I can haz bad science

lolcat-mitosis
 
Here’s an examination of bad Star Wars science by John Scalzi that made me howl.

And cringe, as well. I’ve said before that my fiction tends to wave at science on the way past, and that’s because I’m not Science Gal… but there’s currently one Big Science Clunker in my screenplay that I have gone down on my virtual knees to try to fix; the powers that be, however, are so in love with it as a metaphor that they think no one will notice the bad science. I’ll keep trying: but Scalzi, when the time comes, if you cannot be kind, then at least please be this funny…

Legion

Can’t wait for this one — Paul Bettany is an archangel with a great big gun, and he’s here to save humankind. (Side note to screenwriters and directors — could we please get our heads around the idea that mankind is a lame word to use in this brave new world where not all of us are men? Awesome. Thanks.)

This trailer is Not Safe For Work, and by the looks of it, neither is Paul Bettany. I enjoy his work, and I’m looking forward to Legion.
 

 

Whip it

So I woke up tired, and a little bit cranky at nothing in particular, and a little bit feeling like, I don’t know — like I’m more than halfway through my life and I still don’t know how to get everything done that I want to, still don’t know the “big secret” of adulthood (no, don’t ask me what that means, the whole point is I know there is one but I don’t know what it is!)…

… and then I saw this.
 

 
And now I feel better. I’m going to find my inner Barbie and skate her ass off. Thank you Drew Barrymore, Shauna Cross and Ellen Page: I’m looking forward to your movie.

I want to see us big

Well, the whole big world has a lot of little girls in it, too. And not all of them are princesses — and the ones who are princesses have plenty of movies to watch.
 
And even many of them who do aspire to be princesses are mixing their princess tendencies with all manner of other delicious things. Their tiaras fall off when they skin their knees running at top speed; they get fingerpaint on their pink dresses; they chip their front teeth chasing each other in plastic high-heeled shoes.
 
— Linda Holmes, from her open letter to Pixar

What she said. Go read Linda Holmes’ entire “Dear Pixar” letter on the NPR website. Then come on back and let’s chat.

I’ve talked before about how much I want to write great roles for women, especially those of us who never see stories on screen in which people like us — over 40, not runway models or heiresses or sad lonely spinsters waiting for the right man, but simply smart, competent, interesting women — are the heroes. And in those stories, we won’t be heroes because we are tigress-mommies or loyal resolute spouses who suddenly kick ass to save our families. We’ll be heroes because we are human beings in a situation where heroism is required, and so we step up.

Why is that seemingly so hard for so many writers, producers, directors, and studio executives to imagine? Especially when we have a few shining examples of how much it rocks when a movie gets it right: Ripley in Alien, Sarah Connor in Terminator, Susan Sarandon and Geena Davis in Thelma and Louise, Geena Davis in The Long Kiss Goodnight (okay, she was a tigress-mommy too, but first she was an assassin, so she was by god no cliche).

And a hero is not only someone with killer biceps who leaves no bad guy standing. The hero is the person at the center of the story who must overcome challenges, face their deepest fears, lose their most precious things or people or dreams, strive and fail and still keep on going. Is it really true, as so many industry insiders seem to think, that men can only identify with those experiences if another man is having them? I am inside the hero all the time regardless of whether I’m watching Tom Cruise or Sarah Michelle Gellar. Does having a Y chromosome really restrict that kind of identification?

I don’t believe that. I think if a woman on screen is a compelling, non-cliched human being having big experiences, struggling with big feelings, making big choices, then any of us can identify with her.

This is a big screen issue for me. Television is a veritable paradise of Strong Women Characters in comparison to films. Buffy, Faith, Anya, Willow, Tara, Xena, Gabrielle, Callisto, Zoe, River, Kaylee, Sookie, Tara Thornton, Tara Gregson, Debra Morgan, the list goes on. All different, all with strengths and flaws and their own particular voice, and their own fabulous stories — complex and deeply human and universal.

So why can’t we do it big?

Well, let’s just imagine that we can. What would you like to see women characters doing on the big screen? I’d love to hear your wish list!

Kick the twilight out of him!

From video remix artist and media activist Jonathan McIntosh comes this fantastic video that puts clips of Buffy the Vampire Slayer (okay, Freudian moment, I just typed Vampire Spayer…) together with footage from the movie Twilight, in which vampire Edward Cullen falls hard for a human girl but won’t, you know, bite her or anything, because that would be too much like teenagers having sex, and we know that never happens.

In this remixed narrative Edward Cullen from the Twilight Series meets Buffy the Vampire Slayer. It’™s an example of transformative storytelling serving as a visual critique of Edward’™s character and generally creepy behavior. Seen through Buffy’™s eyes some of the more patriarchal gender roles and sexist Hollywood tropes embedded in the Twilight saga are exposed in hilarious ways.
 
— Jonathan McIntosh, from his commentary on Buffy vs Edward

McIntosh’s remix is beautifully edited, funny in places, genuinely creepy, and pretty searing in its commentary on what many fiction writers and screenwriters (and directors and producers and readers, not to mention scadillions of teenage girls and boys out there) think constitutes “romantic” behavior between people. If you know a teenager, or a so-called grownup who acts like one, park them in front of this video and tell them the only part of this dynamic that is remotely okay are all the parts where Buffy takes care of herself. And then beat them on the head until they understand that she shouldn’t have to.

You don’t need to be a Buffy fan or know the Twilight story to follow along…

Enjoy.

 

Ready for your close-up?

If you’ve always wanted to star in a movie, these people just made it easier for you.

This is pretty amazing to me. Digital editing of this kind — substituting images, etc. — has been possible for a long time. But this is the first real mass-market mainstreaming of the tech I’ve seen: an affordable price point, all the equipment you need, plug-and-play, with starter scenes provided and the promise of more to come.

Right now I’m guessing the scenes are carefully chosen for ease of insertion-of-you without disrupting the flow. I’m also guessing that a logical next step is to increase the complexity so that we’ll be able to put ourselves in groups, not just in front of them; in action, not just still. And surely we will get to the point where we can simply record an image of ourselves and have it so seamlessly morphed into whatever scene we wish, into whatever character, that the possibilities will be endless.

And yet, although I’m stone in love with movies and am breaking my heart and my back to write one, I find I’m not ready to put Yoostar on my wish list. Not because it’s bad — I think it’s very cool, will jazz a lot of people, and may open all kinds of doors to new ways of thinking about how we interact with pop culture and visual media. I think we’ll see a new kind of political/social commentary/protest media grow from these seeds. I predict a new wave of school projects, blog entries, and astonishing mash-ups and vids. I imagine that so many people will make a dream come true to see themselves on the screen.

I’m delighted for all those people: anything that gives a person joy without hurting someone else is a Big Win in my book. But for me this would be a record of an experience that I haven’t actually had. I don’t want to see myself in a movie, I want to live it. I want the experience. I only know two ways for me to get that: act, or write. At least until there is f-tech in the world…

Sherlock Holmes

I know there’s been a lot of video around here lately. What can I say? It’s that time of year, and besides, I love the movies. If I had a Big Pile of Money, we would have one of those little theatres in our house, with proper seats and footrests and a popcorn machine, and soundproofing so I could watch movies in the wee hours without disturbing Nicola.

Sigh.

But until then, we just have to do this the old-fashioned way, with air-conditioned movie theatres and Netflix and embedded trailers from YouTube. *snort* Is it just me, or did the definition of old-fashioned change while I was blinking? I remember riding five miles on my bike to go to the movies, back in the day when the seats weren’t that comfy and the film was always scratched by the time it got to Tampa. I don’t even remember there being a lot of trailers on TV, so many of the movies were just a big mystery. Sometimes I miss that frisson of pure discovery; but I like the trailers, the chance to put my imagination to work in the weeks while I wait, the anticipation, the payoff.

And so I am anticipating this, in which Robert Downey, Jr. is not your mama’s Sherlock Holmes. Purists will perhaps deplore the sheer testosterone of it all; but I’ve always thought there’s room for more ideas about Holmes than just the thin effete braniac slightly-Aspbergery guy. So we’ll see how it goes. I’m already imagining…

Enjoy.

 

Public Enemies

I am out for much of the day on family business, which gives Nicola plenty of time to roll her eyes and mutter. or laugh out loud, or whatever she would like (*kiss to sweetie through the internet*) over the fact that, yes, it’s that time of year. Another Johnny Depp movie is coming to town.

I used to worry that it was sad and pathetic to be a middle-aged person with a celebrity crush, but what the fuck. It’s lovely to have an art-crush and a mad-sex-crush all rolled up into one: that doesn’t come around very often, and I’m just going to enjoy it. The day I’m too old to get all het up (ooh, an orientation pun!) over Johnny Depp will be a Very Sad Day indeed.

And so I am really looking forward to Public Enemies. I enjoy Michael Mann’s work, I like Christian Bale, there will be car chases and shootouts and swanky clothes, and that particular Anglo-American mythic bad-boy hero-criminal vibe. And popcorn! I can’t wait.

 

Ink and Spin

Here’s a movie I’m really looking forward to: Ink, an independent film from writer/director Jamin Winans that’s playing in Denver now and that I hope will come to Seattle. It’s starting to build buzz as the next cult hit, and I’m doing my part to help that happen, because the trailer looks fantastic — eerie, fast-moving, layered, and maybe even some decent roles for women (say amen!). Take a look.

While you’re waiting for Ink to find its national audience and open in a theatre near you, check out this short film Spin, also from Winans. It’s a model of condensed storytelling, really nicely done.

I’ve been busy with, well, business — Humans At Work, job interviews, household matters. I’ve been away for a little while from fiction and from screenplays. To see work like this makes me want to dive back in and lose myself in some big project that will take me over, take me down deep, take me somewhere fascinating with some interesting characters… I can’t do that just now, but you know what? I think I’ll take take the the afternoon off and watch a movie.

Enjoy your day.

The Haunting

Busy day, and so although there are things to say and stories to share, today, as they say, I got nuthin’. But since I have written before of Shirley Jackson, and since so many high school students find their way here looking for essay content, I thought I would give you this — a few minutes of Act 1 of The Haunting, the 1963 Robert Wise movie based on The Haunting of Hill House.

This clip begins about 8 or 9 minutes into the movie, after Eleanor (Nell) has been invited to come to Hill House to participate in a paranormal study.

The book, and this movie, have long fascinated me. Eleanor’s overwhelming need to escape is so finely balanced against her clear instinct for good and evil, for what is good or not good for her. And yet, knowing that Hill House is not good for her, she enters into it with only minimal hesitation, with a subterranean lightness of being. There’s a sense of power and freedom in crossing the line of no return… and of course that’s where the horror always comes from, the final realization that what we thought was freedom was just a better trap. It’s subtle and brilliant stuff, both in prose and in film.