincher (who would later go on to direct “Se7en” and the American “The Girl With the Dragon Tattoo” remake) must navigate troubled waters and deal with studio interference, a lack of support and more. If you want to find out what can go wrong for first time directors, this documentary is for you. It is available on the “Alien Quadrilogy” and “Alien Anthology” home video releases, as well as in the two disc “Alien 3” DVD release.

BUY: Alien Anthology [Blu-ray]

Full Tilt Boogie

“Full Tilt Boogie” chronicles the making of “From Dusk Till Dawn,” a movie written by Quentin Tarantino and directed by Robert Rodriguez. What makes this documentary special is that the “story” of the film’s production is told almost exclusively from the point of view of the crew. People who you would never get to see normally, like the first assistant director or assistants, are put front and center. This documentary is available on the two disc DVD release of “From Dusk Till Dawn,” as well as its own standalone DVD release.

BUY: Full-Tilt Boogie

Hearts of Darkness: A Filmmaker's Apocalypse

“Hearts of Darkness” chronicles the immensely troubled production of Francis Ford Coppola’s “Apocalypse Now,” the film that almost cost him his career in the late 70s. Filmed by Coppola’s wife, this intimate portrait shows what happens when a man confronts the worst possible scenario at every corner. Coppola had to contend with one alcoholic star, a crew that was ready to mutiny at any moment and even a nearby war. This is available on the three disc Blu-ray release of “Apocalypse Now” and as its own standalone DVD.

BUY: Apocalypse Now (Apocalypse Now / Apocalypse Now Redux / Hearts of Darkness) (Three-Disc Full Disclosure Edition) [Blu-ray]

Why Do We Suddenly Hate Auteurs?

2012-07-03T08:16:00.002-04:00

“au·teur

noun

a filmmaker whose individual style and complete control over all elements of production give a film its personal and unique stamp.”

----------

Aaron Sorkin’s new show “The Newsroom” premiered on HBO last week to big ratings and a massively polarizing reception. Many of the negative reviews focus on his distinct writing style in particular and cite both characters and plots that are similar to his previous shows like “The West Wing” and “Studio 60 on the Sunset Strip.”

My question is, why is this a bad thing? I thought that writers everywhere aspired to have a unique and instantly recognizable voice in their work. Say what you will about Aaron Sorkin, but if anything he’s ever written comes on television that fact becomes immediately obvious after only a few minutes of watching. This is most certainly not easy to do, and it used to actually mean something.

A similar backlash (albeit a significantly smaller one) happened earlier in the summer with Joss Whedon’s “The Avengers.” While the film broke box office records and got stellar reviews, a certain vocal minority criticized the film for Joss Whedon’s trademark style. Whedon is another writer with an instantly recognizable style. The way his characters speak, particularly to one another, is a style unlike that of any other writer out there. And yet people see this as a negative for some reason.

These are two of my favorite writers for that exact reason. They’re both masters of their craft, and there’s something particularly comforting to know that I’m about to sit down and watch someone who is absolutely wonderful at their job. There are few people out there who are more consistently entertaining than these two.

Other examples of writers with unique voices are people like Joel and Ethan Coen, Kevin Smith, Diablo Cody and William Goldman. It’s perfectly acceptable to say that you didn’t like their particular style, but to say that they’re “bad writers” simply because they have a style is preposterous. They’re supposed to have a style. They’re supposed to have a voice. They’re writers. That’s what writers do.

I’ve heard certain people in the past criticize both Whedon and Sorkin for not writing “the way people talk.” While I certainly can understand this point of view, I absolutely don’t agree that it’s a negative. People in real life may not talk like they were written by Joss Whedon or Aaron Sorkin, but I for one wish they did. People would be a lot smarter, and would certainly be a whole lot more fun to argue with.

A video appeared online recently called “Sorkinisms – A Supercut.” It collects together clips from Aaron Sorkin’s various television shows including “Sports Night,” “The West Wing,” “Studio 60 on the Sunset Strip” and a few of his movies. The collection is designed to show off reused dialog and thematic elements across his body of work. Though the author of the video claims that it was done out of respect, a lot of people online have jumped on it as if they now suddenly have “proof” that Sorkin is a hack.

My response is a bit different. Every single clip is instantly identifiable as having been written by Sorkin. It’s all in his voice and style, and it’s all immediately recognizable. There’s that “auteur theory” again. And secondly, the man wrote hundreds of hours of television (allegedly) by himself. He was writing the first season of “The West Wing” and the second season of “Sports Night” at the same time. If you want to hate on the man, you’re going to have to try a little harder than just to pull together seven minutes of clips that span hundreds of hours of work.

So what is the problem, exactly? Why, now of all times, do people suddenly hate work that stands out from everything else? Why do we suddenly want more movies and TV shows that blend in with all other movies and TV shows ever made? Does nobody like that feeling they get when they’re watching something wholly unique? Because I do.

And why didn’t anyone bother to tell me? It could have saved me a lot of time.

Ten Things I Learned From the Movie "300"

2012-07-01T09:23:00.000-04:00

A little movie came out a few years ago called 300. I really wasn’t a fan when it came out, but I decided to give it another shot when it aired recently on cable.

If you haven't heard of it, it's (sorta) the story of the Battle of Thermopylae, which is where a small army of 300 Spartans (and, y'know, some other folks - but "shhhh") were able to hold their own against the massive Persian Empire. If the battle been lost, Western civilization as we know it would not exist.

It was, as they say, kind of a big deal.

I've read about the Battle of Thermopylae in history books, and it's pretty fascinating. I've learned a lot. However, after watching 300 I realized that I really knew very little about what went on in central Greece over two thousand years ago.

So with that, I present to you Ten Things I Learned While Watching 300:

1. The Persian Empire (and though not explicitly said, it's implied that by association modern-day Iran) was filled with horrific, gay, evil, gay monsters.

2. The 300 Spartans were able to hold off an army of 150,000 to 250,000 Persians using only their prettiness combined with the awesome might of their sexuality. (HETEROsexuality)

3. Sparta was absolutely a free, democratic society. Nope, no slaves in Sparta. What. So. Ever. Holy crap, what a crazy idea that is. Slaves in Sparta? Stop taking crazy pills, ya hippie!

4. Spartans will charge into battle barely dressed, with no armor whatsoever, use the phalanx formation that they're prided for exactly once, and they'll STILL kick the crap out of your giant army. In slow motion. That's how sweet they are.

5. Leonidas, King of Sparta, had a very blatant, almost Sean Connery-esque Scottish accent.

6. A Spartan, apparently, COULD NOT CONTROL THE VOLUME OF HIS VOICE.

7. Ancient Sparta, on the whole, looked a lot like a mid-90s alt-rock music video that you would see on MTV at 3:00 in the morning.

8. Spartans, at least in 480 BC, had as of yet not mastered the art of “Not getting your helmet knocked off every three seconds during battle.” Still didn’t need it, though. For more information, see “Number 4.”

9. The Battle of Thermopylae would have lasted about forty five minutes, except everyone made the curious decision to fight in slow motion for much of the time.

10. In Hollywood, it is possible (and evidently quite easy) to fail upwards, as after this director Zack Snyder would go on to make “Watchmen”, that movie with the owls that wear helmets, and the upcoming Superman reboot “Man of Steel.”

I hate 300.

Ranking the Movies of 2011

2012-06-28T09:26:00.000-04:00

What follows is a quick list ranking all of the films I was able to see theatrically in 2011. The criteria for this list is simply that a particular movie came out either in the United States or in its native country during that year, and that I was able to see it during its original run. The list is ordered from “First” to “Worst,” starting with the best and moving on down to the… not so best.

ATTACK THE BLOCK
X-MEN: FIRST CLASS
MIDNIGHT IN PARIS
RED STATE
SHAME
CAPTAIN AMERICA: THE FIRST AVENGER
50/50
TUCKER AND DALE VS. EVIL
SUPER 8
PAUL
MISSION: IMPOSSIBLE - GHOST PROTOCOL

RISE OF THE PLANET OF THE APES
OUR IDIOT BROTHER
CONTAGION
THE MUPPETS
MONEYBALL
CONAN O'BRIEN CAN'T STOP
30 MINUTES OR LESS
PARANORMAL ACTIVITY 3
ARTHUR
THE GREEN HORNET
CEDAR RAPIDS
THOR
STRAW DOGS
TRANSFORMERS: DARK OF THE MOON
GREEN LANTERN
THE HANGOVER PART II

How to Finally Start That Screenplay You're Always Talking About

2012-06-28T08:57:00.001-04:00

A lot of creative people think about starting a screenplay at some point or another. It may begin with an idea for a story, or a description of a character, or even a funny situation or conversation. Eventually that seed of a concept grows into a full-fledged desire. However, it can be exceedingly difficult to actually put pen to paper (or finger to keyboard) and start on your opus. It doesn’t have to be, however, so long as you look at it the right way.

Start by separating everything that you’ve already thought of into a few different categories. If you’ve primarily had ideas for characters, for example, write the word “Characters” on the top of a sheet of paper. Follow that with names, back-stories, and personalities – anything that is already in your mind. Do the same with the general concept for your plot, locations and more.

Look back over your list of characters (if applicable) and examine their motivations. For each character you need to answer the questions of “Who is this person?”, “What does this person want from the story?” and “What role does this person play in the larger arc of my screenplay.” As you start to answer these questions, you will begin to get a better picture of the overall story of your screenplay. The situations that they need to get themselves into for the story to work, and how they will react to those situations, will become clear.

Continue by breaking down the overall story of your screenplay into a series of scenes. Feature length screenplays tend to have anywhere from 70 to 150 or more scenes, depending on the genre. Writing down all of your scene ideas will give you a good indication of just how far along your idea actually is.

Write down each scene onto a notecard, using one new notecard for each. You can do this any way you’d like: you can write a description of the scene on the front of the card and the location on the back, or write both pieces of information on the same side.

Arrange all of your notecards in chronological order, the way they would unfold if you were watching the finished film on television or in a theater. This will allow you to flip through the notecards from beginning to end, which will tell you where your story flows naturally and where there are holes that need to be filled.

Separate your notecards into three sections, or “acts.” Almost all major motion picture screenplays follow a standard three act structure. The first act introduces the characters and sets up the conflict. The second act takes the protagonist on their journey, and shows the difficulties they face along the way. The third act builds towards the climax of the story, as well as the resolution. Put the notecards you’ve written into one pile for each act.

Spread out all of your notecards on the floor, or pin them up to a cork board or bulletin board. This will give you a visual idea of how far along you are with your story. If all of your notecards are in the “Act 1” section and the “Act 3” section, for example, you know that your “Act 2” is going to need to be fleshed out. If you seem to have an equal amount of notecards in each section, you’re on the right track.

Do as much research as you can. This can encompass watching films that are similar to the one you’re trying to write, or reading published screenplays purchased in bookstores or downloaded from the Internet. Watch how professionals do their job, and learn from the best along the way.

Study the screenplay format. Writing a screenplay is not like writing prose – the formatting is very particular, and a poorly formatted script will be thrown into the garbage by studio executives, producers, actors and the like. Each scene has to have a scene heading, for example, which is formatted in a very particular way. The dialog goes in a specific place on the page, and can’t go anywhere else. You also can’t write anything in a script that can’t be seen or heard – this means you can’t arbitrarily write why a character is performing an action, or what they’re thinking while it’s going on.

Make time in your day to start writing and do so. One of the hardest parts of writing for many screenwriters is staring at the blank page before they actually begin. Write “FADE IN:” in the upper left corner of the page, and then keep going. Even if you can only write for twenty minutes a day, or can only commit to two pages a day, that’s still an excellent start. The more pages that you write, the more motivation you will have to continue to the end.

Screenplay Formatting Sample: "The Graduation Party"

2012-06-28T08:52:00.000-04:00

What follows is a short film script written years ago for a college writing class. I thought it would be a good way to show an example of the screenplay format and all of its many requirements. Note the font size and type face, and pay particular attention to the margins for different elements like “Action” and “Dialog.”

"The Graduation Party"

FADE IN:

INT. JIMMY'S HOUSE, BASEMENT - DAY

FIVE KIDS all around the age of ten play in the furnished
basement of a typical suburban house. A banner hangs that
reads "Happy Graduation Jimmy!" Sitting on a couch across
from a TV, watching a movie and looking annoyed at what is
going on around them, are JIMMY and MATT, two high-school
aged kids.

After a moment, one of the little kids comes over to the
couch.

                 TOMMY
        Jimmeeee! Come play with us!

                 JIMMY
        We're trying to watch a movie. Why
        don't you guys go play outside?

                 TOMMY
        Mom says we can't go play outside.

                 JIMMY
        Can't you play upstairs, then?

                 TOMMY
        The grownups are upstairs.

                 JIMMY
        There are grownups down here, too.

                 TOMMY
        You're not grownups.

                 JIMMY
        We'll play later.

A Nerf football, thrown from the other side of the room, hits
Jimmy in the head. Tommy wanders away.

                 MATT
        Dude, your cousins are driving me
        insane. When you said you were
        having a graduation party, I didn't
        think we'd be the only two people
        that aren't insane little ten year
        olds or under the age of 45.

                 JIMMY
        Joe'll be here when he gets off of
        work. That should be soon.

As if on cue, the door from upstairs leading downstairs can
be heard opening.

                  JOE
           (to someone upstairs)
         No thanks, Mrs. Parker. I'm not
         hungry right now, maybe later.

JOE, another high school aged kid, rushes down the stairs and
over to his friends.

                  MATT
          About frigging time.

                  JIMMY
          What took you so long?

                  JOE
             (out of breath)
          Dude, you are never going to
          believe what I just heard.

Joe stops to catch his breath and looks around him.

                   JOE (CONT'D)
           Lot of little kids here.
                  (beat)
           Where is everyone?

                   JIMMY
           We're it. What did you hear?

                   JOE
           I was at work, right? And I just
           heard the craziest story about Nick
           and Amanda.

                   JIMMY
           Well, drop the suspense. What did
           you hear?

Joe looks around.

                    JOE
            It's a pretty... dirty story. Tell
            your cousins to go upstairs.

                    JIMMY
            Cousins, go upstairs.

                    TOMMY
            NO.

                    JOE
                 (to Jimmy)
            Really?

                    JIMMY
            They've been like this all day.

                    JOE
            There's no way I'm telling this
            story in front of little kids.

                    JIMMY
            Well can't you just... clean it up?

                    JOE
            Not really... it's pretty vulgar,
            dude.
                   (beat)
            No, no wait. I've got it. Okay,
            follow me here.

Jimmy and Matt sit up on the couch, attentively.

                    JOE (CONT'D)
            Alright, so I'm at work, and we're
            pretty dead, so I start talking to
            Jeremy Whittimore. Now, Whittimore
            is a lot of things, but one thing
            he doesn't do is BS. So when I hear
            something from him, I believe it.

                    JIMMY
            Right.

                    MATT
            Uh-huh.

                    JOE
            So we start talking, and he starts
            telling me this story about Nick
            and Amanda. So Nick and Amanda are
            at his house, right? And they're on
            the couch... "watching TV."

                    MATT
            Right.

                    JOE
            And after awhile, they get done
            "watching TV," and Nick gets up,
            and realizes he can't find... "the
            remote control."

Matt and Jimmy laugh. By this time, the little kids have
started to gather to listen to Joe's story.

                    JOE (CONT'D)
            So Amanda's freaking out, right?
            And Nick panics, because she's
            really upset, and she's all "We
            don't want to get... charged for
            any movies we didn't order!"

                     MATT
            Understandable.

                     JIMMY
            I feel bad for the girl that one
            day ends up ordering a movie with
            Nick.

                     TOMMY
              (to one of his little
               friends)
            I have no idea what they're talking
            about.

                     JIMMY
                  (to Tommy)
            Quiet.

                     JOE
            And this is the part that got me -
            he tells her not to worry, and that
            the remote is probably just stuck
            in the... "couch" somewhere, and
            they'll find it at the end of the
            month when the "cable bill" comes.

Matt and Jimmy laugh a lot.

                     MATT
            Does Nick know how the cable bill
            works?!

                     JOE
            Clearly not.

                     MATT
            Wait... she didn't believe that,
            did she?

                     JOE
            According to Jeremy, yes. Yes she
            did.

Jimmy shakes his head.

                     MATT
            Those two idiots are made for each
            other.

                     JIMMY
            I can't believe Nick told *anyone*
            that story, let alone Jeremy.

                     JOE
            I know, right! It's Jeremy!
            Everyone will probably know by this
            time tomorrow.

                     MATT
            We go to school with some
            interesting people.

                     JOE
            I know, right! Isn't that one of
            the most fucked up things you've
            ever heard!

As he finishes his sentence, Joe, Jimmy, and Matt's eyes all
bug out of their head.

                     JOE (CONT'D)
                (to the ten-year-olds)
             You didn't hear that.

                     TOMMY
             Yes we did!

Tommy starts running up the stairs.

                     TOMMY (CONT'D)
              Mommy, mommy! Jimmy's friends are
              swearing and telling dirty stories
              and they won't play with us!

                     JIMMY
                    (to Joe)
              You son of a bitch.

FADE OUT.

The Top Ten Cancelled TV Shows of the 2000s

2012-06-28T08:43:00.002-04:00

Television has been changing drastically over the last decade. If you're not an instant hit, the writing is on the wall almost immediately. Out of all of the shows that were prematurely canceled in the last ten years, these are the ones that broke my heart the most.

10. Clerks: The Animated Series (Kevin Smith & Scott Mosier & David Mandel, 2000)

In concept, an animated "Clerks" show doesn't really make a lot of sense. In execution, however, we were treated to something pretty wonderful in the way of adult animation. A mixture of classic "Simpsons" and Kevin Smith's famous characters, "Clerks: The Animated Series" was killed after only two episodes aired (with one being aired out-of-order, really confusing the then 15-year-old Me).

9. Studio 60 on the Sunset Strip (Aaron Sorkin, 2006-2007)

After one of the best hour-long television pilots of all time, Aaron Sorkin's "Network: The Show" really struggled to find itself for the better part of a season. It didn't help that "30 Rock" premiered the same year on the same channel. Axed as it was just starting to find its footing, I still miss Matt Albie and Danny Tripp dearly.

8. Angel (Joss Whedon, 1999-2004)

This is an odd one - "Angel" may not be as great as it is if it hadn't been canceled prematurely. "Buffy" had gone off the air and "Angel" was beginning to truly stand on its own when it was canceled, which caused Joss Whedon to end the show in the most frustratingly brilliant way possible.

7. Undeclared (Judd Apatow, 2001-2002)

Not as good as Apatow and Paul Feig's brilliant "Freaks and Geeks," "Undeclared" was still a great character-driven show. Yet again, another show that followed the rule "Just when it starts to become a truly great show, it gets canceled."

6. Stella (Michael Ian Black & Michael Showalter & David Wain, 2005)

"Stella" is definitely not for everyone, but those that love jokes about how funny words sound and obscure literature references really understood how great the few episodes we saw were. "Stella" was able to effortlessly move between extreme high brow humor and low brow, sometimes within a matter of seconds. This, coupled with the show's "Anything can happen at any time" attitude lead to a show that was always fresh and unpredictable, and consistently funny from the beginning of its short run to the end.

5. Veronica Mars (Rob Thomas, 2004-2007)

Who doesn't love a film noir detective story set in high school? People will Neilsen boxes, apparently.

4. Andy Richter Controls the Universe (Victor Fresco, 2002-2003)

This was a great little show that tried to be nothing but fun from beginning to end, and succeeded in a really great way.

3. Arrested Development (Mitchell Hurwitz, 2003-2006)

Proof positive that there are original ideas left in Hollywood. Though they did end up going a little too far into "meta, trying desperately to save the show" territory, "Arrested Development" stands proud as one of the finest comedies ever forged. Luckily the show's popularity is unwavering, and Netflix is bringing back "Arrested Development" for a fourth season to proceed a feature film in 2013.

2. Firefly (Joss Whedon, 2002)

There really isn't anything that I can say about this show that hasn't already been said. Consider this proof of the age old theory that "good things are not allowed to happen to Joss Whedon."

1. Freaks and Geeks (Paul Feig & Judd Apatow, 1999-2000)

I'd rank the pilot of "Freaks and Geeks" up with some of my favorite movies of all time. Though it did have a few missteps as it neared cancellation (the hermaphrodite subplot doesn't really work in any show, let alone this one), the entire 18 episode run is largely perfect, and is one of the best American television shows of all time.

Honorable Mention:

That's My Bush! (Trey Parker & Matt Stone, 2001)

This one gets an honorable mention because, while being officially canceled, it probably shouldn't have run longer than the six episodes it did. What we got was the perfect execution of a great concept, and anything more probably only would have weakened it.

The Top Ten Movies of the 2000s

2012-06-28T08:38:00.000-04:00

10. The Dark Knight (2008)

Director: Christopher Nolan

Writers: Jonathan Nolan, Christopher Nolan

I can't be a comic book fan and a movie fan without mentioning "The Dark Knight." Though it can be *insanely* convoluted at times, it really is the most mature comic book movie ever made. Plus, it answers a question I've long pondered: "What would happen if Batman and the Joker were in the movie 'Heat'?"

9. Zodiac (2007)

Director: David Fincher

Writer: James Vanderbilt

If for nothing else, "Zodiac" is impressive because David Fincher literally ends the "serial killer" genre. After this, there's nothing left to say.

8. The Royal Tenenbaums (2001)

Director: Wes Anderson

Writers: Wes Anderson, Owen Wilson

This will probably end up as the best thing Wes Anderson ever does. One of the last true auteurs, this is a perfect mixture of his signature style and a hell of a lot of substance.

7. A History of Violence (2005)

Director: David Cronenberg

Writer: Josh Olson

I didn't think Viggo Mortensen was a real actor until "A History of Violence."

6. The Squid and the Whale (2005)

Director: Noah Baumbach

Writer: Noah Baumbach

Jeff Daniels gives the performance of his career in Noah Baumbach's divorce-dramedy. This is one of those movies that people will still be talking about in 20 years.

5. Shaun of the Dead (2004)

Director: Edgar Wright

Writers: Simon Pegg, Edgar Wright

Not so much a parody but a "tribute" movie, it's amazing how funny and emotional this movie can be, often at the same time.

4. Almost Famous (2000)

Director: Cameron Crowe

Writer: Cameron Crowe

If you don't tear up during the "Tiny Dancer" sequence, you have no soul.

3. High Fidelity (2000)

Director: Stephen Frears

Writers: D.V. DeVincentis, Steve Pink, John Cusack, Scott Rosenberg

Every once and awhile I wonder what Rob Gordon is doing now, over ten years after the movie premiered. I ultimately decided that he still works at Championship Vinyl, only now he's happy. And Barry still tours with "Kathleen Turner Overdrive."

2. 25th Hour (2002)

Director: Spike Lee

Writer: David Benioff

Edward Norton stars as Monty Brogan, a man in the process of reevaluating his life in the 24 hours prior to beginning a seven year prison sentence. In a rare Spike Lee film that isn't overly bogged down by the subject of racism, 25th Hour is a story of friendship, love, and consequence. It's a movie I'm truly happy to be able to say I caught during its initial theatrical run. I've used this movie to weed out acquaintances in the past. If you don't like "25th Hour," I don't want to be friends with you.

There Will Be Blood (2007)

Director: Paul Thomas Anderson

Writer: Paul Thomas Anderson

Daniel Plainview is one of the most fascinating characters of the (admittedly short) 21st century. "There Will Be Blood" is essentially the story of a man who, when presented with the opportunity for redemption, thinks about it and decides "Nah, I'm going to go on being evil. Thanks, though." Truly extraordinary.

Honorable Mention:

Superman Returns (Bryan Singer, 2006)
X2 (Bryan Singer, 2003)
Inglorious Basterds (Quentin Tarantino, 2009)
Metallica: Some Kind of Monster (Joe Berlinger & Bruce Sinofsky, 2004)

How the Movie "Prometheus" Relates to the Movie "Alien"

2012-06-28T07:54:00.000-04:00

The movie “Prometheus” marks director Ridley Scott’s first entry into the science fiction genre since the early 1980s. His last sci-fi film, “Blade Runner”, was released in the summer of 1982. Not only is he returning to a genre he once left an inarguable mark on, he is also returning to a franchise he created – the world of the “Alien” films. According to pre-release and promotional material, determining how “Prometheus” fits in with the other films in the franchise including “Aliens”, “Alien 3” and “Alien: Resurrection” is a bit more complicated than calling it a simple “prequel.”

The film that would eventually be called “Prometheus” started life very much as a literal prequel to “Alien”. In cinematic terminology, the word “prequel” means that a particular film takes place chronologically before a film that has already been released. Ridley Scott himself even identified “Prometheus” as such in promotional material included with the “Alien Anthology” Blu-ray boxed set, released in late 2010.

Though “Prometheus” started out very much tied to the previous film, things got a bit more complicated when writer Damon Lindelof became involved in the project. Lindelof, who many genre fans will know as one of the driving forces behind the hit television series “Lost”, rewrote an existing script and turned the film into something else entirely. His draft is the one that was used when production began.

The finished film “Prometheus” is still very much a part of the larger “Alien” universe – however, it has now just become one small part. Chronologically, the film still takes place an undetermined amount of time prior to the events depicted in “Alien”. However, the story of “Prometheus” no longer concerns itself with simply answering questions that were posed by that previous movie. Instead, it tackles larger questions like “Why are we here?” and “How did humanity come to be?”

Tonally, “Prometheus” shares a lot with “Alien.” The looks of the two films are very much in sync, with both being dark, gothic takes on similar material. Both films are also a blend of science fiction and horror, with thrilling elements thrown into the mix.

A staple of the “Alien” franchise since its creation has been the sinister Weyland Yutani Corporation. This is the organization that the characters in the first film worked for, and the entity that was behind the crew of the Nostromo checking out a mysterious distress call. “Prometheus” features the corporation in its infancy, when it was called Weyland Industries and before it ever merged with the Yutani Corporation.

“Prometheus” also features a character that was present in the film “Alien.” In “Alien”, a corpse of a large, hulking creature dubbed the “Space Jockey” by Ridley Scott himself makes an appearance early on inside a derelict ship. The film “Prometheus” also features creatures from this race, still very much alive.

When you sit down in the theater (or at home, to enjoy the eventual DVD and Blu-ray release), it is best if you go into “Prometheus” not expecting a literal prequel to “Alien” but instead an entirely new story. Though the story is set in the same world and features similar themes and production design, expecting to see pretty much the same thing again will only lead to disappointment.

Movie Review: "Prometheus" (2012)

2012-06-28T07:53:00.000-04:00

“Prometheus” is a science fiction thriller film directed by Ridley Scott from a screenplay by Jon Spaihts and Damon Lindelof. It tells a completely new story despite being set in the universe created by Ridley Scott in 1979 in the film “Alien.” It stars Michael Fassbender, Charlize Theron and Noomie Rapace as the crew of a spaceship investigating the origin of man. A lot has been trumpeted about “Prometheus” being heralded as Ridley Scott’s return to the genre he left an incredible mark on. With the film officially in release, the question of whether or not it is actually any good is sure to be on a lot of people’s minds.

It is difficult to talk about the plot of “Prometheus” without spoiling potential surprises. Simply put, the film is about the crew of a space ship in the process of investigating the origin of life as we know it. They seek to find answers to the age-old questions “Who are we?” and “Why are we here?” Throughout the course of the film, it looks like they very much have the opportunity to get some concrete answers. Those answers come at a terrible (and often bloody) price.

The question that viewers should refrain from asking while viewing “Prometheus” is, “Is this better than “Alien”? Despite the similarities in plot, tone and characterization, they are largely separate films and should be treated as such. “Prometheus” is more than strong enough to stand on its own, and it asks thematic questions more powerful than the original “Alien” ever attempted.

But such comparisons are likely unavoidable, so similarities between the two may warrant further consideration by some. Of all the aspects of the original “Alien” that are unquestionably successful, “characterization” and “story” are not among these elements. The story of “Alien” is relatively straightforward – the crew of a deep space mining vessel is attacked and systematically eliminated by a creature of unknown and terrifying origin. In this regard, “Prometheus” is very similar. However, the aforementioned thematic leaps by “Prometheus” make it the clear victor over the two.

The characters of “Alien” were also relatively straightforward. The only thing that made them shine, and shine they did, was the performances by actors like Sigourney Weaver and Ian Holm. On the page, the characters that populate the ship of the Nostromo are relatively bland.

The main strength of “Prometheus” is in its sense of mood. The film is incredibly tense at times, and downright horrifying in others. Does it offer thrills and scares on par with the original “Alien”? That’s something that will come down to the individual viewer, though if a person likes to be scared and keeps to the edge of their seat during these types of films they certainly won’t be disappointed.

If “Prometheus” has any failings, it’s the strength of the characters themselves. On one hand, “Prometheus” contains excellent performances from some world class actors. This is particularly true of Michael Fassbender’s David, an android who has more in common with a five-year-old child than with anyone else on the crew of the ship “Prometheus.” Some of the background players on the ship, however, are virtually indistinguishable from one another when it comes to characterization and dialog. Viewers may have a hard time caring for them in the first half of the film, which could potentially leave them unaffected as the crew starts getting picked off in the latter half.

Is Ridley Scott’s “Prometheus” a good film? Yes. It is without a doubt one of the most satisfying spectacles of the summer, if not of the entire year. It is also one of those rare films that are more than worth the additional prices required to see it in 3D. It was filmed with 3D in mind, unlike many other films that were post-converted.

However, it is unlikely to stand the test of time the way Sir Ridley’s previous efforts have.

Writing Screenplays: About Three Act Structure

2012-06-28T07:51:00.001-04:00

It has been said in the past that rules exist purely to be broken. While this is true in certain situations, there are some rules that are considered important for a reason. When writing a screenplay, one of these “rules” that you should follow is the three act structure. The vast majority of all movies ever made, including all of your favorite movies, follow this structure. Before you can follow the structure, you must first understand the specifics of it. The writing process does not involve bending your story to fit the three act structure, but using that structure to tell a better story in the first place.

The first act of a screenplay is designed to introduce the audience to your world. The first ten or so pages should introduce not only your character, but that character’s normal daily life. The audience should see the things that character goes through on any random day when the adventure of your story isn’t taking place. Also in the first act is the “inciting incident,” which is the moment where your main character sets off on the journey you want him or her to go down. In George Lucas’ film “Star Wars,” for example, the “inciting incident” is when Luke Skywalker sees an epic battle taking place in space from his home down on the planet Tatooine.

The end of the first act comes around the thirtieth page in your script. This is the moment where your hero starts out on his or her journey. To continue with the example of “Star Wars,” this would be when Luke and Ben Kenobi leave Tatooine with Han Solo and Chewbacca on the Millennium Falcon.

The second act is the time for your hero to encounter trouble on their journey. This act, much like the first one, is around thirty to forty pages. Just because you aren’t writing an action or adventure movie doesn’t mean you shouldn’t follow these rules. In Kevin Smith’s romantic comedy “Chasing Amy,” for example, the main character finds out that the girl he was secretly in love with was a lesbian in the second act. Your hero needs to face obstacles in the second act.

The third act is the resolution of the story. Your hero has been presented with the obstacles that stand between himself and his goal, and in “Act III” he will start to overcome them. The important thing to remember in “Act III” is that, at the end, your main character needs to be profoundly changed. He or she can’t go back to the “normal” world you established in the first ten pages. It wouldn’t be enough anymore, due to all the things he or she learned on the journey you took them on as a writer. If the character you’re writing on the last page of the script is fundamentally the same as the character you introduced on page one, you need to go back and rewrite to give your character more of an arc.

Writing Screenplays: About the "Act II" Climax

2012-06-28T07:50:00.001-04:00

When writing a screenplay, there are always a few important things that you’re going to want to keep in mind. Screenplays are about stories, yes, and you should have a burning desire to tell whatever story you’re currently working on. Screenplays are also in large part about structure, however, and structure is unfortunately something that a lot of people tend to overlook. One of the most important structural aspects of any screenplay is the “Act II” climax. This isn’t the big moment at the end of your movie, but is rather the big moment that leads to that big final moment at the end of your movie. Without a good “Act II” climax, you’re going to lose the attention of your audience very quickly.

Typically, your character needs to be at his lowest possible moment at the end of “Act II.” If the whole screenplay tells the story of how your character gets from wherever he starts to his goal, he needs to be either emotionally or physically as far away from that goal as possible at the end of “Act II.” In J.J. Abram’s “Star Trek” reboot, for example, the “Act II” climax would be when Spock’s home planet of Vulcan is destroyed and Kirk has been exiled from the Enterprise onto one of Vulcan’s snowy nearby moons. Both of our heroes are experiencing the worst events that they will go through in the entire movie at this moment.

This can come in the form of a sudden revelation. Maybe he’s secretly related to the bad guy he’s been chasing all along. Maybe he’s trying to save a particular person, but it turns out that the person in question is already dead or gone. Whatever it is, this climactic moment needs to be the most difficult thing your character will have to overcome throughout the rest of the piece.

The “Act II” climax also needs to achieve a certain momentum that will be used to carry your hero, and the audience, through to the end of the script. In action movies, for example, a big action sequence might come at the end of the second act. In Christopher Nolan’s film “The Dark Knight,” the “Act II” climax would be when the Joker destroys two separate warehouses. One of the explosions kills Batman’s one true love, Rachel Dawes. From that moment on, the audience is riding the momentum of that moment because they now want to see the Joker punished for this particular crime above all others.

Mastering the “Act II” climax won’t guarantee that you’ll have a great screenplay. But a great climax at this particular point is certainly one massive step in the right direction.