Running empty on input stimuli, need to see, read and hear again, what has happened, life, drinking, and work. But I kinda liked Hung, the new HBO series from “The Riches” creator Dmitry Lipkin and his wife Colette Burson, with Alexander Payne as executive producer. Especially dug the last episodes with Ray’s new love affair.
Why don’t you go market your dick?
“There are no undiscovered great writers. There is such a hunger for great writing, and there are so few good writers out there. I actually have a Darwinian view of writing. Write three scripts on spec, and if by the end of that third one, you haven’t felt that energy coming toward you – that excitement, that enthusiasm about finding a new voice – you should find something else to do, because you should feel that. It’s harsh, but it’s just true. You can get somebody to read your work. So, just try it. Just write, and see who gets excited about it.”
— Marshall Herskovitz
Fear is of danger; terror is of violence, of the violence I might do or that might be done to me. I can be terrified of thunder, but not horrified by it. And isn’t it the case that not the human horrifies me, but the inhuman, the monstrous? Very well. But only what is human can be inhuman. Can only the human be monstrous? If something is monstrous, and we do not believe that there are monsters, then only the human is a candidate for the monstrous.
If only humans feel horror (if the capacity to feel horror is a development of the specifically human biological inheritance), then maybe it is a response specifically to being human. To what, specifically, about being human? Horror is the title I am giving to the perception of the precariousness of human identity, to the perception that it may be lost or invaded, that we may be, or may become something other than we are, or take ourselves for; that our origins as human beings need accounting for, and are unaccountable.
Stanley Cavell, The Claim of Reason, p 418-9
“In every work of genius we recognize our own rejected thoughts; they come back to us with a certain alienated majesty.”
“The mass of men lead lives of quiet desperation”
1. The audience is fickle.
2. Grab ‘em by the throat and never let ‘em go.
3. Develop a clean line of action for yo ur leading character.
4. Know where you’re going.
5. The more subtle and elegant you are in hiding your plot points, the better you are as a writer.
6. If you have a problem with the third act, the real problem is in the first act.
7. A tip from Lubitsch: Let the audience add up two plus two. They’ll love you forever.
8. In doing voice-overs, be careful not to describe what the audience already sees. Add to what they’re seeing.
9. The event that occurs at the second act curtain triggers the end of the movie.
10. The third act must build, build, build in tempo and action until the last event, and then—
11. That’s it. Don’t hang around.