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x_losWatched: Hot Fuzz (we've all seen it before, but still cute), and Ghost Ship (WAY cleverer than the shitty cover and lame previews might have implied)
Gave in and bought: The Liar over The Ode Less Travelled: Unlocking the Poet Within (though having glanced at it I need this book at some point), because Iowa City's Barnes and Noble has to special order Moab Is My Washpot and doesn't even offer Making History. Which is disheartening given my serious alternative history kink. Though I don't know about the supposed breakdown into screenplay format at points. Dubious Erin is dubious. I like format experimentation as much as the next ludicrously pretentious girl, but, er, script format in the midst of a prose piece to "allow a lot of information to be shared in a relatively short space of time," quoth wikipedia? It sounds a little cheapish, but we'll see. He's a good writer, so it's probably 1) more elegant than it sounds and 2) fine. Also, wiki REALLY could have spoiler-warning'd me. I'm going to have to wait till I forget all this to read the thing. Luckily I'm quite tired, so sooner said that done.
Surprisingly Prarie Lights is for once even less well-stocked. Not a damn book by the man. Given that this is not the case across the pond, cross-Atlantic marketing has apparently done this man no favors--I mean, his parts on American television are smallsmallsmall, and I've never seen him do a single interview promoting his literary or theatrical work. I read ONE on V for Vendetta, but I think it was in the Guardian--so I'm cheating anyway there. Maybe he just prefers not to cultivate this market? Or maybe he's tried and failed or been told by someone in charge of representing him that he's Too British For Us (and I could definitely see that)?
*EDIT* Also having wiki'd him, I think I'd like to see an ep of QI. It sounds weird but potentially promising.
Ghost Ship: mild to heavy *:*SPOILERS*:*
Ghost Ship has some gorgeous shots, and a montage scene of death that outdoes Revenger's Tragedy. The ghost-girl, Katie's, acting is interesting. The transition between her humanity and her after 50 years of being a ghost is well done. A lot of the world building holds together neater than these things usually do in horror movies, and the dynamic between the living and dead captains is understated and compelling.
Every horror movie faces the challenge of reinventing gore, making it startling again. The Dancing Scene near the beginning is shocking, artistically compelling (minus the cheesy but forgivable hand-twitching that reminds you this IS a lowish budget horror movie), and even a bit felt. The previously mentioned montage scene of death is chaotic, choreographed--operatic, really. It's persistent music and film-school-esque showy jumpy transitions (not Keen Eddie bad, mind) don't really detract from the running women, the sensuously dumped rat poison, the burbling arcs of vomit, the carefully toweled-off sweaty faces of the cradled dying. Katie's expressions during all this--the disgusted wince at her own childish scream, the stoicism in front of a firing line, the hard flicker of pity--do more to tell you about the nature of her current ghostly existence and the horrors of the last forty years aboard the boat than any info-dumping might have.
That said: watch for crap tropes. Femme Fatale is stale and insufficiently driven for the amount to which she figures into the origin story and the contemporary action. Angry Dead Crewman Angrily Blames Captain Even Though It Obviously Isn't His Fault Despite His Noble Guilty Conscience. Latino man dies first, black man second. Points for Ridley-esque heroine and not making a giant deal about the Dude Who Loves Her, but still, even though Katie's a good character-- Little British Supernatural Schoolgirl: she gets around
The film was apparently originally conceived as a the story of four salvagers who get marooned on the ship they attempt to salvage, a tight bottle-episode psychological drama as the salvagers turn against each other, growing paranoid as they drift without real hope of rescue. You can see this lineage in the better-than usual characterization and the uneven but sometimes very good acting.
The addition of a fully realized horror component thus builds on a firm skeleton, and The Twist, while thoroughly cued, does not reach gagging, 'current M. Night Shamlan movie' levels of obvious. Eugh. Just remembered The Happening for a minute. *shudder*
We were debating as to whether The Twist could have been better handled, but while Sam wanted to Gaimen it out with more on the nature of the representative of Evil, and L sort of elected to go with better explaining elements of why he was unique, I felt the audience understands the basic trope at work well enough to not need a ton more mythos? Also, while L is probably right about the details of what he's doing needing a more careful examination in the film, I can't imagine how the movie could go there without ham-fistedly elevating the villain to mythic super specialness or bungling what's an 'evasive-without-being-frustrating-and-seeming-lost' villain M.O. L points out it would work better in a book, and is right.
So overall, an imperfect but relatively well done film that UTTERLY bombed. Poor marketing, methinks. I wasn't interested in seeing the film in theaters. I remember all too clearly the poster that convinced me of this, with a cheesy skull 'Little Photoshop of Horrors''d 'round its prow. Thanks all the same, but no.
L and I's attempt to buy and watch Daywatch failed epically, btw. Though we may do Into the Wild tomorrow.
Gave in and bought: The Liar over The Ode Less Travelled: Unlocking the Poet Within (though having glanced at it I need this book at some point), because Iowa City's Barnes and Noble has to special order Moab Is My Washpot and doesn't even offer Making History. Which is disheartening given my serious alternative history kink. Though I don't know about the supposed breakdown into screenplay format at points. Dubious Erin is dubious. I like format experimentation as much as the next ludicrously pretentious girl, but, er, script format in the midst of a prose piece to "allow a lot of information to be shared in a relatively short space of time," quoth wikipedia? It sounds a little cheapish, but we'll see. He's a good writer, so it's probably 1) more elegant than it sounds and 2) fine. Also, wiki REALLY could have spoiler-warning'd me. I'm going to have to wait till I forget all this to read the thing. Luckily I'm quite tired, so sooner said that done.
Surprisingly Prarie Lights is for once even less well-stocked. Not a damn book by the man. Given that this is not the case across the pond, cross-Atlantic marketing has apparently done this man no favors--I mean, his parts on American television are smallsmallsmall, and I've never seen him do a single interview promoting his literary or theatrical work. I read ONE on V for Vendetta, but I think it was in the Guardian--so I'm cheating anyway there. Maybe he just prefers not to cultivate this market? Or maybe he's tried and failed or been told by someone in charge of representing him that he's Too British For Us (and I could definitely see that)?
*EDIT* Also having wiki'd him, I think I'd like to see an ep of QI. It sounds weird but potentially promising.
Ghost Ship: mild to heavy *:*SPOILERS*:*
Ghost Ship has some gorgeous shots, and a montage scene of death that outdoes Revenger's Tragedy. The ghost-girl, Katie's, acting is interesting. The transition between her humanity and her after 50 years of being a ghost is well done. A lot of the world building holds together neater than these things usually do in horror movies, and the dynamic between the living and dead captains is understated and compelling.
Every horror movie faces the challenge of reinventing gore, making it startling again. The Dancing Scene near the beginning is shocking, artistically compelling (minus the cheesy but forgivable hand-twitching that reminds you this IS a lowish budget horror movie), and even a bit felt. The previously mentioned montage scene of death is chaotic, choreographed--operatic, really. It's persistent music and film-school-esque showy jumpy transitions (not Keen Eddie bad, mind) don't really detract from the running women, the sensuously dumped rat poison, the burbling arcs of vomit, the carefully toweled-off sweaty faces of the cradled dying. Katie's expressions during all this--the disgusted wince at her own childish scream, the stoicism in front of a firing line, the hard flicker of pity--do more to tell you about the nature of her current ghostly existence and the horrors of the last forty years aboard the boat than any info-dumping might have.
That said: watch for crap tropes. Femme Fatale is stale and insufficiently driven for the amount to which she figures into the origin story and the contemporary action. Angry Dead Crewman Angrily Blames Captain Even Though It Obviously Isn't His Fault Despite His Noble Guilty Conscience. Latino man dies first, black man second. Points for Ridley-esque heroine and not making a giant deal about the Dude Who Loves Her, but still, even though Katie's a good character-- Little British Supernatural Schoolgirl: she gets around
The film was apparently originally conceived as a the story of four salvagers who get marooned on the ship they attempt to salvage, a tight bottle-episode psychological drama as the salvagers turn against each other, growing paranoid as they drift without real hope of rescue. You can see this lineage in the better-than usual characterization and the uneven but sometimes very good acting.
The addition of a fully realized horror component thus builds on a firm skeleton, and The Twist, while thoroughly cued, does not reach gagging, 'current M. Night Shamlan movie' levels of obvious. Eugh. Just remembered The Happening for a minute. *shudder*
We were debating as to whether The Twist could have been better handled, but while Sam wanted to Gaimen it out with more on the nature of the representative of Evil, and L sort of elected to go with better explaining elements of why he was unique, I felt the audience understands the basic trope at work well enough to not need a ton more mythos? Also, while L is probably right about the details of what he's doing needing a more careful examination in the film, I can't imagine how the movie could go there without ham-fistedly elevating the villain to mythic super specialness or bungling what's an 'evasive-without-being-frustrating-and-seeming-lost' villain M.O. L points out it would work better in a book, and is right.
So overall, an imperfect but relatively well done film that UTTERLY bombed. Poor marketing, methinks. I wasn't interested in seeing the film in theaters. I remember all too clearly the poster that convinced me of this, with a cheesy skull 'Little Photoshop of Horrors''d 'round its prow. Thanks all the same, but no.
L and I's attempt to buy and watch Daywatch failed epically, btw. Though we may do Into the Wild tomorrow.
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no subject
Date: 2008-07-22 07:16 am (UTC)then he goes back to prose with 'I sat there for a bit, at the kitchen table, feeling seriously cheesed.
I fade from the Hollywood screenplay format to dull old, straight old prose bcause that's how it felt. That\s how it alway feels in the end' (this is the first time. Also just for kicks one of my favourite lines from the next page after this 'The perfect stage hero is Hamlet. The perfect film hero is Lassie'.
as michael/stephen explains 'in movies things happen. You are what you do. What's inside your head means nothing until you act.' i mean, yes, essentally, that's what wikipeida says but its there FOR A REASON and oh, all of its good. it's so good. i may be biased because it's my favourite book ever and i want people to like it, but it's my favourite book ever because it says things like this. (ah - recurrsion! oh, no, castravalva!)
... but i'm glad you went out and looked for stephen fry books :) it pleases me to share the stephen. i hope you enjooy the liar (i don't know what's going on in the clothes bit either... so, er, just go with it. it picks up.)
no subject
Date: 2008-07-22 07:17 am (UTC)in my opinion.
also this post got twice as long whilst was typing that last comment. interesting.
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Date: 2008-07-22 07:19 am (UTC)no subject
Date: 2008-07-22 07:21 am (UTC)(btw, Jimmy Carr is a 35yr old British Patch. Straightup).
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Date: 2008-07-22 07:29 am (UTC)*eyeroll* Patch incarnations. Typical.
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Date: 2008-07-22 07:50 am (UTC)no subject
Date: 2008-07-22 07:52 am (UTC)no subject
Date: 2008-07-22 07:28 am (UTC)Oh yeah, my post grows by maaagic, it's how I write so fast... yes, correctly guessed, lj cut was There All Along. .
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Date: 2008-07-22 07:24 am (UTC)Um, no, see, this is so not what wiki says, b/c wiki's isn't even like, a reduction--rather it's the burnt crust left at the bottom of the saucepan when you turned up the heat far too high and wandered off for the better part of an hour to finish your soaps. ...Oh, cooking metaphor. I couldn't resist you.
!! Recursion. When oh when is talk about Planet of Fire time. You still have to watch Caves SO YOU CAN FEEL THE THEMEZ!! I swear I am not over-analyzing that. ...much.
I was wondering 'what is this clothes bit, oh well, I'll soldier on'!
no subject
Date: 2008-07-22 07:31 am (UTC)no subject
Date: 2008-07-22 07:37 am (UTC)Trial by stone?
Date: 2008-07-22 07:39 am (UTC)Trial by stone.
Date: 2008-07-22 04:42 pm (UTC)no subject
Date: 2008-07-22 12:04 pm (UTC)got a bit over excited in my explanation, upon re-read but it's all true. and i would defend my 'best books ever written' with another 'in my opinion', but acutally i don't want to. i think they are. not everyone necessarily agrees, but some of the people i give them to agree, and they are the people who like the books. the bits with the clothes baffle me completely, but they are supposed to baffle you and you can get the general idea, i think. i do REALLY love the liar, but making history is my properproper favourite.
another quotation from making history for you since i remembered i had it stored on my livejournal from october. this is our narrator, michael, talking about why he's a historian instead of a literature student. it's becuase he can't talk properly about something he loves so much ->
I remember that child in the Dickins novel, Hard Times I think it is, the girl who had grown up with carnival people, spending her days with horses, tennding them, feeding them, training them and loving them. There's a scene where Gradgrind (it is Hard Times, I've just looked it up) is showing off his school to a visitor and asks this girl to define 'horse' and of course the poor scrap dries up completely, just stutters and fumbles and stares hopelessly in front of her like a mong.
'Girl number twenty unable to define a horse!' Gradgrind says and turns with a great sneer to the smart little weasel, Bitzer, a cocksure street kid who's probably never dared so much as pat a horse in his life, gets a kick out of throwing stones at them I expect. This little runt stands up with a smirk and comes out pat with 'Quadruped. Graminivorous. Forty teeth...' and so on, to wild applause and admiration.
'Now girl number twenty you know what a horse is,' says Gradgrind.
Well, each time I was asked to write an essay at school, with a title like 'Wordsworth's Prelude is the Egotism without the Sublime: Discuss' I felt, when I got back my paper marked E or F or whatever, as if I were the stuttering horse-lover and the rest of the class, with their As and Bs were the smart-arsed parroting runts who had lost their souls. You could only write successfully about books and poems and plays if you didn't care, really care, about them. Hysterical schoolboy wank, for sure, an attitude compounded of nothing but egotism, vanity and cowardice. But how deeply felt.
back ot me again: planet of fire time soon, yes, definitely. and i have watched caves but ages ago back when i didn't care what was happening and skipped out episode three entirely so i will go back and watch it soon and then we will talk :)
no subject
Date: 2008-07-22 04:06 pm (UTC)Hey, remember your friend Prince Caspian the wood-faced? (http://www.imdb.com/title/tt1235124/) o_O. Also, that is one great plot synopsis. It sounds so v. compelling and layered.
...
Yeah, who writes these synopses/press releases?
I actually--it's a marvelous quote? And I like what it does for characterization of this guy and use of allusion without making him into a Mouthpiece, necessarily... but I really kind of want to argue with the character about it now. Which I suppose is a good thing. 'Cause I've got like, a list of reasons why that's not necessarily so. That's the trouble with book characters, they're so unobliging about being real people you can contradict successfully.
...okay, but obviously if you have a certain analytical turn of mind then for you the act of examination isn't disembodying the work, it's examination that can grow to deeper love of the book/play/movie. It's like loving a person, isn't it? Looking at the way in which you're attached to them, thinking about the way they work as a person or what their flaws and strengths are (because you can totally cherish flaws, and it's not as if you can atomize a person/book and only love the good bits without understanding that the gestalt thing is equally the product of its positive and negative traits and there's no way to successfully scoop out the negative elements because they're part of the same cohate, inter-dependent whole) is only going to change your understanding/deepen your relationship with the person/text, and isn't going to necessarily be something you can't do because you're baffled by this unfathomable surge of feeling, or in any way a cheapening soul-loosing experience, IF you're naturally so inclined. Because if you're analytical, the, like 'the unexamined life is not worth living,' the unexamined cherishing is incompletely explored/developed.
But I /suppose/ that assuming that people who can't talk about what they love are not, as I have rudely previously assumed, unthoughtful or inarticulate: they just love their Stuff in a way I can't completely access or understand. Which frustrates me. But it is valid.
...wait, why am I going on about this point to you ad naseum? You're not Michael!
I think the Caves thing is subtle but way readable as the underlying source of Five's weird depression all ep. And then Not Subtle at the v. end. So yes. Worth a fresh look. And feel free to call me batshit after.
Aaaaand back to house cleaning. ew. I was wrenching all the magnetic poetry words off the sticky fridge? I bought two sets in freshman year, Regular and 'Erotic' for the lulz (note: not one of my better ideas. The lulz were, in fact, few). The one I couldn't get off was the word 'orgasm.' IRONY.
no subject
Date: 2008-07-22 04:50 pm (UTC)as for the making history, conveniently it's quite valid of you to go on about it to me, beause the reason the quotation appeared in my livejournal to begin with was because i was getting stephen to say what i could not: after i'd just crashed in an interview when asked why it was i liked life on mars. obviously i spend alotalotalot of time talking about the things i love, but i don't really know what it is that i like about them, i just love them. doctor who, particularly, is a puzzler given that it so frequently makes me angry and embarrassed with its rubbishness. since this time i have thought hard about why i love life on mars in case i am asked again, but alas no one has. they're all made up reasons really though, so that's ok. the real reason is - because it's great! ... which did not get me a job, oddly enough.
shoud really go home, but i'll talk more on this later if you like ;)
also i laughed very loudly at your fridge poetry story of woe, but fortunately all work people think i am mad so they don't even notice this any more. i have fridge shakespeare and romantic (which is pink, but rubbish) and also... ransom note? that's the onyl one we use but it's got so frustratingly few letters that i very rarely do becuae you can't write anything.
anyway - home! speak to you soon.
no subject
Date: 2008-07-22 08:54 am (UTC)"'in movies things happen. You are what you do. What's inside your head means nothing until you act.'"
Ah! That's such a perfect summation of what's good and bad about film and cinematic characterization/pacing! *flail*
no subject
Date: 2008-07-22 07:32 am (UTC)Also, whenever you wanna do Into the Wild, gimme a call. I will wake the fuck up for that shit. Hell, if you don't have to go home RIGHT away, we could do the whole incongruous move marathon idea and watch Day Watch after it just to cheer up or some shit (for Best Buy will be OPEN, so I may OWN IT). ....(the movie, not Best Buy.)
no subject
Date: 2008-07-22 07:43 am (UTC)We should do it tomorrow, pissing off my editor Even More b/c I'd so, so not be ready with my portion of that assignment. BUT I have Srs Cleaning and Srs Laundry to do here at the house, at least in the morning--perhaps we could do in noonish whilst I Fold Shit? Bring your laptop, maybe?
Also: is Katie 'Test Card Girl'? o_O Not the same actress, but spiritually...
no subject
Date: 2008-07-22 07:53 am (UTC)Noonish works for me. I can pester you via phone 'round then; if I haven't, call me, for I do like to be conscious before it's afternoon but given that it's almost 3:00 now I might not be and that's unfortunate. I can grab movies and haul over laptop and hopefully your internet won't hate my computer if I get bored. (Or I could, you know, actually write shit. *gasp*)
...very possibly. Ghost!Katie, of course. Living!Katie much too screamy for that.
I wanna watch the death montage again because I somehow missed some of Katie's facial expressions in it -- or at least, I wanna go back and re-watch just to analyse all of those I vaguely remember, now.
no subject
Date: 2008-07-22 07:56 am (UTC)