Tag: Quentin Tarantino

The Life OF A Novel AKA An Idiot’s Guide To Livin’

Still nothing. Instead of watching any of the films I mentioned last week and in lieu of beginning my next long form project on the Coen Brothers, I’m still being as random as possible. Easily distracted, that’s what they call it and that’s what I am — no question. But, you may ask, what have I been doing?

I finished my novel and that has been enough for this week. Countless revisions later and now I am…comfortable with the book. I don’t think I’ll ever be fully satisfied with anything I write but there comes a point where you have to ship your little mutant baby off to school. My novel began as an eighty-eight thousand word screenplay, twenty two years ago. The title was so pretentious that I am not going to share it here. A production company in England told me it read like a mashup of Conan The Barbarian and Animal House. I thanked them. They told me that it wasn’t a compliment. I worked on something else. The story always stuck in the back of my mind but I left it for awhile. Then, Muse released their album, The Resistance, and closed the album with a three part rock symphony called, Exogenesis. A spark ignited. I pulled the screenplay and made changes — many, many changes. The screenplay was dead and in it’s place appeared a one hundred and twenty-five thousand word novel. It sucked. I knew it and anyone brave enough to read it, knew it. Time to make changes. I chopped some nonsense from the novel and then had a one hundred and ten thousand word beast. I called my agent to see what we could do about this but found out he’d apparently died in between my projects. The agency wasn’t looking to represent literary writers, only screenwriters. My goose was cooked. Time to make some new rounds but to no avail. Something with the novel still bothered me, something was missing — I wasn’t saying what I wanted to say and didn’t know how to say it. I shelved the novel. I returned to writing short stories and making blog posts. Writing depression set in as I’d given up a writing gig that was beginning to pay in order to pursue the novel and I’d failed. I couldn’t see the way out.

The way out is through — always.

We can fast forward to the year 2020. I found myself again giving up a good paying job in order to move clear across the country — from New York to El Paso, Texas. Time to write. I finished two short stories quickly and then set my sights on a new novel. Going to my file of ideas, I started picking one which connected. Nothing connected right away but something unexpected wormed its way back into my brain. The Violent Winds. I began writing short stories involving my main characters as a way to better understand them. This method worked wonders and my voice finally found itself. I knew how to tell this story. Blasted out an outline. Completely scrapped all previous versions of the novel and started over from word one. I wrote like a demon and then revised. And then revised some more. And then revised again. And then thought maybe I’d revised too much so I revised again. I’m done and it’s pretty close to how I always wanted this story to be told. It’s me and it’s from me but it’s also a bit of itself and it’s weird in a way I didn’t initially expect but it’s a lean and mean eighty-two thousand word reading machine.

So that is, as they say, that. We’ll see what happens. First things first, I need a new agent.

Segway aka what I originally thought I’d be writing about today.

I watched the 2019 French film, Les Miserables this week and thought it was pretty good. An interesting story about police brutality. I also re-watched several favorites like Hot Fuzz, On The Rocks, and Heat. All great but Quentin Tarantino’s Once Upon A Time In Hollywood really stuck out for me this week. Now, I saw this film twice in theaters and have probably watched it six or seven more times since then. I love the film and now I know exactly why: it represents exactly the type of movie which no longer gets made. I miss movies that are movies. I miss not being sold something by some giant corporate entity while watching a movie. QT makes movies about people and movies about people living their lives, ending up in interesting situations. I miss those the most. So, here’s to you, movies not trying to sell me shit and only being about your own shit, I salute you.

Next week, who knows? I’m about to start a new novel. Two ideas have raced to the front: a crime novel and a memoir. A memoir? Lmfao. Well, I am an idiot and I’ve done some idiotic things in my younger life and when I wrote all of those things down, I thought maybe there could be something there. We’ll see. I’ll probably begin writing both at the same time because, like I said, I am an idiot. Until then, love each other.

Sofia Coppola Friday #8 – The Recap

It’s the end of the line. I’m sad to let these films go for now but the beauty of art is that it’s never fully gone. Art exists all around us and even within us. Great art stays somewhere deep inside for us to draw from whenever we want or need. This project I’m embarking on with some of my favorite filmmakers has been even more rewarding than I initially thought. I’m learning things about myself that were previously hidden or unobserved. Growth is always a good thing.

With that said, let’s recap what we’ve learned from Sofia Coppola’s films.

First, she is a filmmaker who always has something to say. She makes you do the work but her message is ultimately always clear. Her films are never stagnant — they don’t just exist, they live. She is frequently inspired by depicting the reality of celebrity and tabloid culture. This makes a ton of sense considering she grew up in one of the most famous Hollywood families our generation has ever seen. Coppola is also consumed with dissecting the pitfalls of love and lust and the need to be loved. She also knows that love and obsession are completely different — this is a distinction a portion of our population routinely fails to make.

Sofia Coppola is a confident filmmaker. In fact, she’s one of the most confident filmmakers working today. Everything in her films always works in concert in order to present her specific vision. Her work is so real. How does she accomplish this? First, her dialog is always great and perfectly matched to what each film requires. This is no easy fete. She has to match her writing to the film’s tone and subject matter while also delivering something unique to not only each character but the actors portraying those characters. This is the secret sauce for a screenwriter and most aren’t nearly this good. It’s part of what makes Quentin Tarantino’s scripts so amazing. People jump to obvious conclusions about how “cool” it is and they try and mimic that. Hollywood then becomes inundated by bad imitators. No, the great ones, (and Sofia Coppola is definitely one of the great ones) match their writing with what is required and only what is required. This brings me to another aspect of why her films are so universally great: her ability to cast to the role. I will argue that this is actually a super power. Last, her needle dropping is on point. I spoke about this a few weeks ago and it bears repeating: she makes the best use of pop songs in her films. That’s it, nobody else does it better.

Now, what I’m most excited to get to is a realization I made as I rewatched her first six films. Sofia Coppola has created a trilogy of sister films. For the record, all of her films have aspects that either resemble or build upon previous work but there is more. First, On The Rocks is the odd one out. Being her newest film, it has yet to find it’s sibling. We’ll just have to see what Coppola cooks up for us in the future before revisiting. As for the other six, they break up like this:

The Virgin Suicides and The Beguiled are a perfect pair. Coppola revisits material dominated by men. TVS is based on a book written by a man and The Beguiled is a remake of a film starring Clint Eastwood. Coppola takes these stories and either reframed them around the women involved or alters the focus so we concentrate on the women and their own daily lives. Both films are about young women living under strict rules while blossoming into adults. They are curious and sheltered but possess ferocious spirits. They will leave their mark upon the world.

Lost In Translation and Somewhere go hand in hand. Both films center around men who are at sea. Both men are world famous actors but at different points in their careers. In some ways, Somewhere feels like it could be a prequel to LIT in relation to their respective main characters. Both films are unafraid to explore the ennui fame can bring with it and the trappings it holds. They also each center around a hotel that serves as a sort of prison for its inhabitants. The characters are constantly searching for a way break out and run free and that metaphor cuts deep.

Marie Antoinette and The Bling Ring belong together. These two films are Coppola’s most celebrity obsessed. Both are based on true events and real life people. Both are stories of celebrity and tabloid and excess and depression. These two films get under our skin more each time we revisit them. She digs deeper into motives of why these people would choose to either do these things or live this way. They both also deal with the youth revolting against norms and then suffering the consequences set upon them by the populace.

This brings me to the end of this particular section of my project. What have I learned? Where my first filmmaker I studied, Terry Gilliam, unearthed new observations that make me think less of him as a human being, Sofia Coppola has only grown in my estimation. She is my favorite Coppola. I said what I said. Not only that but she has climbed the mountain and reached the summit. Sofia Coppola now stands shoulder to shoulder with David Lynch as my favorite filmmakers. I can’t choose right now. Perhaps we will have to do David Lynch next.

Now to the rankings:

7 – The Bling Ring
6 – The Beguiled
5 – On The Rocks
4 – Marie Antoinette
3 – Somewhere
2 – The Virgin Suicides
1 – Lost In Translation

Next week, we’ll lay the groundwork for the next chapter in this project. Until then, love each other.