Because I was saddened by the lack of crude sketches in Braak’s last post – which, sure, COULD stand on its own, but where’s the fun in that? – I have helpfully elaborated.
First, a useful visual representation of the first Horrible Thing Braak alerted you to:
And now, the much larger problem Braak did NOT fill you in on: Read more »
There are a lot of horrible things in movies. Sometimes, these things can be combined to make something EVEN MORE HORRIBLE. Most of the time, they cannot. Dead Snow has got me thinking about some things that might combine effectively.
You seriously need to cool it with the awesomeness.
Because it’s only June and I am having a hard time waiting.
And also:
Because I do not yet have a PS3.
I HAVE FOUR REQUIREMENTS FOR A MOVIE!
1) Entertaining
2) Not stupid
3) Not so god-damn bleak
4) I haven’t seen it yet
WHY IS THIS SO HARD?!?!?!?!
I am what you would call a summer movie buff.
I like the big, goofy, enthusiastic spectacle – often at the detriment of story logic or coherent editing, I’ll admit – that summer movies do well. And hey, sometimes you get a real gem in the mix. Think back to…what, 2003? Did you honestly think you’d enjoy “Disney Johnny Depp Pirate Monster Movie” as much as you actually did?
So when I see things like Jonah Hex’s dynamite gun, or Nicolas Cage: Sorcerer Supreme…I get a little bit giddy, in all the stupidest ways.
But then again, I got a little jazzed when I saw Ray Park as Snake Eyes, and we all remember how that turned out.
And with movies costing like $11 a pop now, we must choose wisely. Here’s the short list of what I’ll likely see: Read more »
(cross-posted at the Iron Age Theater SOE division workblog)
So. My new play, The Empress of the Moon, is done-ish. First draft done, anyway. We start rehearsals for it today, and we can spend a week or so doing some major re-writes to it, because I have to start choreographing the MILLION swordfights that it requires. Right now, I want to take a minute though, and talk about why, even if this play doesn’t turn out to be really great, I think it’s important that it got written.
There are a lot of women that work in the theater.
If you’d have said to me this morning, “Hey, did you hear? They’re making Rock ‘em Sock ‘em Robots: The Movie! And Hugh Jackman is in it! And the plot’s going to borrow heavily from the Sylvester Stallone road-tripping-arm-wrestler classic Over the Top!”
Then I would have said to you, “You put a little dropper of LSD in your Golden Grahams again, didn’t you, imaginary reader?”
And then I see this:
“The heart of the story is this father and son relationship and in comes this junkyard robot called Atom that the kid’s in love with,” Jackman says. “I abandoned the kid pretty much at birth. But we come together because the boy’s mother has died. We have a lot of distance to make up. It’s through this mutual interest in robot boxing that they find a way to come together and form a bond.”
So, yes. Over The Top: The Robot Years.
The world was just a little bit simpler for me this morning.
Did anime stop being awesome at some point, or has the awesome anime just become harder to find?
The question occurred to me when I started digging around in Netflix’s instant viewer collection. I realized it had been a long while since I’d watched an anime series that I really enjoyed. But back in college that happened with alarming frequency.
Which makes me think perhaps Cartoon Network just totally sucks nowadays. Read more »
I think it’s called, “Some People Are in a Motel Being Spied On.” I imagine that they have significant relationships to each other, or something. Also, they’re all connected in unexpected and surprising ways. Maybe they all wronged some guy when he was a kid, but now he’s a millionaire, and has lured them all to his nuclear-proof underground bunker so that they’ll have to be nice to him because a nuclear war is coming, only it’s all fake, but they don’t like him anyway?
Someone put a bug in her room, oh no! Significance!
I’m not sure this is a really good premise for a TV show. The premise isn’t generative, you know? The nature of the story isn’t self-sustaining, it’s self-fulfilling. That is, every action that the characters take with regards to the premise in some way brings the premise closer to being finished.
UPDATE: It is called “Persons Unknown,” and NEXT week is that episode of the Twilight Zone where there’s not enough room in the fallout shelter.
(cross-posted at my workblog for Iron Age Theatre’s SOE division)
Just saw REV Theater Company’s The Witch of Edmonton over the weekend; I’m not going to say much about the quality of the production, as the play isn’t running anymore, so who cares? It wasn’t the best design, direction, or acting that I’ve ever seen, but I doubt that, even if it were, such elements could have salvaged the play itself.
The dramaturg for this play left extensive notes in the program, gently beginning the process of interpretation. She (? I actually can’t remember the person’s name, and have lost the program, so we’ll have to rely on my memory here) says that during the combined reign of the Tudors and the Stuarts, more than 2500 plays were written and produced. She does not address this question: how many of them are actually worth doing?
