The Revolution begins anew
Writing to do’s
A scene outline:
1st act general guidelines: introduce Chris, Gabe, Mr. Godfrey, Constance, Janice and Dr. Liberty Trung. Incite with the “terrorist” act. Conclude with the acceptance of a date.
1. Chris has a conversation with Mr. Godfrey, trying to break to him that he's getting a temp as a personal assistant
2. Gabe rides in on his motorcycle, sees the protestors in animal suits. A security team that looks like a futuristic riot squad uncorks a fire hose and mow down the protestors. The costumed carnage escapes into the storm drain.
3. Constance views from the window, sipping coffee. She tells Chris that he’d better get Gabe before security does.
4. Gabe is seized by security and ushered in to Liberty Ho’s office/torture chamber. She gives him a very invasive medical check-up.
5. Chris rescues Gabe from security. Gabe will be his personal assistant. Chris begins the tour.
6. “Let’s start from the bottom and work our way up.” Gabe sees two-headed Kirby in the labs. Gabe trips over the main power cable and gets a stern talking to from Mr. Godfrey.
7. Left alone at his desk for the first time, Gabe stares around at the blank, ugly confines of his walls. Zombie-like co-workers refuse small-talk, demanding only coffee.
8. Gabe runs around frenetically bringing everyone coffee. Constance shows mercy and hides him in her office and then fetches him a cup of coffee. Gabe spends the next hour retching in the toilet.
9. The day ends: Chris is the last one in the building, until he's surprised to see Gabe exit the women's restroom. Before Gabe can hustle out the excuses, Chris enlists him in planning Constance's surprise birthday party.
10. The surprise is ruined by Janice, as she runs screaming from the bathroom.
11. Chris calms everyone down, seeks out Godfrey, finds out he's unplugged.
12. Chris goes before the board, takes the blame. Gabe is outside, confessing to Constance that he kicked it out and if that means its the end of him. Constance reassures him: Chris always takes the fall for his employees.
13. Gabe brings Constance coffee, but offers to take her to a better place.
14. Chris descends, haggard from a brutal cross-examination from the board. His party goes pffft when he realizes that Constance is gone, an early exit, with Gabe, the guy he just took a bullet for.
15. Gabe convinces Constance to play hookie for the rest of the day.
16. Chris, his relentless energy sapped, has to fight off Mr. Godfrey from firing Constance. Depressed, he hits the bottle of highly experimental serum from the lab. This begins to make him delusional (he talks to Kirby, sees Mr. Godfrey everywhere and becomes increasingly erratic in his behaviour.)
17. Gabe and Constance break into a zoo and free a few animals.
I'm at a loss for what comes after this. I'm in need of a reason for Gabe to be hired. A personal assistant? Why not Constance? A fresh new face? Wouldn't that be admitting that the workplace is oppressive and bleak? Maybe that's what peeves Godfrey. The company needs something more sinister. They are a cosmetics company. They're cloning faces and heads to put on very rich ugly people. Everyone at Cosmetech is good-looking and young. They all think they've been hired for their excellent resumes. The security people are all masked. Liberty Ho is ugly.
Maybe Constance could get thrashed by a tiger at the zoo and be in danger of being disposed of at the company. This would put Constance in an anti-animal/adventure mood and force Chris into being the savior. Nice little midpoint. Constance returns to Chris. Gabe is suspicious, breaks into the lab. Comes across the evil Liberty Ho again. Injects him with a serum that makes him go a little crazy, a la Gibson in Conspiracy Theory.
So Gabe is the protagonist. He comes to the evil corporation to overthrow it and unleash the animals and people. But he's distracted by his infatuation with Constance. He leaves off his investigation to visit her. He risks his job and the respect of his father to take her out. Then it backfires. She rejects him for the safer man, and their whole operation is placed in danger. Worse yet she puts herself in danger of becoming like everyone else with the facial cream. Now he must get to the bottom of their operation and foil their plans before its too late.
Of course for this to work I need an active antagonist. Constance is a reactive antagonist, a catalyst for Gabe uber-idealism. Chris is a more dangerous antagonist. His wilful ignorance makes him the perfect pawn. So it's a domino effect. Gabe gets Constance, Constance gets Chris and Chris gets Godfrey and Ho. Or maybe just Constance. Gabe gets Constance, who plays off of Chris's obsession to save Gabe and then free the coworkers.
So what is Chris/Godfrey's evil plan? To use Gabe as a decoy to capture the rest of the activists might be a cool homage to Robin Hood. One man is dangerous, but not as dangerous as a whole army.
Jun 7, 2008
May 27, 2008
The Last True Flea Market
Consumers requiring a finely maintained used magic carpet, carnivore cactus or any other magical antiquites of the old desert have only one place to turn to: the Flea Market of Potar. Here you see Trader Zeno riding in for the annual event from the dust gales. He rides a rare Indignant Dust-Flea. These majestic, sensitive creatures hide on the backs of wild camels until they are captured by travellers such as Zeno. The traders make use of irreverent insults to offend the noble creature until they swell to a great size with indignance and render themselves a fine and speedy flotation device. Without his beast, Zeno could not hope to traverse the Gales to the tiny and remote locales where the last original magic carpets were made or to the great cities of industry where emigrants would sell their old rugs for discount prices; it is thus out of necessity that Zeno berates his mount so incessantly. If they were to make any sort of amends, Zeno's ride would shrink in happiness and he and his rugs would be left alone and helpless in the Gales.
The mouse in the cage is the formerly great sorcerer Moze, stripped of his human form by an old rival and forever confined to the cage. The indomitable Moze overcame his small stature and the limitations of his confinement to open a pawn shop just outside of Potar. He is one of the few merchants who keeps his shop open year round. His maintains his livelihood by animating whatever stray objects traders sell him and selling them as oddities or companions to travelers or keeping them as friends and servants.
The mouse in the cage is the formerly great sorcerer Moze, stripped of his human form by an old rival and forever confined to the cage. The indomitable Moze overcame his small stature and the limitations of his confinement to open a pawn shop just outside of Potar. He is one of the few merchants who keeps his shop open year round. His maintains his livelihood by animating whatever stray objects traders sell him and selling them as oddities or companions to travelers or keeping them as friends and servants.
Apr 7, 2008
On Navigating the Doldrums of School
Could I, should I write a new version of The Language of Peace: Second Language Struggles of a Korean Missionary? For those of you not in the know (everyone), this is the latest in a string of school assignments that I’m not really interested in. The analysis of language has as much interest for me as discussing Egyptian hieroglyphics. It’s theoretically interesting and occasionally colorful but it offers no real potential for dramatic flair. After all I’m talking about the bones of language. Unless I construct a fancy and meaty analogy to sustain me through the whole ordeal I’m stuck with a dry, abstract subject with very little at stake, in terms of both GPA and ideological importance.
Such is the case with so much of my schooling: I must master the basic forms before I can move on to the dynamic stage of creation - drool with the dogs before I rule with the gods, if you will. I must prostrate myself before the supposedly foundational pillars of knowledge. Yet I have a rebellious disposition. For all I lack in discipline and in spite of the glaring absence of a few organs in my body of knowledge, I think I have a critically thinking mind. That should be enough to begin a creative endeavor and forsake all these academic fitness exercises.
‘Patience, eager heart,’ comes the warning of my melodramatic inner voice. I remember that my mother told me to make each professorially mandated postulation (I don’t want to say school assignment) a creative project of its own. She believes each superficially dull assignment can be mined for glittering bits of dramatic inspiration and that the useless rubble surrounding it should be ground into mortar to build a showcase for such gems. In Psycho, trusty old Norman Bates assures us that ‘a boy’s best friend is his mother’ and despite that man’s deficiencies, he did have a point. Mothers are the best people to turn to when in need of coping mechanism, and what do schoolboys need more than coping mechanisms?
With maternally-bestowed moral compass as my guide, I shall return to those ventures previously curtailed by extended stays on the sickbed of severe boredom and more appealing prospects in the great land of Procrasti-Nation. I urge you to do the same. Who knows what treasures we shall forge from the dross of academia?
Such is the case with so much of my schooling: I must master the basic forms before I can move on to the dynamic stage of creation - drool with the dogs before I rule with the gods, if you will. I must prostrate myself before the supposedly foundational pillars of knowledge. Yet I have a rebellious disposition. For all I lack in discipline and in spite of the glaring absence of a few organs in my body of knowledge, I think I have a critically thinking mind. That should be enough to begin a creative endeavor and forsake all these academic fitness exercises.
‘Patience, eager heart,’ comes the warning of my melodramatic inner voice. I remember that my mother told me to make each professorially mandated postulation (I don’t want to say school assignment) a creative project of its own. She believes each superficially dull assignment can be mined for glittering bits of dramatic inspiration and that the useless rubble surrounding it should be ground into mortar to build a showcase for such gems. In Psycho, trusty old Norman Bates assures us that ‘a boy’s best friend is his mother’ and despite that man’s deficiencies, he did have a point. Mothers are the best people to turn to when in need of coping mechanism, and what do schoolboys need more than coping mechanisms?
With maternally-bestowed moral compass as my guide, I shall return to those ventures previously curtailed by extended stays on the sickbed of severe boredom and more appealing prospects in the great land of Procrasti-Nation. I urge you to do the same. Who knows what treasures we shall forge from the dross of academia?
Jan 19, 2008
Ron Paul-ism
I may stealing from Pieter (Friedrich) to pay (Ron) Paul a compliment, but I'm going to anyway. Paul does the world a service by demonstrating that integrity can and shoukd be a wide and sturdy plank for any campaign platform.
I'm a surly critic by nature, so I discovered this with some reticence. I hadn't discovered this Ron Paul guy and I certainly didn't want to jump on the bandwagon late, so I've been trying to feed my ignorant skepticism with meaty question marks about the man. Once obtained, I could lord my knowledge over the frenzied Ron Paul supporters until they broke down, at which point I would comfort them with a wet blanket.
But Ron has too much integrity to make this an easy task. Basic moral integrity is something a few other candidates in the race can claim to, but none can boast of the immense doctrinal integrity Paul has shown over his many years of Congressional service. If there's an issue he's making a fuss about in a debate, you can be darn sure he's been making the same fuss for the last 30 years, by word and action.
In keeping with my curmudgeonly ways, I'm much more interested in pursuing a few more potential chinks in Paul's armor than ceding him my vote. For now let him be a proud man to have earned my praise.
I'm a surly critic by nature, so I discovered this with some reticence. I hadn't discovered this Ron Paul guy and I certainly didn't want to jump on the bandwagon late, so I've been trying to feed my ignorant skepticism with meaty question marks about the man. Once obtained, I could lord my knowledge over the frenzied Ron Paul supporters until they broke down, at which point I would comfort them with a wet blanket.
But Ron has too much integrity to make this an easy task. Basic moral integrity is something a few other candidates in the race can claim to, but none can boast of the immense doctrinal integrity Paul has shown over his many years of Congressional service. If there's an issue he's making a fuss about in a debate, you can be darn sure he's been making the same fuss for the last 30 years, by word and action.
In keeping with my curmudgeonly ways, I'm much more interested in pursuing a few more potential chinks in Paul's armor than ceding him my vote. For now let him be a proud man to have earned my praise.
Sep 7, 2007
Might as well call him Midas Wells
Lajos Egri says every drama must have a premise. Premise equals purpose, theme, root-idea and a bevy of other terms invented by writers to describe the same thing. I'll try not to add on to the pile. I'll just make myself an Egri acolyte and call it the premise. Which leads me to ask myself a question: what is the premise of Midas?
Character defeats thuggery? Sincerity prevails in the face of conformism? I think these are pretty straightforward premises. Midas and Charles represent the character, D represents thuggery. Can one have a complimentary premise? I haven't advanced far enough in Egri's book to know for sure. If so racism and cultural identity are definitely good material for a secondary premise. Something simple along the lines of "love determines family over race."
It's surprisingly deflating to know exactly where we're going with this story. Still, it's nice to feel a strong handle with which I can direct the plot.
Jimmy and I have differed on the opening. I favor the functional opening at the park. I might favor a montage of inner city festivities. A barbeque here, some kids running around, guys staring each other down, competition on the asphalt jungle. A gospel soundtrack. LA's inner city's got needs. Big ones. And if rich white folk are willing to come in and live here and try to make a difference, more power to themm. But you got to understand. This is a whole different world than you're used to. This is an asphalt jungle and there are rules in this jungle. Much different than the country.
Brother, you know that and I know it, but that don't change the fact that we need all the help we can get. And this family is solid. I've know John for years and the man does not back down from anything. When a man like that comes to you offering, you don't turn him down. So let's give these people a chance, throw our weight behind them. Besides, I think you'll find them a little different than your average white family.
Character. Do I know my characters? Midas. 6'4, black, athletic build. Christian. Born and raised in Bakersfield. Moving in to LA. 756Raised by a white family. His father is a preacher/real estate agent. He's made a bun565dle selling homes and now765 he wants to get back to preaching, in his old neighborhood. Midas was 68rdening, feeding 7. He667 also like playing piano in the church, reading, talking philosophy with677 his556 dad, talking music with567 his sister, wrestling with his brother and cooking with his mom.
and discipled under them for a few months before suffering a breakdown and committing suicide. The immense trauma of those two events and the young ages of the children prompted the Fergusons to move to new territory and sr56878685e6tart afresh.
The Midas bandwagon breaks down as they enter into the inner city. They push the old wagon into Walker Bros. Mechanics. Charles p[9088t67side and pops the hood. He means to check the oil but instead pops off the water lid and gets some hot dirty water spraying up in his face. Alicia looks away a little sheepish876869897890870ly. M7687idas pops up ea768gerly78 by Charles' side, asking what the problem is. Charles comments on Alicia's "fineness." Midas089098 reveals to Charles' embarrassment and amazement that Alicia is his sister.
Character defeats thuggery? Sincerity prevails in the face of conformism? I think these are pretty straightforward premises. Midas and Charles represent the character, D represents thuggery. Can one have a complimentary premise? I haven't advanced far enough in Egri's book to know for sure. If so racism and cultural identity are definitely good material for a secondary premise. Something simple along the lines of "love determines family over race."
It's surprisingly deflating to know exactly where we're going with this story. Still, it's nice to feel a strong handle with which I can direct the plot.
Jimmy and I have differed on the opening. I favor the functional opening at the park. I might favor a montage of inner city festivities. A barbeque here, some kids running around, guys staring each other down, competition on the asphalt jungle. A gospel soundtrack. LA's inner city's got needs. Big ones. And if rich white folk are willing to come in and live here and try to make a difference, more power to themm. But you got to understand. This is a whole different world than you're used to. This is an asphalt jungle and there are rules in this jungle. Much different than the country.
Brother, you know that and I know it, but that don't change the fact that we need all the help we can get. And this family is solid. I've know John for years and the man does not back down from anything. When a man like that comes to you offering, you don't turn him down. So let's give these people a chance, throw our weight behind them. Besides, I think you'll find them a little different than your average white family.
Character. Do I know my characters? Midas. 6'4, black, athletic build. Christian. Born and raised in Bakersfield. Moving in to LA. 756Raised by a white family. His father is a preacher/real estate agent. He's made a bun565dle selling homes and now765 he wants to get back to preaching, in his old neighborhood. Midas was 68rdening, feeding 7. He667 also like playing piano in the church, reading, talking philosophy with677 his556 dad, talking music with567 his sister, wrestling with his brother and cooking with his mom.
and discipled under them for a few months before suffering a breakdown and committing suicide. The immense trauma of those two events and the young ages of the children prompted the Fergusons to move to new territory and sr56878685e6tart afresh.
The Midas bandwagon breaks down as they enter into the inner city. They push the old wagon into Walker Bros. Mechanics. Charles p[9088t67side and pops the hood. He means to check the oil but instead pops off the water lid and gets some hot dirty water spraying up in his face. Alicia looks away a little sheepish876869897890870ly. M7687idas pops up ea768gerly78 by Charles' side, asking what the problem is. Charles comments on Alicia's "fineness." Midas089098 reveals to Charles' embarrassment and amazement that Alicia is his sister.
Aug 16, 2007
Falling Skies
Is the market crashing? As an American, I've long taken for granted that I control my own destiny. Hard work, talent and unrelenting commitment make dreams happen. That's the formula for the American dream. If making dreams come true is difficult in an economic boom with no major security threats (no Cold War or fascist dictator clouding up my career fantasies), how much harder would it be when the market bottoms out and terrorist attacks come in droves? Perhaps a little easier?
When an environment is static, the general apathy and lethargy of the populace plays into the hands of the powers that be. In regards to the entertainment industry, they just keep on turning out the same potboilers, hoping to duplicate the success of past innovators. Yet the entertainment industry has always done this. Can there be any crisis that effects the entertainment industry. All I have to offer is to conjecture and baseless speculation, but the answer that leaps from my tongue is no. Hollywood has always been the same. Maybe the mood changes, but the films just keep on coming. There were a ton of movies that came out in the 30s. Gangster movies, detective movies, screwball comedies, safari adventures, Garbo flicks and smalltown romances spawned in numbers comparable to those in prosperous decades. Maybe they were a bit louder, cruder and more fantastical then the ultra-conservative, patriotic offering of the 40s and early 50s, but they were all just entertainment at their cores, and often employed the same people.
Entertainment changes only with the tastes of the people. People will always crave entertainment. In bad times, they may want some outrageous flavors to distract them, in sad times, some sugarsweet stuff to release the seratonin, in boring times something spiked to give them energy, or entirely new to give them direction. The entertainers are just chameleons.
When an environment is static, the general apathy and lethargy of the populace plays into the hands of the powers that be. In regards to the entertainment industry, they just keep on turning out the same potboilers, hoping to duplicate the success of past innovators. Yet the entertainment industry has always done this. Can there be any crisis that effects the entertainment industry. All I have to offer is to conjecture and baseless speculation, but the answer that leaps from my tongue is no. Hollywood has always been the same. Maybe the mood changes, but the films just keep on coming. There were a ton of movies that came out in the 30s. Gangster movies, detective movies, screwball comedies, safari adventures, Garbo flicks and smalltown romances spawned in numbers comparable to those in prosperous decades. Maybe they were a bit louder, cruder and more fantastical then the ultra-conservative, patriotic offering of the 40s and early 50s, but they were all just entertainment at their cores, and often employed the same people.
Entertainment changes only with the tastes of the people. People will always crave entertainment. In bad times, they may want some outrageous flavors to distract them, in sad times, some sugarsweet stuff to release the seratonin, in boring times something spiked to give them energy, or entirely new to give them direction. The entertainers are just chameleons.
Jul 8, 2007
The Evolution Jihad
The powers of entertainment and evangelism work side by side to engage the fickle attention of American youth, challenge their vacuous moral commitments and offer them the hope of true freedom in Christ. In this culture, a successful invasion or crusade cannot be made without either of these two elements. You must win the people and then you must show them the truth.
Unfortunately, the attention span of American young people, in college and high school, has shrunk. The window of communication has reshaped itself to be less and less compatible with the full Gospel message as traditionally presented. Shorter sermons, jazzed-up outreach events and increasing outputs of youth-oriented Christian multimedia haven't kept the church in line. More than 80% of young people raised in church will leave, heart and body, before they're done with school.
If Jesus's parable of the single lost sheep out of the 99 can be applied here, the appropriate response is to follow the wayward sheep out of the fold, identify the snares and fetch them back, bringing along those yet to be found. How much more vital is such an expedition if 80 of the flock are gone and countless others linger outside the walls of the fold?
The success of such expeditions has been limited by the cynicism of the flock. This culture has been saturated with Christian-related media, with accurate and inaccurate gospels. Church signs spring Gospel-in-a-box catchphrases on passersby, TBN broadcasts steal 5 seconds of time for the Gospel even from the most disinterested channel surfer, Rick Warren bombards the culture with hope in the form of millions of books sold; Tim LaHaye and Jerry Jenkins even got millions to think of the "End Times." Add to those far-reaching outpourings of Christianity the generally unfriendly attention of Hollywood, where Christian symbols, preachers and slightly skewed renditions of the Gospel make constant appearances as stylistic motifs for movies and television shows.
As a result of this information overload, most young people feel that they know the gist of Christianity. Not only are they sure to know a church-goer, they've seen representatives on book covers, TV and streetside signs. Hence their hesitance in the face of evangelism.
The powers of entertainment and evangelism work side by side to engage the fickle attention of American youth, challenge their vacuous moral commitments and offer them the hope of true freedom in Christ. In this culture, a successful invasion or crusade cannot be made without either of these two elements. You must win the people and then you must show them the truth.
Unfortunately, the attention span of American young people, in college and high school, has shrunk. The window of communication has reshaped itself to be less and less compatible with the full Gospel message as traditionally presented. Shorter sermons, jazzed-up outreach events and increasing outputs of youth-oriented Christian multimedia haven't kept the church in line. More than 80% of young people raised in church will leave, heart and body, before they're done with school.
If Jesus's parable of the single lost sheep out of the 99 can be applied here, the appropriate response is to follow the wayward sheep out of the fold, identify the snares and fetch them back, bringing along those yet to be found. How much more vital is such an expedition if 80 of the flock are gone and countless others linger outside the walls of the fold?
The success of such expeditions has been limited by the cynicism of the flock. This culture has been saturated with Christian-related media, with accurate and inaccurate gospels. Church signs spring Gospel-in-a-box catchphrases on passersby, TBN broadcasts steal 5 seconds of time for the Gospel even from the most disinterested channel surfer, Rick Warren bombards the culture with hope in the form of millions of books sold; Tim LaHaye and Jerry Jenkins even got millions to think of the "End Times." Add to those far-reaching outpourings of Christianity the generally unfriendly attention of Hollywood, where Christian symbols, preachers and slightly skewed renditions of the Gospel make constant appearances as stylistic motifs for movies and television shows.
As a result of this information overload, most young people feel that they know the gist of Christianity. Not only are they sure to know a church-goer, they've seen representatives on book covers, TV and streetside signs. Hence their hesitance in the face of evangelism.