May 17, 2013
I think sometimes I know too many secrets. That they will overrun me one day and crowd out everything else until there is nothing left but the echoing light and thunder of all these secrets leaving me paralyzed with no words –
With secrets, words are forbidden.
I think this is how writers are made. People who are bound by secrets so long one day in place of silence something new is born, something made up, something fiction, anything, everything, just to fill that void of non-sound.
Writers tell the truth through lies.
How messed up is that?
where the art work comes from:
:::the society of historical curiosities:::
March 28, 2013
This is very cool, it’s a new review of Excess Baggage by Anthony Moretta on Out of the Gutter.
Anthony even made me like the film better and I have a few reasons to have grievances with it, though, you know, it’s my baby even if it’s not quite as pretty a baby as I wanted so I love it no matter what:
CLASSIC FILM REVIEW: EXCESS BAGGAGE (1997):
I don’t know many people who have seen this movie. When mentioned, I get the typical “with Alicia Silverstone?” reply. Yes, and Benicio Del Toro and Christopher Walken. Directed by Marco Brambilla, and written by Max D. Adams, Dick Clement and Ian La Frenais (with an uncredited re-write by Aaron Sorkin according to IMDB), Excess Baggage came and went with little attention and eventually died on video store shelves, which is where I found it.
You won’t come across many positives when scouring conventional review outlets for this and that may mislead you into thinking it’s not worth a couple of hours of your time. I’m not going to defend my opinion of the movie. I love it. It’s always on my ever-changing list of favorites. That’s only to say that I don’t pay much attention to critics’ reviews. They can sour a film or hype it beyond reasonable expectation, and, either way, taint your own viewing. In fact, 1997 is a good movie year to explore this a bit. That was the year of Titanic, buoyed by a critical love affair and box office spectacle. It won a shitload of awards, too. But 1997 also featured Cop Land, L.A. Confidential, Jackie Brown and Grosse Pointe Blank. All superior films. And those are just what I can remember at the moment. So, I say Titanic can go fuck itself. Now, let’s talk about a real good flick like Excess Baggage.
Here’s the set-up:
Emily (Silverstone) fakes her own kidnapping in order to win the attention of her rich neglectful dad, Alexander (Jack Thompson). Vincent (Del Toro) is a professional high-end car thief, who jacks Emily’s BMW with her bound and gagged in the trunk. Alexander calls in Emily’s caring and shady “Uncle” Ray (Walken doing his best Walken), an unflappable ex-military man who handles Alexander’s dirty work. It’s fair to say that Alexander has made tons of money less than legitimately. Ray is tasked with finding Emily and bringing her home while the cops try their awful best to track her as well. Ray suspects from the go that the kidnapping may not be what it seems and heads out on the accurate assumption that Emily is staging the whole thing.
Vincent and Emily formally meet at his dockside warehouse when she bangs on the trunk to get out. In a panic, he handcuffs her in the bathroom while discussing what to do with his tool of a partner, Greg (Harry Connick, Jr.). They decide it’s best —
March 19, 2013
Join us for Indiechat 3/19 at 9pm EST! Topic: Screenplays
March 19th, 2013 by Kate Tilton
As many of you may know we took over the twitter chat #indiechat. #Indiechat is held every Tuesday at 9pm EST. You can check out our previous chat logs on BiblioCrunch Storify.
This week on #indiechat Kate Tilton (@Froze8) will be will be hosting from the BiblioCrunch twitter account (@BiblioCrunch) with guest Max Adams (@CelluloidBlonde). Max will be giving her tips on screenwriting and answering questions!
Hope to see you there!
About Max Adams:
Max Adams is an award winning screenwriter and author. She has written professionally for Columbia Pictures, Hollywood Pictures, Touchstone Pictures, Universal Pictures, Walt Disney Studios, and Tri-Star Pictures. Organizations she has lectured and/or taught at include University of Southern California, Austin Film Festival, Squaw Valley Community of Writers, Film Arts Foundation, New York Film Academy, Gotham Writers, University of Utah, and the Academy of Motion Pictures, Arts and Sciences. She is a former Writers Guild of America, West online screenwriting mentor, is the founder of two international online screenwriting workshops, The Left Door and 5150, is the author of The New Screenwriter’s Survival Guide; Or, Guerrilla Meeting Tactics and Other Acts of War, is a University of Utah associate instructor and is the founder of the The Academy of Film Writing. Her produced feature films include Excess Baggage, The Ladykillers, and One For the Money. You can connect with Max at The Academy of Film Writing or check out her book: The New Screenwriter’s Survival Guide; Or, Guerrilla Meeting Tactics and Other Acts of War. Photo Credit Michael J. Canales.
February 28, 2013
Julie is one of my students. I would love to take credit for everything she has accomplished, but I can’t. I am her teacher, I guide. I’m a good teacher and a good guide. Hell, I’m a good writer, if it comes down to that. But. A guide can only guide someone willing to be guided who has drive to push through. I could be walking someone up Kilimanjaro, but it would not do any good if that person said, Oh I’m tired now, I think I’ll turn back. And it wouldn’t do any good if I said, Hey, try to avoid that edge. And the person being guided didn’t listen to me and walked over the edge. So there is this fine line of taking credit for the student’s accomplishments. Because, if the student isn’t special, well all the guiding in the world won’t stop that student from quitting or walking over that edge.
That said? I’m mad cap proud of Julie Howe. Here is her recent post on the Austin Film Festival blog:
AFF GUEST BLOG: JULIE HOWE IN SCRIPT DEVELOPMENT HEAVEN:
I know what you’re thinking. “She must be directionally confused, poor thing.” But hear me out because I actually do own a compass and know the difference between north and south.
When Matt Dy first rang me back in 2010 to say Joyce San Pedro, a producer based at Sony and an AFF judge and panelist, wanted to meet with me about my script, I was thinking he must have meant to call someone else — some OTHER writer who may have had the same last name as me — and he hit my number by mistake. Happens, right? Thankfully, it wasn’t a butt dial.
I’m one of those lucky writers who caught a break thanks to Austin Film Festival; as well as to an army of fellow writers who were generous and kind, brutal and honest, and most of all just plain supportive. As a result, my 2010 AFF comedy script is in development with Joyce San Pedro and Alex Siskin. It’s not a studio deal; it’s a handmade independent production deal. And I didn’t leave the baby on the doorstep and walk away. Instead, I made an arrangement with the producers that included involvement from start to finish. I wanted to learn, I wanted to know what it was really like to make a movie, to be part of a team. I didn’t know if I would be chewed up and spit out like a stale Chiclet or be able to hold my own. Not to mention being able to hold my tongue when necessary while still holding true to my vision.
As luck would have it, I was taken under the wings of the good guys and I’m thanking the gods of screenwriting I didn’t end up stuck to the bottom of somebody’s Nike. Those who championed the script from the beginning, Joyce San Pedro. Michael-Ryan Fletchall and Alex Siskin, opened the door for me and I ran through it like my hair was on fire. Let’s face it, I’m not a kid. I’m staring down the point-blank barrel of middle age. I want my shot before Medicare kicks in or I start thinking my purse belongs in the refrigerator.
I owe my tenacious attitude not only to the opportunity afforded me by Austin Film Festival but also to an amazing writer’s group called 5150 whose founder Max Adams, won the screenplay award when AFF was a pup. From the beginning of my tenure in the group, Austin Film Festival was touted as THE festival. Everyone in the group aspired to place well in the screenplay competition. Needless to say, winning was unbelievable and surreal. Like I had brought home 5150’s version of the Stanley Cup (yeah, I’m from a hockey state!). I would not be where I am without the help and guidance of these wickedly smart, talented peeps.
Although this all sounds like rah-rah cheerleader fluff…