Category: film

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“Dead Dog” by Nicholas Ozment

Pseudopod Horror Podcast #055

Not a bad story. The language was very well used. I found the black dog myth and the narrator’s guiltless infidelity a bit hard to lash together thematically, and some of the descripive passages and long flashbacks made my attention wander.

But I have a request. Referencing the “mini generation gap” comment I made on “The Apple Tree Man,” could we hear a bit more from the under 40 crowd on future Pseudopods? I’m sure doing abhorrant things with a wife and kids at home is viscerally arresting once you have them, but trust me: down here, clawing our way into a dead and cynical global economy, there is horror aplenty.

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Notes on the Matewan “Massacre”

From a description in Christopher M. Finan’s “From the Palmer Raids to the Patriot Act: A History of the Fight for Free Speech in America”

The Matewan “Massacre” would make an interesting, if challenging film. Starts out with a classic Western-style showdown. Escalates to open warfare.

“Passengers on the Norfolk and Western trains went through the battle zone crouching on the floors of the cars while glass crashed overhead.”

  • Sid Hattfield (28). Police chief, former miner. Shot Albert C. & Lee Felts. Gunned down on courthouse steps.
  • Albert C. Felts. Shot mayor Cabbell Testerman. PI for Baldwin-Felts Detective Agency, deputized in neighboring town. Hired to evict fired miners.
  • Cabbell Testerman. Mayor & town druggist. Authorized the arrest of the detectives for carrying arms within town limits.
  • Miners. Payed in company scripp. Fired when they joined unions.
  • Baldwin-Felts Agency Detectives. Seven killed by miners in initial gunfight, rest fled across river.
  • President Warren G. Harding. Sent in Federal Troops.

OUTSIDE

  • Rev. John Haynes Holmes. Eloquently denounced the violence on both sides.
  • The ACLU. Only a few years old. Spoke out against the underlying causes.
  • The courts. Widely abused injunctions to suppress meaningful picketing. Used sedition laws unevenly to ban violent pro-union publications while allowing employer publications to advocate violence openly.
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“Need” in Screenwriting

A device I find useful when facing screenwriter’s block is to focus on what each character needs in a scene.

There is a school of screenwriting that would have us believe that all scenes are defined by what the characters want, but I disagree. I’ve spent many enjoyable moments with friends not particularly needing or wanting anything, and that’s what screenwriting basically is — voyeurism. Overemphasis on need-driven scenemaking destroys spontaneity and overloads the script with tension.

Compare the following problem scene from the first and second draft of “Windy City.”

First draft:

EXT. ESTER'S FLAT - NIGHT

DAN

Why didn't you stop?

NINEVE

Well it's not that I didn't like

dance, it was just the girls there.

But, being a senator's daughter,

you've got to have a certain amount

of...

She pauses at the doorknob, folds her arm formally behind her.

NINEVE

(cont.)

Poise. Charm. And most

importantly --

They enter.

INT. ESTER'S FLAT, CONT.

PAUL

...There's just NO WAY!

Nineve and Dan are startled. The adults stands around the kitchen table. Sherrib and Tigres look bitter, Ester and Gyllian defiant. Paul is angry. We've never seen Paul angry.

SAUL

(from the corner)

I can stay, whatever good THAT'LL

do...

TIGRES

Saul...

PAUL

(to Dan and Nineve)

They cut off our funding this

afternoon, the senate. We can't

afford to stay.

DAN

They can... just... do that?

SHERRIB

(to Nineve)

They cut room and board stipends.

Most of us don't use them, but the

valley delegates need them.

NINEVE

...Because they live at the hotel?

SHERRIB

Right.

PAUL

They called a special session this

afternoon. While we were out

watching the airship with everyone

else.

GYLLIAN

Little sneaks.

SAUL

All this money, you'd think I could

buy some brains...

TIGRES

(quietly)

Stop it.

PAUL

Mrs. Hadden has agreed to let us

stay here. Saul's staying on

at the hotel. Hana, Hale and

Tudaya have already made plans to

go back.

ESTER

You'll have to sweep up the dust

and flower petals, but it'll be

nice to have someone living in

the spare rooms again.

DAN

We don't have to go home?

PAUL

(surprised)

No, not yet. Not us anyway.

Second draft:

INT. SENATE - HIGH HALLWAY, CONT.

DAN

Then why didn't you stop?

NINEVE

Well it's not that I didn't like

dance, it was just the girls there.

But, being a senator's daughter,

you've got to have a certain amount

of . . .

Nineve stops at the end of the hallway, folding her arm formally behind her.

NINEVE

(cont.)

Poise. Charm. And most

importantly --

INT. SENATE - LIGHT TOWER, CONT.

PAUL

(angrily)

Well I DIDN'T!

Nineve and Dan start. Paul looks ANGRY -- we've never seen Paul angry. Sherrib, Saul and Tigres are with him, along with the other three valley delegates -- HANA, HALE and TUDIYA -- surrounded by telegraphs and windows.

TUDIYA

You're taking this far too

personally, Assurbani. No one was

expecting us to succeed.

SAUL

I'm sorry, Paul. I ran down there

as soon as I heard about it, but

there wasn't much I could do.

PAUL

You could've done something! Talk,

waste time. . . ANYTHING!

SAUL

When pop's money doesn't solve the

problem, I'm pretty useless. You

know that.

TIGRES

Stop it.

PAUL

Why didn't you at least -- ?

TIGRES

Stop it both of you! Ester?

ESTER

Paul and Dan can stay as long as

they need to with me. I have more

than enough room. We need to put

this in the proper frame of mind.

It's a setback, surely, but only

that.

ASSURBANI

Ester's right. Ester's always

right. We're still operative.

We've got to look for a way ahead.

HALE

You're wasting your time! Honestly,

I appreciate all that you've done

for us, Senator Sherrib. . .

PAUL

We still have funds for the hotel

through Friday. You can at least

help out until then.

HANA

Paul, let it go. It's done.

TUDIYA

No one was expecting us to succeed.

PAUL

Well I was! Dan, Nineve, come in.

They are still standing in the doorway.

PAUL

(cont.)

They voted to cut off our funding,

the Senate. The money they give us

for the hotel. Saul can afford to

stay. Dan, you and I are invited to

stay with Ester. Hana and Hale want

to go back tomorrow. Tudiya, you

can stay for a couple weeks, can't

you?

TUDIYA

I'm afraid I'll be going back as

well.

PAUL

(to Dan)

So our party is somewhat diminished.

DAN

But we don't have to go back?

PAUL

No. Not yet.

SHERRIB

They very quietly called a special

session this afternoon to vote on it.

NINEVE

How did they get enough people?

SHERRIB

Don't know. Everyone who's a

reliable vote for Chairman Khorsa

was there. I think they've been

planning this for a while.

PAUL

We were out watching the airship

with everyone else.

Is the scene better? Who knows, but I’m happier with it. It satisfies my need.

(In case you’re interested, I’m of the Jim Cameron school of screenwriting: “Just describe the movie.”)

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Review: Pirates of the Caribbean: At World’s End

This seems to be the summer of grand refutation for the “more is better” blockbuster. Spiderman 3, Shrek the Third, and the upcoming Live Free or Die Hard and The Bourne Ultimatum all seem designed to provide more of everything, but less of what we want. Pirates of the Caribbean: At World’s End is no exception.

Pirates 3 is a huge, clattering, whirring, blurring, shooting, smashing mashup of everything from the first two. Everything is bigger, everything is more. Every character is back. You’ve seen boarding scenes, but not like these — never this huge, never this chaotic. You’ve seen naval combat, but you’ve never seen a ship literally chewed apart by cannon fire. It’s fun while it lasts, and it lasts a long time, so why does it all boil down to a grand feeling of huh, well, all right then?

Pirates 3 is intensely all right, which alone makes it much more worth our moviegoing dollar than most of the summer blockbusters we’ve sat through. Most attempts at the kind of guiltless, unapologetic fun of Bruckheimer and Verbinski’s Pirates series fail. It turns out that popcorn movies aren’t easy. Pirates 3 has an extraordinary level of craftsmanship and amazing stats, but it also has a great deal of control — the most frequently missed ingredient of such blockbusters. What it does miss are two apparently contradictory elements: focus and chaos.

Picture a movie as a two-dimensional graph, on which anything can be placed; the only rule is the x-axis, which is time. Where the movie deviates toward the bottom of the graph, it moves toward focus. The movie knows what it’s doing, why it’s doing it, and how it’s certain to accomplish it. This is focus, in movie terms. Gosford Park is the most focused film you will ever see. It’s also one of the most boring experiences you will ever sit through.

At the top of the graph is chaos; here lies invention, awe, the subconscious. The non-narrative films of Matthew Barney lie entirely at the top of the graph. Even the apparent dips toward structure — the bike race in Cremaster 4, or the opera in Cremaster 5 — are just feints. Whatever internal logic or focus the filmmaker may have in mind, it’s not presented in the film.

At the bottom of the graph, Pirates 3 suffers, generally on the burdens of being the third of a largely unplanned trilogy. There are so many characters, so many plotlines. Betrayals happen so quickly and frequently from all sides that their resonances seems to cancel each other out, like plucking a guitar string from both ends at random. Who are the most important characters, what do they need to accomplish, and how? The movie jerks all too frequently toward the bottom of the graph, but never takes the time to make a solid, meaningful drive.

At the top of the graph, only one thing needs to be said: The characters take a trip to the afterlife. What makes the afterlife unique? Not very much, really — same sea and sky, same cinematography. The best we ever get is Captain Jack Sparrow’s private purgatory as a salt flat and a series of heat hallucinations. The mythical Far East is a series of generic nighttime sets which blow up predictably. Intangible sexual tension, which obeys its own unknown rules in the movies as it does in real life, is almost entirely absent. The movie wrongly believes that it’s in too much of a hurry to ever just stop, take a breath, and look around.

Pirates of the Caribbean: At World’s End lies almost entirely in the middle of our imaginary graph, delivering with verve and finesse all of the audience’s desires, except for the desire to dream.