*** warning, season 3 Heroes spoilers ahead***
It seems to be the fad of the week, or the past two seasons to hate on Heroes. I, myself, have been driving that bus more than once. However, the thing that turned me around was watching season 1 on DVD.
See, if you actually sit down and watch it from the beginning, all of the idiosyncrasies that have ballooned up in the past two volumes were quite present from the beginning. The confusing shifts in time, the storylines that lead nowhere, the episodes where nothing happens, the people who are in one episode only to die in the next, the character who are inexplicably forced together. ALL of those things happened starting in episode 2 of the first season. What is the difference? In the first season, there was a purpose. A clear-cut purpose for all of the heroes to galvanize around. And that made all of the other idiocies...yes, idiot + idiosyncrasies, forgivable. I bet you don't remember that they saved the cheerleader in episode 8...that's right the biggest crux of season 1 happens 8 episodes in. Also, there are 2+ episodes where Hiro is lost in time. I mean, I've been through some of this, but if you bought it in the first season, it's hard to argue with it now.
I think that the episodes from the Eclipse on might be the great reboot of Heroes. Since that episode, the storylines have been strong, and the heroes have been fighting a common foe. Nathan has taken a strong stance, and Peter has taken the other stance. Yes, there have been some weak story-lines, but does anyone remember Nikki and Jessica the first season? Talk about groan. Everyone knew that Peter HAD to get powers back, he was the impedus for the entire show. And, on the flip side, Hiro had to LOSE his power because he was too powerful. Anything bad that happened, Hiro could just stop with his mind. It made everything else in the world unbelieveable.
I say, just enjoy the Heroes ride, even though the characters were...well, completely out of character, Matt Parkman helping Ted Sprague hold Claire's family hostage was pretty out of character...Then, having HRG team up with Ted and Matt immediately afterwards is even more out of character...oh, and all that was in the first season.
Next season looks like it's going to be filled with all of the heroes fighting for a common goal, which is what made season 1 so awesome. Just give me cool powers, semi-decent story telling, and a thinly veiled plot and I'm sold. And if you as the audience would watch the first season, I think your eyes would be open as well. The first season wasn't great, it was average, but it was also AWESOME!
Showing posts with label review. Show all posts
Showing posts with label review. Show all posts
Tuesday, December 16, 2008
Wednesday, November 26, 2008
Heroes "Idiosyncracies"
I use the term lightly. More accurately, I am oft quoted as saying "Tim Kring does not watch his own show". I say this, having watched almost every torturous episode of the show, listened to every ridiculous plot hole, and listened as the ran the show into the ground. I hope, god i hope, that this new "reset" is a new beginning for the show.
Being home this week due to Turkey day with no scripts to work on forced me to watched the huge stack of shows I own. and, after going through 2 seasons of bones, and exhausting 30 Rock and Arrested Development, I decided to unseal the first season of Heroes, which has not been opened in over a year. And, having watched this week's episode AND just finishing the pilot, here are some things I've noticed.
1. The abilities did NOT start during the eclipse. Even though the first episode ends with the eclipse, Issac (remember him, the painter) was painting the future weeks before the eclipse, and it would stand to reason that Angela and Arthur Petrelli had powers for years. Also, Claire Bennett had eight death attempts BEFORE the eclipse. In addition, since Sylar killed Mohinder's father, and Mohinder knew of the death before the eclipse, Sylar had power before the eclipse. And, if we think of a few episodes back, we know that Elle met Sylar prior to the eclipse, when she had her power. AND in addition, everyone Sylar killed with powers, had powers before the eclipse. So, their claim that the Eclipse started their powers is ridiculous.
2. In the second episode, Angela tells Peter that her father was found in the bathroom, but several episodes ago, we saw Angela "kill" Arthur by poisoning his soup.
3. Something that's been bugging me. In the first episode, when Nathan flies, he is truly surprised that he flew. However, in the flashback episode, Nathan flies out of the car before his wife and the car are thrown into the guardrail. So, yeah, he's got that going for him. And, how does NO ONE see that he is flying?
4. In the pilot, Mohinder comes to look for his father's formula and finish what his father started, whether it's finding the special people, or creating a formula to make everyone special. We, the audience, then learn that Arthur and PineHurst not only have a formula already, but they used it on Nathan, Peter, and several other people to give them abilities. Not really a glitch, just a rouse played on the audience which I'm angry about.
5. If Peter's ability is to absorb other abilities, and Angela has a power, and hospice care patient had an ability. Why doesn't he absorb those abilities once he gets his abilities? It's clear in the second episode he has absorbed Nathan's ability. It's clear that he absorbed Issac's ability. So, why doesn't he absorb the abilities of the others?
6. 9th Wonders. It was written by Issac because of his gift. The only other people who have the gift are Arthur, Peter, and Sylar. Peter didn't write the comic after Issac dies, neither does Sylar, and Arthur was largely in a coma. So, WHO writes this comic?
7. Nikki has sex with Nathan. Jessica tries to kill Nathan. How does the 3rd triplet end up with Nathan as well? I initially thought that this WAS Nikki, but since it isn't, how would Nathan let such a person in his life after what the others have done to him?
8. Not a linear gaff, but in episode 4, the Haitian and HRG are chasing Nathan. As we all know, the Haitian prevents people from using powers. They corner Nathan, and Nathan, well, flies! how does something like that happen around a person who's ability is STOPPING ABILITIES?
Okay, that's enough for now. I desperately want this show to be good. But every week, I come to the conclusion that "Tim Kring does NOT watch his own show". I know you need to suspend disbelief, and it's impossible to keep everything consistent in the show, but COME ON!
Being home this week due to Turkey day with no scripts to work on forced me to watched the huge stack of shows I own. and, after going through 2 seasons of bones, and exhausting 30 Rock and Arrested Development, I decided to unseal the first season of Heroes, which has not been opened in over a year. And, having watched this week's episode AND just finishing the pilot, here are some things I've noticed.
1. The abilities did NOT start during the eclipse. Even though the first episode ends with the eclipse, Issac (remember him, the painter) was painting the future weeks before the eclipse, and it would stand to reason that Angela and Arthur Petrelli had powers for years. Also, Claire Bennett had eight death attempts BEFORE the eclipse. In addition, since Sylar killed Mohinder's father, and Mohinder knew of the death before the eclipse, Sylar had power before the eclipse. And, if we think of a few episodes back, we know that Elle met Sylar prior to the eclipse, when she had her power. AND in addition, everyone Sylar killed with powers, had powers before the eclipse. So, their claim that the Eclipse started their powers is ridiculous.
2. In the second episode, Angela tells Peter that her father was found in the bathroom, but several episodes ago, we saw Angela "kill" Arthur by poisoning his soup.
3. Something that's been bugging me. In the first episode, when Nathan flies, he is truly surprised that he flew. However, in the flashback episode, Nathan flies out of the car before his wife and the car are thrown into the guardrail. So, yeah, he's got that going for him. And, how does NO ONE see that he is flying?
4. In the pilot, Mohinder comes to look for his father's formula and finish what his father started, whether it's finding the special people, or creating a formula to make everyone special. We, the audience, then learn that Arthur and PineHurst not only have a formula already, but they used it on Nathan, Peter, and several other people to give them abilities. Not really a glitch, just a rouse played on the audience which I'm angry about.
5. If Peter's ability is to absorb other abilities, and Angela has a power, and hospice care patient had an ability. Why doesn't he absorb those abilities once he gets his abilities? It's clear in the second episode he has absorbed Nathan's ability. It's clear that he absorbed Issac's ability. So, why doesn't he absorb the abilities of the others?
6. 9th Wonders. It was written by Issac because of his gift. The only other people who have the gift are Arthur, Peter, and Sylar. Peter didn't write the comic after Issac dies, neither does Sylar, and Arthur was largely in a coma. So, WHO writes this comic?
7. Nikki has sex with Nathan. Jessica tries to kill Nathan. How does the 3rd triplet end up with Nathan as well? I initially thought that this WAS Nikki, but since it isn't, how would Nathan let such a person in his life after what the others have done to him?
8. Not a linear gaff, but in episode 4, the Haitian and HRG are chasing Nathan. As we all know, the Haitian prevents people from using powers. They corner Nathan, and Nathan, well, flies! how does something like that happen around a person who's ability is STOPPING ABILITIES?
Okay, that's enough for now. I desperately want this show to be good. But every week, I come to the conclusion that "Tim Kring does NOT watch his own show". I know you need to suspend disbelief, and it's impossible to keep everything consistent in the show, but COME ON!
The Shield
t=I love TV. I'm not afraid to say it. I LOOOOVE TV. I don't really watch movies, go to theater, or buy cds, but I LOOOOVE tv. So, I wanted to talk about a great show, that I hope with RIP.
If you follow tv, you know one of the greatest shows in tv history ended last night. Not only was it excellent, It was also historically relevant. It was really responsible for the landscape of cable television as it is today. Without it, another show would have broken through, but cable would be very different today. I'm talking, of course, about The SHIELD.
****WARNING: SPOILERS FOLLOW FOR THE SERIES FINALE. YOU HAVE BEEN WARNED*****
The Shield-
I'm on the fence about this season finale. I always loved Ronnie, the most underrated player on the Strike Team. I felt that the only satisfying ending would be that Ronnie shoots Vic, Shane kills himself, and Ronnie gets away. However, the more I read reviews about the last episode, the more I've come to accept that it was a great way to end the season. I mean, nobody liked desk jobs, and to force Vic into the life of a desk jockey is brilliant. Shane, he had to die. There was no other way to end that storyline. However, the fact that he took his son and wife with him was sick.
The only thing that irritates me is that Ronnie was arrested. It would have taken no time at all for Vic to call Ronnie before he takes his deal and tell Ronnie to get out of town. Even though Ronnie would be pissed, I think he would have understood. And, since Vic was getting full immunity, and telling Ronnie to run would have been covered in his immunity.
I'm still on the fence about it for several reasons. First, I hate Shane and I hate Mara more. She's the reason that everything bad happened to the strike team. She used the Armenian money, she told Corinne what was going on. Basically, she fucked the strike team up. Also, I HATED the scenes between Shane and Mara in the final episodes. I realized that's probably why I stopped watching the show. After Lem died, and certainly after Vic found out, it became too much about Mara and Shane, and I found them boring.
Second, I didn't understand why ICE didn't arrest Ronnie right after the bust. They just let him stew for hours after the bust, until Vic was forced to watch his friend get arrested, and his other friend kill himself.
Third, there was absolutely no pay-off for Tina celebrating her one year anniversary on the force. He's a clue, that USUALLY means, in film, that chick is going to be killed. Why? Because without a pay-off, why even set the storyline up? There's NO reason. It pays off in no way. Far be it for me to criticize Shawn Ryan.
Fourth, there was NO pay-off to the Lloyd-Rita storyline. I know that AV Club said there was, but I don't think they were watching the same episode as me. Yes, Dutch and Claudette said it's only a matter of time, but there was no confession, there was no end.
However, there are some things that I loved as well.
First, Vic ending up in a suit and tie, typing reports, was such sweet, sweet justice. Watching this raw, powerful animal, caged. It must be how a tiger feels in captivity. He's stuck, with no one. And he's trapped.
Second, Corinne going into witness protection, leaving Vic, and ending up in a new town. Leaving Vic without the one thing he loved, his family.
Third, the final conversation between Vic and Shane. That was some powerful TV, when Shane asks for a favor, and Vic says no. Shane cries, and makes his final decision to end his family's life. That is sick shit, but it was great tv.
Fourth, Olivia is a badass. She was fucked over, and stuck with this beast, but she basically castrated him effectively and took away everything that he loved.
Overall, while all the storylines were not super well concluded, the acting in the show, from the leads to the lowest supporting actors have always been amazing. It's a show I'm going to miss, but a show that I bow to as well. We should all be so lucky to be a small part of a show that wonderful.
If you follow tv, you know one of the greatest shows in tv history ended last night. Not only was it excellent, It was also historically relevant. It was really responsible for the landscape of cable television as it is today. Without it, another show would have broken through, but cable would be very different today. I'm talking, of course, about The SHIELD.
****WARNING: SPOILERS FOLLOW FOR THE SERIES FINALE. YOU HAVE BEEN WARNED*****
The Shield-
I'm on the fence about this season finale. I always loved Ronnie, the most underrated player on the Strike Team. I felt that the only satisfying ending would be that Ronnie shoots Vic, Shane kills himself, and Ronnie gets away. However, the more I read reviews about the last episode, the more I've come to accept that it was a great way to end the season. I mean, nobody liked desk jobs, and to force Vic into the life of a desk jockey is brilliant. Shane, he had to die. There was no other way to end that storyline. However, the fact that he took his son and wife with him was sick.
The only thing that irritates me is that Ronnie was arrested. It would have taken no time at all for Vic to call Ronnie before he takes his deal and tell Ronnie to get out of town. Even though Ronnie would be pissed, I think he would have understood. And, since Vic was getting full immunity, and telling Ronnie to run would have been covered in his immunity.
I'm still on the fence about it for several reasons. First, I hate Shane and I hate Mara more. She's the reason that everything bad happened to the strike team. She used the Armenian money, she told Corinne what was going on. Basically, she fucked the strike team up. Also, I HATED the scenes between Shane and Mara in the final episodes. I realized that's probably why I stopped watching the show. After Lem died, and certainly after Vic found out, it became too much about Mara and Shane, and I found them boring.
Second, I didn't understand why ICE didn't arrest Ronnie right after the bust. They just let him stew for hours after the bust, until Vic was forced to watch his friend get arrested, and his other friend kill himself.
Third, there was absolutely no pay-off for Tina celebrating her one year anniversary on the force. He's a clue, that USUALLY means, in film, that chick is going to be killed. Why? Because without a pay-off, why even set the storyline up? There's NO reason. It pays off in no way. Far be it for me to criticize Shawn Ryan.
Fourth, there was NO pay-off to the Lloyd-Rita storyline. I know that AV Club said there was, but I don't think they were watching the same episode as me. Yes, Dutch and Claudette said it's only a matter of time, but there was no confession, there was no end.
However, there are some things that I loved as well.
First, Vic ending up in a suit and tie, typing reports, was such sweet, sweet justice. Watching this raw, powerful animal, caged. It must be how a tiger feels in captivity. He's stuck, with no one. And he's trapped.
Second, Corinne going into witness protection, leaving Vic, and ending up in a new town. Leaving Vic without the one thing he loved, his family.
Third, the final conversation between Vic and Shane. That was some powerful TV, when Shane asks for a favor, and Vic says no. Shane cries, and makes his final decision to end his family's life. That is sick shit, but it was great tv.
Fourth, Olivia is a badass. She was fucked over, and stuck with this beast, but she basically castrated him effectively and took away everything that he loved.
Overall, while all the storylines were not super well concluded, the acting in the show, from the leads to the lowest supporting actors have always been amazing. It's a show I'm going to miss, but a show that I bow to as well. We should all be so lucky to be a small part of a show that wonderful.
Tuesday, August 19, 2008
Has the whole world gone mad?
So, I read a lot, A LOT of blogs, trades, read reviews, etc, and I've seen a disturbing trend of people liking terrible shows, specifically one terrible, wretched abomination of a show. So, I'm here to set the record straight on a terrible show that should NEVER get a good review. I should mention that I have watched 6 episodes of this show, and each has been worse than the previous one. I really wanted it to be good.
IN PLAIN SIGHT
Watching the finale showed me just how terrible this show really is. It is not slam, it is not bang, it is not sexy.
Let me take you back. The show is about the witness protection program, and revolves around MARY, a witness protection agent, her partner MARSHALL, and her dysfunctional family.
The finale revolves around Mary's sister who has just been caught with a suitcase full of meth, and Mary, who was taken captive and almost killed. As the finale begins, Mary has been rescued, and her sister is on the hook for selling and distributing meth. Marshall has to figure out how to get her off the hook, before the real drug dealer goes free. Pretty cool scenario right?
Then, why do they spend 3/4 of the show discussing how Mary's father has been writing her for 20 years (oh, i should mention that her father is a bank robber who has been on the run for 20 years, and in that time hasn't contacted anyone but Mary). Seriously, there is a drug dealing kingpin out there, and Mary is at home putzing around, and we hardly ever get to see the actual crime. I think possibly we saw the crime investigation for 4-5 scenes in the entire finale. And, the resolution is incredibly unsatisfying. It's almost worth watching, just to see how bad it is.
I can't decide which is the bigger crime, the writing or the acting. This is a line from the pilot, a voiceover line: "Which is why I was driving my misogynistic nightmare across the desert". YUCK! And it just gets lousier.
On the other hand, the acting is terrible too. In one scene in the finale, Mary's on again off again boyfriend shows up, "drunk" to Mary's house, saying that he never sees her, and opining that she has not called him in two weeks. However, the actor can not play drunk. Instead, he looks and sounds sleepy. Just terrible. And lets not mention this is an incredibly unnecessary scene seeing as there is a CRIME INVESTIGATION going on that holds the fate of Mary AND her family in the balance.
I think my biggest problem with this show is that the idea is so interesting, the franchise is so cool, and the story could be something special, but instead it's bland, boring, and forces action that is inherent in the story.
But, this show is about how to make things well, and not about my personal opinion, so let's discuss just for a second what the storytelling elements that do and don't work.
#1-The Premise-- Excellent. I would easily strongly recommend this premise for a show. I love it.
#2-The Structure--Shmeh. While the franchise is good, people in witness protection and the U.S. Marshalls that protect them, the "family issues" are just completely unnecessary. There is not enough "slam, bang" to quote the commercial. There are not enough twists and turns. Instead, the characters do a lot of barreling towards a single goal, but Mary's family interrupts and she if forced to deal with THEIR issues. It works in Burn Notice, but not in this show. The best characters fail, or at least get turned around. BORING.
#3-Characters--Weak. While the characters have the potential to be excellent and complex, they turn out to be flat, uninteresting, and contrived. They don't make believable choices and their journeys are not rich. They never seem to learn anything, and they are definitely NOT richer for the journey.
#4-Dialog--Adomination. It's impossible to understand how this got past the classy, fun, and intelligent executives at USA...they have tons of good shows, and they let THIS on the air. It's wooden, boring, and many times out of character for the people saying it. The major issue is that it's just bland and unoriginal.
As you can see, there is little good about the show outside of it's premise and franchise. I hope they bring this show back, but fire the show-runner and re-tool the writing staff, because I do think this show could be really cool if the writers were better.
The show seems to have gotten past the network completely on the merit of the premise, and attachments, a classic high-concept, pitchable show with poor execution.
I do applaud USA Networks for putting the entire season on the air. On Network TV this show probably would have been pulled in 3 episodes, but leaving it on allowed the show to find its audience. So, kudos USA.
There is one good thing about this show...it's not Mary McCormick's fat lip, or the fact that the scripts are written by a 6 year old. No, it's that if this piece of junk show can get on TV, we all have a chance of getting a show on TV.
So please, please, please, STOP writing good reviews about this turd of a show.
IN PLAIN SIGHT
Watching the finale showed me just how terrible this show really is. It is not slam, it is not bang, it is not sexy.
Let me take you back. The show is about the witness protection program, and revolves around MARY, a witness protection agent, her partner MARSHALL, and her dysfunctional family.
The finale revolves around Mary's sister who has just been caught with a suitcase full of meth, and Mary, who was taken captive and almost killed. As the finale begins, Mary has been rescued, and her sister is on the hook for selling and distributing meth. Marshall has to figure out how to get her off the hook, before the real drug dealer goes free. Pretty cool scenario right?
Then, why do they spend 3/4 of the show discussing how Mary's father has been writing her for 20 years (oh, i should mention that her father is a bank robber who has been on the run for 20 years, and in that time hasn't contacted anyone but Mary). Seriously, there is a drug dealing kingpin out there, and Mary is at home putzing around, and we hardly ever get to see the actual crime. I think possibly we saw the crime investigation for 4-5 scenes in the entire finale. And, the resolution is incredibly unsatisfying. It's almost worth watching, just to see how bad it is.
I can't decide which is the bigger crime, the writing or the acting. This is a line from the pilot, a voiceover line: "Which is why I was driving my misogynistic nightmare across the desert". YUCK! And it just gets lousier.
On the other hand, the acting is terrible too. In one scene in the finale, Mary's on again off again boyfriend shows up, "drunk" to Mary's house, saying that he never sees her, and opining that she has not called him in two weeks. However, the actor can not play drunk. Instead, he looks and sounds sleepy. Just terrible. And lets not mention this is an incredibly unnecessary scene seeing as there is a CRIME INVESTIGATION going on that holds the fate of Mary AND her family in the balance.
I think my biggest problem with this show is that the idea is so interesting, the franchise is so cool, and the story could be something special, but instead it's bland, boring, and forces action that is inherent in the story.
But, this show is about how to make things well, and not about my personal opinion, so let's discuss just for a second what the storytelling elements that do and don't work.
#1-The Premise-- Excellent. I would easily strongly recommend this premise for a show. I love it.
#2-The Structure--Shmeh. While the franchise is good, people in witness protection and the U.S. Marshalls that protect them, the "family issues" are just completely unnecessary. There is not enough "slam, bang" to quote the commercial. There are not enough twists and turns. Instead, the characters do a lot of barreling towards a single goal, but Mary's family interrupts and she if forced to deal with THEIR issues. It works in Burn Notice, but not in this show. The best characters fail, or at least get turned around. BORING.
#3-Characters--Weak. While the characters have the potential to be excellent and complex, they turn out to be flat, uninteresting, and contrived. They don't make believable choices and their journeys are not rich. They never seem to learn anything, and they are definitely NOT richer for the journey.
#4-Dialog--Adomination. It's impossible to understand how this got past the classy, fun, and intelligent executives at USA...they have tons of good shows, and they let THIS on the air. It's wooden, boring, and many times out of character for the people saying it. The major issue is that it's just bland and unoriginal.
As you can see, there is little good about the show outside of it's premise and franchise. I hope they bring this show back, but fire the show-runner and re-tool the writing staff, because I do think this show could be really cool if the writers were better.
The show seems to have gotten past the network completely on the merit of the premise, and attachments, a classic high-concept, pitchable show with poor execution.
I do applaud USA Networks for putting the entire season on the air. On Network TV this show probably would have been pulled in 3 episodes, but leaving it on allowed the show to find its audience. So, kudos USA.
There is one good thing about this show...it's not Mary McCormick's fat lip, or the fact that the scripts are written by a 6 year old. No, it's that if this piece of junk show can get on TV, we all have a chance of getting a show on TV.
So please, please, please, STOP writing good reviews about this turd of a show.
Monday, August 18, 2008
Great Seminar
If you have enjoyed the past two posts, and want to learn more about these concepts, I highly recommend the seminars put on by Media Bistro and taught by the incomparable Chad Gervich.
In three hours Chad can bring you up to speed on at least the baseline concepts you will need to succeed in this industry...What you do with them after that is up to you.
Of course, you can also email me with your questions and I'll answer them in this blog. noheltyr@gmail.com
In three hours Chad can bring you up to speed on at least the baseline concepts you will need to succeed in this industry...What you do with them after that is up to you.
Of course, you can also email me with your questions and I'll answer them in this blog. noheltyr@gmail.com
Thursday, July 17, 2008
The HOLLYWOOD STANDARD
So, I just read THE HOLLYWOOD STANDARD, basically THE book for hollywood structure and style and BOY, was I doing a couple of things wrong. Not wrong enough to cheat me out of a deal, but definitely some things that are formatively wrong. Now, as a writer they are wrong, but for an AD/UPM they would be very helpful in determining schedule and not having to re-slug scenes.
THINGS like putting FLASHBACK at the beginning instead of the end of a slug make no sense to be in the scheduling of a script, but apparently matter for the story flow. Personally, in order to shoot it I need to know WHERE it is before i need to know WHEN it is. However, I see the point.
Another one is that you should be capitalizing everything BUT props in a script. When I budget/schedule, I need to know WHAT is needed in a scene, not if there are FOOTSTEPS coming. Once again, an illogical move for scheduling, but possibly effective when dealing with a reader.
Also, I have never added a single camera move in any of my scripts, because that is the director's job, not the writer's, but there were some ingenious ways to get around making your direction snappier and more precise.
All in all, since I'm getting writing work, I don't think it's a huge deal, but for the current and future scripts I am writing I will definitely make some adjustments.
BTW, my advise is that when you write, be semi mindful of the people who will be putting on your movie...unless you sell it to a studio, then F it and let them deal with it.
THINGS like putting FLASHBACK at the beginning instead of the end of a slug make no sense to be in the scheduling of a script, but apparently matter for the story flow. Personally, in order to shoot it I need to know WHERE it is before i need to know WHEN it is. However, I see the point.
Another one is that you should be capitalizing everything BUT props in a script. When I budget/schedule, I need to know WHAT is needed in a scene, not if there are FOOTSTEPS coming. Once again, an illogical move for scheduling, but possibly effective when dealing with a reader.
Also, I have never added a single camera move in any of my scripts, because that is the director's job, not the writer's, but there were some ingenious ways to get around making your direction snappier and more precise.
All in all, since I'm getting writing work, I don't think it's a huge deal, but for the current and future scripts I am writing I will definitely make some adjustments.
BTW, my advise is that when you write, be semi mindful of the people who will be putting on your movie...unless you sell it to a studio, then F it and let them deal with it.
Dr. Horrible
Everyone's talking about it, so I'll get in the mix. Don't be a sucker and pay for it. Josh is letting it go for free until the 20th.
P.S. It's pretty good, and it has my favorite Internet Actress and Cinema Darling Felicia Day.
P.S. It's pretty good, and it has my favorite Internet Actress and Cinema Darling Felicia Day.
Saturday, January 5, 2008
Juno
Okay, so I know it's passe to talk about Juno and "Real film people" have to jump off the bandwagon because it's opening in wide release. But since I just started my blog a day project yesterday, I have to catch up with my favorite movies of last year.
For about 6 months of the year, my favorite movie was Waitress, I even wrote a blog about it on my production musings blog and reposted it here. I thought it had everything and renewed my faith in movies for another year.
However, in the last part of this year, we have hit several snags with the projects I am working on, and I could use another boost to my film tank. In comes Juno. Yes, another movie about pregnancy. This is the year of the PREGGOS. From starlets to the screen, everyone's getting Knocked Up. However, I have to applaud the movie, specifically Jason Reitman, who is becoming one of my favorite directors with Juno and previously with Thank you for Smoking.
This is exactly my kind of movie. I really only like a very small subset of movies, with few exceptions. QUIRKY, FUNNY, CHARACTER-DRIVEN, INDEPENDENT, COMEDIC, DIALOG HEAVY, films. There are exceptions like Kill Bill, Dawn of the Dead, and many others. But I have found a subset that I like, and basically any movie that comes along in that category I like.
However, I must say, I LOVED Juno. It had everything a movie should have, and takes a storyline we've already seen throughout the year, and just does it better than everyone else. The dialog was simple, understated, and hilarious. The art direction was classy, but not overpowering. The cinematagraphy didn't try to be more than it is. I would think Michael Bay would loath this movie because it's puts substance over style. It doesn't have 50 different angles of a scene. In most scenes they follow an incredibly simple formula: wide, 2 shot, singles. Then they sprinkle in some dolly moves, steadicams, and coverage shots.
It was really nice to see a movie succeed for the right reasons. It came from nothing, expected little, and changed the year. And to to the filmmakers out there trying to break in, it uses a tried and true formula.
If you are producing a script for little or no budget, all you have that can compete with studio projects is FINAL DRAFT. Everything else will be out of your control. Even a movie like Juno was produced for several million dollars. However, every movie begins with a script. Every script is written with a script writing program. And script writing programs cost $150-$200. Or you can download a free one like CELTX.
However you think about it, this movie could be shot on a handicam or DVX100, with the same dialog, same shot list, and still gotten into Sundance. However, your horror movies or action films won't go anywhere, except possibly direct to video.
Regardless of the genre, the most important thing in any movie is the script. Action film, horror movie, character-driven indie, all need you to write good dialog, know how to move a plot along, and know how to create a story.
I wrote a script a couple of months ago called, Johnny's Black Flag, based on a draft a client of mine had, showed it to a studio, and they are looking to develop it. However, the script is completely against character for me. I'm an indie-writer and it was a horror script. But since I knew how to get things done, I was able to write it well.
For more information about JBF, check out the BNS media blog.
Pee Sout.
For about 6 months of the year, my favorite movie was Waitress, I even wrote a blog about it on my production musings blog and reposted it here. I thought it had everything and renewed my faith in movies for another year.
However, in the last part of this year, we have hit several snags with the projects I am working on, and I could use another boost to my film tank. In comes Juno. Yes, another movie about pregnancy. This is the year of the PREGGOS. From starlets to the screen, everyone's getting Knocked Up. However, I have to applaud the movie, specifically Jason Reitman, who is becoming one of my favorite directors with Juno and previously with Thank you for Smoking.
This is exactly my kind of movie. I really only like a very small subset of movies, with few exceptions. QUIRKY, FUNNY, CHARACTER-DRIVEN, INDEPENDENT, COMEDIC, DIALOG HEAVY, films. There are exceptions like Kill Bill, Dawn of the Dead, and many others. But I have found a subset that I like, and basically any movie that comes along in that category I like.
However, I must say, I LOVED Juno. It had everything a movie should have, and takes a storyline we've already seen throughout the year, and just does it better than everyone else. The dialog was simple, understated, and hilarious. The art direction was classy, but not overpowering. The cinematagraphy didn't try to be more than it is. I would think Michael Bay would loath this movie because it's puts substance over style. It doesn't have 50 different angles of a scene. In most scenes they follow an incredibly simple formula: wide, 2 shot, singles. Then they sprinkle in some dolly moves, steadicams, and coverage shots.
It was really nice to see a movie succeed for the right reasons. It came from nothing, expected little, and changed the year. And to to the filmmakers out there trying to break in, it uses a tried and true formula.
If you are producing a script for little or no budget, all you have that can compete with studio projects is FINAL DRAFT. Everything else will be out of your control. Even a movie like Juno was produced for several million dollars. However, every movie begins with a script. Every script is written with a script writing program. And script writing programs cost $150-$200. Or you can download a free one like CELTX.
However you think about it, this movie could be shot on a handicam or DVX100, with the same dialog, same shot list, and still gotten into Sundance. However, your horror movies or action films won't go anywhere, except possibly direct to video.
Regardless of the genre, the most important thing in any movie is the script. Action film, horror movie, character-driven indie, all need you to write good dialog, know how to move a plot along, and know how to create a story.
I wrote a script a couple of months ago called, Johnny's Black Flag, based on a draft a client of mine had, showed it to a studio, and they are looking to develop it. However, the script is completely against character for me. I'm an indie-writer and it was a horror script. But since I knew how to get things done, I was able to write it well.
For more information about JBF, check out the BNS media blog.
Pee Sout.
Friday, January 4, 2008
RePost: Perspective Changing Movies
This is a post from my short story musings blog from my last film.
With the movie on hiatus until august/when we find a useable deck, I decided to convert this into a sort of behind the scenes of my mind for the month. It will be back up to a production blog with other tidbits soon, don't worry.
But, I wanted to talk about independent film for a moment. A little background on me first. Surprisingly, I don't go to the movies much. Everyone will say the same thing to me when I tell them...don't you love movies? You make them. To them I say, yes I do love movies. I deeply, passionately, and unabashedly love movies. I love them enough to know when NOT to go to the movies. I know enough to know when NOT to get my heart broken.
In all the time I've studied film, I can usually tell a good movie from a bad one, in any genre. And, to be honest, there may be 4-5 movies a year that really spark my interest. I'm not one who only likes independent films or will only go watch blockbusters. Instead, I have to feel it. The soul of the film has to speak to me. If I really connect with a film, then I'll go. But, that so rarely happens.
Usually, I will find one film a year that I can really get behind. A film that "restores my faith in filmmaking". I'm always felt that while studio flicks are going for commercial appeal, independents are trying to be obtuse, gritty, and "nichey". But, there's usually one film a year that can break through all of that, and just be honest. A movie that doesn't need hollywood money or indy "cred" to tell a story. They just take an amazing concept and tell it better than anyone could at that moment in history.
Last year, that movie was "Little Miss Sunshine" for me. I was down pretty low after directing two short films I wasn't happy with. I was broke, broken, and depressed. My fiance couldn't pull me out of it, friends couldn't pull me out. I was simply miserable. I was seriously considering ditching film and going into something safe, like finance. But, "Little Miss Sunshine" turned me around and gave me the second wind.
This year, I just finished my first feature project. I've been rejected from two festivals from my short. I have yet to see one second of digitized footage, and I'm not quite sure what my next step is. Once again, I was in limbo. Then, I saw "Waitress" and it all turned around again.
I know its cliche to talk about "Waitress". Everyone loves it, raves about it, and talks about the tragedy. In will admit, I went into the movie with all of this information. I did not think it could possible meet the expectations others held for it. But, every since I heard about it the first time, I wanted to see it. I didn't even have to see a preview. I didn't even have to hear about Adrienne Shelley. I don't know what compelled me to see it. But, the moment I heard about it the first time, I knew I had to see it.
That visceral feeling is what I remember drew me to film in the first place. The feeling of not just wanting to see a movie, but needing to see it. It sort of tugs at your gut strings until you can't let up and you cave. It almost never happens to me. Sure, I would like to see a lot of movies that come out, but I don't usually have that gut reaction. In fact, I often go through the movie listing, hoping for one to tug at me, but hardly anything does.
What I loved most about it was the simplicity of the film. there were very few camera angles, but each was so meticulously crafted it looked amazing. The acting was subtle, understated, but still powerful. Even though each pie she made was innovative, the humble thought of the pie is so simple, and pure. The story was so relatable, even though I've never been through anything similar. It really grounded me.
With the movie on hiatus until august/when we find a useable deck, I decided to convert this into a sort of behind the scenes of my mind for the month. It will be back up to a production blog with other tidbits soon, don't worry.
But, I wanted to talk about independent film for a moment. A little background on me first. Surprisingly, I don't go to the movies much. Everyone will say the same thing to me when I tell them...don't you love movies? You make them. To them I say, yes I do love movies. I deeply, passionately, and unabashedly love movies. I love them enough to know when NOT to go to the movies. I know enough to know when NOT to get my heart broken.
In all the time I've studied film, I can usually tell a good movie from a bad one, in any genre. And, to be honest, there may be 4-5 movies a year that really spark my interest. I'm not one who only likes independent films or will only go watch blockbusters. Instead, I have to feel it. The soul of the film has to speak to me. If I really connect with a film, then I'll go. But, that so rarely happens.
Usually, I will find one film a year that I can really get behind. A film that "restores my faith in filmmaking". I'm always felt that while studio flicks are going for commercial appeal, independents are trying to be obtuse, gritty, and "nichey". But, there's usually one film a year that can break through all of that, and just be honest. A movie that doesn't need hollywood money or indy "cred" to tell a story. They just take an amazing concept and tell it better than anyone could at that moment in history.
Last year, that movie was "Little Miss Sunshine" for me. I was down pretty low after directing two short films I wasn't happy with. I was broke, broken, and depressed. My fiance couldn't pull me out of it, friends couldn't pull me out. I was simply miserable. I was seriously considering ditching film and going into something safe, like finance. But, "Little Miss Sunshine" turned me around and gave me the second wind.
This year, I just finished my first feature project. I've been rejected from two festivals from my short. I have yet to see one second of digitized footage, and I'm not quite sure what my next step is. Once again, I was in limbo. Then, I saw "Waitress" and it all turned around again.
I know its cliche to talk about "Waitress". Everyone loves it, raves about it, and talks about the tragedy. In will admit, I went into the movie with all of this information. I did not think it could possible meet the expectations others held for it. But, every since I heard about it the first time, I wanted to see it. I didn't even have to see a preview. I didn't even have to hear about Adrienne Shelley. I don't know what compelled me to see it. But, the moment I heard about it the first time, I knew I had to see it.
That visceral feeling is what I remember drew me to film in the first place. The feeling of not just wanting to see a movie, but needing to see it. It sort of tugs at your gut strings until you can't let up and you cave. It almost never happens to me. Sure, I would like to see a lot of movies that come out, but I don't usually have that gut reaction. In fact, I often go through the movie listing, hoping for one to tug at me, but hardly anything does.
What I loved most about it was the simplicity of the film. there were very few camera angles, but each was so meticulously crafted it looked amazing. The acting was subtle, understated, but still powerful. Even though each pie she made was innovative, the humble thought of the pie is so simple, and pure. The story was so relatable, even though I've never been through anything similar. It really grounded me.
Quarterlife
Yes, I got sucked into the most expensive internet show ever produced. I set up a profile, I posted my comments, I uploaded pictures, and I was incredibly excited to see it was coming to tv. It meant that everyone has a chance of their little show getting onto tv...provided you have experience with network shows, have an experienced show runner, and have half a million dollars to kick around.
However, it seems like since it got the news, quarterlife has quit trying to pump up excellent content, and is content with mediocre and downright bad content. Their latest offering is just Awful, with the whole debra situation (watch the show, I won't give it away).
It seems like they planned for about 10 episodes, and when they got past ten they didn't know what to do. Well, it should be known, that you should plan for your season. Have a story arch which is compelling and takes people on a journey.
I don't care that Jed is an artist, give the client what they want and don't be a whiny puss. Your commercial stunk anyway. I don't care that Dylan was at one point a lesbian (by the way the dialog on the scene between lisa and Dylan at the bar seems like it was written by a drunk monkey. And if it was not, but one on staff, it would be hilarious). I don't know why it's such a big deal the chick from the dealership is banging her boss, or why Danny is so horrified about it. And most importantly, I don't know what's so great about Debra. She's not interested, she's not attractive, she's not a great motivator of me. She's not profound in any way. She seems like the most stale person in the entire world. However, Danny, Jed, and Dylan (it seems) are all in love with her. this boring, bland, vanilla, self-centered, dullard.
Another thing, when the show came out it was like 15 minutes long, not it's barely 5. It goes right into my conclusion that they have no idea where the story is going or how to create compelling dialog to get it there. The best thing this show can do is hope Debra dies and that story arch makes the show compelling and believable.
and before you label me a hater, please know I want this show to succeed as much as or more than anyone reading this blog. I want to believe a great show, regardless of the format, can rise above its status and be raised to network television. I want to believe great shows like Prom Queen, Sam has Seven Friends, Life From the Inside, Buddy Jackson, and the rest can get above their station and find an audience. However, I don't think Quarterlife is a good representation of that and it's rise to network level could detrimentally hurt the movement, because people unfamiliar with what the internet has available will watch this show and say: "that's it. F those internet shows."
But I would implore those people not to give in. There are amazing shows:
www.zefrank.com
www.buddyjackson.com
www.lifefromtheinside.com
www.theburg.tv
www.neosoulcafe.com
www.pixelperfect.com
www.nexttoheaven.net
www.rocketboom.com
www.geekbrief.tv
www.promqueen.tv
www.samhas7friends.com
They actually deserve a bigger, better audience. They deserve people to enjoy themselves and not question what the writer was drinking. They deserve a show to serve as a beacon to the rest of the television watching world that the internet does have incredible show. Quarterlife should be that beacon, but unfortunately, it is not.
However, it seems like since it got the news, quarterlife has quit trying to pump up excellent content, and is content with mediocre and downright bad content. Their latest offering is just Awful, with the whole debra situation (watch the show, I won't give it away).
It seems like they planned for about 10 episodes, and when they got past ten they didn't know what to do. Well, it should be known, that you should plan for your season. Have a story arch which is compelling and takes people on a journey.
I don't care that Jed is an artist, give the client what they want and don't be a whiny puss. Your commercial stunk anyway. I don't care that Dylan was at one point a lesbian (by the way the dialog on the scene between lisa and Dylan at the bar seems like it was written by a drunk monkey. And if it was not, but one on staff, it would be hilarious). I don't know why it's such a big deal the chick from the dealership is banging her boss, or why Danny is so horrified about it. And most importantly, I don't know what's so great about Debra. She's not interested, she's not attractive, she's not a great motivator of me. She's not profound in any way. She seems like the most stale person in the entire world. However, Danny, Jed, and Dylan (it seems) are all in love with her. this boring, bland, vanilla, self-centered, dullard.
Another thing, when the show came out it was like 15 minutes long, not it's barely 5. It goes right into my conclusion that they have no idea where the story is going or how to create compelling dialog to get it there. The best thing this show can do is hope Debra dies and that story arch makes the show compelling and believable.
and before you label me a hater, please know I want this show to succeed as much as or more than anyone reading this blog. I want to believe a great show, regardless of the format, can rise above its status and be raised to network television. I want to believe great shows like Prom Queen, Sam has Seven Friends, Life From the Inside, Buddy Jackson, and the rest can get above their station and find an audience. However, I don't think Quarterlife is a good representation of that and it's rise to network level could detrimentally hurt the movement, because people unfamiliar with what the internet has available will watch this show and say: "that's it. F those internet shows."
But I would implore those people not to give in. There are amazing shows:
www.zefrank.com
www.buddyjackson.com
www.lifefromtheinside.com
www.theburg.tv
www.neosoulcafe.com
www.pixelperfect.com
www.nexttoheaven.net
www.rocketboom.com
www.geekbrief.tv
www.promqueen.tv
www.samhas7friends.com
They actually deserve a bigger, better audience. They deserve people to enjoy themselves and not question what the writer was drinking. They deserve a show to serve as a beacon to the rest of the television watching world that the internet does have incredible show. Quarterlife should be that beacon, but unfortunately, it is not.
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