CLASS WARFARE: Love and Friendship and The Measure of a Man


First, a word from our sponsors: I have just launched the indiegogo campaign for my short film 14 Conversations in 10 Minutes. Check it out http://ow.ly/SblO3005HHu.  Below is a video sample of the short. Think about contributing (the lowest contribution is only $5.00). Please view and share anywhere and everywhere.

I am now offering a new consultation service: so much emphasis has been given lately to the importance of the opening of your screenplay, I now offer coverage for the first twenty pages at the cost of $20.00.  For those who don’t want to have full coverage on their screenplay at this time, but want to know how well their script is working with the opening pages, this is perfect for you.  I’ll help you not lose the reader on page one. 
 
Ever wonder what a reader for a contest or agency thinks when he reads your screenplay?  Check out my new e-book published on Amazon: Rantings and Ravings of a Screenplay Reader, including my series of essays, What I Learned Reading for Contests This Year, and my film reviews of 2013.  Only $2.99. http://ow.ly/xN31r
 
and check out my Script Consultation Services: http://ow.ly/HPxKE
Warning: SPOILERS
rev 1Two films have recently opened, Love & Friendship and The Measure of a Man, that both deal with issues of class, and I don’t mean the “you have no” kind, but class as in upper, lower and all things in between.
Whit Stillman, the cinematic chronicler of the sons and daughters of the upper crust, began his career with Metropolitan, a character study of a group of the haves and what happens when they end up with a have less over Christmas break, the last year before everything went to hell and fell apart after sex, drugs and rock and roll took over and it all went to pot (pardon the pun).
It was a wonderful début, suggesting that a new and unique voice had arrived on the independent scene. He followed that up with two even better films, Barcelona and The Last Days of Disco.
He, then, well, disappeared for a while, which was both a puzzlement and a disappointment, only to return, years later, with a new film. Continue reading

SOUL SEARCHING: Knight of Cups and Confirmation


First, a word from our sponsors: I am now offering a new service: so much emphasis has been given lately to the importance of the opening of your screenplay, I now offer coverage for the first twenty pages at the cost of $20.00.  For those who don’t want to have full coverage on their screenplay at this time, but want to know how well their script is working with the opening pages, this is perfect for you.  I’ll help you not lose the reader on page one. 
 
Ever wonder what a reader for a contest or agency thinks when he reads your screenplay?  Check out my new e-book published on Amazon: Rantings and Ravings of a Screenplay Reader, including my series of essays, What I Learned Reading for Contests This Year, and my film reviews of 2013.  Only $2.99. http://ow.ly/xN31r
 
and check out my Script Consultation Services: http://ow.ly/HPxKE
Warning: SPOILERS
rev 1 Knight of Cups, the new film from art house fave writer/director Terence Malick, begins with some excerpts from John Bunyan’s The Pilgrim’s Progress, spoken, I believe, in the dulcet tones of Sir John Gielgud.  The Pilgrim’s Progress is an allegory about a man who is weighed down by his sin and must seek a path to righteousness, but he finds many dangers, toils and snares along the way. 
I suppose the allegory in that classic is supposed to also be an allegory for Rick, the central character in Malick’s drama, and his journey.  Rick is a screenwriter who basically just drifts from place to place, observing the world he encounters while avoiding screenwriting as much as possible.  It’s sort of like a movie by Federico Fellini, 8 ½ or La Dolce Vita, character studies of a men who are spiritually lost or have writer’s block, set against dwarfing architecture and a somewhat impressionistic view of the local’s lives.
I have to say I liked Knight of Cups, though I also have to say I’m surprised that I did.  In Malick’s last film To The Wonder, the filmmaker told an almost impossible to understand story, made almost impossible to understand because it was not told in chronological order.  And since you were spending so much time just trying to understand what was going on, it was difficult to become emotionally involved in the movie.  And it didn’t help that when you did figure it out, it was a pretty bland and banal story line.

Continue reading