Monday, July 30, 2007

Thought for the day...


"Good plans shape good decisions. That's why good planning helps to make elusive dreams come true."

~Lester Robert Bittel

Sunday, July 29, 2007

Handy Reference Book - Creating Character Emotions

Creating Character Emotions
- 1998 by Anne Hood. $14.99 US new


(from the back of the book)
In this unique book, Anne Hood will help you find fresh, creative images, words and gestures to evoke feelings in your fiction. In 36 “mini-lessons,” Hood sheds new light on love, hate, fear, grief, guilt, hope, jealousy and other major emotions. Each lesson offers instruction on rendering that particular sentiment; “good” and “bad” examples illustrating how writers have succeeded and where others have gone wrong; and imaginative exercises for putting the feelings into words.

(from the Contents page)
Anger 20
Anxiety 24
Apathy 27
Confusion 31
Contentment 35
Curiosity 39
Desire 43
Despair 47
Excitement 50
Fear 54
Fondness 59
Forgiveness 63
Gratitude 68
Grief 72
Guilt 76
Happiness 80
Hate 84
Hope 88
Hostility 92
Irritation 96
Jealousy 100
Loneliness 104
Longing 108
Love (Parent-child) 112
Love (Romantic) 116
Passion 120
Resignation 123
Restlessness 127
Revenge 131
Sadness 135
Shame 139
Surprise 143
Suspicion 147
Sympathy 151
Tenderness 155
Worry 158

Film Breakdown - Horror - Rosemary's Baby (1968)


1. 2:01 - Opening credits and establishing shots of NYC and Central Park. Ends: 0:02:01

2. 0:25 - A young couple, a man called Guy (John Cassavetes) and a woman Rosemary (Mia Farrow), are greeted by a landlord outside an older building near Central Park. It’s a beautiful sunny day and the couple look excited. The landlord makes idle chit-chat and the woman reveals her husband to be an actor. Ends: 0:02:26


3. 4:16 - Inside the building, the trio make their way up to the 7th floor. The building has an old, gothic charm to it. A uniformed man operates the elevator. The landlord asks if they have children and the couple tells him no but they plan to do so; he tells the couple the apartment’s old tenant recently passed away peacefully in the Hospital. They all walk through the spacious apartment and take a look around... the old lady’s possessions are still as she left them. A very large piece of furniture blocks a closet door and the landlord is perplexed... the two men maneuver the furniture out of the way and the inside of the closet is inspected: nothing much to see inside. Ends: 0:06:42

4. 0:17 - Outside a while later, the couple discusses the spacious apartment. Though bigger than anything else they’ve seen so-far, it is more expensive. Guy seems somewhat reluctant but promises his wife that they’ll get it if they can get out of their existing lease. Rosemary is very excited. Ends: 0:7:01

5. 1:32 - The couple’s existing landlord “Hutch” (Sidney Blackmer) is entertaining Guy & Rosemary and reveals (while making dinner) that he has given them a glowing reference. He tells them their new home’s building - The Branford - had a reputation at the turn of the century... two elderly sisters who were cannibals resided there, as did an older man who practiced witchcraft and was rumored to have conjured up the devil... a dead infant was found in the basement sometime during the ‘50s etc. Ends: 0:08:33

6. 3:06 - Guy and Rosemary are gradually moving in to their new apartment. An improvised dinner on the floor of their mostly empty living room is interrupted by the sound of their neighbor's voices coming through the wall. The couple try and ignore the sounds... later, they undress and make love. Guy wisecracks that he can hear the cannibalistic sisters chewing. Ends: 0:11:39


7. 0:57 - Series of shots - Workmen paint the couple’s apartment with a bright, cheerful new coat of paint. New wallpaper is hung in a sunny color. New carpet is unrolled. Rosemary hangs new curtains but interrupts her activity to watch a television commercial featuring her husband Guy. The apartment looks terrific & gone is the gloomy darkness of what it looked like under its former tenant. Guy comes home after work and is greeted by his happy wife. Ends: 0:12:36

8. 2:30 - In the basement laundry room, Rosemary meets a woman named Terry (Angela Dorian) who is staying as a guest of the Castevets, revealed to be Guy & Rosemary’s neighbors on the 7th floor. Ends: 0:15:06

9. 0:49 - Guy and Rosemary again overhear their next door neighbors talk; the sound travels easily through the wall that their apartments share. They again ignore the sounds and kiss on the bed... only to be interrupted again, this time by what sounds like chanting coming from next door. It sounds like quite a few people, certainly more than just the one elderly couple they know live next door. Ends: 0:15:55

10. 2:57 - Guy and Rosemary are strolling home one evening... when they arrive at their building, a small crowd of onlookers block the sidewalk. Police push the crowd back, away from the dead body of Terry Gionoffrio who lies splattered in a pool of blood. The Castevets arrive not long after and are given the bad news by the police that their guest Terry committed suicide by jumping out of the window. The Castevets meet Guy & Rosemary Woodhouse for the first time. Ends: 0:18:52


11. 1:11 - Rosemary drifts in & out of consciousness as she weaves images (Terry lying dead) and sounds (voice of her neighbor Mrs. Castevet) unintelligibly into her dream. Ends: 0:20:03

12. 4:21- Rosemary’s doorbell buzzes and Minnie Castevet (Ruth Gordon) stands outside. The neighbor is there simply to thank Rosemary for the nice things she said the other day about Terry. Minnie invites Rosemary & Guy to dinner. Later, Guy comes home & reveals he lost a part in a play to someone else... Rosemary commiserates and tells him they’re invited to dinner next door. They decide to accept the invitation. Ends: 0:24:24

13. 5:56 - Guy and Rosemary go next door for dinner. Roman Castevet (Sidney Blackmer) fixes them all a vodka blush and regales them with stories of all the places he’s been. Roman talks about the rituals of organized religion and of Guy’s acting career. Later, Rosemary & Ruth wash dishes while the men smoke in the living room. Once back in their own apartment, Guy & Rosemary joke about their neighbor’s idiosyncrasies. It seems Guy is committed to going back to meet up with Roman the following night. Rosemary won’t accompany him. Ends: 0:30:20

14. - The following night, Rosemary is relaxing alone with a book and some calming music when the doorbell rings. Unfortunately it is Minnie who is there to introduce her friend Laura-Louise... they pretty much invite themselves into Rosemary’s apartment and settle down to do some knitting and keep Rosemary company. Minnie and Roman give Rosemary a present of a very old pendant (300 years old apparently) which Rosemary previously saw worn by Terry. The smelly herbal contents are something Minnie calls Tannis Root (for good luck). Ends: 0:32:43


15. 2:41 - Guy returns after his get together with Roman next door. He says he had a nice time, listening to old stories. Rosemary shows her husband the old pendant she was given and decides to put it away in a drawer... Guy’s opinion is that if she accepted it, she should wear it as intended. Guy receives a phone call - we only hear his side of the conversation but he responds that the news he’s hearing is “just awful”... Rosemary’s curiosity is piqued... once he hangs up, Guy reveals that he’s now got the part because the original actor who accepted the role in a play suddenly went blind for some unknown reason. Ends: 0:35:24

16. 1:00 - Rosemary is updating her old landlord “Hutch” about their news... Guy’s fortunes have changed and his employment prospects are now considerably improved. It is pretty obvious that Rosemary is upset because Guy is preoccupied with his career. Ends: 0:36:24

17. 5:53 - Rosemary comes home to freshly cut roses throughout the house - they’re from Guy to apologize for his being so self-centered lately. He wants to focus back on her and announces that they should start a family asap. Later they start a fire, play some light music and are eating a candle-lit meal together when the doorbell buzzes. Guy goes to answer the door and Rosemary hears it’s their next door neighbors... she prays that Guy won’t let them in and is gratified to hear that they’ve just stopped by to provide the couple with some homemade dessert. They both eat their desserts but Rosemary complains of there being a chalky under-taste and quickly abandons it. Her husband guilts her into finishing the dessert on the pretext of there being no after-taste whatsoever. She distracts him and discards her dessert into a napkin without his seeing it. Later, as she disposes of it in the trash, she experiences a dizzy spell. Guy carries her to bed. Ends: 0:42:17

18. 6:08 - Rosemary lies in bed and has a strange dream. She’s lying on her mattress and it is floating on the open sea in the bright sunshine. She’s very sleepy but tells Guy they have to make a baby. He jokes that they’ll do so tomorrow and for her to get some rest... her husband undresses her to make her more comfortable. She drifts into and out of consciousness, peppering her dreams with people we’ve already met (eg. Hutch) and complete strangers we don’t know. She dreams she’s naked on a simple cot and surrounded by ornate artwork painted on the ceiling... she walks naked on a boat and is told to make her way downstairs, where a bed lies in the centre of a large empty room. Once she lies on the bare mattress, Rosemary suddenly finds herself surrounded by a large gathering of naked people in the shadows... many of them she recognizes as the other tenants in her building. Her naked body is painted by Roman, her next door neighbor while the others chant quietly in the darkness. Rosemary’s legs are bound to the corners of the bed. A scaly pair of arms emerge from the darkness and caress her painted torso. Rosemary drifts in & out of consciousness but at one point awakens to see a frightening set of eyes hover close to her - she is being ravaged by some form of beast and in a panic, begins to protest... the others surrounding her subdue her as we fade to black. Ends: 0:48:25

19. 0:32 - In the morning, Rosemary awakens from a long sleep to find her body covered in scratches. Guy reveals they were both drunk and had sex, though he has since cut his fingernails (to explain away the scratches). Ends: 0:49:57


20. 0:36 - Series of shots - Rosemary sits at her kitchen table. She breathes in the NYC air standing by her open apartment window. She showers. She returns the dessert containers to Minnie next door who admits she probably put in too much cream of coca into the dessert... she asks if Rosemary would get her six eggs if she happens to be going grocery shopping. Everything is just as before. Ends: 0:50:33

21. 1:09 - Guy practices walking on crutches in their apartment (for his role in his play). Rosemary confronts Guy with the accusation that he hasn’t been looking at her; he denies it. Later over breakfast, Guy catches Rosemary looking at a calendar and he confirms to her that her period should’ve come due on Friday; she speculates that it’ll likely come that night. Ends: 51:42

22. 0:46 - Rosemary is having her blood pressure taken at a doctor’s office; she asks when she’ll know (presumably she’s asking about her pregnancy). Dr. Hill (Charles Grodin) tells her he’ll know more once he’s examined her. A nurse takes a sample of her blood while Rosemary chit-chats with the doctor. Ends: 0:52:28

23. 1:10 - Rosemary phone rings and she hears Dr. Hill offer his congratulations. The baby is due June 28th and he asks that she take vitamin pills. Furthermore, he needs her to come back and give more blood - apparently the nurse didn’t take enough the last time but confirms again that she is pregnant. She promises to stop by on Monday (Nov 1, 1965) to give more blood. Ends: 0:53:38

24. 3:30 - Guy returns home after work and Rosemary stands by the door to give him the news. Guy is happy and Rosemary wants a new beginning in their openness towards each other... Guy confirms he’s been self-centred again with his work and pledges to do better. Guy wants to run next door and tell Minnie & Roman their good news... Rosemary agrees and gives her blessing (although somewhat reluctantly, we see). Once he’s gone, Rosemary contemplates her situation alone when the door suddenly bursts open and Minnie & Roman enter carrying celebratory wine. While they’re fixing drinks, the Castevets recommend a friend of theirs, an obstetrician (“the best in NYC”) named Abe Sapirstein who delivers all the society babies... Guy offers to talk to Dr. Hill so there won’t be any hard feelings. Rosemary agrees and Minnie immediately calls this Sapirstein at home and makes an appointment for Rosemary and her baby. Ends: 0:57:08

25. 0:54 - Nighttime finds Rosemary and Guy in bed. Rosemary can’t sleep and she gets up and finds the tannis root pendant she put away... she now puts it back around her neck for good luck. Ends: 0:58:02

26. 0:34 - Dr. Abraham Sapirstein (Ralph Bellamy) is consulting Rosemary and asks her not to read books related to her pregnancy. He tells Rosemary not to talk to her friends either (“no two pregnancies are alike”) and to not take any pills... he’ll ask Minnie to fix Rosemary a daily herbal drink which will be richer in vitamins than any over-the-counter pills. Ends: 0:58:36

27. 0:25 - Minnie fixes Rosemary a milky-looking drink of fresh herbs from her garden. Ends: 0:59:01

28. 0:44 - Guy is practicing for his role in the play... he reads from a script laying open on his living room floor and he hobbles around in crutches. Rosemary comes home and he’s shocked to see she has severely cut her hair; she seems to like what the Vidal Sassoon salon has done for her. Rosemary reveals to Guy that she’s experiencing a sharp pain in her abdomen (since Monday). Ends: 0:59:45

29. 0:20 - Sapirstein reassures Rosemary that what she’s experiencing is completely natural. She reveals that she’s been reading books about pregnancy and he asks that she throw it away. Ends: 1:00:05

30. 0:58 - Rosemary walks away from a scrabble game she’s having with Guy. In her bedroom, her body language and the violin soundtrack show us she’s experiencing a distressing bout of debilitating pain. She returns to Guy and tells him she looks awful. He tells her she looks great, it’s the haircut that looks awful. Ends: 1:01:03

31. 0:33 - Rosemary is alone in the kitchen. She takes a knife & fork to a raw piece of meat and begins devouring it after but a few seconds of making a half-hearted attempt to cook it in a frying pan. She sits at the kitchen table and eats while writing inside what look like Christmas cards piled up in front of her. Ends: 1:01:36

32. 6:18 - Rosemary’s former landlord Hutch comes to visit her and is visibly shocked by her appearance. Rosemary assumes it’s the haircut, since this is what Guy told her. Hutch tells her she looks terrible but Rosemary calms him by revealing that she’s pregnant. He doesn’t believe her because pregnant women gain weight, not lose it. Hutch knows of Sapirstein. As he’s visiting, the doorbell rings and Rosemary admits Roman to her apartment... he meets Hutch. Rosemary notices that Roman’s ears are pierced. Roman only stays a few moments but is there to witness Hutch’s skepticism about Rosemary’s treatment. Once they’re alone, Rosemary confides to Hutch that her next door neighbors are nosy, but Guy is quite taken with them. Guy returns home early just as Hutch is leaving. As he’s preparing to leave, Hutch finds one of his gloves is missing... it cannot be found and so he leaves without it. Rosemary tells Guy that Hutch thought she looked terrible and he reassures her that it’s untrue. Guy then leaves the apartment on the pretext of buying a newspaper. Ends: 1:07:54

33. 2:00 - Rosemary reads in bed while Guy watches television. The phone rings and Guy brings Rosemary the telephone... it’s Hutch and he wants to speak to her. Seems that Hutch wants to tell her something (not over the phone) and they arrange to meet for lunch the next morning at 11 am. After she hangs up, Guy wants to know who it was, what he wanted and then where they’re meeting tomorrow. Once Rosemary has relayed all that information, Guy says he wants to go out and buy ice-cream. Ends: 1:09:54

34. 0:12 - Rosemary buzzes Minnie’s front door and tells her she’s going out and won’t be there later to have her daily herbal drink. Minnie feigns indifference and tells her to buzz her when she gets back and they’ll do it then. Ends: 1:10:06

35. 3:01 - A street Santa rings his bell out on the street... Christmas is almost upon them. Rosemary stands outside, dressed in a warm coast and waiting for Hutch. She’s in pain but forces those feelings aside. Later, a man waves in her direction and as she gets up to meet him, it turns out it isn’t Hutch but someone who looks like him meeting up with someone else beside Rosemary. After more waiting around in vain, Rosemary makes her way to a pay phone and dials a number. The voice at the other end tells Rosemary that Hutch was taken ill that morning and is in a coma at St. Vincent’s Hospital. Rosemary walks away, deep in thought after her phone call. She catches sight of herself in a shop window and is alarmed by the distressing image of the image she sees... she looks malnourished and her eyes are sunken into her skull, her unhealthy pallor etc. Just as all this is sinking-in, Minnie appears as if by accident and offers to take Rosemary home. Ends: 1:13:07

36. 0:58 - Rosemary sits in front of a muted television set, bent over in what appears to be pain and/or nausea. Later, she sits by Sapirstein at a party next door; he reassures Rosemary that it’ll stop any day now. They’re all given drinks to see in the New Year which is seconds away. It is now 1966. Ends: 1:14:05

37. 0:30 - Another day. Rosemary stands alone in her kitchen and eats what looks like raw chicken liver straight from a tray. She seems content to do so until she sees her image in the reflection of the toaster on the counter. We next see her retching into the kitchen sink. Ends: 1:14:35

38. 1:21 - A determined Rosemary sits at her kitchen table and plans a big party a week or so away. Guy isn’t keen but Rosemary insists all her old young friends will be there; Minnie and Roman are not invited. A special party - you have to be under 60 to get in. Ends: 1:15:56

39. 1:00 - Minnie is curious about Rosemary’s kitchen preparations. Rosemary tells her about her upcoming party and Minnie tries hard to have herself invited. However, Rosemary is insistent she can manage without her help. Minnie then impatiently tries to hurry Rosemary’s consumption of her daily herbal drink but Rosemary tells her she wants to drink it later. She shoos Minnie out of her kitchen and once alone, throws Minnie’s drink down the sink. Ends: 1:16:56

40. 3:12 - Rosemary’s party is in full swing. All her old young friends are there & happy about her upcoming pregnancy. Rosemary feels unwell and we next see her in the kitchen surrounded by her female friends; she crying from the pain. She reveals to her friends that the pain started in November and they are shocked at her admission. They pressure her into seeing another doctor for a second opinion. Ends: 1:20:08

41. 2:57 - Once everyone has left, amongst the detritus of the party, Guy considers Rosemary’s news that she’s going to see Dr. Hill on Monday morning. Amidst their heated arguments about seeing anyone but Dr. Sapirstein, Rosemary’s pain suddenly disappears. Rosemary is ecstatic because the pain has gone and she feels her baby kicking. She encourages Guy to feel her abdomen but he’s too nervous to do so. Ends: 1:23:05

42. 0:35 - Montage - the apartment is decorated further. The wall of what looks like the future nursery is professionally wallpapered. Minnie and Rosemary watch. Rosemary accepts the herbal drink from Minnie and drinks enthusiastically. Baby furniture is moved into the room. A bulging Rosemary directs two workmen on where to put the baby’s cot. Baby clothing is unpacked. Ends: 1:23:40

43. 1:10 - Rosemary prepares a small suitcase of her belongings to use in the event of a hasty trip to the hospital. Guy finds it amusing, since the event is still three weeks away. The phone rings and Rosemary answers... Hutch is dead. She feels awful because all of this time she didn’t even think of him. Ends: 1:24:50

44. 1:20 - A taxi takes Rosemary to a cemetery where mourners are leaving Hutch’s graveside. Grace Cardiff - with whom Rosemary has spoken on the phone numerous times - is there and hands Rosemary a package she didn’t want to mail (as she figured she’d see Rosemary at the funeral anyway). Grace also reveals that Hutch was briefly conscious before the end and said to tell Rosemary that the name was an anagram. Ends: 1:26:10

45. 4:23 - Back home and alone, Rosemary opens her parcel from Hutch; it is a book. Before she can unwrap the parcel, the doorbell buzzes and it’s Minnie with Rosemary’s freshly prepared herbal drink. Minnie is inquisitive about Rosemary’s book but leaves without any further information from Rosemary about how it came into her possession. Rosemary uses a large kitchen knife to break the twine of the parcel. The book’s title is “All them Witches” and Rosemary reads at random intervals while flipping through it. She stops at a picture of someone called Adrian Marcato born in 1846. She recalls Hutch’s final words about the name being an anagram. Rosemary removes her scrabble board and forms the book’s title with scrabble letters... no luck in rearranging those into anything meaningful. Rosemary returns to the book, this time stopping at an earmarked page containing a photo where a captioned name of Steven is underlined. She arranges the scrabble letters to spell out Steven Marcato and rearranges them hesitantly to this time spell Roman Castevet. Ends: 1:30:33

46. 3:04 - Guy tries to enter his own home and finds the front door chained securely. He calls out for Rosemary who lets him in but won’t say anything else. He asks about the funeral and makes other chit-chat. Rosemary then confronts him at their bedroom door and asks him if he knows who Roman really is... she reveals him to be Adrian Marcato’s son. She shows Guy the book from Hutch... Guy flips through it and an argument ensues, especially after Rosemary tells him they’re going to move out. Guy makes her give him the unfinished book and he put it away in the bookshelf. Ends: 1:33:37

47. 1:13 - Dr. Sapirstein admits that it is fantastic... absolutely fantastic. He’s obviously referring to the story. Rosemary is there relaying that story and refuses to have anything more to do with the Castevets... Sapirstein agrees. He confides in Rosemary that Roman is terminally ill - has only about a month to live - and is planning a last trip away from NYC. Sapirstein reassures Rosemary that he’ll recommend that Roman leave immediately but asks that she not say anything for fear of embarrassing him before he leaves. Ends: 1:34:50

48. 0:52 - Minnie & Roman say their goodbyes to Rosemary outside their building. A taxi is hailed. Rosemary is looking tanned, healthy and radiant. Ends: 1:35:42

49. 0:26 - Back in their apartment, Rosemary searches for Hutch’s book but Guy reveals he threw it in the garbage. He didn’t want her getting herself upset any longer. He gives her the vitamin tables prescribed by Dr. Sapirstein. Ends: 1:36:08

50. 0:58 - Montage - In a daze, Rosemary recklessly crosses the street through street traffic. She takes the pendant from around her neck and discards it. She visits a bookstore and interacts with an employee. Later, having purchased a few new books on the subject of witchcraft, while riding in a taxi she reads a passage explaining how victims can be blinded or otherwise paralyzed and killed by members of a coven. Ends: 1:37:06

51. 0:13 - Back on her bed, Rosemary reads out loud how a spell can only be cast on a victim using one of their personal possessions. Ends: 1:37:19

52. 1:44 - Rosemary makes a phone call to Donald Baumgart (Tony Curtis), the actor whose sudden onset of blindness provided the opportunity for Guy to be given the part in the play. Rosemary asks if he’s better... and prods him about an item he’s missing. Donald reveals that Guy has his tie. Rosemary says her goodbye and hangs up the phone. Ends: 1:39:03

52. 0:32 - Montage - Rosemary races through the apartment. She puts her contact book into her handbag. She uncovers a stash of bills she hid under some clothing. She retrieves her pills. She adds the large witchcraft book to the contents of her hospital suitcase. She exits her apartment and uses the service elevator to leave the building. Ends: 1:39:35

53. 2:25 - Rosemary makes an unscheduled stop at Dr. Sapirstein’s office. It’s almost the end of the day but she’s told to sit & wait for him. While she sits in the waiting room, she chit-chats with another patient and reveals her baby is scheduled to be born on Tuesday. It is only days away. She reads a Time magazine whose cover asks “Is God Dead?”. The receptionist compliments Rosemary on her perfume... says it’s an improvement on her other. Rosemary tells her the other stuff she had was part of a good luck charm she no-longer has... the receptionist admits that she wished Dr. Sapirstein would do the same. He carries that same smell sometimes. Rosemary is in shock and feigns needing to talk to her husband downstairs... she flees the doctor’s office. Ends: 1:42:00


54. 4:20 - Rosemary makes her way to a public phone booth on a busy street. She calls Dr. Hill’s office and his answering service take her message... while she waits for Dr. Hill to call back, she pretends to be on the phone to avoid others wanting to use the phone. When he calls, she tells him part of her fantastic story. While she’s begging him for an immediate meeting, behind Rosemary a stranger waits with his back to the booth (ironic tension). Dr. Hill is obviously skeptical but arranges for them to meet at his office later. Rosemary hangs up. She’s momentarily frightened by the stranger standing outside, but he turns around and doesn’t recognize him now... he poses no threat. Ends: 1:46:20

55. 7:00 - Rosemary takes a cab to Dr. Hill’s clinic. Later, while inside his office she talks to him and reveals that Guy lied to him about their moving to Hollywood. They never left NYC. Dr. Hill says nothing while she relays the entire conspiracy. Rosemary believes Guy traded success in exchange for her baby which the witch’s coven would use in some manner. It looks like Dr. Hill is coming around to believing her, despite the fantastic nature of the story. He asks Rosemary if she wants to check into Mount Sinai Hospital that evening... she does and he tells her to get some rest while he makes the arrangements via phone. Rosemary rests and she whispers to her unborn baby. She dozes and dreams of happy reunions with family... she’s with her new baby outside in the open air & the bright sunshine. She wakes when Dr. Hill returns to her room... however, Dr. Hill is not alone. He has company, namely Rosemary’s husband Guy and Dr. Sapirstein. Rosemary is led out of Dr. Hill’s clinic and into a waiting car - she is told not to make a scene or she will be committed to a mental institution. Ends: 1:53:20

56. 0:28 - Sitting in the back of the car, with Guy on one side of her and Dr. Sapirstein on the other, Rosemary endures the trip back to the apartment in total silence. Ends: 1:53:28

57. 2:26 - Back at the entrance to their apartment building, Rosemary accidentally spills the contents of her purse. While Guy, Dr. Sapirstein and even the elevator guy pick up all the small contents, Rosemary slips away into the elevator and escapes up to her apartment. Flying past the 7th floor, Rosemary is forced to reverse the elevator’s ascent and jump down to the floor as close as she can get the elevator after some trial & error. She's almost at her door when she sees the lights of the service elevator reveal that it’s on its way up to her. She barely makes it into her apartment before her pursuers catch-up. She chains the door securely... they plead with her to let them into the apartment but she refuses. Rosemary finally manages to shut the door and dead-bolt it. Ends: 1:55:54

58. 2:06 - Rosemary goes through he contact book and find a phone number. She dials. While her back is turned and speaks on the phone, behind her we see people tiptoe across the room quietly. Rosemary turns around and there’s a group of people in her room. Guy comes in and tries to reason with her. Dr. Sapirstein enters with a visible syringe in his hand - just a mild sedative (he says). Rosemary hits Guy and tries to flee but five or six people grab her arms & legs and pin her to the bed while Sapirstein administers his injection to her exposed arm. Sapirstein determines that she’s in labor. Somewhat delusional from the sedative, Rosemary apologizes to her unborn child. We fade to black with her. Ends: 1:58:00

59. Rosemary awakens in her room. Guy is there to greet her. She asks if the baby is alright & Guy tells her he’s fine - it’s a boy. She falls back asleep. Later, she wakes up and Laura-Louise is there reading a Reader’s Digest with a magnifying glass... startled, Laura-Louise runs out the room and won’t answer any questions about Rosemary’s baby. She’s off to get Dr. Abe. Guy & Sapirstein return and tell Rosemary there were complications. The baby is dead. Rosemary begins yelling, accusing them both of lying. Sapirstein administers another sedative via injection. Ends: 2:00:38

60. 1:54 - Rosemary awakens to a meal by her bedside; she accepts a tablet with a glass of water from Guy. Guy reveals they’re close to some sort of Studio deal which would mean they move to California. Before he leaves, Rosemary asks to see his shoulder. She's looking for a “mark”. He complies but there is no kind of mark anywhere on his exposed chest and back. Ends: 2:02:32

61. 2:36 - Alone and watching television, Rosemary hears the cry of a baby from somewhere in her apartment or perhaps next door. She turns off the television to better hear the baby’s cries. Eventually a neighbor comes in with a meal and her medication. While distracted, Rosemary hides the tablet in between bricks close by the bed and pretends to have taken the medication with her water. Later, we know not how much later, we see hidden in between the bricks six or seven tablets. Ends: 2:05:08

62. 10:52 - Rosemary slips out of her room and makes her way to the closet. She removes towels, sheets and other items on the shelves. She removes the shelves themselves and walks clean through to the other side, out into Minnie & Roman Castavet’s apartment which she can see through a keyhole. Rosemary goes back out to her own kitchen and removes a large knife. Returning to the closet, she walks through to Roman’s apartment. She enters their hallway and observes the Satanic artwork on the walls. She explores several rooms which are empty or contain nothing of interest. Eventually she makes her way into the drawing room. Wielding her large kitchen knife, she spots the entire building’s occupants in the room, including Roman and Minnie who were supposed to be on vacation. Rosemary walks to a baby’s crib decked in black material... she slowly walks over with her knife extended outward, ready for anything. She pulls aside the lace and recoils in horror at what she sees (we do not). Rosemary looks around the room for help or for aid in comprehending what is happening... “what have you done to it?”... “what have you done to its eyes?”. Roman confirms the baby has his father’s eyes... Satan is his father, not Guy. The room full of people all hail Satan... Roman goes to Rosemary and recommends she be a mother to Adrian (her son)... Minnie and Laura-Louise are too old, it’s not right. Guy tries to comfort Rosemary but she spits in his face. Later, Rosemary walks over to the baby and seems to admire him. It looks as though she has taken Roman’s suggestion to heart. Ends: 2:16:00


Saturday, July 28, 2007

Thought for the day...

"Creativity is inventing, experimenting, growing, taking risks, breaking rules, making mistakes, and having fun." ~ Mary Lou Cook


Film Breakdown - Drama - Fresh (1994)


1. 1:33 - Opening credits. Ends: 0:01:33

2. 2:45 - A young boy makes his way through an urban city street. He is welcomed into an apartment of a hispanic lady who has something for him. She bundles some packets (drugs?) into a piece of newspaper and hands it to the boy. Without opening it he complains that the agreement was for “half a brick“, namely twenty packets. The boy is called Michael (Sean Nelson) and he’s been told by Esteban to take a half-brick to Chillis immediately; he’s already late for school. The lady looks around on her kitchen counter and finds a packet she inadvertently missed. Ends: 0:04:18


3. 1:38 - The boy next enters a different dwelling, this time containing a host of women sorting through more drugs. He tells one of them that he has to pickup five bricks but it’s obvious they’re not ready yet. An older teenage boy sits by a desk containing a scale - he calls Michael ”Little Fresh“ but Michael tells him his tag is only to be used by his friends. The older teenager tells everyone in the room that the only reason Michael is doing an important job is because Esteban is sweet on his sister - this angers Michael who protectively challenges the boy... who then backs down when he witnesses Michael’s determination. Ends: 0:05:56

4. 1:15 - Michael makes his way over to yet another location where a character called Chillie who very slowly counts the packets that Michael has delivered. Michael is anxious and wants to get going - he’s real late for school. Ends: 0:07:11

5. 1:58 - Michael stands in his classroom, interrogated by a teacher in front of the whole class about his tardiness. As Michael moves to put his books into a locker, one of the drug packets falls to the floor of the classroom. Unseen by anyone else, Michael quickly moves to hide the drugs in his backpack. Ends: 0.09:09

6. 1:06 - In the school gym, Michael and others from his class play basketball. After the game they all descend on the school auditorium where some school girls are practicing their cheerleading. Ends: 0:10:15

7. 4:38 - Out in the school yard, more school kids jump rope while some school boys sit and trash talk while playing with baseball cards. Fresh sits with the other boys but quietly observes some of the girls. He finally walks over to talk to one of them, a girl called Rosie. They talk about each other’s families and compare what that they would do if they each had money. Fresh is excited about cars but Rosie tells him he’ll never have money anyway... Fresh disagrees and says that ”someday he’ll have it“. Ends: 0:14:53


8. 1:48 - Dissolve to an abandoned rail track during the day where Fresh walks cautiously and once he’s sure that he’s alone, he reaches into a secret hiding place and removes a rusty can containing hundreds (if not thousands) of dollars in one big, rolled-up mass. He adds the few bills he’s earned today (from Chillie earlier) and puts the whole lot back into its hiding place. Later, he observes the NYC skyline while eating a candy bar. Ends: 0:16:41

9. 3:20 - Michael makes his way over to an apartment block and lets himself into an apartment full of people (mostly children). Michael makes his way over to his bedroom; he appears to be sharing that room with at least two others. Elsewhere in the home, Michael’s sister Nichole (N’Bushe Wright) is packing to leave; Michael would like her to stay but she’s getting too old to share the room & the crowded apartment with the others. She packs her things and leaves without saying goodbye to Michael. Ends: 0:20:01

10. 1:08 - Michael lies alone on his bed in the dark, wide awake and staring at the moving shadows on his ceiling. One of the older girls - a cousin - comes into his room and admonishes him for coming home so late. She tells Michael that she’ll kill him if their Aunt gets fed-up with worrying & looking after Michael and gets rid of all the kids. Ends: 0:21:09

11. 1:14 - Fade to white and then we’re back with Michael sitting on an abandoned car in a rough neighborhood during the day. It’s obvious that he’s a lookout and runner for a young gang of drug peddlers. Michael sells drugs to the occupant of a car that pulls up; he argues with a pregnant woman who is indignant at the $5 asking price; he slaps a woman who offers him sex in return for the opportunity to talk to his boss. Ends: 0:22:23

12. 2:51 - Michael walks up to - and tries to communicate with - an older thug called Jake (Jean LaMarre) who is upset at having to wait for someone who owes him $50... it’s getting late and there’s little likelihood of his showing up. Jake is incensed. Ends: 0:25:14

13. 1:44 - Michael approaches Jake’s boss Corky (Ron Brice) for his earnings; says that Jake was angry again and he’s not about to try and get paid when he’s crazy like that. Corky tries to shortchange Michael but he’s having none of it - he’s owed $100 for his work that day... he gets his $100. Ends: 0:26:58

14. 4:55 - Michael takes the subway to a park where hustlers play speed chess for cash. Michael challenges one of the players and wins. He then makes his way over to another table where Sam (Samuel L. Jackson) sits. Sam is Michael’s dad and is a bit of a dichotomy; he plays chess brilliantly but drinks liquor out of a bottle in a brown paper bag. He talks to Michael about not squandering time but sits at his table reading a newspaper. Michael loses his game of chess to Sam, primarily because Michael (he is told by Sam) isn’t always thinking about the smartest moves to make. Ends: 0:31:53


15. 1:00 - Michael and his friends walk through the urban sprawl. They talk about comics, super-heroes and guns. Ends: 0:32:53

16. 1:41 - Michael’s best friend Chuckie (Luis Lantigua) boasts of having ”trained“ their pit bull dog Roscoe to fight. Michael tells him they all found Roscoe and he’s not going to be fighting. Chuckie tells him he wants some cash - unlike Michael (who he accuses of hoarding his cash), Chuckie doesn’t have any because Michael won’t help him get a job with Esteban. Michael tells him he acts like a little kid and won’t get Esteban to give him a job. Ends: 0:34:34

17. 5:08 - Esteban (Giancarlo Esposito) is at home tending to his kids at dinner time. Michael is there at Esteban’s behest and sits quietly while Esteban deals with his wife and children. Esteban admonishes him for having left for school the other day when he wanted to talk to him; furthermore, that he appears to have enough time to work for Corky dealing rocks. Corky is clearly a rival of Esteban’s but Michael explains that Corky has work every day while Esteban only has a need for hired hands once a week. Esteban understands but warns Michael that anyone who deals rocks of crack cocaine is usually dead within three to five years; that’s the nature of that business. Smack is Esteban’s trade, as heroin has a different client base, a ”gentleman’s operation“ where clients are stable and peace-loving. Michael returns the packet to Esteban that accidentally fell out of his backpack at school - Estaban laughs and admires Michael’s honesty... he also tells Michael that his sister is ‘fine” and asks if she’s going out with anybody. Michael lies and says their Aunt won’t let Nichole out of the house. Ends: 0:39:42


18. 3:02 - Michael makes his way over to a general store and asks to speak to Nichole. She is hanging with a local hood named James and Michael tells Nichole that Esteban is looking for her. She tells him that she doesn’t like the way Esteban looks at her - she’s nothing special and nobody loves her. Michael says he loves her. Ends: 0:42:44

19. 3:56 - A crowded Basketball court during the day finds Michael and Chuckie hanging out watching the older guys play. Michael doesn’t want to play ball with Chuckie and it turns out this is because he’d rather watch Rosie and the other girls play nearby. Two of Corky’s men are involved in the game, including the volatile Jake. When Jake unsuccessfully defends the basket from a skillful player, Jake feels dissed & responds the only way he knows how... by shooting the player dead. Unfortunately, so many bullets are flying from Jake’s gun, he shoots Rosie in the throat and she dies in Michael’s arms. Everyone else on the court flees. Ends: 0:46:40

20. 0:40 - The police extricate Michael’s hand from Rosie’s throat where he was helping her stop the flow of blood escaping from her gunshot wound. Back at the police station, Lt. Perez tries to get Michael to cooperate... to tell them whatever it was he saw. Michael denies he saw anything. Ends: 0:47:20

21. 0:18 - Michael’s Aunt takes him back to the apartment, where she runs him a bath and he cleans himself up (he’s covered in Rosie’s blood). Later, Michael lays in bed naked and we fade to black. Ends: 0:47:38

22. 7:16 - Sam and Michael play a game of chess in Sam’s usual table in the park. Michael is clearly distracted and Sam is irritable that Michael is not playing his best game. Sam tells him to not play like every piece matters - everything there is just a means to an end... Michael is protecting his queen whereas (Sam says) she’s just a pawn with a lot of fancy moves - nothing more. Sam tells him to threaten his opponent’s queen whenever he can because doing so will distract the other player from Michael’s real move. Michael must be paying attention because for the first time in their playing against each other, Michael checks Sam though Sam eventually wins anyway. Sam invites him to his place and Michael reluctantly agrees (he’s not supposed to be seen with Sam). They hang out for a while. Ends: 0:54:54

23. 3:08 - Michael and Chuckie are at a dog fight; a lot of gambling is taking place. Their dog Roscoe looks too friendly and Michael clearly worries that he’ll get hurt. Chuckie meanwhile is oblivious - he’s bad mouthing the opposition and playing up Roscoe like he’s a destined to be a champ. Michael spots the psychotic Jake in the crowd ad the two eye each other. Once the competition starts, the pit bulls are released and begin their fight. Chuckie’s $20 savings could turn into some much needed cash for him at 5:1 odds. To Michael’s bittersweet relief, Roscoe overpowers the other dog and kills him. They’ve created a monster in Roscoe and he’s now got the taste of blood. Michael tells Chuckie that Roscoe won’t be fighting any more; instead he’s got a plan that will bring them stupid dollars. Ends: 0:58:02

24. 0:44 - Michael assembles a chess board in his room and tells the others not to touch his game. He surveys the pieces and makes his first move. Ends: 0:58:46


25. 4:08 - Michael takes Chuckie over to Esteban’s house. While waiting to speak to him, Michael sees Esteban having sex with his sister Nichole; it is obvious she’s high on drugs. Esteban appears grateful that Michael had some involvement in bringing Nichole back to him. Esteban asks them to wait in another room. Later, Chuckie poses against a wall wanting to make an impression on Esteban. Michael tells him he looks ridiculous. Esteban eventually comes in and interviews Chuckie, who mutters some inane street talk that doesn’t impress Esteban at all. Once they’re alone, Esteban tells Fresh that he’s giving him this big job because nobody will expect the mode of transportation to be a kid. Outside, Fresh tells Chuckie that Esteban was very impressed (a lie) and that Chuckie’s on the payroll. Ends: 1:02:54

26. 2:18 - Michael goes to an old warehouse alone to talk to someone called Hector. Hector is reluctant to sell Michael the cocaine base he’s asking for, ostensibly for Corky. Hector wants to know why Corky didn’t send one of his men for the drugs. Michael lies and says the cops are watching them because of what Jake did on the basketball courts. All his men are being followed and his phone lines tapped... that is why Michael is here in person to deal with Hector. Michael opens up his backpack and secretly removes his stash of cash, pretending this payment for the “base“ is from Corky. Hector is pleased to be dealing with cash and tells Michael he’ll have the drugs ready later. Ends: 1:05:12

27. 2:22 - Back at the school play yard, Chuckie can’t keep his big mouth shut. He’s blabbing to everyone how he’s in with the influential crowd (ie. Esteban) and he’s making tons of cash. He’s even acquired his own posse who follow him around everywhere. Michael’s other friends warn him about Chuckie - that he’s blabbing about moving ”base“ for Esteban when everyone knows Esteban doesn’t deal with those drugs - that’s Corky’s turf. Ends: 1:07:34

28. 1:54 - Michael and Chuckie make their way over to a used book store and pickup their drugs that have come through from Hector. The drugs are hidden in children’s text books. They put the books in their backpacks. Later, they’re both on the subway and Chuckie is acting immature - he has words with a cop and only Michael’s polite talk saves them both from taking a ride down to the precinct. Outside the train station, Chuckie is upset that Michael dissed him in front of the cop - Michael in turn tells him he’s acting stupid to be calling attention to himself like that. As they move away, it is obvious they’re being followed by a vehicle (Corky’s men?). Ends: 1:09:28

29. 2:30 - Michael notices they’re being followed and ducks into an alley. He insists that Chuckie surrender his backpack and keep a lookout... meanwhile Michael enters an abandoned building an pries open some floorboards. Under the floorboards are bags of something that look like the drugs in the textbooks... Michael swaps them all out and hides the real ”base“ under the floorboards. Chuckie stands outside with a loaded gun he’s purchased from somewhere. Ends: 1:11:58

30. 1:10 - Michael and Chuckie resume their walk when suddenly they’re confronted by the men in the car that’s been following them. Michael makes a run for it but stops when he realizes that Chuckie has drawn his weapon and takes a shot at the men. Michael had clearly stated to drop the backpacks if they were jumped. Missing his target (assuming he had a target), Chuckie runs and drops his weapon by the tire of a nearby car. When he tries to reach for it, a stray bullet hits the tire, the car collapses and the full weight pins him down by his hand. Michael is forced to abandon him and run for his life. Once Michael has left, the men descend on Chuckie and shoot him dead. Ends: 1:13:08

31. 0:27 - Montage. Michael is running for his life all the way home. Dissolving throughout his run are images from the urban landscape. Ends: 1:13:35

32. 1:54 - Michael is back at the police station and being questioned by two detectives. Lt. Perez gives Michael his home number, tells him he can call any time. Michael sticks to his story that they were simply on their way home when they were jumped. Ends: 1:15:29

33. 1:18 - Michael’s Aunt has had enough and wants Michael out of the house. It’s simply too dangerous now for all the other eleven kids to have Michael stay there - he’s now been involved somehow with two homicides and his cousins are afraid to step out of the home. Ends: 1:16:47

34. 0:29 - Michael is attacked at school by one of his friends who feels it’s Michael’s fault that Chuckie was murdered. Ends: 1:17:16

35. 1:41 - Michael walks Roscoe over to the abandoned buildings where he hid the drugs. He strings the dog up by its neck using the leash tied to a fire escape ladder. Michael then enters the building through a window and retrieves a gun. Once back outside, he shoots Roscoe three times at point-blank range and kills the dog. Ends: 1:18:57

36. 1:30 - Back in his room, Michael moves a chess piece on the game he’s playing against himself. Outside his home, an ominous-looking car waits in the street... Corky’s men. Once Michael steps outside, they man-handle him into the car and drive off. Ends: 1:20:27

37. 6:56 - Corky is interrogating Michael in an abandoned warehouse; he reveals the stolen textbooks and asks Michael if he knows what was in the books? Michael feigns ignorance. Corky confirms it is ”base“ and resents Esteban horning in on his business... he’ll need to be sent a message and little Fresh is going to be his telegram. He picks up a chain and makes a move to beat Michael with it. Michael then reveals that he was not running ”base“ for Esteban... he was doing it for Jake! Corky is stopped in his tracks and Jake reacts - he has no idea what is going on. Jake’s friend comes to his rescue to confirm his innocence but Michael’s story is so convincing that Corky assaults both of them on Michael’s say-so. Once they’re incapacitated, Michael reveals that Jake’s distributor is James. Ends: 1:27:23

38. 4:26 - Michael makes his way over to Esteban’s business location. Esteban wants to know why he hasn’t been around since Chuckie’s murder - Michael claims the police were watching his home. Esteban wants to know who jumped Michael... Michael reveals it was Corky’s boys (truth) but it’s because Corky is tired of dealing ”base“ cocaine and wants to muscle in on Esteban’s ”smack“ heroin trade. Esteban and his men believe Michael but Esteban wants to know how Michael knows all of this... Michael reveals he was told by his sister Nichole. Esteban fights hard to control his anger but wants to know more. Michael spins a yarn that Nichole was holed up with James (truth) and that James has been dealing Smack out of his store (supplied by Corky, whose ambitions are to eliminate Esteban). Michael verbally tortures Estaban by revealing that James treats Nichole ”nice and nasty“. Ends: 1:31:49

39. 3:45 - Esteban and his men watch James’ grocery store at night as Corky and his men arrive. Remember Corky believes James to have been Jake’s distributor. Esteban believes what he’s seeing confirms Michael story of collusion between the two... he orders his men to attack the grocery store. Corky’s men are shot and killed by Esteban’s men. Esteban then makes his way upstairs and interrogates James. Nichole’s clothing is still in his apartment, further confirming Michael’s (false) story to Esteban. James is shot and killed by Esteban and Michael has made a point to be immediately outside to witness it. The gang come back outside and all but one escape by car before the police arrive. Ends: 1:35:54


40. 3:51 - The weapons used in the grocery store killings are hidden in a secret car door compartment. Esteban is dropped off at an apartment where he has Nichole stashed. He orders his men in the car to take Michael home and to dump the weapons where they won’t be found. The car takes off and alone in the back, Michael rummages around in his backpack near the secret car door compartment. Michael then demands that the car be stopped and to be let out. Michael returns to Esteban’s apartment and waits outside until he knows he’ll be alone with Nichole. Once the coast is clear, Michael makes a phone call to someone. Ends: 1:39:45

41. 5:57 - Esteban opens his apartment’s front door to see Michael standing there (claims he cannot go home). Inside, Esteban confronts Nichole about James - she’s defiant and claims she can see whoever she wants. Esteban tells her that is no-longer the case. The front door bell rings and Esteban leaves the room to answer the door... it’s the police! While everyone is distracted, Michael moves over to the bed and removes something from his backpack... Nichole witnesses him putting something under the bed or the mattress. The police enter the room and it is Lt. Perez and others with a warrant to search the premises - seems they had a tip-off that there was a domestic disturbance in the apartment. Esteban scoffs at the claim and tells them to get out... Michael now pipes-up and claims Esteban threatened to kill Nichole and murdered James and others at the Grocery store that very night. As proof, Michael claims Esteban stashed some stuff under the bed. The cops search under the bed and remove an incriminating gun and all of Hector’s ”base“. Esteban is hauled away but he and Michael lock eyes on each other as we fade to black. Ends: 1:45:42

42. 0:58 - Lt. Perez questions Michael about what he saw happen that night. He tells Michael that if he testifies, he’ll be taken away from the projects and put under protection. Michael insists that his sister Nichole goes with him and is covered under the same deal. Michael’s game is over and he has won. Ends: 1:46:40


43. 2:09 - Michael makes his way over to Sam’s chess game in the park. It is probably their final game. Ends: 1:48:49

Wednesday, July 25, 2007

Thought for the day...

“When I think of art I think of beauty. Beauty is the mystery of life. It is not in the eye it is in the mind. In our minds there is awareness of perfection.” ~ Agnes Martin


Tuesday, July 24, 2007

Film Breakdown - Drama - One False Move (1992)


1. 1:14 - Opening credits. Ends: 0:01:14

2. 3:22 - An attractive woman in her mid 20’s arrives in a Los Angeles residential neighborhood. (She is not dropped off by a taxi.) She knocks on the front door of a home and announces herself to be Fantasia (Cynda Williams). She is let in and a birthday party of adults is in progress. After a few minutes, Fantasia opens the front door from the inside on a pretext of having left her purse in the car; this allows entry of two men into the home, one of which is armed. The armed man is called Ray (Billy Bob Thornton) and they all know him. He’s wanting to know where Marco lives and when no answers are forthcoming, he repeatedly beats on a female occupant of the house - Jackie - until a male occupant - Bobby - volunteers to take them to Marco. Ends: 0:04:36


3. 1:34 - Bobby takes Ray over to Marco’s house; Fantasia accompanies them. Marco isn’t happy to see Bobby but thinking he’s alone, he invites him in to his home. We next see everyone bound inside the home. Ray is torturing Marco’s female companion while Fantasia stands helplessly watching. We next see what Marco must have divulged - the secret location of his drug & cash hoard inside the home. Ray is excited. Ends: 0:06:10


4. 1:34 - Ray’s companion is back at Bobby’s house; he sits alone guarding the original hostages and slowly consumes a meal. The phone rings and he picks up to briefly hear Ray’s news. Hanging up, he puts down his food plate and purposefully moves slowly throughout the bound hostages with the tools of his trade. The cold and calculated manner in which he then murders the hostages is pretty chilling (though not specifically graphic). In sharp counterpoint, while he murders the first victim, the television set immediately behind him throughout this act displays video of the same victim who only hours before was so full of life partying with her friends. Ends: 0:07:44


5. 2:13 - Back at Marco’s house, a bound hostage is suffocating from a bag over his head. His kicking disturbs Ray who is sampling some of the drugs. Now standing over the unmoving victim, Ray tells Fantasia that there should be a child somewhere in the house and orders her to look for him. Fantasia eventually finds a young boy crying in a bedroom. Ends: 0:09:57

6. 0:41 - Match cut to a crying child in a different home, and of a woken father comforting his child in Star City, Arkansas (revealed via SUPER). The mother enters the bedroom and takes the child from him. He is identified as Dale (Bill Paxton). Before turning off the light, he pauses to listen to the call of a bird outside. Ends: 0:10:38

7. 1:58 - Dissolve to the Coroner arriving at the crime scene that is Marco’s house. Two police detectives survey the scene and witness the identification of Bobby and leave. A policewoman carries the young boy away. Ends: 0:12:36


8. 0:54 - The two police detectives make their way over to Bobby’s home nearby and survey the outside of the quiet house. The front door is unlocked and they let themselves into the house and find the bodies of the other victims. Ends: 0:13:30

9. 2:03 - The police are examining the video recording evidence obtained from Bobby’s home. They reveal that a witness identified Ray’s car parked outside the previous evening. Ray’s companion is revealed to be someone called Pluto (Michael Beach) who was spotted driving Ray’s car away from the house. Fantasia is mentioned as being Ray’s girlfriend. The cops analyze the recording of the home video and hear mention made of Star City. Ray’s robbery arrest paperwork from 1979 reveals Ray’s next-of-kin to be his Uncle, who lives in Star City, Arkansas. Ends: 0:15:33

10. 0:40 - The man known as Dale seen previously is now revealed to be a Sheriff - he’s on the radio answering an inquiry about Ray who he’s investigated as being a former resident of Star City but who hasn’t lived there for twenty years. Dale is excited at the prospect of being in the center of a major investigation - the authorities are anticipating that Ray, Pluto and Fantasia might flee Los Angeles and head for Ray’s Uncle’s house. Ray is going to the house to provide stakeout the property. Ends: 0:16:13

11. 4:06 - The police in Los Angeles put together a press release of the suspects sought in connection with the very violent murders. The police speculate as to whether it would be worth their while traveling to Star City, Arkansas. Pluto is revealed to be “a piece of work” with an IQ of 150 and fond of the knife as a weapon of choice. The Star City Sheriff, Chief Dale Dixon, calls in and they put him on speakerphone. Dale’s character is folksy and simple, easily impressed with the big-time City Cops and their major investigation. With his intimate knowledge of the area, Dale has found the Uncle’s property in a secluded area outside of town. Ends: 0:20:19

12. 0:25 - The gang comprising Fantasia, Ray and Pluto are driving at night through New Mexico (SUPER). Pluto drives while Ray appears to be snorting drugs. Ends: 0:20:44

13. 1:00 - Sheriff Dale Dixon is on duty and drives into a service station. He chitchats amiably with some locals (is there anyone he doesn’t know, even at this time of night?) but is distracted by seeing a man and a young boy leaving the store. Ends: 0:21:44

14. 4:24 - In a cheap motel, the gang of three rests up in Deming, New Mexico (SUPER) after a day of driving. Fantasia emerges from having taking a shower but appears unwell at the prospect of all those dead people back in L.A... Ray continues eating his bucket of fried chicken while Pluto reads a newspaper quietly. Ray is excited by all the drugs they stole from Marco... Pluto tells him it’ll only last until Houston, at which point the drugs will be sold and then he’s off to Chicago alone. Pluto easily overpowers Ray in a moment of anger and tells him to hold on to Marco’s $15,000 cash but Pluto will hold on to the drugs for now. Ends: 0:26:08


15. 1:27 - Dissolve to a plane landing in Little Rock, Arkansas (SUPER). We next see the two L.A. detectives driving through the country when a police car speeds up behind them with the lights flashing and the siren blaring. It is Sheriff Dale Dixon and he recklessly pulls up alongside them while still speeding to say Howdy and to welcome the boys to Star City. He spotted them a while back, figured out who they must be and is offering to show them the way to their hotel. He has a busy day planned for them. Though driving on the wrong side of the road - and in the path of an oncoming truck - the Sheriff continues to talk to the detectives in the other car before pulling out in front of them and leading the way. Ends: 0:27:35

16. 2:54 - Cut to a typical Southern diner where the two cops Dud (Jim Metzler) & John (Earl Billings), plus the Star City Sheriff are having breakfast. The waitress calls the Sheriff “Hurricane” but he tells the cops he doesn’t know why they call him that. Hurricane is trying hard to impress the cops from California but isn’t listening real well to what others have to say; he’s also selfish and insensitive. Ends: 0:30:29

17. 2:14 - On the way to the Malcolm place, “Hurricane” resolves a domestic dispute between a violent drunk husband wielding an axe and his frightened wife who has locked him out of the house. He tells the California detectives (who have each drawn their weapons) that it’s okay and that he’s out there twice a week doing this. Ends: 0:32:43

18. 1:11 - The gang drive through El Paso, TX (SUPER) and Pluto sits in the back reading a newspaper. He reads a front-page article of the six murders in L.A. and sees his picture and that of Ray sought as suspects. Ray pulls of the side of the road and attacks Fantasia, accusing her of having allowed the child to live (the child presumably having described Ray and Pluto to the police). Fantasia swears there was no kid in the house. Pluto tells Ray to get rid of her. You can see that Ray is tempted but the only thing he decides to do right then is to drive off. Ends: 0:33:54

19. 1:46 - “Hurricane” leads his Deputy and the two L.A. detectives to the old Malcolm house (Ray’s Uncle) out in the country. The detectives urge caution but “Hurricane” blunders straight to the house... he gets nothing out of the old Uncle who is almost deaf and can’t answer any of the Sheriff's questions about Ray. Ends: 0:35:40

20. 0:36 - The gang of Fantasia, Ray and Pluto descend on a used car lot. Not a word is uttered by the gang as the salesman descends on them ominously. Ends: 0:36:16

21. 1:08 - “Hurricane” invites the two L.A. detectives to his house for a family BBQ; he’s cocky and carelessly utters racial epithets. Ends: 0:37:24

22. 0:59 - Outside a gas station in Texas, Fantasia waits for Ray & Pluto to return from the nearby grocery store. Fantasia tells Ray she’s glad they didn’t murder the salesman in the car lot earlier - Ray is insulted (“who do you think we are”?). As Ray & Fantasia make out, Pluto stands and observes the couple nearby. Ends: 0:38:23

23. 0:41 - Nighttime finds the two L.A. detectives consuming vast quantities of alcohol at the home of “Hurricane”. The detectives admonish “Hurricane” for blundering into the Uncle’s property like that - anything could have happened. “Hurricane” defends himself by explaining he’s been Sheriff there for six years and has yet to draw his gun. Ends: 0:39:04

24. 2:03 - Inside the house, “Hurricane”s wife Cheryl Ann (Natalie Canerday) is putting their child to bed. Dud comes in to replenish his drink and she apologizes to him for “Hurricane”s earlier racial slur. She admits that Dale has never been this excited before... the prospect of catching the gang is the biggest thing that has ever happened and that he looks up to the two detectives from the big city as some kind of heroes. Dud reassures her that he & John are far from being that... she asks that they tell “Hurricane” that... he (Dale) doesn’t know any better & watches tv... she reads nonfiction. Ends: 0:41:07

25. 1:41 - Outside the house, Dud confides in “Hurricane” that the gang are basically their problem and that Dale can get as involved as he wants in their possible apprehension. Dale reaffirms his commitment to help but Dud points out that he has a pretty good setup (subtext: you have a lot to lose). Ends: 0:42:48

26. 3:18 - At an all-night convenience store in Odessa TX (SUPER), Fantasia and Ray are inside stocking up on snacks for the road. Outside, a Texas Highway Patrol officer rolls up to the store - Pluto watches quietly and whispers out-loud to himself for Ray to stay cool and not do anything stupid. Inside, Ray eyes the trooper who has entered the store to chitchat with the store clerk. Ray is convinced that the officer recognizes him and begins to make moves to draw his weapon. Fantasia tries to reason with him... she convinces him to relax and pay for their groceries and leave the store. Ends: 0:46:06

27. 6:05 - While driving on the highway at night, the gang observes a Highway Patrol car following close behind. Pluto urges Ray to slow down but Ray is rattled. It is the same trooper from back in the convenience store. Inside the trooper’s car, the radio tells him the car on which he’s made an inquiry has been newly purchased and that there are no registration details available. The trooper asks the person on the radio to check the teletypes - seems he does recall a recent bulletin from California to be on the lookout for a gang. Before the trooper can get any concrete results from Dispatch, he decides to pull the suspects over. The trooper ambles over and asks to see their paperwork; the situation is tense. Fantasia is doing a good job of putting the trooper at ease when Ray blurts out something inane which annoys the trooper... who then asks them all to exit the car. While Ray and Pluto are outside under the trooper’s control (he’s drawn his weapon), Fantasia slips out of the passenger seat and shoots the police officer in the head. Ray is excited and they all get back into their car but this time Pluto drives and heads back in the direction from which they came. Ends: 0:52:11

28. 2:37 - Early Sunday morning and “Hurricane” is watching the Uncle’s house. Dud and John arrive, slightly hung over from the partying the night before. Dale pulls Dud aside and admits to having made a mistake in approaching the Uncle in such a cavalier manner the other day - he could have jeopardized their investigation. Dud tells him not to worry about it. Dale then asks for some advice - he’s been thinking of moving to L.A. and joining the police force... thinks he and Dud and John would make a great team. Their conversation is interrupted by a Deputy who tells them a trooper was murdered last night in Odessa, TX by what is believed to be their gang of fugitives from L.A... “Hurricane” is now convinced the gang are making their way over to Arkansas. Ends: 0:54:48

29. 2:57 - In a Star City diner, the two L.A. detectives eat a meal and begin to discuss “Hurricane”. Dud tells John about his conversation that morning with Dale and slowly the two L.A. detectives begin to ridicule “Hurricane” amongst themselves... however, they fail to notice that Dale has come into the diner and accidentally overhears their conversation. The cops are embarrassed but Dale’s pride glosses it over and he busies himself with a radio call from his Deputy to say that the surveillance photos have arrived from Little Rock... they can now see who the suspects are in the murder of the state trooper in Odessa. Everyone rushes out to the police station nearby. Once they have all seen the picture, John speculates that the girl in the photo must be Fantasia... “Hurricane” admits her name is not Fantasia, but is in fact someone named Lila Walker. Ends: 0:57:45

30. 3:53 - The gang arrives in Houston, TX (SUPER) at the home of Beaver, a friend of Pluto. Beaver lets them all into the home and asks about the drugs. Pluto doesn’t answer but wants to know where Billy might be. Beaver tells Pluto that Billy is still in New Orleans but will be there tomorrow... Pluto and the others invite themselves to stay and wait for him. Later, Fantasia is wanting to phone someone but Ray won’t have any of it. She reaffirms her intent to go to Star City and wants only that Ray and Pluto pick her up once she has visited her family. Surprisingly, Pluto thinks this is a good idea. Ends: 1:01:38

31. 4:18 - “Hurricane” is parked outside the home of Fantasia’s mother & brother. John is still unclear as to how Dale knows this Lila Walker. Dale says only that he arrested her about five years ago for shoplifting and she then disappeared to go to Hollywood. Dale doesn’t believe she could kill anyone, citing as evidence the fact that she discovered the child in Marco’s house and he’s still alive. Inside the home, the police question Fantasia’s mother and brother... neither claims to have heard from Lila recently. “Hurricane” watches forlornly as Lila’s small child comes out of his bedroom wanting his grandma... we realize Fantasia’s brother and this small child were the people we saw earlier (scene #13) being observed by “Hurricane”. Outside, the L.A. detectives now know that Fantasia is coming home eventually to see her kid. John again asks Dale about explaining his involvement with Fantasia and Dale is angry about having to explain himself. Later at home, Dale prepares for bed and caresses his sleeping wife, then checks on his sleeping kids. Ends: 1:05:56

32. 1:27 - Montage - in the morning, Ray finds his cash has mostly disappeared. We see Fantasia on a bus headed through Texarkana, Arkansas (SUPER) - away from Ray and Pluto. In Star City, “Hurricane” stares out the window of his Sheriff's office. Fantasia is dropped off by the bus at a field being sprayed by a crop duster. Ends: 1:07:23

33. 2:22 - Fantasia is picked up by Ronnie, her brother. He tells her she can’t go home because the cops are after her. He tells her it was Dale Dixon and confirms she used to “know” him. Her brother offers to help in getting her to see her child... offers to have her hole up in the empty home of a friend of his. Ends: 1:09:45

34. 1:17 - “Hurricane” tells his wife he’s going out alone to undertake surveillance on Fantasia’s mother’s house. “Hurricane”s wife is worried and asks if the others can’t go along to help him - he gets upset at thinking he needs help for such a trivial task. Thankfully he doesn’t storm out in a huff, instead softens and reassures his wife that he loves her and their little girl (subtext: won’t knowingly do anything foolish). Ends: 1:11:02

35. 0:54 - Late at night, “Hurricane” is watching the house when he spots Fantasia’s brother exit the home quietly with the small boy. He tails their car. Ends: 1:11:56

36. 1:37 - Back in Houston, Billy has now arrived and is explaining to Pluto how he doesn’t have the money for the drugs. Billy reveals that he knows that he & Ray are on the run and offers to give them a portion of the money (that’s all he has and they need all they can get). Pluto pounces by stabbing Billy and Ray draws his gun to shoot the remaining two. They take whatever money they can find and quickly leave. Ends: 1:13:33

37. 0:59 - Ray drives Pluto away from the Houston home. Pluto wants to be dropped off somewhere to disappear to Chicago as originally planned; he asks for half the cash and he’ll surrender half of the drugs. Ray reveals that Fantasia took all the cash. If Pluto wants any money, they’re going to have to go to Arkansas. Ends: 1:14:32

38. 4:57 - At the hideout, Ronnie tells Lila that he & her son have to be going. Lila wants a few more minutes but Ronnie is insistent (it is almost 4 am). In the dark, “Hurricane” watches the exchange from a distance. We hear Lila tell Ronnie to put the money in the bank. Once they’re alone, “Hurricane” draws his gun and enters the home to confront Fantasia/Lila. When asked, she reveals that Ray & Pluto will be there soon. Dale wants to call the L.A. detectives but Lila threatens to not speak to Ray/Pluto when they call if the L.A. cops are involved. Dale backs down but admits he cannot help Lila in her predicament. She reveals that Dale took advantage of her while she was still a teen (a threat?) and confirms that her boy is Dale’s son. Ends: 1:19:29

39. 5:10 - Dale and Lila sit quietly in the dark. Lila wants to turn on a light but Dale doesn’t want to be surprised by Ray & Pluto’s arrival. Lila scoffs and reminds him that they were going to call ahead and as yet have not done so. Dale diverts the attention away from talk about his family; Lila then forces some of “their” son’s birthday cake upon him. When that doesn’t work, she turns up the heat sexually and by now Dale is completely irritated by her actions. In turn, Lila is fed-up with being victimized. Ends: 1:24:39

40. 3:51 - In the morning, Dale and Lila continue to wait for the call. Meanwhile, Dale’s Deputy is trying to contact him without any luck. Ray and Pluto arrive at a gas station and Ray makes a phone call to Ronnie who gives him Fantasia’s number. The cops show up at Lila’s mother’s house and question Ronnie about knowing Lila’s whereabouts. He denies it but the Deputy has proof that Ronnie was out late last night somewhere with Lila’s son. Dud questions the little boy who reveals that Ronnie told him to lie about not seeing Lila. Ends: 1:28:30

41. 2:56 - Lila pleads with Dale to let her go free - he can’t be letting her go to jail. The phone rings and it’s Ray. Fantasia speaks to him and tells him they’re about ten minutes away and gives him directions to the house. Ends: 1:31:26

42. 0:13 - Dale’s Deputy - together with the L.A. detectives John and Dud - all drive the small boy around in the police car, hoping to jog his memory as to where he went last night with his Uncle Ronnie to visit the pretty lady. Ends: 1:31:39

43. 0:30 - Dale instructs Lila on what to do when Ray & Pluto get there. He wants her out of the line of fire & he promises that he’ll eventually let her go free. Ends: 1:32:09

44. 1:07 - Series of Shots - A local plays a Blues harmonica. Skinned frogs legs are put into a cooker. The police continue to drive Lila’s son around hoping he’ll recognize where he was last night. He finally recognizes a landmark and the cops follow the narrow road. Meanwhile, not far behind come Ray & Pluto. Ends: 1:33:16

45. 1:17 - Montage - Dale waits for the arrival of Ray and Pluto. Dale’s wife and daughter have breakfast in their home. The local continues to play his Blues harmonica. Ray lights a cigarette while driving. Pluto sits quietly. Dale stares out the drawn curtains. The patrol car comes to a dead end, revealing that the little boy inadvertently led them down a wrong way. The local plays more spirited Blues harmonica. Dale lights a cigarette. Dale’s wife washes dishes and looks out the kitchen window. More Blues harmonica playing. Ray & Pluto’s car is getting closer . Ends: 1:34:33

46. 3:14 - Ray & Pluto’s car arrives at the house. “Hurricane” confirms with Fantasia that she knows what to do - she does and he hides with his gun drawn as she heads out to the front door to greet Ray & Pluto. She motions them inside the house while she packs her things. They reluctantly do so... once inside, “Hurricane” leaps out of hiding and at gunpoint tells them to get on the ground. Distracted by Lila, Dale takes his eye off Pluto who leaps forward and stabs Dale in the chest. Dale in return shoots Pluto in the stomach. Ray makes a run for it and “Hurricane” shoots at him but misses... Ray fires back but misses Dale also. Fantasia screams and runs out to where Dale is now chasing Ray... she deliberately causes Dale to miss shooting Ray in the back as he flees. Ray meanwhile turns around and shoots Fantasia in the head and Dale in the shoulder. With his final strength, “Hurricane” fires at Ray and shoots him in the backside. Now at a stop, Dale stumbles over and shoots Ray again in the back of the shoulder. As Ray makes a move to shoot Dale once again, Dale fires a fatal round into Ray’s chest. Pluto stumbles outside and falls outside the front porch, still clutching his beloved knife. No cliché ending here... Pluto dies without moving further. Ends: 1:37:47


47. 4:13 - “Hurricane” gingerly makes his way over to his patrol car, bleeding heavily. He calls his Deputy on the radio and gives his location... the police quickly arrive on the scene. Eventually Lila’s little boy gets out of the patrol car and asks a wounded “Hurricane” if he’s dead. He’s not and probably for the first time he talks to his son. Ends: 1:42:00

Friday, July 20, 2007

Handy Writer's Software

Every once in a while I come across computer software for writers which will intrigue me enough to warrant a purchase. Sometimes it turns out to be useful, sometimes the exact opposite.

Where I think others will benefit, I’ll put something together (screenshots etc) and post an article to tout the usefulness.

I’ll probably steer clear of trashing something though... often I quit using software for a variety of reasons. Bad customer support, buggy code etc. Or else I’ve changed computer platforms and have long since left the old stuff behind... or a new piece of software comes along that totally supersedes the need for the older stuff.

As always, what I put together is just my opinion. The screenshots I take are designed to give you a flavor, not to divulge secrets to avoid your purchasing the software itself. In fact, I encourage purchases because that way you get the full benefits (manuals, updates etc).

So... just beware that what I put together may be perishable information (e.g. the software is subsequently updated) or else the system requirements have changed.

You are encouraged to investigate the vendor and/or suppliers of the software in question to try and get the best price by shopping around. (I try and give a current price for the software to give others a hint of what they’re dealing with.)

I have no financial interest in any of these guys; I don’t get a percentage. lol

Just trying to share information!


Tuesday, July 17, 2007

Great Moments in Cinema - Quest for Fire (1981)



A WATERFALL TUMBLES NOISILY into a small lake. Its shores are bordered with pebbles and surrounded by a forest of birch trees.

Naoh and Gaw crouch at the water’s edge cupping their hands, drinking water. They place three stones on the ground in a straight line, and a fourth one on top. (It evidently has magical significance).

Four women of ample proportions approach from the footpath leading to the lake. They carry two bison skulls made watertight with clay and animal skin. One of these water bearers is GAMMLA, Faum’s daughter. Her generous build is typical of the adult females of the tribe.

A young male, LAKAR, appears as the women quench their thirst, before filling the improvised water jugs. He creeps forward, looking lustily at the posterior of one of the females. She is leaning slightly forward.

EXT. BIRCH FOREST - LAKE - DAY                                16

Three Neanderthals advance in silence. Now and then they run on their arms and legs, much like Rhesus monkeys. To the left, through the trees in the distance, they see Naoh and Gaw plunging harpoons in the lake’s shining water. RASPY PANTING can be HEARD.

The intriguing SOUND comes from behind a mossy hillock. The three hunched brutes head cautiously in this direction. Through the ferns they see:


Lakar, on all fours, coupling with the female he desired. The lacy screen of ferns partly hides their bodies. In the b.g. the other females gather water, paying no attention to the mating scene.

EXT. THE LAKESHORE - DAY                                        18

At the very instant Naoh spears a fish: Lakar’s SCREAM rises briefly above the waterfall’s steady roar.

Lakar runs from the forest holding his face in his hands. he dashes towards the women, his three aggressors in pursuit. All the women except Gammla cower against each other and scream.

Naoh doesn’t bother to remove the fish from his spear. He dashes forward with Gaw. They are swifter than the Neanderthals. But the latter are closer to the women and Lakar. (But Gaw easily outruns Naoh.)


Blood gushes from Lakar’s forehead. he tries to use the women, whose backs face the lake, as a shield. The women imitate Gammla and start to throw stones at the Neanderthals.

For a moment they hesitate to charge. One Neanderthal is hit in the mouth by a stone. Blood spurts from his split lips. Furious, he rushes at a woman and stabs her in the groin with his spear. A WHIRRING SOUND is HEARD. A spear pierces the brute’s neck. He falls heavily to the ground near his victim. We HEAR Naoh and Gaw’s SHOUTS. The two remaining aggressors ready themselves for the Ulam’s counterattack.

From the rear, Lakar beats a kneeling Neanderthal with a large stone. One of the brutes snaps Naoh’s harpoon with a backhand swing of his club. Five new Neanderthals emerge from the forest. With a gesture, Naoh orders his people towards the footpath.


The Ulam race in this direction with Lakar outrunning the rest. He dashes up the narrow path and disappears around the bend.

Saturday, July 14, 2007

Thought for the day...

“A good idea will keep you awake during the morning, but a great idea will keep you awake during the night.” 
~ Marilyn von Savant


Using Protection

I’m no legal expert, but one question which I see regularly crop-up is that of protecting one’s work. The copyright thing. The WGA thing. Which is better etc?


When you write something - like a screenplay - it can be registered with a number of different organizations. No, you don’t have to do so. But presumably at some point you’ll want to send your work/s out to others and so then it will be outside your sphere of control... you may then need to protect yourself.


Two reasons. The most obvious reason is that you want to have some sort of recourse if your work is ever stolen. Plagiarized. Copied. Passed-off as an original work by someone else, when in fact it’s the fruit of all YOUR hard labor. You’ll need some sort of proof that YOU wrote that particular piece on or before a certain date.

The less obvious reason is to protect yourself from having OTHERS accuse YOU of having stolen THEIR work. See how that works? You write an amusing little story - unique and original in every way LOL - but you decide it isn’t worth registering because it’s not good enough (or whatever). Then a few years pass and you get the opportunity to have someone influential buy that original work... you’re ecstatic! You’ve made a sale! Then someone sues YOU because you’re now accused of stealing their original work. THEY have proof that their stuff is original because they took the time to register last year when they say they wrote it... the fact that yours is much older is immaterial now, lost as it is in a he-said-she-said sordid squabble which actually won’t last very long anyway once the other guys pull out their paperwork.

In the United States, the easiest method is to register your work with the Writers Guild of America. Depending on whether you live east or west of the Mississippi river, you would typically choose WGAe or WGAw. No, you don’t already have to be a member of these organizations (though it is cheaper to register your works with them if you do have an active membership).

The safest method is to register your work with the US Copyright Office. Obviously that process is a little more laborious, if only because it’s a behemoth organization that is not just dedicated to writing, but in fact to everything under the sun. (By now, the sun has likely been patented, but that’s via an entirely separate entity of the US Patent and Trademark Office LOL... and no, you can’t patent an idea, just an invention.)

If you’re a writer registering a screenplay, you’ll need to make sure you obtain the correct form (known as the PA) from the Copyright Office - the one you want (and not any other) is for registering works of the performing arts. If you’re a writer registering something else, then you’ll have to figure out which form to prepare (go here).

So what’s the difference between Copyright Office & WGA?

Well, aside from the cost of registration and the actual turnaround time in officially having attained registration, there IS a real fundamental difference between these two methods.

Registering copyright grants you legal protection... the U.S. courts recognize YOU as the author unless proven otherwise. Registration with one of the Guilds is only really useful for writing credits... in other words, the determination for who wrote what, when or how much of a written script. Need more convincing? >Great article here.

BTW: You can still be the subject of a lawsuit, however much you’ve registered your writing and however unique & original your story and characters might be. Remember the futuristic Sci-fi Terminator? Or the Matrix? Writers are especially vulnerable because every story is pretty much a variation on another previous story. Ideas cannot be copyrighted but even ignoring any outright dishonesty, genuine instances of parallel development must occur.

Friday, July 13, 2007

From the Vulgarity Department

Today’s Pick - CAMELTOE - (slang) refers to the outline of a female genital area when observed through tight clothing.

The problem with slang is that it doesn’t translate very well outside of a given culture. And this word in particular falls under that rule. Notice how it describes something without actually saying anything offensive per se... and yet it is still frowned upon (see below) but the imagery associated with the word is hilarious IMHO.

In celebration of this word, a song aptly named "CamelToe" was also a regular (and very popular) song played on the Bob & Tom Show (syndicated US radio since 1995 on WFBQ Indiana)... sung to the tune of The Beach Boy’s “Kokomo”, this very funny spoof celebrated the amusing variety of words used to describe this particular cametoeian phenomena. LOL

This song was removed from air play under pressure from the FCC following the Super Bowl XXXVIII half-time program controversy. Of course it wasn’t involved in that debacle in any way, but rather it fell victim to the renewed sense of outrage sweeping the country after the infamous wardrobe malfunction. LOL

I’m publishing this here really to demonstrate how easy it is for fairly common euphemisms (albeit crude or clinical ones) to become taboo long after they were first introduced.

radioold.jpg >Radio Station song here.wma.jpg

Sunday, July 8, 2007

Thought for the day...

“The big shots are only the little shots who keep shooting.” 
~ Christopher Morley


Deconstructing Loglines

I came across this article a long time ago and I find myself returning again & again to the basics contained therein.

Basically, according to screenwriter David Anaxagoras, the six essential elements of an electrifying logline are:

1. Tone and genre
2. The protagonist’s identity and motivation
3. The inciting incident
4. The main obstacle or central conflict
5. The protagonist’s ultimate goal or desired outcome
6. The stakes, or what happens if the goal is not accomplished

So a prototype logline would look something like this:

TITLE OF MY SCREENPLAY is a GENRE with overtones of TONE about a PROTAGONIST who HAS A FLAW/MOTIVATION when THE INCITING INCIDENT HAPPENS and s/he must then overcome THE MAIN OBSTACLE in order to accomplish THE ULTIMATE GOAL or else there will be CATASTROPHIC CONSEQUENCES. >Great Article here.

Thus: “Tootsie” (1982) is a comedy about an unsuccessful actor who masquerades as a woman in order to get work, but in short order lands his dream job, becomes a star AND falls in love with the leading lady!

If a logline is too revealing, parts can obviously be removed. It’s just a prototype after all. An element can be satisfied with just one word (e.g. an adjective like “lonely” salesman when describing the protag because it reveals character). Also, not all of the six elements need to be spelled out - some are just obvious or their absence contribute to the sense of fun.

As per Blake Snyder’s very excellent “Save The Cat” philosophy, it’s a great idea to get the logline established early. If you have read the book, you’ll know Blake Snyder has four essential elements; they happen to differ from the above list, but the principle is the same. Paint a compelling mental picture and with the addition of a killer title, the results will ensure focus throughout your story’s planning stage.
PS. I can’t recommend his book enough.

Lastly, if you want to read yet more (LOL) there’s an article called “I wrote a 120 page script but can’t write a logline” by Christopher Lockhart. >Great article here.

Saturday, July 7, 2007

Movie Script downloads/resources

I tend to buy a lot of scripts, but every once in a while I’ll want something quickly and am always frustrated by having to remember where to get decent copies of movie scripts FREE.

By no means a definitive list, but here are some sites that are low in the broken-link department and high on deliverables.

In no particular order:-

Creative Screenwriting
Internet Movie Script Database
Screenplays for you
Movie Page Dot Com
Drew’s Script-O-Rama
Simply Scripts
Daily Script

Lastly, there’s a pretty nifty screenplay search engine with which I’ve had some success.