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Thinking about the Theme for 2010

December is upon us and about to crest, leading us into the descent of 2009. This means the end of the first decade of the 21st century, an utterly meaningless metric, but one that has provided me with no fewer than four “Greatest Metal Albums of The Last Decade” lists. Not bad. Everyone seems to like Mastodon’s Leviathan, which I’ve never really listened to. I’ll have to give it a go.

And with the fading of 2009 another year’s theme comes to an end. The Year of 5000 Photos and 50 Short Stories, though not yet through, has been a success as far as I am concerned. With the express purpose of getting me to be consistently creative and come out of the year with some work done, the year has been a resounding success. While I am not yet at my quota for either task, I am confident that within the next few weeks I should be able to make it. 50% of the stories are finished at 92% of the photos. Pretty good. I have a lot of writing to do and a few photos to take, but we’re in the home stretch and I feel good about it. Let’s not also discount the film I am cutting right now and all the time and effort poured into this site for my 10 readers. I love all of you.

With three weeks left in the year, it’s time to think of my theme for 2010. In my statement for the Theme of 2009, I discussed some previous years and the efficacy of those choices. I’m not going into it again here, but I’ll sum it all up and say some were hits and some were clear misses. Last year I described a good theme as being “broadly applicable with recognizable short term goals”. I still think this is a good way to evaluate a potential theme, but I’d like to add that the theme should have demonstrable results, that is, I should be able to show something for my efforts. The best way to improve myself is by doing. All the thinking about something in the world won’t make you better at it. You have to get out there and get your hands (proverbially) dirty. It’s old wisdom, but true.

Another aspect of my yearly theme is that once complete the theme should continue into the next year. I intend to take another 5000 photos and write 50 more short stories next year and to keep a counter of those on the right hand side. But since they’re a secondary goal, I won’t be killing myself to get them done. My primary focus will be the Theme of 2010, of course.

But what is the Theme of 2010? I don’t know yet, but I have some ideas.

  • The Year of 3 Music Videos – In September, I wrote about building a body of motion work. Amongst my various bodies of work, my film & video work is easily the most poorly represented. I have plenty of photos to share and fewer but still ample stories, but how many pieces of motion work have I posted here that I have done? If you answered “Zero”, you’d be correct. And it’s clear I like music videos and the music that supports them. The only real drawback to this theme is that each video is a big project in itself and to get behind would certainly spell doom for this theme. There are a lot of steps involved though, so perhaps it could still fit the pattern of work posting I’ve established with The Year of 5000 Photos and 50 Short Stories which would help me stay on task and stay honest.
  • The Year of 12 Short Stories – “But, Joe,” you say, “didn’t you just do The Year of 5000 Photos and 50 Short Stories? What’s with cutting the quota down so much? Are you lame or something?” No, I’m not lame. Instead of writing 500 word chunks, these 12 short stories would be much more finished pieces, actually receiving—GASP!—revisions. These would be multiple-sitting efforts. I think the one per month pace would allow for some breathing room, and let me think about the work more. In terms of length, let’s call them somewhere in the range of 5,000 to 15,000 words. This year the longest thing I’ve written is about 3000 words. It was the first thing I posted for this year’s theme. The Biker Kills a Mexican. That one took me a few nights at the computer, but received no revisions. I’m proposing 12 stories of at least double the length. It’s a good amount of work, I think, but manageable.
  • The Year of the Novella – Here the idea is to write the longest single thing I’ve ever written. I like the novella, it’s like a long short story, or a baby novel. I suppose it depends on which direction you’re coming from. It would be an exercise in developing something more thoroughly than I ever have before and sticking to it. The SFWA defines a novella as a piece between 15,000 and 40,000 words, but other definitions go as low as 10,000 and as high as 70,000. That’s certainly a fairly broad range and suitable for work throughout the year. Maybe this could evolve into The Year of 2 Novellas in order to keep me busy. If I wrote 500 words a day, my current per-day volume of work, then 70,000 words would take 140 days. Average in some days without writing, and we’re still looking at barely half a year. Just something to keep in mind.
  • The Year of 3 Screenplays – It has been a long time since I’ve written for screen, but that doesn’t mean it’s not something I still care about. Writing is writing. Writing 3 feature length screenplays of roughly 120 pages each would be a great way to get back into it. I’ve got some ideas boiling around the back of my brain that would be great for films. I just need to get them out and onto (electronic) paper.

I think that in those suggestions, somewhere, lies the theme for 2010 that will make the year a great one. Perhaps I combine Short Stories and Music Videos, or Music Videos and Novella, or Music Videos and Screenplays, or Short Stories and Screenplays? The cross disciplinary approach worked well enough for me this year. When I didn’t write, at least I could take pictures. When I could take pictures, at least I could write.

Anyway, food for thought. I need think about this a little more. What do you all think out there in Black Laserland?

25 – His Blood Was Boiling

His blood was boiling.  He could not take his eyes off them.  Everywhere.  Every unrestrained jiggle.  Every poorly padded nipple.  Every sweet, shapely ass.  Every curve, every bulge, every stolen glance down the shirt.  His blood seethed right behind the eyeballs and his lizard brain screamed its primordial mating call in the subconscious recesses of his self.  There were beautiful women everywhere and he felt utterly powerless to resist them.  The streets were a minefield of libidinous hazards.  He had to hide or he feared his head might explode, hormones rushing through him, torrential, violent, powerful.  

Yet, sitting there alone in the cafe sipping his tepid coffee and staring at the buxom brunette with the fancy Italian-named drink he could never hope to pronounce correctly, he suddenly felt very old.  His suit felt like shackles, the unfulfilled dream of his squandered youth.  His graying hair another reminder of his drained virility.  His belly hanging over his 15 dollar belt a harbinger of the end.  His sad, useless life in decline.

He wanted so badly to bury his face between the young supple breasts of the brunette he had been staring at for almost an hour that he could almost feel the warmth of her breath on his threadbare scalp and smell the secret drop of perfume he suspected she placed in her cleavage, a reward for any man lucky enough to find his nose there.  But not for him.  Never for him.  His days of unrestrained lust were behind him, memories of the way things should have been but were not.  Now he was relegated to the role of suffering silent observer.  There was not a woman in the whole world that would look upon his tired paunch with desire and he knew it.  And he felt it.  He felt it in the very core of his loins.  Everything was lost.

24 – The Day I Met a President

I stood at the corner by the diner lost in thought waiting for the stupid red hand to turn into the stupid little man.  I thought about something that seemed really important at the time, but that I’m having trouble recalling now.  It was work, or a girl, or something.  Normal stuff, really.  The kind of utterly regular garbage a person spends so much of their life obsessing over that is, in the end, completely unimportant.  It’s funny what your brain thinks is important in the moment.

Anyway, I was at this corner, waiting to cross so I could go down into the subway and then to work, which was really exciting.  The air was crisp with the onset of autumn and I was wearing a jacket.  Morning was bustling with people on their way to work.  Garbage trucks roared down the street collecting the diverse refuse of the neighborhood.  The day was starting like thousands of others had.

And then behind me I hear a man’s voice say, “Excuse me, sir?”  I turned around because I am, apparently, one of those people that always looks like he knows how to get everywhere and so am asked regularly for directions.  Prepared to tell this guy that Grand Street is four blocks down, he just has to keep going, I was shocked to see him standing there in what I thought at the moment was one of those Renaissance Faire costumes, but which I would later learn was formal wear of the late 18th Century.

“Uh…”  I couldn’t say anything I was so shocked by this guy’s appearance.  I lived in a particularly funky neighborhood in Brooklyn and I was used to seeing people dressed up in all sorts of crazy shit—dudes in dresses, chicks like they’re from the 1940s, people riding those weird tall old bicycles.  But this guy in his crazy history outfit had me dumbfounded.  I eked out, “Yeah?” after a moment.

The Descent

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Last night after Juli had gone to bed, I watched The Descent, a film which I had passed off as total “meh” when it first came out in 2006. Oh great, another stupid Hollywood piece of shit horror movie, I thought. I passed it off as nothing. Then, earlier this year when I was in Minnesota with Mikey W we got to discussing films (as we do) and The Descent came up. He recommended it to me wholeheartedly, noting that my preconceptions about it were wrong. Always willing to give a film with a solid recommendation a chance, I threw it onto my Netflix Queue.

I’m glad I did too, because it’s a fine example of what can be accomplish on a smallish budget when you’ve got a super tight script, concept, actors, and production team. Working with not that much, director Neil Marshall turned out the best new horror film I’ve seen in a few years that doesn’t rely on a gimmick (Cloverfield, I’m looking at you).

The film is about Sarah, who lost her husband and child in a grisly auto accident a year prior, and a group her friends, led by the headstrong Juno, embarking on an adventure into a cave system in the Appalachian Mountains. They climb down into a giant hole in the ground (that’s the technical term) to do some spelunking and Sarah starts to see shadows moving. When they becoming trapped by a cave in, Juno reveals that this isn’t the cavern they were supposed to be in and then it all goes down hill. I won’t spoil it any further. You should see it.

The Descent is truly masterful at building a palpable sense of dread. As much as everyone subconsciously wants to go back to the womb, no one wants to be trapped in a cave with two miles of rock above them and with no way of getting help. Really, this film, for me, breaks into two kinds of scares. The first is the base human dread of being trapped alive with no hope of escape, which seems like a most horrible way to die. Claustrophobia is this film’s friend and confidant. Taking clear cues from Ridley Scott’s Alien, The Descent utilizes its setting to enhance the dread we feel as we imagine ourselves in the place of the women struggling desperately to escape into the light. The second, which is less interesting, is the jump-out-at-you scare. I am not a fan of these types of scare, not because I am susceptible to them, but because I find them often to be cheap. Being startled because something jumped out and the music suddenly got very loud is not being scared. Sure, it causes me to jump, but it’s nothing compared to the dread you feel when something is really scary. Now, I’m not begrudging this film the use of the jumpscare (a term I read somewhere that I like) because it’s one of the horror genre’s most common tools. I just think it’s cheap, but that is a genre-wide complaint, and not specific to The Descent.

I thought that the most frightening point of the whole film was when Sarah is crawling through an extremely narrow passageway and begins to have a panic attack. She feels stuck and her friend Beth comes back for her, trying to calm her down. Then the passage starts to collapse and they have to rush through this narrow little hole as quickly as they can lest they be crushed under tons of falling rock. I was sitting on the sofa watching this with my body turned halfway away from the screen, my head cocked back, I found it so horrifying. No number of jumpscares could equal the slow dread of that moment for me. It reminded me for the first time in a long time of how as a kid I used to hide by the door during particularly scary parts when watching horror films so that if I needed to I could get away and not have to sit through whatever was about to happen. It was that same feeling, except I wasn’t hiding by the door.

Regarding the effects in the film, I thought they were mostly spot on. The creatures were amazing. They were like Gollum, if Gollum was, you know, a real monster. The excessive blood and gore was a little silly at points, but never dissatisfying. The set design and cinematography was great with real moments of actual darkness. Not bullshit movie darkness, but real, old fashioned, ain’t-no-light-in-this-bitch darkness. There were a few comps that weren’t that great, where they felt like they were overreaching their capabilities, but overall it was a seamless effort.

My one almost-criticism, is that is nearly falls into the “Inappropriately Hot Chick” convention, which I will not describe here. Fortunately, it’s kind of ok here. Perhaps this is just a particularly attractive group of spelunkers. I don’t know. I don’t do a lot of crawling about in caves, but something tells me that we’re looking at a conveniently too-pretty group of cave divers. Expect further analysis of this convention in a future Black Laser post.

Niggles aside, if you’re a fan of horror flicks, check out The Descent. It won’t make you mad. In fact, I enjoyed it a lot, and I am glad I watched it alone because Juli would have hated it. When the chick gets the pickaxe through the throat? Awesome.

Pet peeves on the subway

I am a (fairly) understanding, (mostly) patient man. I hold the door for people. I get out of the way. I allow others to go first. I think it’s just common decency. But that’s just me. I don’t like to be a dick (usually) to total strangers. That doesn’t get my rocks off. It’s lame. It’s putting a whole bunch of bad energy into the universe for no real reason. The Space Pope is down with being chill.

As such, it always astounds me when someone goes out of their way to be a total fucking boner. I notice that it seems to happen a lot on the subway which, understandably, is an unpleasant, often stressful place. No one really likes the subway; it’s an unfortunate, unavoidable truth of life here in New York, especially for the lot of us peons who can’t afford to even have a car, much less a driver. But not liking something doesn’t mean you have to be a total cock to everyone else when you get on it. No one wants to be there, so you might as well be pleasant to the people surrounding you. It just makes things nicer.

Now, there are a few things people do that I just can’t stand. Let’s break them down.

  1. The guy who stands in front of the door when you’re trying to get off the train. — Look, guy, I know that you saw that there’s a seat open through the window as the train pulled into the station, but GET THE FUCK OUT OF THE WAY. I can’t walk through you, and you sure as hell can’t get onto this train until I get off. This is even worse when the train is crowded near capacity and there is literally no room for him to get on, but he tries to shove his way on anyway.
  2. The guy who steps onto an empty train and then stops immediately so that he can stand by the door. — Are you serious? Look, this is totally fine when there’s no other people waiting to get on behind you. Great, you like to stand by the door and lean, I get it. But if you’re the first motherfucker getting on and you decide to just stop and be in the way of the 20 other people trying to get on the train, you are a fucking asshole. This is the train rider’s equivalent of driving into an intersection, throwing on the e-brake, and expecting people to just drive around you. Yeah, it sounds pretty fucking ridiculous doesn’t it? Just got on the train and walk toward the center of the car. Theres plenty of room and all sorts of things to hold on to. That’s how they designed the train.
  3. The guy who tries to push his way onto a train that obviously has no room for him and ends up standing halfway in the doorway way, holding the whole damn train up. — Let me clue you in on a little secret, buddy. There’s zero reason to squeeze on a train like that. The train is only ever like that when there’s been some hold up way down the line and people have decided to force themselves onto the first train that arrives. 99 times out of 100 there’s another, much less full train right behind it. All you have to do is wait 2 more minutes and you’ll be able to stand in the train like a human being. Try it some time.
  4. The guy who pushes past you to snipe a seat — Oh, I’m sorry, fuckface, that I was being polite and letting the people on the train get OFF before I forced myself onto the train. I didn’t know it was necessary for you to push me out of your so-important way so that you could sit down ON THE EMPTY BENCH because, you know, 12 seconds later that seat would have been filed with someone else. Oh the train doors are closing and we’re still the only two people sitting??? Well, thanks for pushing me for nothing, dipshit! I really appreciate that.
  5. Anyone who asks me for anything while I’m on the train — I know that your acrobatics show was really fucking amazing, but I have a headache and just want to go home and eat some dinner and watch the episode of Dexter sitting on the table. And, no, I’m not going to give you and your brother a fucking dime. I’ve seen the show before. Oh, you’re selling newspapers, Raffie? No you’re a lying fuck junkie who’s been using the same line on this train for YEARS and the only people stupid enough to give you anything are the people who’ve just moved into the neighborhood. Curl up and die under a bridge, you swollen-hand, toothless, drug-addled fuck.

That list pretty much encompasses the things I really hate on the subway. There are some things that other people hate—delays, slow service, stopping in the tunnel beneath the river, whatever—that don’t bother me at all. In terms of the actual subway service, once I’m on I sort of just let go. It’s out of my hands. But other people on there bug the living shit out of me. That’s not to say there aren’t other courteous train riders; there are, of course. But, my attention is often grabbed by the annoying fuckers much more than the nice people who aren’t obtrusive. And, really, this article wouldn’t have been nearly as fun for me to write or for you to read if I was being super nice to the considerate people, would it?

22 – Jacob Donner, Apt 23

It was Spring after a long, cold, dark winter, so I never noticed when the apartment across the hall from me was filled.  January and February had been particularly cruel and I spent most of it inside, alone.  I’m not entirely sure how it was that I missed something as noisy and drawn out as someone moving in.  I guess I was asleep that day.  Or hung over.  Or drunk.  Or something.  It didn’t matter.  The point I’m trying to convey is that it was March (or was it April?) before I discovered that the apartment across from me, long vacant since the old woman who previously lived there disappeared, she must have died, was filled by someone new.  New blood in my apartment building was refreshing.  A nice change from the old ladies who live here on pitifully tiny rents their sons pay for them.  They were nice, but quiet and shy.  A little fire never hurt.  

I was coming up the stairs from somewhere, the liquor store around the corner probably, cradling a fifth of Turkey in my jacket pocket.  I like Jim Beam, but when a man is faced with the prospect of nothing to drink versus something to drink of maybe not the exact preferred brand, then he has an easy decision to make.  I was going up the stairs with my Turkey, when beside me I noticed a tall, soft Asian boy, maybe 21, dressed nicely I guessed.  He smelled like a woman without a doubt.  I never trusted a man who smelled like anything other than a man, but this kid looked harmless enough.  He looked at me like I was the boogie man.  It’s not good to be scared of neighbors.

“You live here long?” I asked him.

“Oh, no, we just, uh, moved in, like, maybe two months ago?” he said.  Light in the loafers, this kid for sure.  Definitely light in the loafers.

My least favorite TV/Movie convention – The Overheard Conversation

It is no secret that literature and cinema often use common themes and devices to propel a story. Some of these are very useful for opening doors for your characters or building drama. Indeed, Joseph Campbell’s entire career was based on the idea that the literature of the world, myth, repeats certain key elements and structures across cultures, geography, and time. They represent the human mind seeking answers to unanswerable questions through the use of imagery and symbol. If you’ve never read any of Campbell’s work, I highly recommend you do. It’s fascinating stuff.

But those are not what I want to write about here. Instead, I want to discuss a common dramatic device so lazy, so dastardly, so woefully incompetent that I cringe and immediately lose my ability to enjoy said film or show. I’ve never heard it referred to by anyone else so I have come to call it “The Overheard Conversation”. You’ve seen it before.

How about a quick example? Here’s the premise: GEEKY GUY has spent the entire film trying to woo the most popular, most beautiful BABE in school. He had been successful for a while, but then they got into a fight over whatever the hell reason and he stormed off at the big homecoming party. Later, feeling stupid, GEEKY GUY tries to find BABE who has been approached by her ex-boyfriend HOTSHOT GUY. But because he’s so shy, GEEKY GUY doesn’t approach them and instead hears a snippet of their conversation that he takes completely out of context. Like this.

EXT PARTY NIGHT – HOTSHOT GUY and BABE are on the edge of the party by the pool. He is drunk and making physical advances. She is rejecting him, but he is much stronger.

BABE
Get off me HOTSHOT GUY. I’m with GEEKY GUY now.

HOTSHOT GUY
What do you see in that dork?

BABE
More than I see in you, jerk.

GEEKY GUY approaches HOTSHOT GUY and BABE where they are arguing by the pool, but he cannot hear them. He comes up toward them quietly and in the shadows and they do not see him.

HOTSHOT GUY
Don’t you still care about me?

BABE
Of course I care about you, but…

HOTSHOT GUY kisses BABE forcefully and she is not strong enough to resist. Enter slow motion. Close shot of GEEKY GUY with tears welling in his eyes, and then rage blossoms. He runs off.

BABE pushes HOTSHOT GUY off and slaps him in the face.

BABE
I told you already we’re done! I never want to see you again!

Stop me if you’ve seen this film before. Oh, you can’t stop me? Well, then I’ll continue.

From here, GEEKY GUY goes on a self-destructive/depressed/whatever bend. Eventually they reconcile when he confronts her about the night by the pool and she tells him the truth of what happened and he suddenly feels foolish and she forgives him for not just being forthright with her in the beginning and they live happily ever after through high school graduation. How romantic!

How many films can you name where some permutation of this has happened? Five? One hundred? A billion? It’s basically the plot device used in every stupid rom-com piece of trash spit out by Hollywood 50 times a year. Whenever I see this used, I imagine this conversation.

“Gosh! I can’t think of how to drag this Jennifer Anniston vehicle out to the bare minimum 90 minutes. Whatever shall I do?!” one writer says.

“Why not just have her walk into the room when her boyfriend is on the phone with his sister saying something she’ll take completely out of context because this is the only way to inject some ‘drama’ into this horrid piece of trash?” the other says.

“Brilliant!” the first one says. “I’ll get another Oscar for this one!”

It really must be the laziest cop out to burden the state of modern drama. It’s the Deus Ex Machina of modern cinema. How do we drag this out? Add some fake tension? Perfect.

What’s worse is that I cannot think of even a single time that this has happened to me or anyone I know in real life. Now, I’m not saying that all drama in films has to be absolutely realistic. Of course it doesn’t. I have zero issues with the Eye of Sauron being able to see Hobbits when Frodo puts on the ring. That’s awesome. Great. But if you’re going to be basing your drama on real life, then at least make it believable. Are you really expecting me to believe that GEEKY GUY, after spending the whole film fantasizing and eventually attaining BABE, would not just step in and be all, “What the fuck?” He would run off without, at the very least, waiting in the shadows to see how their conversation turned out? Pathetic. He doesn’t even need to be forceful, just, you know, let it play out a little. How about giving your girlfriend the benefit of the doubt? Has she betrayed you before? Do you have ANY reason to think that she’d not be faithful to you? How about asking her about it? Nah, instead you should just assume a bunch of untrue crap and then spend the next 35 minutes of screen time moping around being an all around asshole. Good plan.

Here’s how the scene should have gone.

EXT PARTY NIGHT – HOTSHOT GUY and BABE are on the edge of the party by the pool. He is drunk and making physical advances. She is rejecting him, but he is much stronger.

BABE
Get off me HOTSHOT GUY. I’m with GEEKY GUY now.

HOTSHOT GUY
What do you see in that dork?

BABE
More than I see in you, jerk.

GEEKY GUY approaches HOTSHOT GUY and BABE where they are arguing by the pool, but he cannot hear them. He comes up toward them quietly and in the shadows and they do not see him.

HOTSHOT GUY
Don’t you still care about me?

BABE
Of course I care about you, but…

HOTSHOT GUY kisses BABE forcefully and she is not strong enough to resist. Enter slow motion. Close shot of GEEKY GUY with tears welling in his eyes, and then rage blossoms. He steps out into the light startling the other two.

GEEKY GUY
What the fucking fuck?!

BABE
Geeky Guy! This isn’t…

HOTSHOT GUY (interrupting)
Get the hell out of here, Geeky Guy. She’s my girl.

BABE
It’s not what you think! I didn’t mean to kiss…

GEEKY GUY hold up his hand to stop her.

GEEKY GUY
It’s all right, Babe. I trust you.

BABE runs over and gives GEEKY GUY a big hug. HOTSHOT GUY fumes.

GEEKY GUY
Now, I must deal with you.

HOTSHOT GUY
What are you going to do, World of Warcraft me to death?

HOTSHOT GUY laughs. GEEKY GUY pulls out his lightsabre, but HOTSHOT GUY begins to mutate into a giant beast, like a cross between a lizard and a slug and a spider, all fangs and teeth and eyes, more than 10 feet tall.

See? Wasn’t that better? Doesn’t that sound like a better movie? It makes you wonder how many completely awful films could have been saved from their fate as utterly forgettable pieces of fluff if the writers had just spent another 40 seconds and avoided The Overheard Conversation. Truly sad.

20 – The Subway Singer

When he woke this morning with the sun in his eyes he knew that today would be a fruitful one for him, for his art.  His guitar tuned, his song rehearsed, he was going to sing his poet’s heart out for the people on the downtown C local train.  Their souls would lift and swell and fly like an eruption of butterflies from the end of a rainbow when they heard his uplifting words, delicate fingering of his instrument, and unique take on “Lean On Me.”  He closed his eyes as the train approached the platform and imagined their admiring faces beaming with the pleasure he’d brought into their day.  Singing was never for the money; it was always for the love.  Always for the heart.