November 19, 2005

Is The End In Sight?

Okay, I'm getting very close to completing the script. I've spent most of the whole day today finalising my thoughts and ideas and writing the romantic bits. They're not that romantic, but to be honest, I'm happy enough if I can write something that remotely works, and this one remotely works. In fact, thinking about it, there are faint parallels with the Titanic love story – parallels that have nothing to do with content but underlying structure. So that's basically 20 pages done.

Now comes the next difficult bit … and I really cannot afford to spend another two months to figure this one out.

The final act and the resolution.

The final act I can figure out stuff to include – what I'm worried about is that the audience will very quickly find it unengaging. The problem is the first place is that the story I'm writing flies against the face of conventional script plotting. My protagonist is a passive character – meaning he doesn't move things, things move him, or things try to move him and he doesn't. There is a hero's journey here – but that journey is never obvious. Random stuff happen – all the time, from the beginning of the script to the end; whereas in a 'real film' you need to have a certain linkage between events, a recognisable chain starting from the beginning of the story to the end.

And all those problems are much more acute in the final act, when all I have to show for the audience are the uncomfortable scenes. Those uncomfortable scenes are necessary, in the sense that it is partly what I'm making the film for – to allow the audience to experience frustration and boredom. However, in a 'real film', really, either I must find a way to make frustration and boredom appealing, or yank it out of the movie. And I can't figure out a way to make it appealing.

The worst part – the ending. I actually already have an ending in mind for the last two years – it was one of the first scenes I thought of when beginning to think about a film that tells of a guy who lives different lives each day. Problem is, looking at the ending now, it seems very much an example deus ex machina. The thing about great endings are that, they should always be inherent in the story. Even though it is mostly surprising when presented to the audience, it should nevertheless be plausible – for example, the seeds of the ending should be present throughout the story. Take T2. How do you kill the T-1000? Almost all of the audience would be thinking that question at the end of the movie, when no matter what Arnie does the bloody guy just keeps reassembling. When finally the T-1000 gets thrown into the lava pool, the answer was like, so obvious. It's logical. And – this is the key – potentially, the audience could have thought of that earlier on. (It doesn't matter that it's so coincidental that they end up in an industrial plant with a lava pool, because emotionally the audience is so engrossed in the film that any way to destroy the villain ingeniously and save the characters is welcome.)

So, to come up with the perfect ending – and I keep feeling at the back of my mind that it can't be that far away, that it's barely visible, such that it almost seems like it didn't exist, but it's there – I would need to have dump this one. But then I'm too stuck with this particular idea.

On the other hand, even James Cameron made a mistake and wrote an inappropriate ending for Titanic, which can be seen as an alternate ending in the new 4-DVD release of the film. According to Cameron, the ending works on its own (though I don't think so, but then I didn't write the film so I wasn't thinking in the same terms he was as a writer) – but within the context of the ending of the film it just didn't work, hence the version we currently see now, which works a whole lot better.

I guess, the point is, I can always come up with an ingenious, non-deus ex machina ending. But then that is just plain lazy. But then I don't have time. I'm already three weeks behind schedule.


November 14, 2005

Films Worth Watching At The End Of The Year

… and there are many. You have no idea, huh?

(Note: Not strictly speaking end of the year, as UK releases tend to be later compared to the rest of the world. So backward.)

MUNICH

As soon as he finished promoting War of the Worlds, Spielberg dived straight into this one – leaving him six months from production to release date, which was even shorter than for War of the Worlds. He might not finish it in time for the Oscars. Starring Eric Bana, the story is about a group of Mossad-hired assassins sent to kill the Palestinians who were involved in the killing of Israeli athletes during the 1972 Munich Olympic Games. Not your favourite action thriller, this one – seems more like a serious exploration of guilt and the damnation of one's soul in participating in something one can never reveal about.

BROKEBACK MOUNTAIN

Read below.

MEMOIRS OF A GEISHA

For a lot of people their interest in watching this one is due to having read the book and liking the story. I couldn't give a damn about the story – it's set in Japan, involves the curious world of the geisha, is directed by Rob Marshall (reason enough to see it), and stars three major Chinese actresses.

KING KONG

Originally I thought – ach, give this one a miss. I never liked LOTR, and King Kong? What the hell? The first trailer was a disappointment. Then details arrive – it's gonna be three hours. Now I'm paying attention. Any movie over 2 hours I usually like – or if not, will try my very best to enjoy. Long movies are great. Then there's Jamie Bell, rising young star. Then there's Naomi Watts and Adrien Brody. And Jack Black in a serious role. And then more trailers appear, and the special effects looks more sound than LOTR. So yeah, I'll be watching this on the big screen.

RENT

Starring Rosario Dawson, Taye Diggs … and a whole bunch of other people we don't know. Early previews indicate this one would be good. Five hundred twenty five thousand six hundred minutes …

SYRIANA

Do you like political conspiracy thrillers? I do. They're so difficult to write – but when written well, hoo boy, it doesn't take car crashes to excite you. No, mere words are needed to send you going crazy over suspense, mouth agape. This one has a long cast list – (a very fat) George Clooney, Matt Damon, Amanda Peet, Christopher Plummer, William Hurt, Jeffrey Wright, Chris Cooper … and so on. The trailer was not bad, great choice of music – does suffer from giving too much details though.

THE NEW WORLD

From the director of The Thin Red Line. Story of John Smith and his men arriving at the New World. Captured, he gets to know no other than Pocahontas. This isn't your cartoony Pocahontas – she's like 15 or something. They try and understand each other – but soon the Indians and the white men will have no peace. Trailer indicates scenes were Pocahontas is taken back to white man's land.

SHOPGIRL

From a novella written by Steve Martin. A dramedy that slants more towards drama. Seems to be about loneliness, trying to make connections. Looks interesting. Stars Claire Danes and Steve Martin and Jason Schwartman. No, there aren't any sex scenes between him and Isabelle Huppert here.

THE FAMILY STONE

Another film with hundreds of movie stars. The list goes – Craig T. Nelson, Diane Keaton, Claire Danes, Dermot Mulroney, Sarah Jessica Parker, Luke Wilson, Rachel McAdams, and so on. Looks like a good comedy, with charm and feel-goodness.

JARHEAD

Starring Jake Gyllenhaal – another rising young actor very shrewdly choosing his roles. Directed by Sam Mendes. If you know that name, I know you're going to the theatre already. A war film where the soldiers get bored with war coz nothin's happenin'.

PRIME

Meryl Streep. Reason enough to watch a movie, don't you think? Anyway, Meryl Streep is a therapist with a patient in the form of Uma Thurman scared of embarking into a relationship with a guy younger than her. Meryl Streep is also a mother with a son in the form of Bryan Greenberg who's just found himself a girlfriend. Those two parts of her life collide – go figure. Trailer indicates it'll be really funny.

CASANOVA

Okay, I'll be honest. The only reason I wanted to see this one was because of the last bit shown in the trailer. Heath Ledger plays Casanova, trying desperately to court Sienna Miller. He arrives at her house with a pig in tow. "May I enter the house?" Sienna Miller sends her maid to greet him. "My mistress says the pig cannot come in."

Then she grabs the pig. "But the animal, we'll take." Door slams.

THE PRODUCERS

From the twisted mind of Mel Brooks, apparently. It's not Tim Burton twisted though, but it's really really funny. Starring Matthew Broderick, Nathan Lane, Uma Thurman (again) and Will Ferrell. Two producers decide that the best way to make money is to produce a flop. And very quickly they find the flop they were looking for – Springtime For Hitler. Guaranteed to shock and anger! Some of the wittiest lines ever found in a trailer …

(After Uma Thurman does a dance …) "I'd like you to know, my dear, that even though we're sitting down, we're giving you a standing ovation!"

Uma Thurman: Do la dance again!


Ang Lee's Brokeback Mountain

Forbidden Territory

By Sean Smith – NEWSWEEK

Nov. 21, 2005 issue – Two weeks ago, Ang Lee showed his new film to an audience in Los Angeles, and afterward he stuck around to answer questions from the crowd. Director Q&As are pretty common in the movie industry, and Lee—who won an Oscar for "Crouching Tiger, Hidden Dragon" and has directed such acclaimed films as "The Ice Storm" and "Sense and Sensibility"—has done more than his share. But something strange happened this time—the same thing that happens almost every time Lee screens "Brokeback Mountain." "People don't have many questions," he says. "Most of the time, they just stand up and tell me how they feel." When they're still crying, he already knows.

Based on the short story by Pulitzer Prize-winning author Annie Proulx ("The Shipping News"), "Brokeback" is the tale of Ennis Del Mar (Heath Ledger) and Jack Twist (Jake Gyllenhaal), two ranch hands who, in the summer of 1963, are hired to herd sheep on Wyoming's Brokeback Mountain. There, separated from the rest of the world, their laconic friendship develops, almost by accident, into a sexual relationship. As the summer ends, the two men are forced to separate, and they discover that their feelings for each other are stronger than they imagined. Jack dreams of buying a ranch together. Ennis thinks they'll be killed if anyone suspects their relationship. And so they marry women and have children, and for 20 years live apart, seeing each other only on rare camping trips, trying to hold on to the innocence and beauty of that first summer on the mountain. Inevitably, the longing and frustration, the years of repression, lead to a devastating conclusion.

Proulx's story caused a sensation when it appeared in The New Yorker eight years ago. Its raw masculinity, spare dialogue and lonely imagery subverted the myth of the American cowboy and obliterated gay stereotypes. It also felt like a sledgehammer to the chest. "This is a deep, permanent human condition, this need to be loved and to love," says Proulx from her home in Wyoming. "While I was working on this story, I was occasionally close to tears. I felt guilty that their lives were so difficult, yet there was nothing I could do about it. It couldn't end any other way."

The film, written by Larry McMurtry and Diana Ossana, is a near-perfect adaptation of Proulx's work. It has already earned the top prize at the Venice Film Festival and is almost certain to be an Oscar contender. More than that, though, "Brokeback" feels like a landmark film. No American film before has portrayed love between two men as something this pure and sacred. As such, it has the potential to change the national conversation and to challenge people's ideas about the value and validity of same-sex relationships. In the meantime, it's already upended decades of Hollywood conventional wisdom.

The day Jake Gyllenhaal was cast in "Brokeback," the chatter around the industry was not about what a wise choice he'd made. "It's the most stupid move he could make," said one top producer over lunch that afternoon. "It'll alienate his teen-girl fan base and could kill his career. What a waste." It's always been considered risky, if not career suicide, for actors with A-list aspirations to play gay roles. Tom Hanks's performance in "Philadelphia" helped a little, but even Hanks didn't kiss another man on screen. Gyllenhaal and Ledger don't dodge it. The kissing and the sex scenes are fierce and full-blooded. But if the actors were taking a risk, they sure don't seem to think so. "I never thought twice about it," Ledger insists. "For one thing, I never felt like I had anything at stake, and I think if you make decisions based on society's opinions, you're going to make boring choices. What terrified me was self-doubt. I knew that if I was going to do justice to this character, to this story and to this form of love, I was really going to have to mature as an actor, and as a person."

Yes, they get asked about the sex a lot. "I'm amazed, really," Gyllenhaal says, laughing. "Everybody is soooo interested in it." And their conversations with journalists have given them fresh insight into straight-male psychology. After seeing the movie, Gyllenhaal says, male reporters will enter a room to interview him and almost always follow the same routine. "They come in and they're all, like, 'I just want you to know I'm straight'," he says, and laughs. If they've been moved by the film, he says, they often rationalize it by saying things like "Well, it's really more of a friendship." No, it isn't. "It's a love story," Gyllenhaal says. "They're two men having sex. There's nothing hidden there." Ledger has a theory about why the movie makes some men uncomfortable. "I suspect it's a fear that they are going to enjoy it," he says. "They don't understand that you are not going to become sexually attracted to men by recognizing the beauty of a love story between two men."

That discomfort would seem to make the movie difficult to market. When the trailer plays in theaters where there are a lot of young men in the audience, it's often met with snickers or outright laughter. How do you get those guys to see the movie? You don't. "If you have a problem with the subject matter, that's your problem, not mine," Schamus says. "It would be great if you got over your problem, but I'm not sitting here trying to figure out how to help you with it." In an early meeting, Schamus told Lee that, from a marketing standpoint, they were making this film for one core audience. "Yes, of course," Lee said. "The gay audience." No, Schamus said. "Women."

When it came time to design the poster for the film, Schamus didn't research posters of famous Westerns for ideas. He looked at the posters of the 50 most romantic movies ever made. "If you look at our poster," he says, "you can see traces of our inspiration, 'Titanic'." Still, questions remain about whether the film will play in rural America, and whether it can make a profit if only women and gay men go to see it. But Schamus says that by selling off the international distribution rights, Focus has already broken even on the film. "Literally, if your mom and my mom go to the theater, we're in profit," he says, laughing.

And it's likely that more than our mothers will buy tickets. The constant stream of positive word of mouth is turning it into a must-see for film lovers. More encouraging to the filmmakers, however, is that it's often having a profound effect on people—even the most seemingly cynical. At the Toronto Film Festival, Lee and the cast faced off against a room of reporters who had just seen the film. One blogger raised his hand and stood up. He didn't have a question, he said. He wanted to apologize. "For the last year on my Web site I've been calling this 'the gay-cowboy movie'," he said. "I just want you to know that I'm not going to be calling it that anymore."

Yes I'm straight, but I'm definitely watching this one.


Noon, Monday, Week 8

Where am I now?

The Script – is not yet finished, but at least I found a way to continue the story.

My RAE Project – is still vague. The others who are more enthusiastic about economics (which includes like 98.6% of third year econs students … lemmings) have probably found their topics, their one question. But at least the tutor seems obsessed about my scatter diagrams.

My Two Essays – are far from completion. This year, they seem to have made it very difficult for us to write essays. Picked titles where there is like, one relevant journal (not that relevant after all) – basically no help, no starting point for us to branch out from. I'm not freaking coming out with new explanations or arguments to write these essays, these 2000-word essays. It is a waste of my time. Much of economics is.

I still have other random stuff to do. Where is that package? I need to call to get my £100 pounds back.

And I still don't know how to take control of my moods. Moods are like horses – some people seem able to just grab the reins and direct the horse. Me? I'm in the carriage, too lethargic to come out and take control of the horse.

So what now?

I slip away and die.

"You deserve to die, you worthless whiner," so says you.

Whine whine whine,
Nothing you can dine.


November 05, 2005

How Much Is This Blog Worth?

Darn.

Well, let's compare it with Malaysia's top blogger, Kenny Sia.


Kenny Sia's blog is worth $1,068,674.22.
How much is your blog worth?

Oh my-


November 02, 2005

British Short Films

I go to the BBC Film Network from time to time to look at the short films there. Not all are good – my definition of good – but I found some that I liked. Some of them just makes me think that I'm really worthless with my ideas.

Back And Forth by Stephan Talneau
A poignant love story told backwards using Four Tet music. The ending is clearly sad, but what makes it poignant is the fact that the beginning (shown at the end) was so nice. Well made, especially the editing (not just the fact that it's backwards, usually a pretentious device).

The Sound Of Silence by James Appleton
Basically a fable. A writer gets continually distracted by various noises while rushing for a deadline. A magical vinyl record saves the day. But then …

Dumping Elaine by Peter Lydon
Eddie is trying to dump Elaine. A comedy of errors where the story misleads the two protagonists, the cafe waitresses eavesdropping on them – and the audience. Charming comedy with great acting from the cast who play it perfectly balanced.

Dialog by Stephen Irwin
Animation about the Doctor contemplating destroying his creation, a simulation town called Clusterville. Just as he is about to destroy it, the behaviour of a human and a mechanical robot in the town attracts his attention. Weeeeeird stuff.

Oedipus
The story of Oedipus Rex may have been so gross and disturbing such that none of us can ever really relate to it – but hell, this short made it very clear how something that happens daily can, ahem, lead to such a result.


November 01, 2005

Gout Regout

Gout returns.

That's a sentence structure that's usually reserved for super-hero types. Well, gout isn't. It's a pain in the arse. No, a pain in the joints – the heels. I can't walk – completely incapacitated. This after a few days of trying to suppress a chesty cough and on the verge of falling into flu (which I managed to avoid, yay! … oh …).

I must be the only person in Warwick who has gout. Okay, leave out people above 25 … i.e. the lecturers, staff and so on … yeah, okay, there might be students above 25 …

Point is, gout usually affects older people. And as much as I used to take pride at being perceived as older (in Malaysia that's how we say more matured … like, you guys say bowler hats, cap, and so on, we just say hat for all of those), gout almost NEVER happens to people below 30. I'm the freaking outlier.

So anyway, when I tell people who are familiar with gout – mostly my medic friends – that I'm having to deal with it, they always seem to come up with a sentence that includes these five words, "... so young already got gout ah …" (that last one doesn't count, it's a phatic utterance in Malaysian English). For my medic friends, the next thing they say is exactly the same as well, except I can't reproduce it … they give me a list of symptoms, treatment, prevention, diet information about it, and it's all the same information. I'm always surprised by that, because they all give the information in the same order. But on the other hand, I guess it's comforting that the doctors of the future are all agreeing with each other. (Except when they happen to be wrong.)

As for the script, yet another idea.

Make it like A Beautiful Mind. In that film, the audience is led to believe one thing, then the story twists inside out. That is not done because Ron Howard and co. are being coy. It's done because it's the best way to represent the disease of schizophrenia to the audience – we are being led to experience exactly what it is like to be told that your best friend, career, etc doesn't actually exist.

So, what I think would be interesting, is to present the story first not through Jeremy's POV. We present it through the eyes and thoughts of those he meets when his lives start changing. So yeah, the audience wouldn't know what is going on at first. Maybe we play out three different days – some will have gotten the hint by then. Then, halfway through the film, we switch to Jeremy's POV - and he begins telling the story from before everything happened.

This is a radical departure from the story I first had in my head, and also quite a radical departure from my storytelling principles. You see, making the story like that, I'll have to utilise techniques that give the film a Chris Nolan feel. Nolan's latest film is Batman Begins (lucky bastard) … but that's not the point. In his first movie, Following, he jumps the story back and forth seemingly without any reason. Basically it makes the audience think harder, because they have to spend some minutes figuring out where the scene lies chronologically. And I guess that works because if he hadn't done that, the story would have been real boring. (It already is, even at 70 mins.) Then he does Memento, the much-loved Memento (freaking no. 22 at IMDb.com), which you probably know, goes backwards. And how does he do transitions for such chronologically screwed up movies?

He straight cuts to black for a few seconds, then straight cuts to the next scene. I didn't exactly like that. I mean, it works, but it rings pretentious to me.

But then, the guy got to direct a multi-millon dollar film in Hollywood. For his fourth film. Maybe I should take the hint.

So yeah, I would have to mess up the storyline a little. Just to make it more interesting. And after all I said about Nolan, no it isn't exactly like what Nolan was doing.

But then, maybe after I've made it, I won't be loved. Critics will call me a hack – that technique's overdone, they say.

You can't please everyone.


October 27, 2005

It Returns

Follow-up to Where Has It Gone? from Cinematic Concerns

It occured to me today where it has gone.

It refers to the creator of interesting stories once found inside my head, but that has mysteriously disappeared these days.

Turns out it didn't disappear, per se. It just needs a catalyst to work. What catalyst?

It occured to me when I was on a train today. Went to Birmingham to get some shopping done – that and long-time-no-eat duck rice. On the way back, on the train, very naturally, a stream of ideas for a new movie came into my head – and yes, they were very interesting ideas, at least to me. And there was no struggle, it just all flowed. I was thinking, what I want to happen next, and it comes, and I think, how bout if we do this different, and I come up with a better idea – all happening within seconds. Then another. Then another.

And now I have enough material to write, oh, half a script – the general outlines of it anyway. Can it be made? Dunno, coz this one's too controversial, so I won't talk about it.

Anyways, it was when I reached home that I remembered.

I haven't traveled in a vehicle in a long time.

I used to do that in the past – a lot. That's coz my school tended to be far away from my house. During primary school I would have to take hour-long school-bus rides to get home. During secondary school we have a car-pooling system but it still takes half an hour to get back.

And it was then that my mind wanders and conjure up all these stories.

The moving images outside the window helps me think.

That was the key all along. I knew it, all this while – yet I've forgotten. I've forgotten coz when I'm staying on campus, there's never a need to get on to moving vehicles.

Now I remember.


October 25, 2005

Time For Assessment

The deadline I set for myself to complete the script is this weekend. Probability of that happening: zero. Now that is a serious claim. Probability of one dying in a plane crash is not zero. Probability of one dying along with the rest of the world due to asteroid impact is also not zero. Get the point?

So I think it is fair to bring myself down and face facts.

The script is too difficult to write – maybe it would never work, even if you give it to Kaufman or Haggis. Maybe that's how impossible it is to write the script.

Now, I don't want to say that I'm giving up. Coz then friends would be saying stuff like, oh, don't give up, just try harder, don't be so hard on yourself … I wish, I don't have any friends like that. They couldn't fucking care less what the fuck I'm doing – I'm just a laughing stock, an imbecile who wishes he could be in Hollywood and talks about films all the time; in other words, someone to avoid.

The problem could be this though – I'm supposed to be giving up, but I'm not.

Coz the fact is this – I'm beginning to think that I'm not mature enough to write this script. What, you ask – isn't this a film about a student? I think when I presented this idea to a few people, the film they imagine in their head is, yes, a student production.

Hell, no. I'd rather not do it if it turns out to be just another cheap-ass student film. Anyone can make student films. Not everyone can make a serious, mature, thought-provoking and at the same time, emotional film. Yes, this is the nature of the film I'm making. It has to be good enough that people remember it, think about it. It cannot be a forgettable story.

Which brings me to the next point. You probably read that and felt – well, yeah, everyone wants to do the best film they can. That's not the point – the problem is, I couldn't articulate the point. Half the time when I talk to people my mind goes blank. In the first place, the ideas in my head are muddled – it's like locating for stars in a galaxy: there are billions of them, but they are so far apart that you can only see one clearly at a time, and you can't see the relation and association between them unless you see the big picture; but if you finally do see the big picture, the details get obscured.

Point is, I can't talk to people articulately. How am I supposed to direct if I can't talk to people, express what is inside my head?

So basically, I can't write, and I can't direct. Maybe, maybe not. But at this point that looks to be the case.

I tried, tried so hard to think about what could happen in university – but I can't, becoz I happen to think that university is boring. Nothing much happens here. What can happen here that is dramatic? Yet real? I mean, it's so much easier for me to engineer a story about a virus spreading in the university … if I can blow up some buildings, even easier. But to write an ultra-serious story that requires dramatic moments to work, but not being able to find them coz I'm locating it in a place where nothing much interesting happens (within a day) … I'm screwed.

And, I realised, that as much as I want to make this film a bit of a thesis about why university is a complete waste of time - I can't even reason out why I dislike university so much. I know it's partly because I'm not doing as well academically as I used to be, partly because I don't have any close friends around, no one to spar and debate with on the same level, and partly because I didn't achieve anything here. But that is just me. For this film, I have to find a reason why we all don't belong here. All this while, I know that university is pointless, that we should all find different paths into our careers instead – but when I tried to find the reasons in my head:

COMPLETE BLANK.

You might say – well, that's coz you're wrong, uni is a great place, a fun place, best years of our lives, plus we need the degree to survive in the work place today – the usual cliched reasons one writes into high school-type essays.

My answer to that would be that university doesn't do a lot in terms of giving you the necessary knowledge to survive in the real world. You're here for three years and more – and what comes out of it? Thousands upon thousands of whiny graduates who lament about being in debt, at the same time lamenting that they spent too much, most of them without a clue what financial health is, hence the insecurity about debt. We're not taught the practical knowledge in schools. We have to learn them by ourselves from others who don't have much clue as well in university. Then the real learning starts in professional/unemployed life – a few years too late.

Your reasoning's flawed, you say. University can be a sort of training ground to prepare us for the real world. A time to build up networks, when we have time to do so. Who knows, the guy next to you might be an MP and might come in handy in future times? It is a time where we can make mistakes – and not having to suffer too much from it.

And there goes my flimsy reasoning right out of the window. Along with the film. Scrapped.

And yet I was so sure I had the answer to that in my head a few months ago. Serves me right for not writing it down.

So what now? Scrap it and go back to a life I hate into a future that my university education did not prepare me for because I chose to come here when I did not belong here?

I'm saying no to that. But saying isn't anything. So what if I say no to that – what am I going to do about it? Sit there for a few more months trying to think of what else I'm trying to say through my script?

Should I consider turning it into a short? Should I consider writing a new story, something easier? No, writing anything's hard. I've had this story in my head for two fucking years. Should I just abandon it?

I'm really trying to say no.

I can't do this for long. Something must happen, and soon.

(Fog of disillusionment and hopelessness sets in. Author gets buried deeper and deeper like quicksand. Slowly he begins to give up hope and accepts his death.)


October 23, 2005

The Naked Revelation

Okay, so I've been listening to Big Right from Newman's Cinderella Man, over and over again, and this idea came bubbling up … and a weird one too.

First of all, Big Right is used at the end of the film, the climax, when the protagonist winning looks like a possibility, and the entire crowd stands up and looks on in awe of something they didn't quite expect to happen happening before their eyes, some with mouths gaping. The music is uplifting, dramatic, soaring.

And the scene I have in my head, with this piece of music accommpanying, is this. The protagonist of my story, for whatever reason, begins to realise something. It is a PROFOUND realisation. And, with a DETERMINED look on his face, he begins to walk, confident stride. He takes off his jacket and flings it away. He unbuttons his clothes, still walking. He flings that away. People are beginning to notice him. His eyes are always looking to the front. He grabs his shoes and pulls out his socks, fling those as well. He pulls down his pants, and eventually his boxers - everything, gone. Flings it as hard as he can, and immediately begins to run - run to somewhere.

Does this sound dramatic? If I can provide the reasoning, does this sound like something the audience will root for, something the audience feels like clapping to? (If porn comes anywhere near this, I don't want to hear it. It's not like that. You know it.)

UPDATE: I've figured out now why the character would do that. So obvious …


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