I've finally found a New Year's Resolution that's working: write for two hours per day. By telling myself "Oh, it's just two hours and you'll be productive," I'm much more likely to sit down and do it than if I freak out and say "Ah! You have to get 15/30 pages done today! Eight hours in front of the screen! Now! Now! Now!" I'm finally adding new pages after nearly four months on Act 1. The feeling is glorious. I'm looking forward to pressing on again tomorrow.
Friday, January 21, 2011
Coraline
Everything I had to say about thematics, I've already said here. Instead, I'd like to present the following for the reader's consideration:
The soundtrack is a gorgeous mix of haunting chorals and toe-tapping jazz beats that I will be adding to my collection to hear again. It really is reason enough to explore this story beyond the script.
Otherwise, in terms of the adaptation, it did sort of strike me strangely how old the characters were. I realize the script had them in their early teens, but the written story made it easier to envision the characters much younger. I didn't mesh with the voice acting at all, though I do have to give Teri Hatcher credit for shedding most of her flustered Desperate Housewives whine during her transformation into the Beldam. The ghost dialogue bothered me because it felt like video game dialogue; if I'm going to hear video game dialogue, I'd rather it be in a video game.
In terms of the visuals, I think I expected a little too much Nightmare before Christmas in terms of bright, ghostly lighting and eerie shadows, compared to the surprisingly "realistic" fantasy design of this film. Some choices I could have seen differently, but nonetheless, this was an engaging film made remarkable by its sound design. I'm sure it would have been spectacular in 3D as well. I'll give it four stars, because I'm still logged onto Youtube, listening to clips from the soundtrack.
The soundtrack is a gorgeous mix of haunting chorals and toe-tapping jazz beats that I will be adding to my collection to hear again. It really is reason enough to explore this story beyond the script.
Otherwise, in terms of the adaptation, it did sort of strike me strangely how old the characters were. I realize the script had them in their early teens, but the written story made it easier to envision the characters much younger. I didn't mesh with the voice acting at all, though I do have to give Teri Hatcher credit for shedding most of her flustered Desperate Housewives whine during her transformation into the Beldam. The ghost dialogue bothered me because it felt like video game dialogue; if I'm going to hear video game dialogue, I'd rather it be in a video game.
In terms of the visuals, I think I expected a little too much Nightmare before Christmas in terms of bright, ghostly lighting and eerie shadows, compared to the surprisingly "realistic" fantasy design of this film. Some choices I could have seen differently, but nonetheless, this was an engaging film made remarkable by its sound design. I'm sure it would have been spectacular in 3D as well. I'll give it four stars, because I'm still logged onto Youtube, listening to clips from the soundtrack.
Wednesday, January 19, 2011
Michael Clayton
It's not easy to get me to watch movies with a character's name as the title. For all I knew, Michael Clayton would be about a pottery instructor searching for meaning in his miserable life, and who hasn't seen that before? In any case, all it took was the viewing of a single scene in a film class, which sadly, happened to be the last scene, and I decided this would be a swell thriller to add to the queue.
This is an excellent example of a realistic thriller. We don't have agents or SWAT teams piling out of vans. There really aren't any guns, per se, though there is a car bomb. What we have is a talented man who has made a career as a puppet and learns just how unsatisfactory that choice is.
Since I was partly watching this for research purposes, I paid special attention to the pacing of this revelation. The prologue lasts sixteen minutes: ample time to explain the nitty gritty of the world and set up the main conflict of who would try to kill this talented individual. However, it takes an hour and twenty minutes for Michael to actually realize that the puzzle pieces aren't fitting together; the main action takes place over forty minutes. However, the rest of the duration, while slightly confusing to those of us who don't speak legalese, was hardly dull, which I attribute to the performance of the actors.
It seems to me that George Clooney is picking up a trend in his roles, that of the floating man, consumed by his career, alienated from friend and family, and undeniably talented (see Up in the Air). He carries a very similar attitude in his performance, which works well in his roles, but in this case, he was overshadowed by the truly eerie, Oscar-winning performance of Tilda Swinton, who reminded me throughout of Lucifer weeping for his inescapable corruption. Also noteworthy was Tom Wilkinson's snarling opening narration, the performance of which saved what could have been a rather dull opening montage, and his quirky portrayal of Michael's sage coworker and friend, Arthur. In my curiosity over acting, Michael Clayton stands out as an exemplary reference for natural acting.
I give Michael Clayton four stars as a valuable resource and a compelling story with memorable characters.
This is an excellent example of a realistic thriller. We don't have agents or SWAT teams piling out of vans. There really aren't any guns, per se, though there is a car bomb. What we have is a talented man who has made a career as a puppet and learns just how unsatisfactory that choice is.
Since I was partly watching this for research purposes, I paid special attention to the pacing of this revelation. The prologue lasts sixteen minutes: ample time to explain the nitty gritty of the world and set up the main conflict of who would try to kill this talented individual. However, it takes an hour and twenty minutes for Michael to actually realize that the puzzle pieces aren't fitting together; the main action takes place over forty minutes. However, the rest of the duration, while slightly confusing to those of us who don't speak legalese, was hardly dull, which I attribute to the performance of the actors.
It seems to me that George Clooney is picking up a trend in his roles, that of the floating man, consumed by his career, alienated from friend and family, and undeniably talented (see Up in the Air). He carries a very similar attitude in his performance, which works well in his roles, but in this case, he was overshadowed by the truly eerie, Oscar-winning performance of Tilda Swinton, who reminded me throughout of Lucifer weeping for his inescapable corruption. Also noteworthy was Tom Wilkinson's snarling opening narration, the performance of which saved what could have been a rather dull opening montage, and his quirky portrayal of Michael's sage coworker and friend, Arthur. In my curiosity over acting, Michael Clayton stands out as an exemplary reference for natural acting.
I give Michael Clayton four stars as a valuable resource and a compelling story with memorable characters.
Monday, January 10, 2011
Meditation Mount
I've yearned for the ability to meditate for a while, though it has been difficult in this world of distractions to clear the chatter enough to really get the most of the experience. This is why, when I learned there was to be an Introduction to Meditation seminar at Meditation Mount, I decided it would be the perfect time to learn and to visit one of the places on my To Smite List.
Sunday, January 2, 2011
Boundaries (Chapter 11)
Though it's been a while since I finished reading Boundaries, I still have four chapters' worth of notes to recount, starting with this one, which discusses boundaries at work. There's a lot to like in this chapter, at least for this workaholic.
Cloud and Townsend advise the boundary builder that work builds character, but only if done with the whole heart. Taking on a coworker's responsibilities isn't their fault; it's yours. Still, the point that I plan to take most heavily to heart is that another's poor planning is not my emergency (and vice versa).
"Say no to the unimportant, and say no to the inclination to do less than your best. If you are doing your best work or the most important things, you will reach your goals." (208)
Yes, this should be integral to how I approach my To-Smite List. The scripts should be the priority, but thus far, they've been going desperately slowly, thanks to choosing more quick-to-finish tasks like reading and website work. The only problem is that these quick-to-finish tasks are shortly replaced by even more quick-to-finish tasks, so before I know it, months have passed without finishing the first important project I set out to do. It may be beneficial to set aside two hours minimum every day exclusively for script work.
"Limits on good things keeps them good." (209)
I would add that delaying the reward adds anticipation, which makes the final moment all the more delicious.
"Allow[...]critical people to be who they are, but keep yourself separate from them and do not internalize their opinion of you. Make sure you have a more accurate appraisal of yourself, and then disagree internally." (210)
This actually extends far beyond work to friends, family, and even complete strangers. When I get jabbed, I have hitherto failed to fall back upon a group of supportive people and instead internalized the jab, more or less allowing the barb to dig deeper instead of asking for help. As I seek out a new support group this year, things should change dramatically. Also, as I continue to improve my management skills and personal responsibility, many of my critics will disappear.
"Until you face your own feelings, you can't even see who others really are." (211)
Again, this extends beyond the work environment. It has been historically difficult for me to separate the subjective and objective identities of a person. What I mean by this is that I sometimes project my feelings onto someone else, making them the source of my discomfort when, in fact, my own interpretation and the baggage that each interpretation holds, determines how I feel about the situation.
The final good advice of this chapter revolves around finding one's life's work, the pursuit that fulfills and inspires. To find it, one must separate from attachments (influences?) and follow one's own desires. One must take ownership of how one feels, thinks, and what one wants. One must assess one's talents and limitations. I have taken many of these steps offline. I know I want to write. I can create great worlds, but my ability to buckle down and focus on them is limited by my increasing disdain for sitting in front of the computer screen for extended periods of time. As I work on building my financial freedom, my independence from my main attachments should increase. But first, gotta get a steady paycheck.
Cloud and Townsend advise the boundary builder that work builds character, but only if done with the whole heart. Taking on a coworker's responsibilities isn't their fault; it's yours. Still, the point that I plan to take most heavily to heart is that another's poor planning is not my emergency (and vice versa).
"Say no to the unimportant, and say no to the inclination to do less than your best. If you are doing your best work or the most important things, you will reach your goals." (208)
Yes, this should be integral to how I approach my To-Smite List. The scripts should be the priority, but thus far, they've been going desperately slowly, thanks to choosing more quick-to-finish tasks like reading and website work. The only problem is that these quick-to-finish tasks are shortly replaced by even more quick-to-finish tasks, so before I know it, months have passed without finishing the first important project I set out to do. It may be beneficial to set aside two hours minimum every day exclusively for script work.
"Limits on good things keeps them good." (209)
I would add that delaying the reward adds anticipation, which makes the final moment all the more delicious.
"Allow[...]critical people to be who they are, but keep yourself separate from them and do not internalize their opinion of you. Make sure you have a more accurate appraisal of yourself, and then disagree internally." (210)
This actually extends far beyond work to friends, family, and even complete strangers. When I get jabbed, I have hitherto failed to fall back upon a group of supportive people and instead internalized the jab, more or less allowing the barb to dig deeper instead of asking for help. As I seek out a new support group this year, things should change dramatically. Also, as I continue to improve my management skills and personal responsibility, many of my critics will disappear.
"Until you face your own feelings, you can't even see who others really are." (211)
Again, this extends beyond the work environment. It has been historically difficult for me to separate the subjective and objective identities of a person. What I mean by this is that I sometimes project my feelings onto someone else, making them the source of my discomfort when, in fact, my own interpretation and the baggage that each interpretation holds, determines how I feel about the situation.
The final good advice of this chapter revolves around finding one's life's work, the pursuit that fulfills and inspires. To find it, one must separate from attachments (influences?) and follow one's own desires. One must take ownership of how one feels, thinks, and what one wants. One must assess one's talents and limitations. I have taken many of these steps offline. I know I want to write. I can create great worlds, but my ability to buckle down and focus on them is limited by my increasing disdain for sitting in front of the computer screen for extended periods of time. As I work on building my financial freedom, my independence from my main attachments should increase. But first, gotta get a steady paycheck.
What Every Body Is Saying (Chapter 2)
After reading this chapter, I'm starting to understand why people tend to think I'm stressed or angry when I don't actually feel that way. Many of the behavioral patterns indicated in this chapter manifest additionally when I'm bored. Then again, boredom is its own form of stress and discomfort.
When Navarro talks about the importance of the neck and the suprasternal notch (neck dimple) in indicating whether a person is nervous or not, I think of all the times I've been stuck in an uncomfortable conversation or have found myself face-to-face with someone I didn't plan on meeting and start to pick at the stubble on my neck. It really is a completely involuntary response, as befits the limbic system.
I also relate mightily to the leg cleanser, in which one slides one's palms down one's legs. I do this so frequently that I can't even say for sure whether I'm even nervous when I do it. However, I have noticed the behavior when I feel a conversation has gone on too long and I would like to be out of there.
On first reading this chapter, I thought "How can I not make these behaviors and thus be less readable or less easily confused?" It's difficult for me to avoid stress in social situations, because of the image I feel compelled to maintain, and I suppose the answer to the question is "You can't." The actions are involuntary, but perhaps, like Pavlov's dogs, the behavior can be trained away. Awareness first, behavioral change second.
When Navarro talks about the importance of the neck and the suprasternal notch (neck dimple) in indicating whether a person is nervous or not, I think of all the times I've been stuck in an uncomfortable conversation or have found myself face-to-face with someone I didn't plan on meeting and start to pick at the stubble on my neck. It really is a completely involuntary response, as befits the limbic system.
I also relate mightily to the leg cleanser, in which one slides one's palms down one's legs. I do this so frequently that I can't even say for sure whether I'm even nervous when I do it. However, I have noticed the behavior when I feel a conversation has gone on too long and I would like to be out of there.
On first reading this chapter, I thought "How can I not make these behaviors and thus be less readable or less easily confused?" It's difficult for me to avoid stress in social situations, because of the image I feel compelled to maintain, and I suppose the answer to the question is "You can't." The actions are involuntary, but perhaps, like Pavlov's dogs, the behavior can be trained away. Awareness first, behavioral change second.
Saturday, January 1, 2011
Apocalypto
I found it fitting to make Apocalypto the last movie I watched in 2010. If I wanted to get rid of a full year's worth of aggression and violence, Apocalypto could channel it all away. I suppose it's fitting of its maker in that respect.
In many ways, violence defines this movie. Much of it is unnecessarily graphic and seems to be placed in there only for the sake of making the audience squirm. Nonetheless, it excels at painting a vivid image of the human nature to subdue and conquer. The Mayans understood raping and pillaging just as well as the Huns, the Romans, the British imperialists, and the American colonists. By graphically revealing the violent tendencies of a civilization often held to be the victim of outside aggression, Gibson has highlighted the fact that all civilizations have been, at some point, capable of dehumanizing others and committing atrocities. The good, therefore, lies in whomever has the courage to oppose these atrocities.
While I expected our protagonist, Jaguar Paw, to take down the entire Mayan civilization in two hours, I was satisfied that his battles stayed personal. Though he didn't take a particularly active role in most of the story, being bound to a slave pole, the world through which he traveled, more than compensated. The costume design was extraordinary. The piercings, tattoos, and fantastic feather and skeletal attire were worth every second to behold, though I snickered when I realized that the women and children were dressed according to Christian modesty. I enjoyed the prop design as well. The tapir trap made me cringe, and the ridiculous puppet jaguar made me laugh out loud. Oh wait, that wasn't supposed to happen. Nonetheless, our hero managed to survive it all, despite a soon-to-be-badly-infected set of wounds, though the arrival of the Spanish conquistadores in the final moments leaves us less than hopeful for their long-term well being.
Through the despair and violence, anyone who views the aptly named Apocalypto is compelled to sit back and take two things into mind: that there is no final solution and that there is no choice, when faced by utter destruction, but to move on. For its fantastic production design, engrossing plot, and thought-provoking elements, I'd give Apocalypto four stars.
In many ways, violence defines this movie. Much of it is unnecessarily graphic and seems to be placed in there only for the sake of making the audience squirm. Nonetheless, it excels at painting a vivid image of the human nature to subdue and conquer. The Mayans understood raping and pillaging just as well as the Huns, the Romans, the British imperialists, and the American colonists. By graphically revealing the violent tendencies of a civilization often held to be the victim of outside aggression, Gibson has highlighted the fact that all civilizations have been, at some point, capable of dehumanizing others and committing atrocities. The good, therefore, lies in whomever has the courage to oppose these atrocities.
While I expected our protagonist, Jaguar Paw, to take down the entire Mayan civilization in two hours, I was satisfied that his battles stayed personal. Though he didn't take a particularly active role in most of the story, being bound to a slave pole, the world through which he traveled, more than compensated. The costume design was extraordinary. The piercings, tattoos, and fantastic feather and skeletal attire were worth every second to behold, though I snickered when I realized that the women and children were dressed according to Christian modesty. I enjoyed the prop design as well. The tapir trap made me cringe, and the ridiculous puppet jaguar made me laugh out loud. Oh wait, that wasn't supposed to happen. Nonetheless, our hero managed to survive it all, despite a soon-to-be-badly-infected set of wounds, though the arrival of the Spanish conquistadores in the final moments leaves us less than hopeful for their long-term well being.
Through the despair and violence, anyone who views the aptly named Apocalypto is compelled to sit back and take two things into mind: that there is no final solution and that there is no choice, when faced by utter destruction, but to move on. For its fantastic production design, engrossing plot, and thought-provoking elements, I'd give Apocalypto four stars.
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