Today, I discovered 2 things...one, the script I'm writing is actually a sequel. I'm not quite sure how that happened, but I suppose it's good to realize that early on. I'm not entirely sure if the first film will ever get written, but I think it's good for a script to know it's mother...even if she'll never exist.
The second thing I discovered was a trailer for a videogame titled Dead Island. I don't know much about the game and the trailer certainly doesn't help in that regard...outside of the fact it's about zombies on an island. However, the trailer in and of itself is pretty durn cool...if you're into that sort of thing.
One of the aspects I like so much is it's non-linear nature. It tells a story and pulls you by making you question what you're seeing and who the people are. Plus it uses slow motion and sound very well. But that wasn't good enough for some people who cut it up and put it back together in chronological order. (thanks to Seth for the linky)
And when you watch it that way, it's a little "meh"..standard story.. zombie meets girl, girl runs screaming, zombie bites girl, girl bites daddy, daddy throws girl through window...just like you've seen a hundred times over. So really, it's a one trick pony, but that just reinforces the notion that It's All In The Execution 'cause that one trick? It's dynamite.
Wednesday, February 16, 2011
Tuesday, February 15, 2011
Youtoobing about youtoob
I'm going to give up on trying to post anything but videos until midmarch. I was busy writing...or outlining at the very least, but now all of that time is being taken up with TrueFalsing. Coming soon to several theatres near you. And can I just say, I love the design of this year's website.
So I'll try to post a video every so often, just to keep in the swing of things..but my nights of sleep are slowly slipping away.
Here's a fascinating anthropological introduction to YouTube on YouTube appropriately titled An Anthropological Introduction to YouTube. It's a presentation made to the Library of Congress by Michael Wesch who apparently has no fear of disrupting the time/space continuum by going all metayoutooby.
So I'll try to post a video every so often, just to keep in the swing of things..but my nights of sleep are slowly slipping away.
Here's a fascinating anthropological introduction to YouTube on YouTube appropriately titled An Anthropological Introduction to YouTube. It's a presentation made to the Library of Congress by Michael Wesch who apparently has no fear of disrupting the time/space continuum by going all metayoutooby.
Thursday, February 3, 2011
Nuturing Creativity
Haven't posted here in a bit since I've been getting a lot written. 8-10 pages over the past few days, depending on what I want to count. I'm feeling good about it.
Anywhoo, I'm just going to post a great TED Talk by Elizabeth Gilbert about creativity and leave it at that.
Cheers
Anywhoo, I'm just going to post a great TED Talk by Elizabeth Gilbert about creativity and leave it at that.
Cheers
Thursday, January 27, 2011
Crazy Heart
I was going to be all productive tonight but I got sucked in by a moovie...I love it when that happens. I've had Crazy Heart sitting around for a week and popped it on during dinner. I had every intention of turning it off after I was done eating and doing some actual work...but I just couldn't. It was such a beautiful story so well told...Jeff Bridges as Bad gave such a great performance that I only saw the singer...I only saw the character. It's rare when that happens...the film just hooked me and I couldn't not watch. And I'm not a country fan..not at all, but I loved the music and will probably buy the soundtrack. I was even more blown away when I found out that Jeff Bridges and Colin Farrell sang their own songs. He sings, he dances, he's a photographer...really his website says it all.
Here's a clip of Bridges singing the main theme song written by Ryan Bingham and T-Bone Burnett. If you haven't seen the film, don't watch it here. It'll mean so much more when you see it in context.
And here's a link to Ryan Bingham singing the same song.
Here's a clip of Bridges singing the main theme song written by Ryan Bingham and T-Bone Burnett. If you haven't seen the film, don't watch it here. It'll mean so much more when you see it in context.
And here's a link to Ryan Bingham singing the same song.
Wednesday, January 26, 2011
Shapeshifter
Most productive lunch evah! So I went to Shakes today because the lunch I brought had turned a ridiculous color. Just glad I saw it before I ate it. Well, generally speaking, I'd prefer to see my food before I eat it rather than after. Regardless, going to lunch alone gave me time to work out a kernal of an idear I had last night as I was trying to get to sleep. That blossomed into a storyline which pulls together the best elements of the of the plots Dave and I had been throwing around. And then I worked on it most of the evening. Imagine how much I'd get done if I didn't have this rather obnoxious urge to, I don't know, feed and clothe myself.
As for today's bit of video wonderfulness, This is the piece that turned me onto Charlex to begin with. Fantastic animation, theme, visuals, music, pacing...and hey, Gabriel Byrne...I mean, you can't go wrong with that combo.
They don't say who directed it, so I assume it was a group effort. And I can't tell you how thankful I was a car logo didn't pop up at the end.
As for today's bit of video wonderfulness, This is the piece that turned me onto Charlex to begin with. Fantastic animation, theme, visuals, music, pacing...and hey, Gabriel Byrne...I mean, you can't go wrong with that combo.
ShapeShifter from Charlex on Vimeo.
They don't say who directed it, so I assume it was a group effort. And I can't tell you how thankful I was a car logo didn't pop up at the end.
Tuesday, January 25, 2011
One Rat Short...
A visually impressive CGI short film that will make you care about rats. Unless you do already in which case, kudos, very progressive of you.
It was directed in 2006 by Alex Weil and created by Charlex Films
It was directed in 2006 by Alex Weil and created by Charlex Films
One Rat Short from Charlex on Vimeo.
Monday, January 24, 2011
Indie Shorts
I can't see Harrison Ford in shorts...it just doesn't compute in my head. He's not a short man....more of a pantman. And now I have the 60s Batman theme in my head which makes me think of today's XKCD strip. This post needs to start charging for it's association and get to the point.
After a discussion with Barb about the useful merits of dialog writing exercises, I have decided to forgo the matter entirely. Okay, that's a lie for which I feel shame. Her point, which was well made, is that I should be spending my time writing the damn script (which I shall henceforth abbreviate WTDS) 'cause any time not doing that is *not* WTDS, which, y'know doesn't help anyone, least of all the TDS. I do like the concept of a writing warm up that will have the effect of weaning me off the crap dialog of which I now spew and moving me more towards the Little-better-than-crap-dialog which will hopefully improve every day....except today when I didn't get home until "it's how late?!" that's okay...I make lamb.
Yesterday the following links popped up on many a site across the interwebs, but I gacked them both from Metafilter. Both films have a consistent look and feel so I think they both achieve their objective, whether or not viewers find that style to their liking. I also find both entertaining in their own ways. They were produced on the cheep and it's amazing what the filmmakers did with their limited resources. It's good to be reminded that making a film isn't a herculean task. It's hard and I have no doubt these filmmakers worked a lot, but they turned out decent films based on their own vision.... and the sweat and tears of their friends. When no one is getting paid, the only reason to do this is because it's a work of love, and I think that comes across in both films.
Lazy Teenage Superheroes - By Michael Ashton (dir, co-writer, prod, FX, etc)
This has the feel of a bunch of kids in the barn putting on a movie....except it has a quirky comic book feel and fantastic effect that feel natural and work withing the film world they construct.
This next piece started off as a fan-film in the Half-Life world which was then cross pollinated with Left4Dead. I was enjoying it on one level and then...wait, is that a bile jar? The whole film was consistent stylistically, has great pacing and high production values for the price of a 92 Buick.
Beyond Black Mesa - Director: Brian Curtain
After a discussion with Barb about the useful merits of dialog writing exercises, I have decided to forgo the matter entirely. Okay, that's a lie for which I feel shame. Her point, which was well made, is that I should be spending my time writing the damn script (which I shall henceforth abbreviate WTDS) 'cause any time not doing that is *not* WTDS, which, y'know doesn't help anyone, least of all the TDS. I do like the concept of a writing warm up that will have the effect of weaning me off the crap dialog of which I now spew and moving me more towards the Little-better-than-crap-dialog which will hopefully improve every day....except today when I didn't get home until "it's how late?!" that's okay...I make lamb.
Yesterday the following links popped up on many a site across the interwebs, but I gacked them both from Metafilter. Both films have a consistent look and feel so I think they both achieve their objective, whether or not viewers find that style to their liking. I also find both entertaining in their own ways. They were produced on the cheep and it's amazing what the filmmakers did with their limited resources. It's good to be reminded that making a film isn't a herculean task. It's hard and I have no doubt these filmmakers worked a lot, but they turned out decent films based on their own vision.... and the sweat and tears of their friends. When no one is getting paid, the only reason to do this is because it's a work of love, and I think that comes across in both films.
Lazy Teenage Superheroes - By Michael Ashton (dir, co-writer, prod, FX, etc)
This has the feel of a bunch of kids in the barn putting on a movie....except it has a quirky comic book feel and fantastic effect that feel natural and work withing the film world they construct.
This next piece started off as a fan-film in the Half-Life world which was then cross pollinated with Left4Dead. I was enjoying it on one level and then...wait, is that a bile jar? The whole film was consistent stylistically, has great pacing and high production values for the price of a 92 Buick.
Beyond Black Mesa - Director: Brian Curtain
Link to filmmakers
Beyond Black Mesa from Brian Curtin on Vimeo.
Friday, January 21, 2011
Counterpoint
You take the good, you take the bad.....
I've decided to take the practice dialog and work on little self-contained shorts...1 location, 2 characters, something simple that I can pound out in one sitting and then throw away or dab up the coffee you just spilled. Who knows, I might even post them here. I need to get more okay with the concept of putting my work out into the world and letting it, I don't know, percolate with the fishes. I'm contemplating theme weeks, or perhaps I'll go back to Dave's idear a years ago of basing an art piece a week around one word. Katrina got a whole quilt out of Pentimento...all I got was this lousy joke.
Brief aside..Tron's soundtrack still rocks.
I think I need to talk to folk and get them to come up with random words or scenes. Or I suppose I could use one of many random plot generators out there, but it doesn't have to be too detailed, the goal is dialog and lots of it. While I named the subject of this post "Counterpoint" based on the following videos, I think perhaps that's what we'll base next week's short on. Who knows what we'll get...probably a script about closet quilters.
Random aside: Today I saw a mouse uterus. It would be safe to say I didn't anticipate writing that when the day began.
Anywhoo, onto the videos. I like the idear of short films....2-5 minutes doesn't feel like a long time to tell a story, but it's amazing what you can accomplish in that span of time. The next 2 films are 1:47 and 3:00 respectively and while rather simple in story, they both have a depth of meaning that makes them quite powerful and entertaining. Once again it's all about the execution...and as with most films, they're better in full screen.
After You - Written/Directed by Adam Linzey
I really enjoyed the next film - great music, great editing.
Ribbons - Directed by Brodie Rocca
I've decided to take the practice dialog and work on little self-contained shorts...1 location, 2 characters, something simple that I can pound out in one sitting and then throw away or dab up the coffee you just spilled. Who knows, I might even post them here. I need to get more okay with the concept of putting my work out into the world and letting it, I don't know, percolate with the fishes. I'm contemplating theme weeks, or perhaps I'll go back to Dave's idear a years ago of basing an art piece a week around one word. Katrina got a whole quilt out of Pentimento...all I got was this lousy joke.
Brief aside..Tron's soundtrack still rocks.
I think I need to talk to folk and get them to come up with random words or scenes. Or I suppose I could use one of many random plot generators out there, but it doesn't have to be too detailed, the goal is dialog and lots of it. While I named the subject of this post "Counterpoint" based on the following videos, I think perhaps that's what we'll base next week's short on. Who knows what we'll get...probably a script about closet quilters.
Random aside: Today I saw a mouse uterus. It would be safe to say I didn't anticipate writing that when the day began.
Anywhoo, onto the videos. I like the idear of short films....2-5 minutes doesn't feel like a long time to tell a story, but it's amazing what you can accomplish in that span of time. The next 2 films are 1:47 and 3:00 respectively and while rather simple in story, they both have a depth of meaning that makes them quite powerful and entertaining. Once again it's all about the execution...and as with most films, they're better in full screen.
After You - Written/Directed by Adam Linzey
I really enjoyed the next film - great music, great editing.
Ribbons - Directed by Brodie Rocca
Ribbons from Brodie Rocca on Vimeo.
Thursday, January 20, 2011
Monsters and...
I keep coming across these animation shorts...I think they must be student final projects from a foreign animation school. I'm not sure where they're from but they're all rather fun and very well made.
Since we received 6-8 inches of snow I took a snow day. I try to take one ever winter just because I enjoy the snow...perhaps I'm trying to reclaim my youth. I don't know. Regardless, I spent the first half going through old scripts I had written, some short, some not so short. And the one thing I noticed is that my dialog has gotten really rusty. It used to be so natural, I could whip out 5 pages of folk talking about nothing in particular, although it was obviously much better when there was a point. I think I had a good cadence and delivery that wasn't overly expository. I'm still amused by what I wrote (I mean, some of it's only suitable for wrapping, but that's to be expected). What I do know is that I can't write like that now...I've tried. I'm sure part of it has to do with just taking too much on last year what with the docs and classes and TF...I did all of it badly and felt really sorry about letting some people down. So I haven't really concentrated on that for a few years...and like any muscle, if you don't use it, it goes to fishwrap.
I also got a lot of work done today on the script, I'm hoping to have enough of an outline so that I can get some words down after next Saturday's meeting with Dave. But I think I also need to get these people talking...so maybe we'll start early...and start watching Sports Night. Nothing gets me in the mood for good dialog like Sorkin.
From the episode: Ordinance Tactics - written by Aaron Sorkin and Paul Redford
Since we received 6-8 inches of snow I took a snow day. I try to take one ever winter just because I enjoy the snow...perhaps I'm trying to reclaim my youth. I don't know. Regardless, I spent the first half going through old scripts I had written, some short, some not so short. And the one thing I noticed is that my dialog has gotten really rusty. It used to be so natural, I could whip out 5 pages of folk talking about nothing in particular, although it was obviously much better when there was a point. I think I had a good cadence and delivery that wasn't overly expository. I'm still amused by what I wrote (I mean, some of it's only suitable for wrapping, but that's to be expected). What I do know is that I can't write like that now...I've tried. I'm sure part of it has to do with just taking too much on last year what with the docs and classes and TF...I did all of it badly and felt really sorry about letting some people down. So I haven't really concentrated on that for a few years...and like any muscle, if you don't use it, it goes to fishwrap.
I also got a lot of work done today on the script, I'm hoping to have enough of an outline so that I can get some words down after next Saturday's meeting with Dave. But I think I also need to get these people talking...so maybe we'll start early...and start watching Sports Night. Nothing gets me in the mood for good dialog like Sorkin.
From the episode: Ordinance Tactics - written by Aaron Sorkin and Paul Redford
Wednesday, January 19, 2011
These boots were made for walking...in circles
Today I came across NPR's Vimeo page and encountered one of this planet's most ancient mysteries...
A Mystery: Why Can't We Walk Straight? from NPR on Vimeo.
I don't know if this was always intended to be animated, but I think the animation adds a great dimension to what's already a very interesting piece. One of the commenters made a good point when he asked if it wouldn't be all the more astounding if we could actually walk in a straight line while blindfolded. I don't have a good answer to that...perhaps it's in our nature to be mysterious...or at least drawn to mysteries. Maybe that's why there are so many conspiracy theories or why people are attracted to confidence and chutzpah. Is it because people with those traits seem like they have all the answers?...or is it possibly because people like that are often surrounded by chocolate? It's true, look it up. There's a proportional rise in world-wide cocoa production that matches the rise in global cults and y'know dictators. You can't make that up...
A Mystery: Why Can't We Walk Straight? from NPR on Vimeo.
I don't know if this was always intended to be animated, but I think the animation adds a great dimension to what's already a very interesting piece. One of the commenters made a good point when he asked if it wouldn't be all the more astounding if we could actually walk in a straight line while blindfolded. I don't have a good answer to that...perhaps it's in our nature to be mysterious...or at least drawn to mysteries. Maybe that's why there are so many conspiracy theories or why people are attracted to confidence and chutzpah. Is it because people with those traits seem like they have all the answers?...or is it possibly because people like that are often surrounded by chocolate? It's true, look it up. There's a proportional rise in world-wide cocoa production that matches the rise in global cults and y'know dictators. You can't make that up...
Tuesday, January 18, 2011
3 Minutes
Today I came across a fun 3 minute film, appropriately titled.
it's even bigger on their website.
Why? Who knows...Is it a prequel? A sequel? I sure hope not...I love the mystery and I can't imagine this getting better by us finding out who the old man is or what's his schtick. It's kind of like Tron...it's fast, it's fun and much better if you don't think too hard about it. Overall, I enjoyed it...and not just because it had lightsabers.
it's even bigger on their website.
Why? Who knows...Is it a prequel? A sequel? I sure hope not...I love the mystery and I can't imagine this getting better by us finding out who the old man is or what's his schtick. It's kind of like Tron...it's fast, it's fun and much better if you don't think too hard about it. Overall, I enjoyed it...and not just because it had lightsabers.
Wednesday, January 12, 2011
Random Music Makers
After yesterday's post, I kept thinking more and more about the individual artists who create music just on their own. Music is such a powerful force in terms of storytelling, it's impressive when people can shape it on their own. I haven't participated in a 24 hour filmmaking contest in a while, but I always thought it would be interesting to take a piece of really unique locally made music and have that be the bed for the contest. What would people come up with?
One instrument that just calls out to have a short film built around it is the hang. I came across hang musicians a few years back and was intrigued by their unique shape (the instrument, not the musician) (it's like a musical UFO) and the amazing assortment of notes you can get out of them. Here's a piece by Dante Bucci.
Sometimes you need more than just one instrument. A man named Claudia Montuori proves you can make music out of anything you want. I seriously love the fact that people like him are out there making the world a stranger place for the rest of us.
A musician who calls himself Mystery Guitar Man is also proficient with video/editing/motiontracking so of course he combines all of them to create some fantastic pieces. I can't imagine how long it takes to edit these together. He'll seriously make music out of anything. It's impressive.
And of course, we have to end with the always fabulous KT Tunstall who does it all in camera.
One instrument that just calls out to have a short film built around it is the hang. I came across hang musicians a few years back and was intrigued by their unique shape (the instrument, not the musician) (it's like a musical UFO) and the amazing assortment of notes you can get out of them. Here's a piece by Dante Bucci.
Sometimes you need more than just one instrument. A man named Claudia Montuori proves you can make music out of anything you want. I seriously love the fact that people like him are out there making the world a stranger place for the rest of us.
A musician who calls himself Mystery Guitar Man is also proficient with video/editing/motiontracking so of course he combines all of them to create some fantastic pieces. I can't imagine how long it takes to edit these together. He'll seriously make music out of anything. It's impressive.
And of course, we have to end with the always fabulous KT Tunstall who does it all in camera.
Tuesday, January 11, 2011
Random Art
One of the things I love most about this world is randomly encountering individuals creating art. I'm sitting in bed checking email and a friend sends a short story. I'm walking in DC and come across paperclip bikestands
It adds such a sense of wonder and magic to the world. A lot of the art I find randomly come from the ever so random internet. The following bits have all been around for a while, but I post them here because the artists aren't working in a medium most of us would expect to see lying in museums or darkened basements.
I'm not sure if I'd call it art or animation, but Kseniya Simonova does some funky things with sand:
And while many people make shadow puppets, Raymond Crowe brings them to life and makes them sing Louis Armstrong. If only Frankenstein had gone that route....
On the streets of New York, Josh Allen Harris does some awesome and creepy things with trashbags.
And speaking of creepy, self-proclaimed kinetic scultor Theo Jansen makes these creatures that move with the wind. They're so cool, I have to post a couple of links
Here's a TED Talk which goes into greater detail as to how they're made.
All in all, these folk are out there making magic and art because they just can't help themselves. I think the world would be a much more interesting place if more people shaped reality from their dreams instead of the other way around.
It adds such a sense of wonder and magic to the world. A lot of the art I find randomly come from the ever so random internet. The following bits have all been around for a while, but I post them here because the artists aren't working in a medium most of us would expect to see lying in museums or darkened basements.
I'm not sure if I'd call it art or animation, but Kseniya Simonova does some funky things with sand:
And while many people make shadow puppets, Raymond Crowe brings them to life and makes them sing Louis Armstrong. If only Frankenstein had gone that route....
On the streets of New York, Josh Allen Harris does some awesome and creepy things with trashbags.
And speaking of creepy, self-proclaimed kinetic scultor Theo Jansen makes these creatures that move with the wind. They're so cool, I have to post a couple of links
Here's a TED Talk which goes into greater detail as to how they're made.
All in all, these folk are out there making magic and art because they just can't help themselves. I think the world would be a much more interesting place if more people shaped reality from their dreams instead of the other way around.
Monday, January 10, 2011
Is this the Tron I ordered?
I saw Tron Legacy over the weekend. I have to say, being a huge fan of the original I was incredibly excited for this new one. I'd close my eyes every time a trailer came on because it was great music and I didn't want to ruin any of the visuals. I was trying not to see it in 3D (erroneously thinking it was a 2D post job) and since it's only playing 3D in town, my viewing pleasure was a touch delayed. Really, it took Ben saying it was a great 3D experience to get me to see it. The benefit of seeing it so late was hearing many folk say...."eeehhhhhh" or "meh" or "hold onto your optimism" as my cousin Mark put it. This lowered my expectations immensely to the point where I actually enjoyed the film.
I kept waiting for it to get to the bad place everyone else thought it did and that never really happened. It had a great feel, great tone, great visuals and a fantastic score. Those were enough to keep the film flowing and the fridge logic at bay. Overall, I really enjoyed it but in the end there were many structural/story issues that kept it from being great. Spoilers after the trailer.
Basic plot courtesy of the wikignomes
My main issues:
There were massive parts of the backstory that were handled with exposition:
What happened to the Grid
What the ISOs were.
How the ISOs died
Where CLU came from
Why CLU went evil.
In so many situations, there was no dramatic reason to care. Looking back I have to really stretch to find an answer to "why does it matter?"
Rinzler's redemption
Clu's getting to the real world
Zuse and the End of Line Club
ISOs and their genocide.
ISOs in general - sure they're self-creating programs, that's impressive. What does it mean for the world?
Quorra's motivations
Flynn's damn light cycle "fasted on the grid"...at least Sam's ride in didn't take long. Too bad he traded it for...what?
The Grid - isn't it now just a disconnected world running in Flynn's Basement?
Why are the games important? In the last film, it was a game company. Why are they still playing? 'cause it's what they've always known?
I can come up with an explanation of these things in terms of story logic...but really, they still didn't matter in the grand narrative scheme of things. They were dramatically arbitrary.
And then there are the things that make no damn sense: (so either they make NDS or I just missed something which wouldn't be hard to buy)
What is Clu going to do when he gets to the real world? He's going to be forced to fight a *physical* battle...against the US Military? That's a completely different film/tone/genre/whathaveyou. It's just diff'rent, man. And this is his main dramatic goal? That's his thing? Get outside?
If it's a closed system and Clu can't make new programs, where are all of the other programs coming from? Why didn't Flynn give Clu the power to make programs? What if Tron was able to access the internet and was pulling programs in.
How does Clu contact Alan in the real world from a disconnected phone line? Okay...that's just nitpicky...ignore I said anything.
This next bit is a bit of a geekout, so I apologize in advance. I was going to be working on a throwaway script every day, but I think this qualifies for today's quota. It's been so long since I've actually written consistently, I wasn't going to stress myself out initially by trying to write something marketable, or, y'know good. I just wanted to write something fun. And this qualifies. Anywhoo...
I'm always a sucker for epic storytelling. Co-ed Naked Epic Filmgoers! - we do it big and in a theatre....wait, what? I think, in the end, the film wasn't big enough for me. What were the characters primary motivations? Sam wanted to get off the grid so he could delete Clu and be with his dad. Flynn wanted to preserve the grid and just be...man. Clu wanted to get out...to take control of...the world? I mean, I'm all for dreaming big, but what was he going to do with his army on the outside? Take on the US Military? Maybe I'm missing something, but it seemed like that was his Main Schtick. Okay, granted he wanted to make everything work perfectly...by getting off the grid? Quorra? You got me...
What I wanted were 2 films. I thought this one started out great...the first act set the tone, the visuals, the feel. JJ's mystery boxes were all around and I was hooked. Where was Flynn?, what was he working on? Holy crap, what happened to the grid? What's the game play now? Dude, love the recognizer redesign.
But what I really wanted was Rinzler to be the Big Bad of episode I. Clu is still the ruler, we'd still have the Clu/Sam scene. We'd need to show that Rinzler is the Head of Security and the enforcer. Pretty much everything could be similar with Rinzler switched with Clu for the cycle event to the point right after Quorra saves Sam.
Then she takes Sam to a band of ISOs who are hanging in the outlands. The purge is the same, but it didn't get everyone. The rest are in hiding and searching for any trace of Flynn, who gave them his disk when he was going to confront Rinzler who he knows is a corruption of Tron. Nobody knows what happened after that, only that he hasn't been seen in a long freakin' time. Flynn holds the key to their escape from the grid to the internet. They know Sam is important and see him as the chance to get to Flynn. So they train him to fight with his father's lightsaber..I mean, uh, lightdisk and through that training he learns of the ISOs, learns that they repopulate themselves and that they're not programs because of this some of them have special powers, who knows what? And yes, this get's really close to Muad'ib and Dune, but it's all I've come up with in 24 hours. So at the end of this he has a band of fighters who all want the same thing, to find Flynn. So they raid the castle. Rinzler sees them coming. We could even have the End of Line club with Caster having info on Flynn, who knows? Okay, this is getting too detailed.
Main points, Sam and his band of merry monks fight towards Rinzler's stronghold where he has Flynn stashed. Along the way they find that Clu doesn't know Rinzler has Flynn, also CLU didn't kill the ISOs off, he is reprogramming them to fight in his Army. They free Flynn, (group hug), except Flynn is really out of it (sticking with the zen thing) then Flynn and Son (tm) run off to take Rinzler and CLU down whist Quorra and Crew run off to free the rest of the ISOs that haven't been rewired. Big battle, actual conversation with Rinzler who is then redeemed (he didn't tell Clu he had Flynn because he still was protecting the grid - dueling directives which corrupted Rinzler.)(maybe he's reprogrammed by Flynn), becomes Tron again turns on CLU who has a similar conversation with Flynn as he does in the actual film. "I only did what you wanted, why isn't that good enough?" I loved this facet of his personality. Again he can't kill or harm Flynn and perhaps he even saves him from getting killed. Clu reveals that's why he wants to get online, because then he can fulfill the mission that Flynn gave him. But then Clu takes his toys and Flynns info disk and runs away.
Tron reveals that Clu has indirect access to the internet (he sent the page) but has been getting closer to a direct connection and the disk is going to get him the rest of the way there. Once Clu is online so to speak, he'll easily be able to use his Army to repurpose many of the worlds' interconnected systems. However then we get skynet or the matrix and nobody really wants that now, do they? Well, we must stop him, our heros say. Huzzah! roll credits fade to black.
Episode II.
Clu still retains control of most of the grid. However, due to the fact Tron went to the other side, and as chief of security he had a lot of control, the grid is slowly sliding towards corruption. This is also affecting Clu and he's getting more erratic. Things are breaking down, chaos is slowly creeping in. Before tackling Clu, they have to restore order. Although, if they just let things disintegrate, that would take care of Clu. But that's not cool, man. Anywhoo, that's the first big climax...but that gives Clu the time he needs and also makes him right in the head. At the end of the first act the Grid is secured, but Clu gains access to the global internet and streams through. All is lost! Woe is me! *back of hand to forehead!* Flynn, Tron, Sam and Quorra with their small band of superIsos chase after them, coconuts well in hand.
The internet is a crazy mixed up place. I wonder what that looks like? I don't have enough technical knowledge for the next bit of the story...I don't know where a rogue program would go to try and get the most control. Google? Dept. of Defense? Financial traders? Whereever that is, that's where goes. Our heroes have some time because first Clu needs to breach their defenses. This gives our heroes a chance to join the other side...but the other side would probably see them as a threat as well. That could be interesting. Anywhoo, throughout this Flynn teaches Sam how to program on the fly to alter the world around him. We start to understand that Flynn can do things no one else can. Big battle ensues. Clu is defeated, but not completely, his Iso's have infected whatever he's fighting, but no one really knows what that means. That can wait for a later film...or not. Also, the second and third act need more, we have the main climax, but the whole thing needs a few more levels of drama and action.
Anywhoo, now that the Iso's have seen the world outside there's no way they're going back to the grid, so they run off to see the world...not so sure that's a good idear, but how much harm could they cause?
Flynn reveals he can't leave the grid, he's been without his disk for so long he's integrated into the grid...perhaps he gets weaker the further into the internet they get. Maybe it's Clu who realizes what's going on and actually saves him...I don't know, it's late. Anywhoo, he has to stay, Tron will help him rebuild a new better world. Quorra becomes the leader of the Iso's. She goes with Sam for a quick dip in reality so she can see the sunset and better understand what it means to be human...or tired, do you know how early sunrise is? Sam has a choice whether to stay outside and fix Encom or stay inside. Okay, there's a bunch there that doesn't make sense. It's possible this is all crap.
Anyway, that's end of this bit.
Peace!
I kept waiting for it to get to the bad place everyone else thought it did and that never really happened. It had a great feel, great tone, great visuals and a fantastic score. Those were enough to keep the film flowing and the fridge logic at bay. Overall, I really enjoyed it but in the end there were many structural/story issues that kept it from being great. Spoilers after the trailer.
Basic plot courtesy of the wikignomes
My main issues:
There were massive parts of the backstory that were handled with exposition:
What happened to the Grid
What the ISOs were.
How the ISOs died
Where CLU came from
Why CLU went evil.
In so many situations, there was no dramatic reason to care. Looking back I have to really stretch to find an answer to "why does it matter?"
Rinzler's redemption
Clu's getting to the real world
Zuse and the End of Line Club
ISOs and their genocide.
ISOs in general - sure they're self-creating programs, that's impressive. What does it mean for the world?
Quorra's motivations
Flynn's damn light cycle "fasted on the grid"...at least Sam's ride in didn't take long. Too bad he traded it for...what?
The Grid - isn't it now just a disconnected world running in Flynn's Basement?
Why are the games important? In the last film, it was a game company. Why are they still playing? 'cause it's what they've always known?
I can come up with an explanation of these things in terms of story logic...but really, they still didn't matter in the grand narrative scheme of things. They were dramatically arbitrary.
And then there are the things that make no damn sense: (so either they make NDS or I just missed something which wouldn't be hard to buy)
What is Clu going to do when he gets to the real world? He's going to be forced to fight a *physical* battle...against the US Military? That's a completely different film/tone/genre/whathaveyou. It's just diff'rent, man. And this is his main dramatic goal? That's his thing? Get outside?
If it's a closed system and Clu can't make new programs, where are all of the other programs coming from? Why didn't Flynn give Clu the power to make programs? What if Tron was able to access the internet and was pulling programs in.
How does Clu contact Alan in the real world from a disconnected phone line? Okay...that's just nitpicky...ignore I said anything.
This next bit is a bit of a geekout, so I apologize in advance. I was going to be working on a throwaway script every day, but I think this qualifies for today's quota. It's been so long since I've actually written consistently, I wasn't going to stress myself out initially by trying to write something marketable, or, y'know good. I just wanted to write something fun. And this qualifies. Anywhoo...
I'm always a sucker for epic storytelling. Co-ed Naked Epic Filmgoers! - we do it big and in a theatre....wait, what? I think, in the end, the film wasn't big enough for me. What were the characters primary motivations? Sam wanted to get off the grid so he could delete Clu and be with his dad. Flynn wanted to preserve the grid and just be...man. Clu wanted to get out...to take control of...the world? I mean, I'm all for dreaming big, but what was he going to do with his army on the outside? Take on the US Military? Maybe I'm missing something, but it seemed like that was his Main Schtick. Okay, granted he wanted to make everything work perfectly...by getting off the grid? Quorra? You got me...
What I wanted were 2 films. I thought this one started out great...the first act set the tone, the visuals, the feel. JJ's mystery boxes were all around and I was hooked. Where was Flynn?, what was he working on? Holy crap, what happened to the grid? What's the game play now? Dude, love the recognizer redesign.
But what I really wanted was Rinzler to be the Big Bad of episode I. Clu is still the ruler, we'd still have the Clu/Sam scene. We'd need to show that Rinzler is the Head of Security and the enforcer. Pretty much everything could be similar with Rinzler switched with Clu for the cycle event to the point right after Quorra saves Sam.
Then she takes Sam to a band of ISOs who are hanging in the outlands. The purge is the same, but it didn't get everyone. The rest are in hiding and searching for any trace of Flynn, who gave them his disk when he was going to confront Rinzler who he knows is a corruption of Tron. Nobody knows what happened after that, only that he hasn't been seen in a long freakin' time. Flynn holds the key to their escape from the grid to the internet. They know Sam is important and see him as the chance to get to Flynn. So they train him to fight with his father's lightsaber..I mean, uh, lightdisk and through that training he learns of the ISOs, learns that they repopulate themselves and that they're not programs because of this some of them have special powers, who knows what? And yes, this get's really close to Muad'ib and Dune, but it's all I've come up with in 24 hours. So at the end of this he has a band of fighters who all want the same thing, to find Flynn. So they raid the castle. Rinzler sees them coming. We could even have the End of Line club with Caster having info on Flynn, who knows? Okay, this is getting too detailed.
Main points, Sam and his band of merry monks fight towards Rinzler's stronghold where he has Flynn stashed. Along the way they find that Clu doesn't know Rinzler has Flynn, also CLU didn't kill the ISOs off, he is reprogramming them to fight in his Army. They free Flynn, (group hug), except Flynn is really out of it (sticking with the zen thing) then Flynn and Son (tm) run off to take Rinzler and CLU down whist Quorra and Crew run off to free the rest of the ISOs that haven't been rewired. Big battle, actual conversation with Rinzler who is then redeemed (he didn't tell Clu he had Flynn because he still was protecting the grid - dueling directives which corrupted Rinzler.)(maybe he's reprogrammed by Flynn), becomes Tron again turns on CLU who has a similar conversation with Flynn as he does in the actual film. "I only did what you wanted, why isn't that good enough?" I loved this facet of his personality. Again he can't kill or harm Flynn and perhaps he even saves him from getting killed. Clu reveals that's why he wants to get online, because then he can fulfill the mission that Flynn gave him. But then Clu takes his toys and Flynns info disk and runs away.
Tron reveals that Clu has indirect access to the internet (he sent the page) but has been getting closer to a direct connection and the disk is going to get him the rest of the way there. Once Clu is online so to speak, he'll easily be able to use his Army to repurpose many of the worlds' interconnected systems. However then we get skynet or the matrix and nobody really wants that now, do they? Well, we must stop him, our heros say. Huzzah! roll credits fade to black.
Episode II.
Clu still retains control of most of the grid. However, due to the fact Tron went to the other side, and as chief of security he had a lot of control, the grid is slowly sliding towards corruption. This is also affecting Clu and he's getting more erratic. Things are breaking down, chaos is slowly creeping in. Before tackling Clu, they have to restore order. Although, if they just let things disintegrate, that would take care of Clu. But that's not cool, man. Anywhoo, that's the first big climax...but that gives Clu the time he needs and also makes him right in the head. At the end of the first act the Grid is secured, but Clu gains access to the global internet and streams through. All is lost! Woe is me! *back of hand to forehead!* Flynn, Tron, Sam and Quorra with their small band of superIsos chase after them, coconuts well in hand.
The internet is a crazy mixed up place. I wonder what that looks like? I don't have enough technical knowledge for the next bit of the story...I don't know where a rogue program would go to try and get the most control. Google? Dept. of Defense? Financial traders? Whereever that is, that's where goes. Our heroes have some time because first Clu needs to breach their defenses. This gives our heroes a chance to join the other side...but the other side would probably see them as a threat as well. That could be interesting. Anywhoo, throughout this Flynn teaches Sam how to program on the fly to alter the world around him. We start to understand that Flynn can do things no one else can. Big battle ensues. Clu is defeated, but not completely, his Iso's have infected whatever he's fighting, but no one really knows what that means. That can wait for a later film...or not. Also, the second and third act need more, we have the main climax, but the whole thing needs a few more levels of drama and action.
Anywhoo, now that the Iso's have seen the world outside there's no way they're going back to the grid, so they run off to see the world...not so sure that's a good idear, but how much harm could they cause?
Flynn reveals he can't leave the grid, he's been without his disk for so long he's integrated into the grid...perhaps he gets weaker the further into the internet they get. Maybe it's Clu who realizes what's going on and actually saves him...I don't know, it's late. Anywhoo, he has to stay, Tron will help him rebuild a new better world. Quorra becomes the leader of the Iso's. She goes with Sam for a quick dip in reality so she can see the sunset and better understand what it means to be human...or tired, do you know how early sunrise is? Sam has a choice whether to stay outside and fix Encom or stay inside. Okay, there's a bunch there that doesn't make sense. It's possible this is all crap.
Anyway, that's end of this bit.
Peace!
Saturday, October 30, 2010
Expectations of Winter Blindness
Or some other amalgam of topics.
I recently saw The Social Network, a film that not only fulfilled, but surpassed my expectations. It also brought to light a pattern that Barb and I are only seeing good films together - in the last 2 years we've seen: Moon, Sherlock Holmes, Inception and now TSN. (I'm sure it also helps that we live 5 hours apart so moovie watching doesn't happen all that often) Anywhoo, not only is TSN a great film, but it has a great trailer that does everything a trailer should
It teases the film, gives the viewer a basic idea of what the film is about, without sharing the meat, and leaves us somewhat curious. I also think all good trailers have to be films unto themselves. They can't rely on the viewer knowing anything about the subject matter. They have to press the ART button repeatedly.
I really think my high expectations for the film were entirely based on the fact that Aaron Sorkin was writing it. In fact, the first time I heard there was going to be a Facebook film I rolled my eyes. I mean, how exciting can the origin story of a social website be? Forgetting, of course, that's it's all about the execution...I mean how exciting could a film based on a pirate ride be? However, once Sorkin was attached I knew it was going to be a fun ride. He can make dialog sing and dance on the page and his scripts are almost as fun to read as they are to watch: The American President A Few Good Men West Wing Sports Night. If were to name my overall top 5 screenwriters Sorkin and Whedon would be thumb wrestling for the top spot.
Strong expectations can be the death knell for any film. To tell a good story you have to establish certain expectations in the first act. You have to set things in motion, introduce characters, establish tone and a visual style, introduce motivations and storyline. Then you have to write an ending that resolves the major issues without the audience seeing it coming a mile off which means you have to confound some expectations and fulfill others. And if all of that is framed within the viewer's prior expectations of suck or godhood, then it makes it that much more difficult to reach that viewer. I think for a film to be successful, the expectations of the viewer have to be in sync with the expectations the film is setting up.
Here are two short films that play with expectations and because of that I won't say much about either of them in this post.
The first is The Winter Stalker written and directed by Stephen Reedy:
"The Winter Stalker" By Stephen Reedy & Alex Pardee from ZerofriendsFilms on Vimeo.
The second is a short film from French Animation Students. I don't know if I keep running across cool shorts from French schools, or if the French summarily execute any student film that doesn't pass french muster.
It's called Blind Spot:
Regarding my own personal expectations - one of the shorts met them- I felt I knew where the story was going from the beginning... the other took me by surprise which I feel makes it the stronger and more interesting film....but in a Keanu Reeves "whoh" way.
I recently saw The Social Network, a film that not only fulfilled, but surpassed my expectations. It also brought to light a pattern that Barb and I are only seeing good films together - in the last 2 years we've seen: Moon, Sherlock Holmes, Inception and now TSN. (I'm sure it also helps that we live 5 hours apart so moovie watching doesn't happen all that often) Anywhoo, not only is TSN a great film, but it has a great trailer that does everything a trailer should
It teases the film, gives the viewer a basic idea of what the film is about, without sharing the meat, and leaves us somewhat curious. I also think all good trailers have to be films unto themselves. They can't rely on the viewer knowing anything about the subject matter. They have to press the ART button repeatedly.
I really think my high expectations for the film were entirely based on the fact that Aaron Sorkin was writing it. In fact, the first time I heard there was going to be a Facebook film I rolled my eyes. I mean, how exciting can the origin story of a social website be? Forgetting, of course, that's it's all about the execution...I mean how exciting could a film based on a pirate ride be? However, once Sorkin was attached I knew it was going to be a fun ride. He can make dialog sing and dance on the page and his scripts are almost as fun to read as they are to watch: The American President A Few Good Men West Wing Sports Night. If were to name my overall top 5 screenwriters Sorkin and Whedon would be thumb wrestling for the top spot.
Strong expectations can be the death knell for any film. To tell a good story you have to establish certain expectations in the first act. You have to set things in motion, introduce characters, establish tone and a visual style, introduce motivations and storyline. Then you have to write an ending that resolves the major issues without the audience seeing it coming a mile off which means you have to confound some expectations and fulfill others. And if all of that is framed within the viewer's prior expectations of suck or godhood, then it makes it that much more difficult to reach that viewer. I think for a film to be successful, the expectations of the viewer have to be in sync with the expectations the film is setting up.
Here are two short films that play with expectations and because of that I won't say much about either of them in this post.
The first is The Winter Stalker written and directed by Stephen Reedy:
"The Winter Stalker" By Stephen Reedy & Alex Pardee from ZerofriendsFilms on Vimeo.
The second is a short film from French Animation Students. I don't know if I keep running across cool shorts from French schools, or if the French summarily execute any student film that doesn't pass french muster.
It's called Blind Spot:
Regarding my own personal expectations - one of the shorts met them- I felt I knew where the story was going from the beginning... the other took me by surprise which I feel makes it the stronger and more interesting film....but in a Keanu Reeves "whoh" way.
Wednesday, September 22, 2010
Teen Angst
I think I'm reaching the teen angst portion of tonight's show. I have this theory about film production...or video production, or really any artistic creation. It's nothing new and not even terribly original, but hey, there we are.
Making a video is very much like raising a child. Preproduction is all about youth and adolescence. Sure there are growing pains, but there's such hope and energy, passion and excitement that sometimes it's all you can do to not smother the thing in love. This is where you plan out it's life. You want so much for the little guy, so you try and give it everything it needs. This means writing as much as possible, planning out shoots, finding a consistent visual style, a structure, scouting and maybe pre-interviews to figure out what your subjects are going to say and then how everything will fit together.
Then you reach production which is somewhere around puberty, suddenly this baby is ready to walk on it's own and you can only hope you've prepared it enough to propel itself under it's own energy. Sure you're there to guide it, to feed it, to drive it to the mall and pay for craft services, but it has to have it's own motivation and desire. If you've been negligent in your love, you're certainly going to find out now. Most of the time things start off strong. The first day of shooting is always exciting, it's like the first day of school, everyone looks their best. They're running out to location with their beanies on, excited to play. But that never lasts - it can't really. Because this being has to find it's own feet, it has to be it's own person...and that's when you hit the Teen Angst years.
The Teen Angst generally happens around the middle of production or somewhere early on in post, mostly it just depends when you're actually looking at the footage and starting to put it together. For me, it's now (after only 3 days of shooting) this is because I'm staying late to look at clips Jeanne has put together or am working with Katrina to see the graphics she's created. And I"m starting to doubt my vision. Teen Angst is striking. This happens because all your dreams and visions are for an organic life form that has it's own desires and wishes. You wanted a lawyer and you're getting an artist... or vice-versa. The trick is, to be okay with what it's becoming, but still be able to influence it's decisions. You're not giving up control-you can't and this teen doesn't want you to. But you have to be okay with your vision changing somewhat. You have to allow it to become what it's going to become and be okay with the fact that you can't exert as much influence as you did before.
I had certain thoughts about how the middle sections should go. After shooting 2 interviews and seeing Jeanne try to put them together, I'm worried that we can't get across the whole concept in the 15 seconds I've given to each person. But if we can't then we have to pull from the early 10 second montage 'cause I've only alotted 40 seconds for each of the 5 sections....and this can't go over 5 minutes. At times, production is all about numbers: how many setups have we shot; how long is the crew on the clock; how many bagels are left on the table.
So the trick is to be aware of the teen angst and to not be reactive. I'm going to adjust my interview style a little bit and perhaps put the questions that really matter all together. The individual sections are changing somewhat as well. The 15seconds were people explaining what they're working on and why it's awesome. But I think it has to be what the problem is and why it's important, with the implication of "that's why I'm working on it" Or something. I don't know, I'm going to have to think on that.
The video is being played in St. Louis 3 weeks from today. We got the job 2 weeks ago, so I think we've come quite a ways in a couple weeks. I'm just trying to ignore the pressure from on high and trusting that I've given this thing enough love that it can stand on it's own knowing that I and the rest of our video family is going to be pushing it the rest of the way.
We'll see what I think tomorrow.
And then, at the end of the day when I was in the midst of my teen-angstyness, I found this cool little short:
PYRATS from zloe_zlo on Vimeo.
It was made back in 2006 by animation students at a school I can't pronounce. Here's the website for the film. Overall, it's a whole lot of fun. It well paced, exciting, visually dynamic, tells a story and even worked in a Wilhelm Scream. What's not to love?
Making a video is very much like raising a child. Preproduction is all about youth and adolescence. Sure there are growing pains, but there's such hope and energy, passion and excitement that sometimes it's all you can do to not smother the thing in love. This is where you plan out it's life. You want so much for the little guy, so you try and give it everything it needs. This means writing as much as possible, planning out shoots, finding a consistent visual style, a structure, scouting and maybe pre-interviews to figure out what your subjects are going to say and then how everything will fit together.
Then you reach production which is somewhere around puberty, suddenly this baby is ready to walk on it's own and you can only hope you've prepared it enough to propel itself under it's own energy. Sure you're there to guide it, to feed it, to drive it to the mall and pay for craft services, but it has to have it's own motivation and desire. If you've been negligent in your love, you're certainly going to find out now. Most of the time things start off strong. The first day of shooting is always exciting, it's like the first day of school, everyone looks their best. They're running out to location with their beanies on, excited to play. But that never lasts - it can't really. Because this being has to find it's own feet, it has to be it's own person...and that's when you hit the Teen Angst years.
The Teen Angst generally happens around the middle of production or somewhere early on in post, mostly it just depends when you're actually looking at the footage and starting to put it together. For me, it's now (after only 3 days of shooting) this is because I'm staying late to look at clips Jeanne has put together or am working with Katrina to see the graphics she's created. And I"m starting to doubt my vision. Teen Angst is striking. This happens because all your dreams and visions are for an organic life form that has it's own desires and wishes. You wanted a lawyer and you're getting an artist... or vice-versa. The trick is, to be okay with what it's becoming, but still be able to influence it's decisions. You're not giving up control-you can't and this teen doesn't want you to. But you have to be okay with your vision changing somewhat. You have to allow it to become what it's going to become and be okay with the fact that you can't exert as much influence as you did before.
I had certain thoughts about how the middle sections should go. After shooting 2 interviews and seeing Jeanne try to put them together, I'm worried that we can't get across the whole concept in the 15 seconds I've given to each person. But if we can't then we have to pull from the early 10 second montage 'cause I've only alotted 40 seconds for each of the 5 sections....and this can't go over 5 minutes. At times, production is all about numbers: how many setups have we shot; how long is the crew on the clock; how many bagels are left on the table.
So the trick is to be aware of the teen angst and to not be reactive. I'm going to adjust my interview style a little bit and perhaps put the questions that really matter all together. The individual sections are changing somewhat as well. The 15seconds were people explaining what they're working on and why it's awesome. But I think it has to be what the problem is and why it's important, with the implication of "that's why I'm working on it" Or something. I don't know, I'm going to have to think on that.
The video is being played in St. Louis 3 weeks from today. We got the job 2 weeks ago, so I think we've come quite a ways in a couple weeks. I'm just trying to ignore the pressure from on high and trusting that I've given this thing enough love that it can stand on it's own knowing that I and the rest of our video family is going to be pushing it the rest of the way.
We'll see what I think tomorrow.
And then, at the end of the day when I was in the midst of my teen-angstyness, I found this cool little short:
PYRATS from zloe_zlo on Vimeo.
It was made back in 2006 by animation students at a school I can't pronounce. Here's the website for the film. Overall, it's a whole lot of fun. It well paced, exciting, visually dynamic, tells a story and even worked in a Wilhelm Scream. What's not to love?
Thursday, September 9, 2010
Sweet Cheeses!
I read an article recently saying that the price of happiness is $75K a year. According to some recent studies, after that amount, your happiness doesn't increase in proportion to your paycheck. A few years ago, I read a similar report saying it was around $40K. I don't know if either report is correct or not, but I do know both those figures are more than I make. Which is okay, I make enough to live on comfortably. We own a house (well, part of it), I just bought a computer (that I'm typing on right now) and tonight I could afford to buy a frozen pizza from Shakes for dinner (although I didn't end up cooking it when I got home). From a financial standpoint, more would be great but we're certainly not hurting.
People define happiness in various ways. Monetary and material things are the first and foremost in most peoples minds. I define my happiness with cheese. And cheese...I mean good cheese, gets expensive for people in my tax bracket. I think at $75K I could buy cheese without feeling guilty. What a concept - Guilt Free cheese. I mean look at this cheese!
Tonight I set sail for Schmucks and discovered their mythical cheese island (I have read about it in stories). It's amazing, you just keep circling and circling and around every bend there's new and interesting cheese (at new and interesting prices). Because of this photo I was labeled a cheese-tease, but I just have so much love of the lactose, I feel I must share. I remember a trip to Colorado where we went and got lost in the mountains around boulder. All we had to survive on was brie and crackers and we made it out alive. Good view, good cheese, good company. And there's my definition of happiness...for this evening.
So the moral of this story is maybe I need to start treating myself to more cheese. Dreams only die by choice. And tonight, I'm dreaming of cheese...Stilton to be precise.
I had to pause and think of what kind of video would involve cheese...and Monty Python wins hands down...not only because they amuse me to no end..but because a friend and I did this skit for our 6th grade talent show. I was the storekeep in my first stage role and Bryan took the best part for himself...and then didn't show up the day we had to perform. I think Chris Leach was the understudy. I'm not sure our 6th grade classmates were ready for our attempt at british humor (what's the cliche about hearing a needle drop in a haystack?) but we thought it was hi-larious.
People define happiness in various ways. Monetary and material things are the first and foremost in most peoples minds. I define my happiness with cheese. And cheese...I mean good cheese, gets expensive for people in my tax bracket. I think at $75K I could buy cheese without feeling guilty. What a concept - Guilt Free cheese. I mean look at this cheese!
Tonight I set sail for Schmucks and discovered their mythical cheese island (I have read about it in stories). It's amazing, you just keep circling and circling and around every bend there's new and interesting cheese (at new and interesting prices). Because of this photo I was labeled a cheese-tease, but I just have so much love of the lactose, I feel I must share. I remember a trip to Colorado where we went and got lost in the mountains around boulder. All we had to survive on was brie and crackers and we made it out alive. Good view, good cheese, good company. And there's my definition of happiness...for this evening.
So the moral of this story is maybe I need to start treating myself to more cheese. Dreams only die by choice. And tonight, I'm dreaming of cheese...Stilton to be precise.
I had to pause and think of what kind of video would involve cheese...and Monty Python wins hands down...not only because they amuse me to no end..but because a friend and I did this skit for our 6th grade talent show. I was the storekeep in my first stage role and Bryan took the best part for himself...and then didn't show up the day we had to perform. I think Chris Leach was the understudy. I'm not sure our 6th grade classmates were ready for our attempt at british humor (what's the cliche about hearing a needle drop in a haystack?) but we thought it was hi-larious.
Thursday, September 2, 2010
Compelations
Tonight I found a cool music video. It's what happens in college when Music class and Art History get drunk one night.
In a similar vein is one of my favorites "where the hell is Matt"
It starts off as a gimmick, but quickly becomes something powerful and inspiring
And this completes my month of blogging. I wish I had a more auspicious ending. I feel that it's been a success in that I've been writing at least a little bit each day. These last few feel like I'm phoning it in though. I do think I'll keep up with the writing each day, but blogging each day is a little overwhelming. I do have a good list of videos I want to post, I've even started a file on google docs of videos I want to post, so at least I have material.
This weekend is the first game of the season. We're using the NFL equipment with their person running it. I'm just the down and distance guy - which means I do stats for each play of the game. I've done this a few times when we started off and it basically means I'll be writing the whole game. Oh well, at least what I make on this game will cancel out what I'm losing by not working on Lisa's wedding.
Hugs for everyone!
In a similar vein is one of my favorites "where the hell is Matt"
It starts off as a gimmick, but quickly becomes something powerful and inspiring
And this completes my month of blogging. I wish I had a more auspicious ending. I feel that it's been a success in that I've been writing at least a little bit each day. These last few feel like I'm phoning it in though. I do think I'll keep up with the writing each day, but blogging each day is a little overwhelming. I do have a good list of videos I want to post, I've even started a file on google docs of videos I want to post, so at least I have material.
This weekend is the first game of the season. We're using the NFL equipment with their person running it. I'm just the down and distance guy - which means I do stats for each play of the game. I've done this a few times when we started off and it basically means I'll be writing the whole game. Oh well, at least what I make on this game will cancel out what I'm losing by not working on Lisa's wedding.
Hugs for everyone!
Wednesday, September 1, 2010
Animania
A staple of my college days....or were they high school? I don't remember when it first came out, but I was certainly watching it my dorm room.
It's fun *and* educational
But mostly just fun
And any tongue twister automatically make me think of The Court Jester
It's fun *and* educational
But mostly just fun
And any tongue twister automatically make me think of The Court Jester
Tuesday, August 31, 2010
Big Tongue Lamps, film at eleven
I seem to have a real problem finding blow off videos. By that I mean, I want to stick to my one post per night schedule, but I just got home and am tired and want to go to bed, so I'll just post something cool I remember from ago and be done with it.
However, I find I want to comment on them or they lead me into other thoughts...and this is why I'm tired. I end up in a staring contest with the ceiling thinking about things I really wish I wasn't. And they're not even particularly interesting thoughts, sometimes it about what my tongue tastes like (conclusion: chicken. That's why so many things taste like chicken, my tongue just gets confused)
Anywhoo, here are two different commercials that I enjoy for wildly different reasons. They're from long ago sos nothing new here, move along, move along.
It's a big ad
Ikea lamp
However, I find I want to comment on them or they lead me into other thoughts...and this is why I'm tired. I end up in a staring contest with the ceiling thinking about things I really wish I wasn't. And they're not even particularly interesting thoughts, sometimes it about what my tongue tastes like (conclusion: chicken. That's why so many things taste like chicken, my tongue just gets confused)
Anywhoo, here are two different commercials that I enjoy for wildly different reasons. They're from long ago sos nothing new here, move along, move along.
It's a big ad
Ikea lamp
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