Oh Well

Ye olde local started showing this one so we saddled up to support local business and see what the hype was all about.

As the end credits rolled, I turned to The Goddess and said, Well, and she loooked at me and said Well, and we hugged each other because it was nice to get out and support local business.

In an unprecedented move in our relationship, we returned forthwith to Fortress Mamea and watched the following two films in very short order:

 

It was an exhausting, essential cleansing process but well worth the time.

Postscript: Chris W at The Editing Room deconstructs the film perfectly, with my favourite abridged script line being:

CHARLIZE invites NOOMI and LOGAN to her FORESHADOWING ROOM.

.

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Haywire

I’ll watch anything by Steven Soderbergh – and if it’s a genre piece, I’m quite likely to add it my library.  Copies of TrafficThe LimeySolaris, Out of Sight, and Ocean’s Eleven have pride of place on the shelves.  (The absence of Erin Brockovich and the Ocean sequels is, I think, self-explanatory.)

When I heard Soderbergh was making an action film, my Pavlovian response was predictable.  An awesome roll call of actors.  The writer of The Limey.  Exotic locales.  Its arrival on these shores couldn’t happen quickly enough.

It skipped a theatrical release and went straight to DVD.  I watched it and kinda liked it.  I watched it again – this time with The Goddess – and liked it more.  And I think I’ll watch it again.

This excellent Editing Room abridged script both captures and highlights what I really enjoy about Haywire:  it upsets my expectations of an action thriller while still giving me an action thriller.  It’s no masterpiece.  It’s a genre exercise.  The story is familiar as all get out.  Lead Gina Carano‘s game acting is surrounded by an excellent supporting cast who get into the spirit of things rather than just slumming it.  Soderbergh’s crisp direction and Dobbs’ deft script provide 93 minutes of action, thrills and suspense.

I think it’s a keeper.

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Occam’s Tafi

INT. CAMRY SPORTSWAGON – DAY

Our WRITER drives while his GODDESS rides shotgun.

WRITER

I’m thinking of revisiting my ethnic horror project –

GODDESS

I know what happens!

-- he glances at her, a little surprised, as --

GODDESS (CONT’D)

A bunch of islanders go to KFC --

(dramatic pause)

-- AND THEY’VE RUN OUT OF CHICKEN!

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Fifth and Final

Yay that X-Files alumnus Vince Gilligan‘s Breaking Bad has returned to the airwaves Stateside.

Boo that a). it’s the final season, and b). that it’ll be split up into two parts of eight eps each*.

All good things must, I suppose, come to an end.

Fortress Mamea awaits our free-to-air broadcasters’ programming whims.

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In for the Money

INT./EXT. FORTRESS MAMEA – VARIOUS

ON A MACBOOK SCREEN where the following exchanges are by email (we’ll leave it to the Director to worry about how the hell to do it).

TITLE: “One week after a job well done”

WRITER

(email)

Well that was fun! When do we find out if it made any money?

EXECUTIVE

(email)

That was fun, wasn’t it? Still working through things. Get back to you in a few days.

TITLE: “Two weeks after a job well done”

WRITER

(email)

Hey, just wondering how those negotiations are going.

EXECUTIVE

(email)

We’re just querying a couple of things with the distributor. Get back to you later in the week.

TITLE: “Four weeks after a job well done”

WRITER

(email)

Hard to believe it’s been four weeks already! Any news on your negotiations?

EXECUTIVE

(email)

I know! A month. Wow. We’re just finalising settlement – looks like we’ve got [REDACTED] dollars to work with.

WRITER

(email)

That’s great! What’s my share?

No response.

WRITER

(email)

Hello?

No response.

WRITER

(email)

Hello?

THE END.

Note: Closure in drama is, in my humble opinion, overrated ;)

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In for a Pound

INT. EXECUTIVE OFFICE – DAY

Our WRITER sits across from an EXECUTIVE.

EXECUTIVE

Thank you for the contract.

WRITER

You’re welcome.

EXECUTIVE

I realise now that what I sent through wasn’t close to what we discussed –

Our Writer shrugs – there’s a flash of De Niro in his execution.

EXECUTIVE

– but I’m glad we’re both on the same page now.

WRITER

I’m glad, too.

EXECUTIVE

Especially since our last conversation – we’re just going to have to agree to disagree on how you came on board this project. You’re entitled to your opinion. I get that.

The Writer opens his mouth. Then shuts it.

EXECUTIVE

Right then. Onto this.

(holds up CONTRACT)

Just a couple of things. Clause 2.1 – I’d just like to give that a tiny tweak –

WRITER

What kind of tweak?

EXECUTIVE

Well – my colleague was a bit uncomfortable about its implications –

WRITER

It’s a straightforward clarification of –

EXECUTIVE

Yes, yes and -, well, my colleague – we discussed it at length and I think I’m gonna have to agree with him – my colleague and I would like to remove that clause.

Our Writer is very still. So still we need to look over his shoulder to see some waving palm trees in the distance to know that we haven’t freeze-framed or anything. Meanwhile --

EXECUTIVE

(off contract)

And then there are clauses 7.3 and 9.1 to 9.5 –

WRITER

You want to ‘tweak’ those as well?

The Executive nods and smiles and turns a page of the contract.

Our Writer takes a leap:

WRITER

You want to remove those as well?

The Executive almost claps with delight:

EXECUTIVE

Exactly.

WRITER

You’ve had that contract for a while now, you told me on the phone a week ago that you’re good to go with it, that you just had some minor – “teeny tiny” I believe you said – some minor changes to the contract, and those tweaks involve the removal of standard clauses?

The Executive cocks his head:

EXECUTIVE

... Is that a trick question?

Our Writer takes another leap:

WRITER

If – if – I were to agree to those changes, would you sign the contract –

EXECUTIVE

I’d love to sign the contract –

WRITER

But?

EXECUTIVE

Well... without my colleague – he’s in Mozambique at the moment – without him it just wouldn’t be right if he wasn’t here to sign it as well –

WRITER

So you’re not even going to sign the contract –

EXECUTIVE

I didn’t say that – I mean, come on: what’s another week? You’re working in good faith already, aren’t you? We believe in you. My colleague, he might have had some concerns, but I’ve alway backed you to the hilt and I’ve made that crystal clear to him every time you come up in conversation.

WRITER

If you don’t sign this contract, I’m walking.

EXECUTIVE

(does a silent ‘WHOA!’)

Is that any way to talk to a friend? What’s one week? What’s a few teeny, tiny changes to this contract that you’ve -, you’ve foisted on us?

WRITER

‘Foi-‘?

(takes a breath)

You sent me an email saying, ‘We don’t have a boilerplate contract – please send through one of yours’. Which I did. At my own cost.

EXECUTIVE

And thank you for that. It’s just... I’m not comfortable signing it right now.

Our Writer gets to his feet and leaves the office.

TO BE CONCLUDED.

Note: … Ah: a Hollywood ending.

What really happened was: I girded my loins and stayed and negotiated. No clause removals were necessary. I got it signed. The whole process took a number of hours even though I’d only scheduled a quarter hour.

I had a contract.

I did the job.

And as it shrinks into the distance behind me, I lustily sing as I type this, and try to learn something from the experience.

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In for a Penny

INT. KEEP, FORTRESS MAMEA – DAY

Our WRITER takes a PHONE CALL:

VOICE

(V.O.; filter)

Hey ol’ buddy, ol’ pal, ol’ friend!

WRITER

(into phone)

Who is this?

VOICE

(V.O.; filter)

Don’t be like that! I’m in a jam, matey.

WRITER

(into phone)

Yeah?

VOICE

(V.O.; filter)

I’m in the middle of pre-production and one of our creatives has dropped out and I was sorta wondering/hoping/praying that you could do me a solid.

Our writer looks up at his WALL PLANNER. It’s very colourful.

WRITER

(into phone)

Uhm –

VOICE

(V.O.; filter)

Puh-leeease? For me? For your fellow man? For your country?

WRITER

(into phone)

Sure.

CUT TO:

INT. KEEP, FORTRESS MAMEA – DAY

TITLE: “One Week Later”.

Our Writer is noodling through the New Zealand Herald website, talking on his HEADSET, when he pauses:

WRITER

(into headset)

Excuse me?

VOICE

(V.O.; filter)

– what?

WRITER

(into headset)

You said something just then –

VOICE

(V.O.; filter)

What -, oh yeah, I was just saying that since we gave you this opportunity –

WRITER

(into headset)

You gave me this opportunity?

VOICE

(V.O.; filter)

There something wrong with this line?

WRITER

(into headset)

Are you saying you’re doing me a favour?

VOICE

(V.O.; filter)

That’s what I’m saying, buddy – don’t get me wrong, it’s okay, together we’ll make something of this.

Our Writer looks up at his wall planner, our earlier colour scheme a little interrupted by a short, brutal injection of black.

VOICE

(cont’d; V.O.; filter)

Now as I was saying,...

PULL BACK as our Writer sits back in his seat, a rueful smile forming, the noise from his headset fading.

TO BE CONTINUED.

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dfmamea.com: Year Six

Well, goodness gracious.

After all the excitement here and there, this site’s sixth anniversary seems to have popped up out of freaking NOWHERE.

But not really.

You know what I mean.

‘Re still here.

Still writing.

Roll on the next twelve months then.

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