Kings
I dream about what it is like to be a successful writer. Not just a really smart person that is crafty with words and employed by a local newspaper (not to disrespect journalists), but those writers that are more like socialites: the ones that attend all of the fancy, glamourous parties, the ones that have their pieces published in fashion magazines in New York City, the ones that write their novels on deserted islands in the middle of no where, etc. Is it bad that I want to be the Marc Jacobs of writing? I just want an Oscar, ok!
Maybe I am placing too much emphasis on how my work will be recieved and not on the actual integrity and dilligence it takes to create something amazing. Thinking of writers that influence me the most --W.H. Auden, Andrew Holleran and Tony Kushner-- I imagine how different they were for their time. Not radical different, more like interesting and compelling and honest different, Auden/Holleran/Kushner all conveyed human connectedness regardless of our differences. They were different for confronting indifference.
Right now I have one screenplay in mind. Why not a novel or a short story? Well, I think that screenplays are a good start for me because simply I love movies. And I love how film is visual -- set design, costumes, cinematography-- the audience gets a sense of just how much imaginative labor was put into a piece.
1) "The Funeral": The film encompasses what goes on in the minds of a funeral's audience. Not merely about death or the deceased person, but more about the collective vs. individual dichotomy that we find at a funeral. Individuals are all present, either mourning or celebrating depending on their relationship and religious view towards death. On the other hand, the collective action of individuals attending a funeral presents a compelling question of dependencing. Regardless of difference in consciousness between individuals at a funeral the idea of coming together to celebrate/mourn/emote is interesting to me. I want to make a film the addresses this idea of the funeral in that our individual feelings in congruent with "coming together" is ___________. Music? Art? The End?
The premise of the film surrounds a group of people that are at the funeral. The camera is focused on the faces of these individuals. Rather than focus the deceased, the film will be much about the lives of the people at the funeral -- and how their lives are all connected by the death of this individual. The film will not reveal or show the deceased body in order to emphasize the theater-like quality of a funeral.
Stop all the clocks, cut off the telephone,
Prevent the dog from barking with a juicy bone,
Silence the pianos and with muffled drum
Bring out the coffin, let the mourners come.
Let aeroplanes circle moaning overhead
Scribbling on the sky the message He Is Dead,
Put crepe bows round the white necks of the public doves,
Let the traffic policemen wear black cotton gloves.
He was my North, my South, my East and West,
My working week and my Sunday rest,
My noon, my midnight, my talk, my song;
I thought that love would last for ever: I was wrong.
The stars are not wanted now: put out every one;
Pack up the moon and dismantle the sun;
Pour away the ocean and sweep up the wood.
For nothing now can ever come to any good.
--W.H. Auden
Maybe I am placing too much emphasis on how my work will be recieved and not on the actual integrity and dilligence it takes to create something amazing. Thinking of writers that influence me the most --W.H. Auden, Andrew Holleran and Tony Kushner-- I imagine how different they were for their time. Not radical different, more like interesting and compelling and honest different, Auden/Holleran/Kushner all conveyed human connectedness regardless of our differences. They were different for confronting indifference.
Right now I have one screenplay in mind. Why not a novel or a short story? Well, I think that screenplays are a good start for me because simply I love movies. And I love how film is visual -- set design, costumes, cinematography-- the audience gets a sense of just how much imaginative labor was put into a piece.
1) "The Funeral": The film encompasses what goes on in the minds of a funeral's audience. Not merely about death or the deceased person, but more about the collective vs. individual dichotomy that we find at a funeral. Individuals are all present, either mourning or celebrating depending on their relationship and religious view towards death. On the other hand, the collective action of individuals attending a funeral presents a compelling question of dependencing. Regardless of difference in consciousness between individuals at a funeral the idea of coming together to celebrate/mourn/emote is interesting to me. I want to make a film the addresses this idea of the funeral in that our individual feelings in congruent with "coming together" is ___________. Music? Art? The End?
The premise of the film surrounds a group of people that are at the funeral. The camera is focused on the faces of these individuals. Rather than focus the deceased, the film will be much about the lives of the people at the funeral -- and how their lives are all connected by the death of this individual. The film will not reveal or show the deceased body in order to emphasize the theater-like quality of a funeral.
Stop all the clocks, cut off the telephone,
Prevent the dog from barking with a juicy bone,
Silence the pianos and with muffled drum
Bring out the coffin, let the mourners come.
Let aeroplanes circle moaning overhead
Scribbling on the sky the message He Is Dead,
Put crepe bows round the white necks of the public doves,
Let the traffic policemen wear black cotton gloves.
He was my North, my South, my East and West,
My working week and my Sunday rest,
My noon, my midnight, my talk, my song;
I thought that love would last for ever: I was wrong.
The stars are not wanted now: put out every one;
Pack up the moon and dismantle the sun;
Pour away the ocean and sweep up the wood.
For nothing now can ever come to any good.
--W.H. Auden