Inside the Brain of E.C. Henry

The Way Way Back; Movies that Move Me: Vollume III

Coming of age movies.  Love them?  Hate them?  Or are you just indifferent to them?  Ever had the feeling you were all alone in the world as teen and didn't have as of yet the coping skills to deal with it all?

Welcome to the world of "The Way Way Back".  

Yours truely went to the theatre today, and I saw that movie, "The Way Way Back."  I was pleasantly surprised by how strong the theme of "The Way Way Back" is.  And it's the theme of this movie that pushes it ahead of "Adventureland" (2009): Jesse Eisenberg, Kristen Stewart and "Mud" (2013) Matthew McConahuey, Tye Sheridan which both deal with a similar male, coming of age, drama in a contemporary setting.

Coming out the gates strong, the central storyline of "The Way Way Back" deals with the way an older male takes under his wing and mentors youth in crisis, and sees him through a critical point in the boy's life.  And the center of this movie is Owen's (Sam Rockwell) willingness to bond and provide refuge for troubled teen, Duncan (Liam James). 

Now let's personalize the drama, which "The Way Way Back" attempts to rope you into.  What were you like age 13-15?  Can you remember what it was like during those awkward years?  Gosh, can ever.  Sure wish I had a hottie like Susanna played by Anna Sophia Robb pursuing me -- at least in part -- during that turbulent era in my own life.   But, alas, I did not.  (Only in the movies) I did have a weird encounter with the daughter of one my dad's associates from work that in retrospect I wish I'd made more of an attempt at, was too young, to naive, to realize the opportunity before me until it was too late.  But that's water under the bridge.  Thank God for the movies.  They depict people making making those choices that we failed to make where we were young.   

You see in "The Way Way Back" the central conflict comes via the inner dilemma a boy faces when he finds his relationship with his potential step-father is strained and he is seriously devalued in his eyes. 

This leads Duncan on an escape quest.  Where eventually he lands at a nearby water park, where an employee takes a liking to him and offers his a job/escape from the family he can no longer relate too.  And it is in this relationship with offbeat, corny joke teller: Owen; that Duncan regains his footing, temporally finds a place he can belong, and finds a much needed place of solace for his soul.

Deep shit, Skippy.  And anyone who dares to say Hollywood doesn't make movies that matter anymore, needs to look up and check this movie out for themselves, because "The Way Way Back" is deep and has a lasting theme worthy of you musing over long after the movie is over. 

No, "The Way Way Back" isn't overly funny.  And in it Steve Carell plays the arc nemeis of the main protagonist, Duncan.  Steve Carell'scharacter is a shady guy with eyes on Duncan's mother (played by the always brilliant Tonni Collette) yet still has an exta-retationship hook-up with a friend in the local area who's he partying with everyday on a extended summer break. 

Yeah, I found certain elements of "The Way Way Back" a bit far-fetched and non-realistic in the real world.  Would an amusement park really just offer a kid a job on the spot like they did?  And would a girl like Susanna really pursue Duncan like she did?   And for working adults these people seemed like they were on a very, very long vacation.  Aren't most vacations like 2 weeks -- not over a month long?  Don't these adults have jobs to go back too?  Hmmm....  Those were three major mental hurdles of the film; buy-in's you're expected to make.

But what this film excelled with was its theme of how an older mentor can impact the life a young teen in crisis: and that's exactly what Owen does for the troubled Duncan.  And that's a theme that well worth the buy-in price. 

I'll tell you right now, I never had such a mentor growing up.  Wish I did.  I grew up with a bunch of hick fucks.  Wonder what I could have turned out to be if I had better friends and mentors during my formative years age 13 - 16... 

I hear the Christian church constantly speak about the need for mentors for today's youth.  And guess what, I'm in prime position to be such a guy!  Unfortunately, I also live at home with my parents.  Am in my mid-40s.  Have no friends.  Have no girlfriends.  Thus I often think I'm not good enough to be anyone's role model.  Rather, I have a stigma about myself that I think no one should ever attempt to emulate me; I am the plague.  Thus I excuse myself from all such consideration.  Better if today's youth is mentored by men that are worthy of emulation: in a committed relationship with a member of the opposite sex, and are leaders in today's society. 

But enough about my own personal failings which are many.

This movie, "The Way Way Back" is deep.  And I like that.  I'm so glad Maya Rudolph, an SNL alum who also starred in "Bridesmaids", decided to participatein this movie.  Yes, she has a minor role: Owen's love interest; but just her being there contributing to a movie with so strong a theme says something about her as an actress.  I heart Maya Rudolph!! 

Movies like "The Way Way Back" are movies that you can easily ignore.  They're drama.  Usually not in the theatres for long.  But movies like "The Way Way Back" are important, lasting movies.  They say something definitive about the human condition, and actually give you a take-away message that lasts long after you leave the movie theatre.  So think about that, and please support movies like "The Way Way Back."  America needs more movies like that.  Way to go Fox Searchlight!  America needs more movies with substance like "The Way Way Back."  Movies for today's teens and adults alike to consider.  Movies with a lasting take-away message like the need for male mentors for today's youth. 

Could It Have Been Fixed? Because I Said So (2007): Exploring Issues in Rom-Com Movies Volume XXVI

As you've probably noticed by now, if you've read some of my posts, I tend to talk allot about 5-6 romantic comedies, E.C.'s cannons of the rom-com world if you will, and go on and on about them -- and not talk about all the rest.  Why is that?  Well-p, for starters I believe in lauding praise on things that are praise worthy.  And my top 5-6 favorite romantic comedies of all time are pretty special to me.  BUT it dawned on me recently that maybe there is more to learn from romantic comedies that didn't quite live up to what they could have been.

I think a lot of writers get into this thing with EXACTLY that approach.  They see a movie, and how they envision it could have been better if the filmmakers used their suggestions.  This is of course arm chair quarterbacking as applied to movie making, pretentious as all fuck -- but what the hay.  Sometimes a little pretentiousness can be fun.  Am I right?  Time to find out. 

Let me begin, where this original thought for this post began, and that's when I re-watched "Because I Said So (2007: Diane Keaton, Mandy Moore), as it was part of a 4-pack of rom-com movies I bought.  With Blockbuster and Hollywood Video out of business up here in Western Washington, we now have little recourse other than buying DVDs, which I did at Walmart for about ten bucks.  I think this 4 pack also had "27 Dresses" (Katherine Heigl), "Hope Floats" (Sandra Bullock) and "In Her Shoes" (Toni Collette and Cameron Diaz).  

I was suprised by how much I disliked "Because I Said So" my 2nd watching of it some 5 years removed, seamed like I liked this movie a lot more the first time I watched it at the movie theatre.  This movie is far from being a classic.  BUT could have been a better movie with some tweaks...  E.C. Henry pretentious as always.  But, yes, I think it could have been better.  Here's the synopis off IMBD:

A meddling mother tries to set her daughter up with the right man so her kid won't follow in her footsteps.

I kinda like that synopsis.  Diane Keaton is the meddling mother.  Mandy Moore is the daughter.  Stakes are inter-relationship, mother-daughter stuff with mother issues fearing their child won't realize their full potential.  Pre this movie I wasn't sure if Mandy Moore could pull off the main heroine of a rom-com, but pre this movie I would feel very good about having Diane Keaton as the meddling mother.

Looking back at this movie after a 2nd viewing, which once again left me thinking wasn't a very good rom-com, let's start with what this movie DID have working for it.

1. Mandy Moore.  Proved beyond a shadow of a doubt that she can be a rom-com heroine, and shine in the process.  I found Mandy Moore absolutely adorable in this film.  And when she talked to her mother about what it's like to have an orgasm.  That was really good acting on her part.  
2. A good two-man choice for Millie (Mandy Moore's character) to choose from.  The musician with a kid, or the upscale guy. 
3. An interesting take: explore the relationship between a mother and her daughter, when the mother is taking steps to manipulate her daughter's love life. 

Unfortuantely "Because I Said So" also had some major pratfalls:

1. Milli's two sisters:Lauren Gram's character "Maggie" and Pipper Perabo's "Mae"; both sucked.  And sucked in a very bad way.  As Milli's potential confidants her sisters COULD have had some major bearing on Milli's plight.  But alas the didn't.  And Maggie's psychologist's sessions with Stuart (Tony Hale) we're really flat when that's supposed to be comic relief.  In watching this movie I feel like both of Milli's sisters were under-developed.  Mae may as well have not been in this movie, she had no baring on anything.  Why not just have Milli and Maggie be Daphne Wilder's (Diane Keaton) two daughters.
2. The sex scenes where the daughters walk in on Daphne getting pumped on by Joe (Steven Collins) weren't funny and showed a lack taste and restraint by the filmmakers.  Point: watching people in the literal blows of sex isn't fun to watch in a romantic comedy.  Want to see that kind of thing, rent a porno.  Rom-com's aren't porno's...  A key point to ponder.  There are two scenes where this happens, are neither one of them are any good and should not have made into the final cut of the film -- in my opinion.
3. Ending a movie with the stars singing a song and laughing to themselves is a violation of the 3rd veil, and undermines the drama which had been building up to this point.  When Daphne and her three daughter are all smiling and singing at the wedding reception I wasn't with them.  This felt like a violation, like these actresses were all laughing at theiraudience.  Chrismass carol kind of thing, only completely out of season, and completely jarring.  When the daughters and mother was singing I felt like the entire drama was being undermined.  It was like, we're not taking this seriously, so neither should you.  
4. More plot points were needed in Milli'sromance with her two suitors.  I felt like not enough twists and turns happened when Milli was dating her two men.  This also lended itself to another problem...
5. I never felf there was enough jeopardy between Milli and her overbearing mother, Daphne.  This is the heart of this story: Milli'srelationship with her mother as she dates these two guys.  YET in this drama there wasn't enough fear of death.  And that death being Milli becoming estranged to Daphne forever.  The personal stakes weren't as high as they need to be.  The rollercoaster ride of this rom-com was too tame.  The screenwriter's really need to dig here and bring Milli to a point of decsion where she is seriously contemplating leaving her mother and her sisters in favor of one of the two suitors.  
6. Attempts at comedy in this movie really needed some work.  Daphne at her computer accidentally getting into a porn site.  Then Daphne on the road trying to avoid detection by Milli.  YES, it's good that these scenes have the main lead in them, but they are not very funny -- and that's why these scenes are there.

Overall, I don't think "Because I Said So" was too off the mark.  But it is far from me ever even remotely considering this a classic film.   There was some real potential for laughs from the Stuart character.  I think this script and movie would have highly benefited from making Stuart infatuated with Maggie (Lauren Gram'scharacter) and try to get some laughs out of that.  Mandy Moore held up her end of the bargain.  It's just the script needed to be better.  This movie may have had the most dreadful rendering of sister in supporting roles of any movie I can ever remember watching.  Lauren Gram and Pipper Perabo didn't do much of anything in this movie, they were just kind of along for the ride.  What a shame.  What a missed opportunity.  

Just because someone says so doesn't make it a good romantic comedy.  Good romantic comedies accell in many different ways.  And unfortunately this movie, "Because I Said So," ultimately falls flat like a souffle that's was taken out of the oven before it was fully baked. 

  

The Fonz from the TV series Happy Days: Celebrating Characters in Cinema Volume VI

Ever needed the approval of another person to justify your existence?  To give you the satisfaction of acceptance?  Who is the epitome of cool to you?  That one person -- if you could get them to admit that they accepted you -- you'd feel like you've arrived.

Well, back in the day, we're talking mid-70s to early 80s their existed such a person.  Came from TV-land, and his name was Arthur Fonzarelli, a.k.a. "the Fonz" or "Fonzie".

Truth be told "The Fonz" was kinda before my day.  BUT I do remember my youngest cousin Jeff mimicking the Fonz two thumbs up sign and saying, "Ayyy..."  My cousin Jeff was a sensitive soul growing up (until about age then he became a jock and slowly lost all that).  Anywho, I now realize and can appreciate the magic of "the Fonz" and truly grasp what his two thumbs up sign along with his phrase, "Ayyy", means.

The Fonz came into being by the brilliant and iconic acting of Henry Winkler in the 1/2 episodic TV series "Happy Days" which aired from 1974 to 1984; an impressive 11 year run.  IMBD sites Henry Winkler as being in 255 of those episodes!  Wayyy more than the 171 for Ron Howard who played Richie Cunningham, who I always thought was the central character of the series, but I digress.

What I love about the Fonz, and is central crux of this post was his ability to infuse worth on the people that he liked.   And "the Fonz" did it with a mere gesture of two thumbs up, leaning back and saying, "Ayyy."  If the Fonz liked you, there was no mystery about it.  His approval was always with him.  The Fonz just leaned back in that leather jacket of his, gave you the two thumbs up sign, and said, "Ayyy."  And once you got that, you were golden; the Fonz had given you his sign of approval.  You were liked, you were accepted, you were cool; you were golden.  Two thumbs up from the Fonz with an, "Ayyy" thrown in there, and you were on top of the world.

How many people out there carry such power?  Not many.  Certainly not this flash in the pan:

Two thumbs up by Susan Boyle, who the fuck cares?  May as well be given the two thumbs up sign by some bum drinking Old English 800 next to a dumpster.  Point: who's giving you the thumbs up sign matters and what street cred they carry.

I love using that phrase, "street cred."  Sounds so ghetto.  Here's a definition of street cred the online, Urban dictionary that I like: 

Commanding a level of respect in an urban environment due to experience in or knowledge of issues affecting those environments.

Yeah, the Fonz had street cred la-ong before the urban dipshits of modern times stepped in muddied the waters of what it takes to be cool.

And the Fonz had range too.  Though he was known for riding a motorcycle and being good with the ladies:

The Fonz wasn't afraid to mix it up a little bit, and even try new things.  Like say water skiing:

O Fonzie, you big ham, even when you're water skiing you're still wearing your leather jacket and have your poofy hair greased back.  Guess no matter what, you gotta represent.  You gotta maintain your image -- even when you're acting silly as fuck!

But so is Arthur Fonzarelli.  The not-so-bright Italian tough guy who commanded respect everywhere he went.  I loved the Fonz.  He just came in, and was the instant beacon of cool.  The one man everyone wanted acceptance.  Two thumbs up, and an "Ayyy" and you were golden; Fonzie liked you.  Any questions where or not you were "in"/cool were suddenly a by-gone memory.  If Fonzie gave you the thumbs up sign and said, "Ayyy" you were cool, you were accpeted, you were "in."  

So what lessons can we glean from studying the affects of "Ayyy" and the two thumbs up sign?  Great question, glad I asked it.  We can all be Arthur Fonzarelli's of our world.  Don't be afraid to let the people you like, know that you like them.  Give them the inner security that they need, show them a demonstrative sign such as leaning back and giving your friends the two handed tumbs up sign while saying "Ayyy" it will let them know that in your book they are considered cool.  Just because "Happy Days" is no longer being broadcast doesn't mean that our own "happy days" can't live on.  Continue the legacy that Henry Winkler's "the Fonz" started and let people know and gain that inner satisfaction that they've achieved a status of cool in your book.  It doesn't take much...   

Pandering to Quadrant Dupid

Ever wonder why there are so many stupid movies out there, when Hollywood is filled with so many bright, highly talented people? 

Why is it that movies like "Transformers" even gets green-lit to begin with?  Why is it that movies like "Pacific Rim" don't have a hard sci-fi edge even when they're made by filmmakers like Guilermo Del Torro who in 2006 was the brainchild behind "Pan's Labyrinth" which wasn't afraid to go out there, be dark, be good and take chances?

I miss the days of comedies like "A Fish Called Wanda" which make me think.  Heck, I miss the days when romantic comedies were even being made, period.  What happened?!  Rom-com, I miss you.

Dumb-ass comic book movies happened.  Now everyone has to do one -- and the worst thing is, everyone's convinced that in making one you throw all you budget into it, and thus create few movies over a given year time span.  Welcome to pandering to quadrant dupid.  Overvaluing comic book movies over all else is one pathway there.  

Sci-fi is the biggest loser when Hollywood panders to quadrant dupid.  Movies that should have an edge, suddenly do not.  And that's a dangerous thing.  It takes what could have been great art and makes fart of it.  Fart is just art with one small add-on, which is exactly what pandering to quadrant dupid is all about. 

"World War Z" SHOULD have been WAY BETTER than "28 Days Later".  Why?  Look at the budget.  More $$ spent means a better movie, right?  WRONG!  Start pandering to quadrant dupid and then watch all that money go right down the crapper.  Off IMBD I saw that "Word War Z" had an estimated budget of $ 190,000,000.  That's right a hundred and ninety million dollars.  Now get this, "28 Days Later" had an estimated budget of $8 million dollars.  Granted there is a decade plus difference between the two films.  But watch them back-to-back, if you will, and tell which of the two is the better movie...  Hands down it goes to "28 Days Later" and WHY?  Because Danny Boyle is a frickin' genius and those clowns who make "World War Z" don't know their...

from a ...

No, I wouldn't go that far.  But Danny Boyle got it right.  He got it very right, and the creators of "World War Z" got it very wrong for a much higher price, and this even after having "28 Days Later" AND "28 Weeks Later" to go back and refer to.  BUT that's not where they went wrong.

They went wrong when they went soft when they needed to go hard.  Make any sense?  Horror is meant to have an edge much like a good sci.  But when you PURPOSELY decide to soften that edge to appeal to a wider demographic you risk pandering to quadrant dupid, and now horror become borror.  And "World War Z" isn't the first of its kind to make this mistake, a few years ago "I Am Legend" suffered a similar fate.  Good god was that movie ever awful. 

Marketing.  It all boils down to marketing.  And Hollywood keeps getting that wrong.

The quest to create the the four quadrant movie.   Is.  Dooming.  Us.  All. 

You CAN'T appeal to everyone's sensibilities.  Make dumb, dumb.  Make smart, smart.  I'm soo sick of seeing movies that try to appeal to everyone, end up having no taste, and make the tallented people who make movie look like idiots, when they're really not.

Hollywood needs to find the balls to return to forum of making great movies again.  Hollywood needs filmmakers willing to take chances, and go for "great art" as opposed to selling their vision short in the vain hopes of reining in a larger audience.

Legacy matters.  Make movies that matter, matters.  We don't need the next "Pirates of the Caribbean" movie.  Sorry "Lone Ranger" but you lost your way when you tried to be the "Pirates of the Caribbean" on land with the added kick of hitching your wagons to an old legend, lore of a by-gone age.  

Big budget doesn't necessary gaurantee a good product.  But it sure does help.  "Avatar" cost a lot of money to make -- and it was worth it!  "Saving Private Ryan" cost a pretty penny, but it was excellent!  It's just even with a big budget you have to be carefull.  Make a good movie.  Don't be afraid to take some risks.  Don't water your product down. 

And DON'T pander to quadrant dupid.  'Cuz if you do, you may end up paying dearly for that in the end. 

Hollywood's Geniouses

Do you have any roll models?  Y'know people you look up to as "the standard", "the top" of a certain area of life.  I'm talking about "genius".  Who is a genious -- and what makes you say they're a genius.

Since since yours truly is a hopeful-of-one-day-getting-discovered pre-pro screenwriter we're going to focus our attention on who E.C. Henry thinks is a "genius" in the film-making industry.

Let me preface this post by saying, I do not know the inner-workings of Hollywood.  How can I?  I live up here in Bonney Lake, Washington which is this side of Timbuktu.  I do not have first hand experience with people making movies.  Wish I did, but alas I'm quite removed from that scene.  Still, from afar I do celebrate the movies.  And I love it when filmmakers and those making the moives get it right.  And that's what this post is about: celebrating those at the pinnacle.  Celebrating those who have done it right over, and over, and over again.

Hollywood Genius A # 1: Steven Speilberg  I mean how can you not love this man?  Early in his career, I'm talking the 1970s here, Steven Spielberg made a name for himself with "Jaws" and "Close Encouters of the Third Kind", then in the 80s he made movies like "Raiders of the Lost Arc" and "E.T."  And if that wasn't enough in the 90s he made, for my money, the best war movie ever with "Saving Private Ryan".

So when beginning a discussion about who is and how is not a genius in Hollywood, I think the discussion needs to begin and end with Steven Spielberg.  His career as a whole is unrivaled by anyone else's.  He is the top dog.  The biggest genius in the history of Hollywood.

Hollywood Genius # 2: James Cameron.  HUGE fan of James Cameron's work: "The Terminator", "Aliens", "Avatar".  Wasn't too keen on "Titanic" but in making it the guy did show some serious range.  When I think of James Cameron, I think of a perfectionist.  I'd love to work with James Cameron someday.  I think he's a genious, and well deserving of praise!

Hollywood Genius # 3: George Lucas.  The man who originated the "Star Wars" franchise.  A genious storyteller, the first 4-quadrant guy.  And the worlds he created with all these far-fetched creature and he grafted them in a quest-style story.  I'm a huge fan of George Lucas.   I wish he'd done more than just "Star Wars", he's so hyper-tallented, would have like to seen more from him.

Hollywood Genius # 4: Dustin Hoffman.  My favorite actor of all-time, I think...  HUGE fan of Dustin Hoffman.  Never seen a movie that he was in that I was disappointed by his acting.  He can do serious, and he can do funny.  Kid stuff too, his villanous Captain Hook, really shines through.  Major oversight by yours truly not putting Dustin Hoffman's Captain Hook as one of the best villans of all-time.  I think that was an oversight by me just because I'm not a big Peter Pan guy, never been a Robin Williams fan and any movie he's in I just kinda gloss over.  But Dustin Hoffman rocks, I wish he never got older, I wanna watch him act in new movies forever, for my money he's the best actor who ever lived.

Those just missing the list:

Near Genious # 1: J.J. Abrams.  J.J. Abrams in helming "Star Wars Episode VII" slated be released sometime in 2015.  IF J.J. Abrams can pull of a successful continuation of the "Star Wars" franchise that George Lucas started he is well deserving of the moniker, genius.   Talk about following in some big shoes, and challenging yourself...  But my money is on J.J. Abrams.  I was pleasantly suprised by how well he did the "Star Trek" reboot, and IF he can do the same with "Star Wars Episode VII" he gets vaulted in the realm of the Hollywood geniuses.  

Near Genius # 2: Charlie Kaufman.  FINALLY a screenwriter is getting some love, right?  Charlie Kauffman has a wonderful imagination.  His genre bending in "Eternal Sunshine of the Spotless Mind" is a marvel to behold.  It's so creative and original you almost forget that you're watching a romantic comedy.  And I've seen flashes of brillance in other Charlie Kaufman movies too.   But though sometimes I marvel at his creativity and storytelling, sometimes Charlie Kaufman is his own worst enemy.  "Synodouche, New York" comes to mind.  WOW, ever seen that movie?  Hard to know what to make about it.  It's all over the place.  Creative in spots, yes, but that movie left me feeling kinda yucky too.  Point: Charlie Kaufman need to learn how to reign in his eccentricities and see his movies how a mass would perceive them, and make adjustments accordingly.  HUGE fan of Charlie Kaufman, and I definitely don't want to see him go away or anything like that, but some thing's missing with him, and he needs to correct what that is and achieve his destiny: greatness amongst his peers in Hollywood.

Near Genius # 3: Johnny Depp.  His acting in "Pirates of the Caribean" was quite iconic and career defining.  But lately it feels as though Johnny has lost his edge.  His Tonto in "The Lone Ranger" felt like a Jack Sparrow ripp-off to me, a miss-step.  In my humble opinion Johnny Depp needs to challenge himself.  Go outside the norm and take on a role that hasn't done before.  He needs a role that solidifies his greatness as an actor.  But his portrayalof Jack Sparrow and the mix of humor he's able to subtley graft in, is stuff of genious; not every actor can pull off what Johnny Depp can, and E.C. Henry recognizes that.  

So where's the love for the rom-com genre in this celebrating "genius" post?  Well, I did site Charlie Kaufman as a near genius for his work crafting "Eternal Sunshine for the Spotless Mind," but in reality not enough filmmakers do romantic comedies on a regular basis to be hailed as genius of the genre.  I'd love to hail Lynda Obst as a genious, BUT I'm not sure what all she added to the movies she's done over the years. YES, there are some notable actors and actresses -- the usual suspects -- which have stared in numerous rom-coms: Drew Barrymore, Meg Ryan, Jennifer Aniston, Katherine Heigl, Ben Stiller, Adam Sandler, Tom Hanks.  But most of the time in the rom-coms it feels as though these and actors and actresses are playing off their personna and not achieving the hightened air of greatness by taking a chance and acting out of the norm.  Thus, E.C. Henry, cannot laud the highest praise of "genius" on any of these actors or actresses with a clear conscious. 

So who's a genius to you?  Would love to hear your take on who is a genius in the movie-making industry.  Feel free to leave a comment in the comment section below. 

 

    

Best use of Music in a Romantic Comedy Movie: Exploring Issues in Rom-com Movies Volume XXV

I love the way music can work to accent a movie.  Remember the tense: dunt... dunt... dunt-dunt, dunt; piano keyboard music in "Halloween" when Michael Myers is lurking in the shadows as he stalks Laurie Strode?  Or then infamous orchestra build up: dunt, dunt, dunt, dunt, dunt, daahhh; from "Jaws" when the shark is on the prowl.  And many years ago the original "Planet of the Apes" had an EXCELLENT orchestra accompaniment.  I love the playful "apes" tune, then the delve into something dark with the piano.  Anywho, the next you watch "Planet of the Apes" just try to listen to the accompanying music that went along with.  Trust me, it's excellent.

Okay, so my dunt's don't do the accompanying music the justice the deserve.  But I am trying to honor an accent in movies.  Maybe the best of all time is that grandiose, orchestra build-up the hails in the title card at the beginning of any of the "Star Wars" movies.  My point is that music can play an key role in a movie's success.  I think music adds something to the mix.  It's an accent.  Not geared to be the central attraction, but rather just enhance, deep and enrich the movie going experience.  So how does this transfer to my most beloved of all movie genres, the romantic comedy.  Let's see...

Lemme come out of the gates by saying I'm not a big proponent of orchestra accompyment in a romantic comedy movie, BUT I am a HUGE proponent of pre-existing pop, rock, and rhythm and blues music being used in a romantic comedy to accent a scene, or set the mood.  Coming out of the gates strong, I'll start with my favorite use of music in a romantic comedy, and you'll never guess where I'm going: "The 40-Year-Old Virgin."

James Brown's "I Got Ants in my Pants" playing while Andy is struggling to avoid sexually provocative stuff in town, on the street, and in the park.  Best.  Use.  Of.  Music.  In.  A. Romatic Comedy.  Ever!  I laughed my ass off BECAUSE of the contradiction.  Andy is trying to do the right thing in his eyes, he's just been humiliated by coworkers at work for his viginity and is resolved to stay as far away from sex as he can, and then just being around town Andy finds sexually provocative stuff is all around him, and he can't avoid it.  James Brown's "I Got Ants in my Pants" plays while Andy sees naked girls on the covers of magazines, bumps into an attractive woman, gets chased by a provocative, sexually charged billboard on a bus, and then as two dogs hump in the park. 

A pop song that enhances a comedic sequence with something deep to say about the society we're in.   I love it.  "I Got Ants in my Pants" by James Brown playing in the Andy-tries-to-avoid-the-sex-all-around-him scene in the "The 40-Year-Old Virgin" wins E.C. Henry's award for the best use of a pop song in a romantic comedy.  Tip o' the hat to Judd Apatow and Steve Carell for that comedic gem.  Good stuff, boys.

Truth be told, I think there are a lot of good uses of music in romantic comedies.  I just finished watching "13 Going on 30" for the zillionth time last night.  (Hey, I'm writing a dark, sci-fi right now and I needed a break with something on the light and familiar side).  Anywho, I really like how the "Go-go's" song "Head Over Heels" played in the opening credits sets the stage from the frantic and dizzying, magazine world that the 30-year-old Jenna Rink finds herself in.  YES, "13 Going on 30" opens with Jenna's annual pictures being taken, but the "Head Over Heels" sets the tone of the story that's not shown, but implied: the world of Poise magazine has the 30-year-old Jenna in a frantic, fast-paced world.  I got that, and like that choice; it's a world setting song.  And this in a romantic comedy no less!

HUGE fan of "How to Lose a Guy in 10 Days" as anyone who reads this blog should know by now.  As I've already hailed Matthew McConahuey and Kate Hudson as the best two lead of the genre of all-time, as you can re-read about if your heart's so inclined here and here.  But I digress...

"How to Lose a Guy in 10 Days" has the best music accompyment that sets up the romance in the story of all-time, and it comes from a group I've never heard of before, "The Beu Sisters".  Their song, "Catch Me if You Can," which is played durring the opening credit sequence, captures the playfulness of romance, and the meet-loses-gets dynamic better than any other song in a rom-com movie in the history of cinema.  I love it.  A song that gets the audience prepped for the playfulness of romance.  Honestly, how many songs can you name the prepare you for a playful, fun, romantic experience?  Well, the creators and brain-trust of "How to Lose a Guy in 10 Days" hit gold when they selected "Catch Me If you Can" by the Beu Sisters to set the tone of their movie. 

I also really liked the use of George Thoughgood's "Who do You Love" to introduce the Benjamin Barry character in "How to Lose a Guy in 10 Days" as he rides his motorcycle through the New York traffic to get to work.  Hyper-masculine, rowdy, a man's man.

"The 40-Year-Old Virgin" also scores with its use of "A Life of Illusion" by Joe Walsh during the opening credits to establish Andy's life and his inner sorrow.  Something you hafta realize is that "The 40-Year-Old Virgin" is a raunchy, male-centered romantic comedy, and that the audience isn't going to want to spend a lot of time seeing Andy's missery.  The audience came to laugh.  Thus setting up Andy's inner heartache must be done very carefully, and with limited screen time.  And part of that is done subliminally through the use of "A Life of Illusion" in the opening credit.  Brilliant accent.  Once again, well done Judd Apatow, Steve Carell and the brain-trust behind "The 40-Year-Old Virgin."

And lastly, I would be remiss if I didn't bring the Hall and Oats song "You Make My Dreams Come True" as used in "(500) Days of Summer".   Tom in the park who breaks into an impromptu dance to express his inner joy over the love he feels for Summer Finn.  True, this is temporal, but don't you want to feel that way about someone?  Have you ever felt such love in your heart for a member of the opposite sex that you felt like breaking into song and dance over it?  Hmmm....  Not sure I've ever felt that -- but I'd like to!  And that's the magic of the movies.  They can show you a take of emotions you'd like to feel.  So if you've never seen it before, check out the video link for "(500) Days of Summer" and watch the dance number done with Hall and Oats "You Make My Dreams Come True", it'll make you feel good.  It'll make you want what Tom briefly felt, a great love in his heart that made him wanna sing and dance.  The joys of being in love.  One of the chief tenants that brings the romantics to watch rom-com movies.  A key feat that is not to be ignored.

    

Well, at least I've sited some of my favorite examples of the use of pop music as accents in romantic comedy movies.    If you can think of anymore, by all means feel free to post a comment below.  I'd love to hear from ya.  Till we speak again, good-bye for now.

- E.C. Henry from Bonney Lake, WA

P.S. Making great headway on "The Commune II".  Think I really have some memorable action/horror set pieces coming together.  It's getting easier and easier to slip into that world too.  Just wish it wasn't so dark.  Gotta get another rom-com in me.  I'm happiest when I'm working on one of those.

First Draft Conundrums: the Peril of an Undiscipled Mind

What if your problem isn't you can't the see the forest through the trees, but rather a problem of dealing with all the light breaking through the tops of the trees and trying to capture it all?

Well, as odd as that sounds, that's the kind of problem I'm facing these days.  Lemme explain.

Sometimes when I set down to write I have a specific goal in mind.  BUT then when I set down to achieve that goal, my mind is attracted to a different area of the script I writer there instead.  This phenomenon happened to me JUST this morning, and I'm taking a break from writing to record it.

You see in coming up with a new script, I write myself A LOT of notes.  I like to pre-write before I actually write in the outline or in the actual script itself.  Usually I write these handwritten notes to myself while out getting something to eat, at a coffee shop, or maybe during a work break.  Sometime later I like to graft these handwritten notes into either the outline or the script itself.  Usually I like to go outline, then script.

Anyway, what I find happening a lot of times is that I set down to write in one area of the script.  Like today I wanted to fill in the blanks of a scene in ACT II, but found that when I opened my outline up, instead my mind was attracted to an earlier scene and I started seeing this scene in my mind, so I went with it and worked on that scene instead.  Thus neglecting the scene I originally set out to work on. 

Inspiration.  Don't fight it.  It's just odd that sometimes inspiration strikes in areas where you didn't intend to work that day.  Personally, I tend to just go with it, figuring I can do the laborious work later. 

Every completed story makes the process look easier than it actually is. 

I think the only one creation is easy for is God.  The mind is tricky place indeed.  Thankfully nobody will ever know all the blood, sweat and tears that a writer goes through in getting their story out of their head, and onto the page. 

It's like a mother giving birth.  Lot of pain in the process, but afterwards when you're looking at that beautiful child, all that remains in the marvel of that glorious child. 

Ah yes, the ability to see the forest through the trees.  Someday, I'll be there with "The Commune II" and it will be completed script # 18 for me.  It's just the longer I do this the more I wonder and contemplate about how I can make the process easier for me.  Every writer likes to have written.  But the real writers know how to deal with the process.  And, for me, that's an ever evolving thing.  I DON'T have a set way of writing.  Yes, I do have a few tricks the help the process along.  But even when I feel I know exactly what I'm doing, the prospect of being there writing that first draft is always a little scary for me. 

You see I like organized forests.  But in the chaos of creation, I find no forest looks like this:

So I slave on.  Bound and determined to finish what I've started.  Hopefully the Lord will continue to allow me to experience moment of fluidity and inspiration in writing.  But it's a scary thing.  Creating something out of nothing -- for us mortals -- is a scary proposition. 

Yeah, but what happens in between?  Looks like someone forgot a little, minor, KEY detail.  Guess we'll just leave that up for the writers to fill in the blanks!

- E.C. Henry from Bonney Lake, WA

P.S. the new goal is to have a 1st draft of "The Commune II" written by the end of July.  We'll see how that goes...