Archive for June, 2010

General musings and updates

I’ve been strangely eager to blog recently now that I’ve gotten back into the swing of things, but I’ve been having some trouble deciding what to write about. I actually have a number of ideas I’m dying to work on – the next Childhood Revisited review, an analysis on the misconception of “animation for adults,” a fun feature called “Did We Miss Out?”, where I review a short lived animated show and posit whether it was destined for greatness or mercifully killed – but that requires a bit of research and careful writing. So I thought I’d just update this with a general state of me-ness.

I’m currently living in New Jersey and working for an editorial company in New York. I’m working on a fan fiction comic (which is fairly irrelevant unless you’re into this kind of thing) and producing a cartoon. Of all the things that I’ve done in the past – directing, playwriting, acting… um, HTML coding – working on these projects are the most satisfying things I’ve done in a while. I don’t regret for a moment spending the money I have towards these goals, and despite the fact I’ve been organizing online meetings, discussing script changes and comic layout and model sheets, settling disputes and so on, I have to be honest that I love every single minute of it.

I am a member of the Creative Screenwriting mailing list, which is technically monthly but is more of a “whenever we can” release, and the recent newsletter was pretty much the final revelation that I’m getting (or trying to get) on the right track. With writing trickier and trickier to get read, published, sold, and even a sideway glance, DIY (Do-It-Yourself) methods are pretty much the best way to get noticed nowadays. In effect, people can “see” your writing without having to “read” it. It’s eye-catching, it allows you to generate numbers, it gets you reviews, even amateur ones, allowing you to tweak, or not-tweak, your work, your scripts, and your style.

I don’t want to seem like I’m “that guy,” some ranting fiend totally against the established industry of Hollywood, publishing companies, or agencies. I do think, however, that with so many means and opportunities for aspiring artists to showcase their work outside the typical means that the established means are… well, while I wouldn’t use the word outdated, I would say that the complexities and headaches behind it all seem superfluous nowadays.

Not to say that doing the said work independently is all lilacs and waterlilies. The toughest part is finances. I’m lucky that I’m fairly good with my own, which allows me to finance both projects as well as keep paying the bills. A good chuck of that is timing. The various delays that are going on with the projects are actually helping me instead of hurting me, allowing to plan further and further ahead. Patience is key. If I start rushing things, it’ll all fall apart.

I had advertised a while back about Rocko’s Modern Life creator Joe Murray’s attempt to create a online network for cartoons, and I am happy to say that he succeeded. Success in life is about opportunities, and taking advantage of them when they come, so, yes: I will be pitching the cartoon to said network (dubbed KaboingTV). I want have a ton of pitch materials and animatics ready to go. I want to come in strong, ready, knowledgeable, and confident, with a good sense of what people think of the show, what’s going to happen, and so on.

My next post will be either the Childhood Revisited feature, the “Did We Miss Out?” one, or, even more excitingly, the finished model sheets of the main characters of the webtoon. The in-production name is Internal Instincts, although some of the feedback suggests it may be too negative, so I was thinking of changing it. The logline is too vague, so that needs work. The original pitch was fine, but there’s a better pitch I’ve been developing that probably works better for the show’s vision. The show’s bible needs editing. The full, actual pilot needs a rewrite. So much to do.

But it’s so rewarding. I’m at a good place right now.


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Screenshot from Willy Wonka

Wonka and his infamous "pimp" cane.

Willy Wonka and the Chocolate Factory – (1971)

Director: Mel Stuart
Starring: Gene Wilder, Jack Alberston, Peter Ostrum
Screenplay by: Roald Dahl, David Seltzer

(I apologize for the delays with the Childhood Revisited saga. It’s been a tough couple of months, and as I started working on 2 side projects, as well as providing the occasional write-up for Destructoid [along with the day job], which left me struggling to do weekly writeups. So while I won’t be getting back into the weekly C.R. reviews, I’ll try and provide one or two every month. No promises, as I also like to write about other things. :) )

I had the recent pleasure of watching The Fantastic Mr. Fox, which was a lot more fun than I expected. And with my recent foray into all things animated, light, whimsical and fun, I thought it would be fitting to try re-watching Willy Wonka. (I wonder if I should review James and the Giant Peach at some point.) It was supposed to be a Valentine’s Day write-up, then an Easter one, but I missed all those dates, so now it’s simply a regular one. I’m a bit rusty with my analysis of these things, so forgive me if it seems a bit “off.”

NOSTALGIC LENS: Every so often, there’s a not-so-subtle push to rear kids via their (supposedly) most-loved passion: candy. This and books like The Chocolate Touch used thinly-veiled metaphors to teach lessons through the delight and, uh, power of confectionery. I liked candy, but didn’t LOVE it, so I pretty much tossed aside the lessons as pointless to me. As for the movie itself, I remembered bits and pieces, but nothing that stood out, save for the chocolate river scene. Oddly enough, the part that freaks people out the most – the psychedelic boat ride – was completely gone from my memory.

DOES IT HOLD UP: I love the 70s completely unironically – from its overall sense of fashion and style, to its endearing exuberance to its cheesy TV shows, lame game show concept, overwrought music, and “whatever” dance styles in vogue (the commitment to these entertainment styles is what makes them stand out). 70s films were, overall, of two types: deep in a bizarre sense, and comical in an ironic, detached sense. One of the reasons Star Wars stood out was that its blockbuster sensibilities was so novel and straightforward and played everything real.

Willy Wonka makes great use of the latter aesthetic, being such a whimsical, devil-may-care type of film. I’ve never read the original novel, but even I can gather how much it deviated from it. (Apparently Dahl hated it.) It’s a musical, yes, but even through its melodies and comedy, the film just breaks from its original narrative not only for song cues, but for random gags attributed to a specific point in the story. It’s two insane stories in one: a international assault-search for golden tickets in Wonka bars, and a tour of Wonka’s eccentric factory with goofy yet semi-dark consequences, and during each section, we’re treated to almost variety-show-like moments that seem to take in the full extent of filmic styles of the time. The separate beats seem off but are remarkably held together by a strong and coherent style, a fun cast, and a catchy batch of tunes.

This ten minute clip is the perfect epitome to showcase what I mean. The slightly awkward “child in the chocolate” part is undermined by goofy faces and Wonka’s witticisms – which is then undermined again when he is sucked up the tube into god-knows-where. Scary? Not for long – a goofy whistle and a Oompah Loompah song calms the nerves and teaches you a quiet lesson, kiddies. That’s fine. And then it’s a boat ride into a drug-fueled TUNNEL OF HORROR, because why not?

Then it’s back to the fun stuff.

Willy Wonka is a huge risk of a film, because there’s no reason for anything to happen the way it does. There no need for the music numbers, or the side jokes, or the abject weird tunnel scene or any number of visual elements; nor is Wonka supposed to be a laureate of classic literature and poetry. But it’s there. And if there’s one thing that the internet has taught me, it’s that if you’re going to do something for no reason, you might as well do it amazingly, like if you were to, oh, let’s say, do a live-action version of the song “After Today” from A Goofy Movie.

Of course, not all of it is random, and I’m happy to say that the parts that do matter are just as great as the parts that don’t. Gene Wilder is a great Wonka, that perfect mystery of a character who’s both carefree and careless, who carries the film during ever dark and light moment with nary a concern in the world. All the children were surprisingly great, even being mostly one note, although I will give special mention to Veruca Salt, played by Julie Dawn Cole, for being such a great spoiled brat and really owning the character. The set design and cinematography is exquisite, the gags still hold up, and the music is exceedingly endearing: tell me you don’t want to sing along to “Pure Imagination”:

Still, its dated aesthetic is still apparent, and as I mentioned earlier, certain gags come off a bit stilted and awkward. (And that ending is so tacked on and rushed that it’s really disappointing). But overall, its enjoyable and, unlike other musicals, the songs aren’t way too long.

IN A NUTSHELL: Want makes this movie truly work is that, despite its visual datedness, it’s still really a delight and would definitely hold up for children today (which I couldn’t quite say for something like The Goonies or Wizard of Oz.) It’s emphasis on kids and their behavior, against the backdrop of sugary goodness (which will NEVER grow old) makes Willy Wonka a particularly, yet truly, timeless classic.

NEXT FILM: Cats Don’t Dance


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