Wednesday, March 12, 2008

Stuff White People Like

I came across a great blog today: Stuff White People Like . If you're white or just a really assimilated immigrant as many of my friends are you'll first laugh at this list, then it'll die down to a weak chuckle as you realize how deadly accurate it is, then you'll laugh again because the odds are that out of the 85 or so entries, chances are you only share less than half. So it's okay. You're not so easily typecast. Or at least you'll tell yourself that.

So far I'm only admitting to entry numbers 84, 83, 71, 70, 69, 58, 53, 47, 35, 24, 25, 19, 7, 52, 55, and 46. The rest I'm in denial about.

Weekly Work of Art


My Dad will dig this artist. Although a CPA by trade, my father has been studying paper folding/cutting/sculpting for about 30 years now. Peter Callesen, a Danish artist, is a master at this. His site is www.petercallesen.com

Some designers at The Refinery, a print design house servicing the movie and tv industry where I've been freelancing, brought this guy to my attention. You can usually bet there's something cool on the web when all the designers are gathered around one monitor, procrastinating and remarking in hushed tones.

Thursday, March 6, 2008

Sweaty Palms

This is an old clip (maybe a year or so) but someday my kids (I know, I know. Colin have kids?) will not have clue what a mouse or a touch-pad is for. Now when do we get the flying cars already?

Tuesday, March 4, 2008

The Painful Creative Journey

Last night I had my roommate, Tony Bui, a Sundance-winning filmmaker, give me his review of my "Mama" script for feedback. It wasn't easy. He's liked my premise and pitch, but he wasn't thrilled with where the script went. He felt it was obvious and had some main characters he didn't care about.
He talked about what he thought could be powerful if I just removed half the characters and rewrote it as a slightly different story. (reinforcing themes that drew me in the first place.)

It was hard to take this after a year or more of developing this script.

But you know, he was right.

The script in it's present form could be enjoyable, even produce-able, but not necessarily put me in the league of writing I'd like to be known for. Tony is working right now with Ted Hope on his next project, who produced many of the best indie films of the past 15 years. (Brothers McMullen, The Ice Storm, American Splendor, etc.) and was just passing on wisdom he says producers like Ted would be looking for.

So after so much time developing this script it was hard to hear but Tony knows what he's talking about. The question became: Do I want to move ahead with this script in its present form to just get a film going, or do I want to spend at least several more months rewriting it to try and take it to another level?

I'm leaning toward the latter, already coming up with new ideas. But it wouldn't be a lie to say it's painful being almost 40, wanting this for 20 years, and having to delay it some more. For good reasons, but I guess this is a test of the craft.

Monday, March 3, 2008

Colin Versus the Hydra!


The image above is my depiction of a vivid nightmare from last night.
As far as I can recall it started out with me being chased by a criminal through a desolate and dark part of New York City, among decrepit buildings and abandoned warehouses. I was running for my life, taking turns and corner, trying to escape certain death at the hands of this dangerous and mysterious pursuer

Eventually I came to a small park who's tall trees blotted out any remaining light. The park was inky black. I stopped, feeling helpless and considered just dropping next to some small brush. But I elected to climb high into a tree and blend in with the foliage. The criminal arrived and passed through , unaware of my location.
I waited in the tree until morning and finally climbed down. As the early morning fog lifted, I found a subway and slipped in among the commuters. I remember feeling great relief that I was among life again and heading for another borough. I would certainly never see my pursuer again.

(Sidenote: I probably should not have been watching "The Shining" before I went to bed last night.)

Continuing my dream, I arrived home to my family's neighborhood. The neighborhood was perched on either side of a narrow but deep crevice, at the bottom of which lay a river. The homes were a honeycomb of dwellings and compartments, much like you'd see in the ghettos of Rio. They towered precariously above opposing cliffs.

And they were under attack.

Emerging from the crevice was a massive red Hydra monster with no eyes. It had many tentacles that acted independently, swiping groups of fleeing people and dropping them into it's terrifying mouth.

My friend Cindy Thoennessen, who I used to work at Charlex with, was there and told me the only way to kill the monster was to stab it in the throat at a vulnerable point. In order to get to the exposed throat, though you would have to not only dodge the monster's lethal flaling arms, but throw yourself off the cliff to reach the beast's throat. There would be very little chance of surviving even if successful.

I went to a nearby market and asked a shopkeeper for a knife. He gave me what seemed to be a rather overly large pocket knife as big as my forearm, with a switchblade.

Before I returned to kill the monster, I paused and solemnly contemplated giving my life so that my family and others could live. Once I had accepted this sacrifice, I went toward the cliffside.

But the monster had already been slain.

It turns out another ex-Charlex workmate, a computer animator, had simply thrown a bucket of dirty water on monster. It had the effect of acid and the beast disintegrated.

I remember standing there feeling very awkward. I wasn't jealous of the other victor, but I remember feeling depressed that I had mentally accepted my death so that others could live, and then was not able to follow through. It was a hard state to return from.