Monday, January 23, 2017

Get Amazon Gift Cards For The Holidays?

Lancelot Link is on holiday this week!

FILM & SCREENWRITING BOOKS!



Did you get Amazon Gift Cards for the Holidays? Even if you don't have a Kindle device, Amazon has a FREE Kindle Reading App that works on any device (well, not your Mr. Coffee). FREE. So you can read any of these ebooks on your laptop or notepad or iPad or Upad or WePad or... well, just about anything. I have the app on my phone, in case I get stuck in some line at the DMV or something. So these ebooks make great gifts for you or any of your friends... or even your enemies. I think Amazon even has "gift wrapping" and "delivery"! (but, like the app not being available for your Mr. Coffee, the free delivery is not available for babies).

Learn how to write movies from a professional screenwriter: Buy a book!

"SECRETS OF ACTION SCREENWRITING is the best book on the practical nuts-and-bolts mechanics of writing a screenplay I've ever read." - Ted Elliott, co-writer "The Mask Of Zorro", "Shrek" and "Pirates Of The Caribbean".

"William C. Martell knows the action genre inside out. Read and learn from an expert!" - Mark Verheiden, screenwriter, "Time Cop" and "The Mask", head writer on "Smallville" and "Constantine".

"This book is dangerous. I feel threatened by it." -Roger Avary, Oscar winning screenwriter, "Pulp Fiction" and "Killing Zoe".

"Bill Martell is one of Hollywood's best action-adventure writers, with 19 produced films to his credit. His "Blue Books" on the art of screenplay writing are legendary and "Secrets of Action Screenwriting" is the best." - Best selling novelist Dale Brown.

"My only complaint with SECRETS OF ACTION SCREENWRITING is that it wasn't around when I was starting out. The damned thing would have saved me years of trial and error!" - Ken Wheat, screenwriter, "Pitch Black" and "The Fly 2".

"There's an art to writing for guys like Chuck Norris -- thanks to Bill Martell's book, I was prepared." - Genia Shipman, screenwriter, "Walker: Sons of Thunder".

"Finally a screenwriting book written by a working professional screenwriter. Bill Martell really knows his stuff, showing you how to write a tight, fast screenplay." - John Hill, screenwriter, "Quigley Down Under" and "Closed Encounters Of The 3rd Kind".


bluebook
THE BOOK THAT STARTED IT ALL!
*** THE SECRETS OF ACTION SCREENWRITING *** - For Kindle!
*** THE SECRETS OF ACTION SCREENWRITING *** - For Nook!
Why pay $510 for a used version of the 240 page 2000 version that used to retail for $21.95? (check it out!) when you can get the NEW EXPANDED VERSION - over 500 pages - for just $9.99? New chapters, New examples, New techniques!

"SECRETS OF ACTION SCREENWRITING is the best book on the practical nuts-and-bolts mechanics of writing a screenplay I've ever read." - Ted Elliott, co-writer of MASK OF ZORRO, SHREK, PIRATES OF THE CARIBBEAN and the sequels (with Terry Rossio). (ie; 4 of the top 20 Box Office Hits Of ALL TIME.)

Only $9.99 - and no postage!


BLUE BOOK SERIES


"Bill Martell is one of Hollywood's best action-adventure writers, with 19 produced films to his credit. His "little blue books" on the art of screenplay writing are legendary," Best Selling novelist Dale Brown ("Strike Force", "Flight Of The Old Dog").

bluebook
GOT IDEAS?
*** YOUR IDEA MACHINE *** - For Kindle!
*** YOUR IDEA MACHINE *** - For Nook!
Expanded version with more ways to find great ideas! Your screenplay is going to begin with an idea. There are good ideas and bad ideas and commercial ideas and personal ideas. But where do you find ideas in the first place? This handbook explores different methods for finding or generating ideas, and combining those ideas into concepts that sell. The Idea Bank, Fifteen Places To Find Ideas, Good Ideas And Bad Ideas, Ideas From Locations And Elements, Keeping Track Of Your Ideas, Idea Theft - What Can You Do? Weird Ways To Connect Ideas, Combing Ideas To Create Concepts, High Concepts - What Are They? Creating The Killer Concept, Substitution - Lion Tamers & Hitmen, Creating Blockbuster Concepts, Magnification And The Matrix, Conflict Within Concept, Concepts With Visual Conflict, Avoiding Episodic Concepts, much more! Print version is 48 pages, Kindle version is over 175 pages!
Only $4.99 - and no postage!


bluebook
STORY PROBLEMS?
*** STORY: WELL TOLD *** - For Kindle!

This book takes you step-by-step through the construction of a story... and how to tell a story well, why Story always starts with character... but ISN'T character, Breaking Your Story, Irony, Planting Information, Evolving Story, Leaving No Dramatic Stone Unturned, The Three Greek Unities, The Importance Of Stakes, The Thematic Method, and how to create personal stories with blockbuster potential. Ready to tell a story? Print version was 48 pages, Kindle version is over 85,000 words - 251 pages!
Only $4.99 - and no postage!


bluebook
NEW!
*** HOOK 'EM IN TEN *** - For Kindle!

Your story doesn't get a second chance to make a great first impression, and this book shows you a bunch of techniques on how to do that. From the 12 Basic Ways To Begin Your Story, to the 3 Stars Of Your First Scene (at least one must be present) to World Building, Title Crawls, Backstory, Starting Late, Teasers and Pre Title Sequences, Establishing Theme & Motifs (using GODFATHER PART 2), Five Critical Elements, Setting Up The Rest Of The Story (with GODFATHER), and much more! With hundreds of examples ranging from Oscar winners to classic films like CASABLANCA to some of my produced films (because I know exactly why I wrote the scripts that way). Biggest Blue Book yet! Print version was 48 pages, Kindle version is over 100,000 words - 312 pages!
Only $4.99 - and no postage!


bluebook
MOVIES ARE CHARACTERS!
*** CREATING STRONG PROTAGONISTS *** - For Kindle!
*** CREATING STRONG PROTAGONISTS *** - For Nook!
Expanded version with more ways to create interesting protagonists! A step-by-step guide to creating "take charge" protagonists. Screenplays are about characters in conflict... characters in emotional turmoil... Strong three dimensional protagonists who can find solutions to their problems in 110 pages. But how do you create characters like this? How do you turn words into flesh and blood? Character issues, Knowing Who Is The Boss, Tapping into YOUR fears, The Naked Character, Pulp Friction, Man With A Plan, Character Arcs, Avoiding Cliche People, Deep Characterization, Problem Protagonists, 12 Ways To Create Likable Protagonists (even if they are criminals), Active vs. Reactive, The Third Dimension In Character, Relationships, Ensemble Scripts, and much, much morePrint version is 48 pages, Kindle version is once again around 205 pages!
Only $4.99 - and no postage!


bluebook
I WRITE PICTURES!
*** VISUAL STORYTELLING *** - For Kindle! (exclusive)

Show Don't Tell - but *how* do you do that? Here are techniques to tell stories visually! Using Oscar Winning Films and Oscar Nominated Films as our primary examples: from the first Best Picture Winner "Sunrise" (1927) to the Oscar Nominated "The Artist" (which takes place in 1927) with stops along the way Pixar's "Up" and Best Original Screenplay Winner "Breaking Away" (a small indie style drama - told visually) as well as "Witness" and other Oscar Winners as examples... plus RISE OF THE PLANET OF THE APES. Print version is 48 pages, Kindle version is over 200 pages!
Only $4.99 - and no postage!


bluebook
DIALOGUE TO DIE FOR!
*** DIALOGUE SECRETS *** - For Kindle!
*** DIALOGUE SECRETS *** - For Nook!
Expanded version with more ways to create interesting protagonists! How to remove bad dialogue (and what *is* bad dialogue), First Hand Dialogue, Awful Exposition, Realism, 50 Professional Dialogue Techniques you can use *today*, Subtext, Subtitles, Humor, Sizzling Banter, *Anti-Dialogue*, Speeches, and more. Tools you can use to make your dialogue sizzle! Special sections that use dialogue examples from movies as diverse as "Bringing Up Baby", "Psycho", "Double Indemnity", "Notorious", the Oscar nominated "You Can Count On Me", "His Girl Friday", and many more! Print version is 48 pages, Kindle version is over 175 pages!
Only $4.99 - and no postage!


bluebook
SECRETS OF SCENES!
*** SCENE SECRETS BLUE BOOK *** - For Kindle! (Exclusive)

What is a scene and how many you will need? The difference between scenes and sluglines. Put your scenes on trial for their lives! Using "Jaws" we'll look at beats within a scene. Scene DNA. Creating set pieces and high concept scenes. A famous director talks about creating memorable scenes. 12 ways to create new scenes. Creating unexpected scenes. Use dramatic tension to supercharge your scenes. Plants and payoffs in scenes. Plus transitions and buttons and the all important "flow"... and more! Over 65,000 words!
Print version was 48 pages, Kindle version is around 210 pages!
Only $4.99 - and no postage!


bluebook
BEST SUPPORTING ACTORS?
*** SUPPORTING CHARACTER SECRETS *** - For Kindle! (Exclusive)

Expanded version with more techniques to flesh out your Supporting Characters and make them individuals. Using the hit movie BRIDESMAIDS as well as other comedies like THE HANGOVER and TED and HIGH FIDELITY and 40 YEAR OLD VIRGIN and many other examples we look at ways to make your Supporting Characters come alive on the page. Includes Story Purpose of characters and Subplots. Print version was 48 pages, Kindle version is around 150 pages!
Only $4.99 - and no postage!


bluebook
STUCK IN THE MIDDLE?
*** ACT TWO SECRETS *** - For Kindle!

Expanded version with more techniques to help you through the desert of Act Two! Subjects Include: What Is Act Two? Inside Moves, The 2 Ps: Purpose & Pacing, The 4Ds: Dilemma, Denial, Drama and Decision, Momentum, the Two Act Twos, Subplot Prisms, Deadlines, Drive, Levels Of Conflict, Escalation, When Act Two Begins and When Act Two Ends, Scene Order, Bite Sized Pieces, Common Act Two Issues, Plot Devices For Act Two, and dozens of others. Over 67,000 words (that’s well over 200 pages) of tools and techniques to get you through the desert of Act Two alive!
Print version was 48 pages, Kindle version is over 208 pages!
Only $4.99 - and no postage!



bluebook
Only 402 Pages!
*** BREAKING IN BLUE BOOK *** - For Kindle!

Should really be called the BUSINESS BLUE BOOK because it covers almost everything you will need to know for your screenwriting career: from thinking like a producer and learning to speak their language, to query letters and finding a manager or agent, to making connections (at home and in Hollywood) and networking, to the different kinds of meetings you are will have at Studios, to the difference between a producer and a studio, to landing an assignment at that meeting and what is required of you when you are working under contract, to contracts and options and lawyers and... when to run from a deal! Information you can use *now* to move your career forward! It's all here in the Biggest Blue Book yet!
Print version was 48 pages, Kindle version is over 400 pages!
Only $4.99 - and no postage!


HITCHCOCK BOOKS



HITCHCOCK: MASTERING SUSPENSE


LEARN SUSPENSE FROM THE MASTER!

Alfred Hitchcock, who directed 52 movies, was known as the “Master Of Suspense”; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?

This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!

Films Included: NOTORIOUS, SABOTAGE, STRANGERS ON A TRAIN, THE 39 STEPS, REBECCA, TO CATCH A THIEF, FRENZY, FOREIGN CORRESPONDENT, THE LODGER, THE BIRDS, TORN CURTAIN, SABOTEUR, VERTIGO, THE MAN WHO KNEW TOO MUCH (1934), THE MAN WHO KNEW TOO MUCH (1955), SUSPICION, and NUMBER SEVENTEEN. 17 Great Films!

Only 125,000 words!

Price: $5.99

HITCHCOCK: EXPERIMENTS IN TERROR


HITCHCOCK DID IT FIRST!

We all know that Alfred Hitchcock was the Master Of Suspense, but did you know he was the most *experimental* filmmaker in history?

** HITCHCOCK: EXPERIMENTS IN TERROR **

Contained Thrillers like “Buried”? Serial Protagonists like “Place Beyond The Pines”? Multiple Connecting Stories like “Pulp Fiction”? Same Story Multiple Times like “Run, Lola, Run”? This book focuses on 18 of Hitchcock’s 52 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock’s *silent* films! We’ll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.

Films Examined: “Rear Window”, “Psycho”, “Family Plot”, “Topaz”, “Rope”, “The Wrong Man”, “Easy Virtue”, “Lifeboat”, “Bon Voyage”, “Aventure Malgache”, “Elstree Calling”, “Dial M for Murder”, “Stage Fright”, “Champagne”, “Spellbound”, “I Confess”, and “The Trouble with Harry”, with glances at “Vertigo” and several others. Over 77,000 words!

Only $5.99 - and no postage!

STORY IN ACTION BOOKS



bluebook
Over 240 pages!
*** THE TERMINATOR MOVIES *** - For Kindle!

He's back! The release of "Terminator: Genisys" (now on BluRay) is set to begin a new trilogy in the Terminator story... 31 years after the first film was released. What draws us to these films about a cybernetic organism from the future sent back in time? Why is there a new proposed trilogy every few years? This book looks at all five Terminator movies from a story standpoint - what makes them work (or not)? What are the techniques used to keep the characters and scenes exciting and involving? How about those secret story details you may not have noticed? Containing a detailed analysis of each of the five films so far, this book delves into the way these stories work... as well as a complete list of box office and critical statistics for each film. This book is great for writers, directors, and just fans of the series.

Only $3.99!


bourne

BRAND NEW!

*** THE BOURNE MOVIES

All five "Bourne" movies (including "Legacy" and it's potential sequels) - what are the techniques used to keep the characters and scenes exciting and involving? Reinventing the thriller genre... or following the "formula"? Five films - each with an interesting experiment! A detailed analysis of each of the films, the way these thrillers work... as well as a complete list of box office and critical statistics for each film. This book is great for writers, directors, and just fans of the series.

PRICE: $3.99 - and no postage!



UK Folks Click Here.

German Folks Click Here.

French Folks Click Here.

Espania Folks Click Here.

Canadian Folks Click Here.

VINTAGE SCREENWRITING BOOKS


bluebook
ADVICE FROM #2 SCREENWRITER!
*** VINTAGE #1: HOW TO WRITE PHOTOPLAYS *** - For Kindle!
***
Screenwriting books have been around as long as films have. This series reprints vintage screenwriting books with a new introduction and history, plus new articles which look at how these lessons from almost 100 years ago apply to today’s screenplays. Anita Loos book is filled with information which still applies. In addition to the full text of the original book, you get the full screenplay to Miss Loos' hit THE LOVE EXPERT, plus several new articles on the time period and women in Hollywood.

Only $2.99!

These links all lead to the USA store, if you are in some other country and want to write a review for your country, go to your Amazon website.

Thank you all again.

Bill

Friday, January 20, 2017

Fridays With Hitchcock: TOPAZ (1969)

“Topaz” (1969)

Screenplay: Samuel Taylor based on the novel by Leon Uris Starring: Frederick Stafford, John Vernon, John Forsythe Roscoe Lee Brown.

This film was based on a big best selling beach read by Leon Uris - one of those ripped from the headlines things about the secret shenanigans behind the Cuban missile crisis, filled with as much intrigue between the sheets as behind the doors of the embassies... and a cast of thousands. And the major problem with TOPAZ is probably with the source material's scope. Novels are an entirely different medium than screenplays and the movies that come from them. There are many things that you can do in a novel that just don't work in a movie. As I noted in the last chapter, a movie is viewed all in one gulp and we expect the story to flow and the pieces to connect to each other. Usually the audience does what I call the “skin jump” where they imagine themselves as the lead character and live the story on screen vicariously. They imagine they are James Bond or Indiana Jones or Neo from THE MATRIX or the character looking for love in a romantic comedy.




A book is a completely different animal – though there *are* books that you might read in one gulp, for the most part books are read chapter-by-chapter and we put a book marker in and set it aside. We may take days or weeks or even months to read a single book. So the focus is often on the *chapters* rather than the overall story. Even if a chapter ends with a cliff-hanger, it also usually works as a self-contained unit, giving us someplace to put a book mark and set the book aside. Due to the way the story is delivered to us – chapter by chapter – a book can be episodic and doesn't need to be from the protagonist's point of view. Because we can “get into a character's head” it is easier for us to identify with everyone, even the antagonist. We can bounce from character to character without ever being pulled out of the story. So the problem with adapting some novels is that they work so much differently than a movie works that our best set is probably just to toss the book and just run with the concept... or just leave it as a book. Some things are more at home in the medium they were created in.



The big problem with TOPAZ is that there is no lead character - it bounces back and forth between characters - so most of the scenes “star” minor characters that we haven't really gotten to know. The tone also works against it – a “ripped from the headlines” story often plays like a “just the facts” documentary, which means low key drama and less focus on emotions and drama. Combine that tone with no lead character to identify with and we end up with a story that was probably exciting in book form but ends up dull on screen. The screenplay is by Sam Taylor who wrote VERTIGO, but his skill set may not have been able to tame this all- over-the-place novel. The film just isn't very good, but does contain an amazing experiment which makes it well ahead of its time. Twenty five years before PULP FICTION, this film does a very similar story experiment.

Experiment: A big one! The film actually has four plots - and each is like its own little story. Like PULP FICTION, different lead characters in each story with some overlapping characters who show up in more than one story, and one character who connects all four. It's a great experiment that probably comes directly from the novel's structure – but like most experiments, it ultimately fails. But let's look at it anyway, since PULP FICTION shows that it *can* work. Here are the four stories...

In Denmark: A top ranking Russian and his family defect to the USA.
In the USA: While the Cuban delegation is in town, secret documents are photographed that hint at Russian missiles sent to Cuba.
In CUBA: Spies find the Russian missiles.
In FRANCE: A high level spy ring in the French government is exposed.

Wow, that seems almost linear and not nearly as complicated as the movie is. But when Frederick Stafford (who?) walks into frame, we have no idea who the hell he is and he has to “earn” our identification... and in TOPAZ the characters are each on screen for only a brief time before we are on to the next character. Not enough time to get to know them, let alone like them or care about them or hope they resolve whatever problems we really don't have enough time to learn about. So that Hitchcock aversion to paying star salaries backfires in this film.



Nutshell: In the USA segment, an American CIA agent (John Forsythe) wants to bribe the secretary (Donald Randolph) to Castro's right hand man (John Vernon) to steal his papers.... but doesn't want it traced back to the USA, so he goes to his pal in the French espionage pal (Frederick Stafford) who is having problems with his wife (Dany Robin) to get his son-in-law (Claude Jade) to provide a sketch of the secretary so that his agent (the late great Roscoe Lee Brown) whose cover is a florist, can pretend to be a reporter for Ebony Magazine in order to get past security and bribe the secretary so that he can photograph the papers. Oh, and Castro's right hand man has a head of security and the florist has an assistant and the son-in-law is obviously married to the French espionage pal's daughter and... well, there are no shortage of characters in this one segment alone! And the character who does the actual spying stuff is Roscoe Lee Brown - a peripheral character who we will never see again.

That's the big problem with the story - in the Cuba section it's not any of our main *Cuba story* characters who sneak onto the military base to photograph the missiles, it's some characters we've never seen before who are only in this once sequence... so when they are in trouble, we don't care. They are disposable characters... and *all* of the characters in this film are disposable - they do their little bit of the story and then we never see them again.



It's like a movie about the extras instead of stars.... and there are no movie stars in the film. Zilch. Hitchcock had paid *half* the budget of his previous film TORN CURTAIN on Newman and Julie Andrews' salaries and that film bombed... so he ditched stars completely for this film, and it suffers because of it. The closest we have to a lead character is the French espionage guy played by Stafford - but he never goes on any dangerous missions himself - he hires someone else. Which means he ends up with soap opera plots - his marriage is in trouble, he's having an affair with an agent, his wife is having an affair with a guy who ends up being a Russian spy, his daughter and son in law have issues... All kinds of silly things that make for a great beach read, but don't work very well on the big screen.

Hitch Appearance: A nurse pushes him through the airport in a wheelchair... then he stands up and walks away.

Music: Maurice Jarre does an okay score that sounds a lot like his JUDGE ROY BEAN score - so maybe he recycled it.

Bird Sightings: Hey, a seagull ruins their whole mission in Cuba!

Hitchcock Stock Company: John Forsythe was an odd choice for romantic lead in THE TROUBLE WITH HARRY.

The whole film is kind of ho-hum and shows the problem with doing experiments in a script and film - most experiments fail. That’s why we call them experiments. Even though some of the experiments in Hitchcock’s films don’t entirely succeed, they usually have a handful of great scenes to make up for it, or the experiment itself is interesting to watch (like in ROPE). Here we discover the importance of having a protagonist who is involved in the entire story - *the* pivotal character in each segment. We learn this because this experiment fails in this case - four stories with four different protagonists squeezed into a 143 minute film doesn’t give us much time to care about any of these people or get to know them... so they remain chess pieces moved around the board to tell the story. The more you split the focus among different protagonists, the more you split our emotions so that we don’t have time to care. We take a closer look at this film and it’s episodic structure (and how it paved the way for PULP FICTION) in HITCHCOCK: EXPERIMENTS IN TERROR.

- Bill






Of course, I have my own books focusing on Hitchcock...

HITCHCOCK: MASTERING SUSPENSE


LEARN SUSPENSE FROM THE MASTER!

Alfred Hitchcock, who directed 52 movies, was known as the “Master Of Suspense”; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?

This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!

Films Included: NOTORIOUS, SABOTAGE, STRANGERS ON A TRAIN, THE 39 STEPS, REBECCA, TO CATCH A THIEF, FRENZY, FOREIGN CORRESPONDENT, THE LODGER, THE BIRDS, TORN CURTAIN, SABOTEUR, VERTIGO, THE MAN WHO KNEW TOO MUCH (1934), THE MAN WHO KNEW TOO MUCH (1955), SUSPICION, and NUMBER SEVENTEEN. 17 Great Films!

Only 125,000 words!

Price: $5.99

Click here for more info!

OTHER COUNTRIES:


UK Folks Click Here.

German Folks Click Here.

French Folks Click Here.

Espania Folks Click Here.

Canadian Folks Click Here.

And....

HITCHCOCK: EXPERIMENTS IN TERROR






USA Readers click here for more info!

HITCHCOCK DID IT FIRST!

We all know that Alfred Hitchcock was the Master Of Suspense, but did you know he was the most *experimental* filmmaker in history?

Contained Thrillers like “Buried”? Serial Protagonists like “Place Beyond The Pines”? Multiple Connecting Stories like “Pulp Fiction”? Same Story Multiple Times like “Run, Lola, Run”? This book focuses on 18 of Hitchcock’s 52 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock’s *silent* films! We’ll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.

Films Examined: “Rear Window”, “Psycho”, “Family Plot”, “Topaz”, “Rope”, “The Wrong Man”, “Easy Virtue”, “Lifeboat”, “Bon Voyage”, “Aventure Malgache”, “Elstree Calling”, “Dial M for Murder”, “Stage Fright”, “Champagne”, “Spellbound”, “I Confess”, and “The Trouble with Harry”, with glances at “Vertigo” and several others.

Professional screenwriter William C. Martell takes you into the world of The Master Of Suspense and shows you the daring experiments that changed cinema. Over 77,000 words.

UK Folks Click Here.

German Folks Click Here.

French Folks Click Here.

Espania Folks Click Here.

Canadian Folks Click Here.

Thursday, January 19, 2017

THRILLER Thursday:
THE PREMATURE BURIAL

The Premature Burial.

The spider web fills the screen, it's Boris Karloff's THRILLER!



Season: 2, Episode: 3.
Airdate: Oct. 2, 1961

Director: Douglas Heyes.
Writer: William Gordon and Douglas Heyes, based on the story by Edgar Allan Poe.
Cast: Patricia Medina, Sidney Blackmer, Scott Marlowe, William Gordon, and Boris Karloff
Music: Morton Stevens.
Cinematography: Bud Thackery.
Producer: William Frye.



Boris Karloff’s Introduction: “The boundaries which separate life and death are shadowy and vague. Who is to say where exactly the one ends and the other begins? In certain mysterious maladies all functions of vitality in the human body seem to stop. And then, some unseen force sets that magic pinions and the wizard wheels in motion once again. The silver cords has not been cut, the golden bowl has not been broken. And the soul? One wonders. What meantime has happened to the soul? Many years ago, Edgar Allan Poe pondered the questions of mysterious sleeps and strange awakenings in a story entitled ‘The Premature Burial’. Well, we’ve prepared a new adaptation of that story for you to enjoy tonight. And tonight, Poe’s characters will be brought to life by... Patricia Medina as Victorine Lafourcade, Sidney Blackmer as Edward Stapleton, Scott Marlowe as Julian Boucher, William Gordon as Dr. March, and this sinister gentleman as Dr. Thorne. And as sure as his name is Boris Karloff, this is a Thriller!”



Synopsis: A rainy day. A funeral. Dr. Thorne (Boris Karloff) and Dr. March (William Gordon) watch as their friend Edward Stapleton (Sydney Blackmer) is laid to rest in his family crypt... today was to be his wedding day, but instead is his funeral. Thorne doesn’t understand how a 50 year old man in good health suddenly dies. He was Stapleton’s physician, but was away for few days so Dr. March attended to his sudden death. Was he poisoned? Dr. Thorne plans on pulling the coffin from the crypt and doing a post mortem... whether his bride-to-be Victorine likes it or not.

As everyone leaves the cemetery, the coffin inside the crypt begins moving... Shaking! It falls over and a hand breaks out from within and attempts to *open the coffin*! Failing, it becomes motionless.



Thorne and March bring the coffin back to the hospital, where Thorne is amazed that Stapleton’s skin is still pink... and he twitches a bit. March thinks perhaps a poison used to kill him may have also preserved the body. Thorne decides to try the galvanic battery on him - an early version of defribrillator paddles - to see if they can restart his heart. And it works! The dead man suddenly lurches to his feet, speaking gibberish... some sort of Frankenstein’s monster? He passes out - but his heart is beating, he’s alive! Alive!

Stapleton recovers in a hospital room... Dr. Thorne has diagnosed him with a form of catalepsy. Stapleton says he was never unconscious - he was aware of every moment he was trapped in that coffin. Aware of being pronounced dead when he was alive. It was worse than hell - completely paralyzed and unable to tell anyone that he was alive! He worries about Victorine, his bride-to-be. How is she taking his death?



Victorine (Patricia Medina) is busy making out with her lover Julian (Scott Marlowe), the painter hired by Stapleton to paint his soon-to-be wife. Unfortunately, Stapleton died *before* the marriage, so she is not a wealthy widow... and will be unable to continue paying for his artist loft and their secret relationship. There is an interesting age dynamic here - Julian is younger than Victorine (her boy-toy) and Stapleton is older than Victorine (making her his trophy wife). The age differences in the relationships bring out all sorts of character conflicts in both couples - it’s an important element in the story. Just as they kiss, the doorbell rings...

Dr. Thorne tells the widow that she may put away her grief... Edward Stapleton is alive.

At the hospital, Thorne tells Victorine that Stapleton is terrified that he will be buried alive again, so he has notified every doctor in the county of his condition and shows her a medical bracelet and neck medallion he has created for Stapleton to wear which say “Do Not Bury Me” with information about his condition, this way there will be no mistakes... no reason for Stapleton to fear a premature burial again. Thorne believes that Stapleton over-exerted himself in an attempt to impress his younger fiancĂ©, and that lead to his attack. So please - when he is discharged from the hospital, make sure he does not over-exert himself again.

Julian sees a second chance at inheritance - Victorine can now marry Stapleton, and if he dies they’ll become rich.



Wedding bells. A strange honeymoon night - Stapleton shows her the crypt in the backyard of his estate that he designed and had built while he was in the hospital recovering. The stone door can be opened automatically by pressing a lever. There is ventilation, and water and food and blankets... and a dram of good brandy. The coffin is designed for comfort, and there is a cord which she is to *personally* place in his dead hands - if he revives inside the coffin he can pull the cord and ring a bell on the roof of the crypt. If she hears the bell, she is to come to the crypt and rescue him. He makes her promise that he will not be buried anywhere but in this crypt, with the cord in his hands. He will not live through being buried alive again.

As they settle into marriage, Stapleton takes it easy in his library - playing his lyre and reading Sir. Walter Scott... and Victorine finds ways to prod him into over exerting himself again. She suggests they travel...



While on holiday she does everything in her power to push him to his limits, and finally he collapses in the woods. She carefully removes the medical bracelet and medallion, rolls a stone away and buries them underneath... then calls for a doctor.

Stapleton is *not* taken home to be buried, but buried in that foreign land. Not in his special coffin, in his special crypt... but in a standard coffin (with a small glass window for viewing the body) buried in the ground. Awesome shot from inside the coffin at Victorine and the other mourners as the dirt is shoveled over the small window.



Wealthy widow Victorine Stapleton visits her lover Julian and tells him that now she can give him *everything* she has promised him. They get it on!

Dr. Thorne visits the widow , he is executor of Stapleton’s estate. He wonders why (and how) the medical bracelet and necklace were missing from his body... you see, he’s been doing a little investigating. Victorine believes the medals - made of silver - were probably stolen. “Are you certain that Edward was dead when they buried him?” She gets angry at the hidden accusation in that question - isn’t Thorne’s reason to be here a discussion of Stapleton’s will? Yes - Stapleton left his entire fortune to her. Just one thing - for her to inherit, Stapleton’s body must be buried in that special crypt with that cord in his dead hands. No inheritance until his body has been moved. Yikes!



Dr. Thorne will oversee the transportation of the body - all she has to do is sign the exhumation request. If she refuses, Stapleton’s fortune goes to his cousins. She signs.

The special crypt. The coffin he was buried in is opened, and his corpse transferred to his special coffin. Dr. Thorne places the cord between his dead hands... closes the coffin lid. Victorine watches, repulsed by all of this. Before the crypt’s stone door is closed, she places a picnic basket of canned food inside.

That night, Julian comes to the house to celebrate their new fortune, their new relationship... but that crypt in the backyard is a huge buzz-kill. How can they have a relationship with her dead husband out there? Julian laughs, “Let the old jack in the box deteriorate where it pleases him. We probably owe him that, darling.” Victorine relaxes, drinks to her dead husband... and the soon-to-be husband across from her. But before they can kiss, the bell tolls.

Not Wedding Bells...

The bell from the crypt...

The bell with the cord in Stapleton’s dead hands.

Julian believes it’s just the wind... until the crypt’s door opens!

Julian and Victorine creep into the vault to make sure he’s still dead in his coffin...



But the coffin is empty.

In the moonlight, Victorine sees a man in a shroud wandering the grounds in the distance. Impossible! Impossible! The man had been buried for six weeks! No food. No water. He can not have still been alive! Victorine freaks out.

Julian is still trying to find some rational explanation - but there really isn’t any.



In the library, Stapleton’s Sir Walter Scott book is open on his chair, his lyre nearby. Did these things get there on their own? Julian believes it is Dr. Thorne - who suspects, doesn’t he? - pretending to be Stapleton, placing these things in the library. It’s all Thorne’s evil trick! In the window behind Julian - the corpse of Stapelton in its shroud! Freak out moment! As the corpse glides away from the window, Julian yells for Thorne to come back - to take off the shroud and show himself.

Julian takes Victorine upstairs to her bedroom - she needs to rest. But on the bed - the medical bracelet and necklace! How could they get there? No one knew where she buried it... except Stapleton! His eyes were open as he lay there... he saw her! Only he knew where she buried them!

Then the lyre music drifts up from the library.



When they get to the library, the lyre is there but no shrouded corpse. But then Victorine sees him in the window watching them. She grabs Stapleton’s pistol and hands it to Julian, “You’ll have to kill him.” Julian takes the pistol, aims it at the shrouded form, “I see you Thorne, now leave us alone! Leave us alone, or so help me I’ll shoot!” Before he can fire, a voice behind him... Dr. Thorne. Then who was that in the window? Victorine looks from the corpse in the window over to Thorne - two different people. “It was never you... it *was* Edward!” Then she faints.

Julian and Thorne carry her to her bed... then Thorne asks Julian if Stapleton is alive? The crypt door is open, the bell rang? Julian says it is impossible... but Dr. Thorne says it is possible - men have survived long periods of cataleptic coma, like a bear in hibernation. He and Julian go downstairs... where the front door opens and Stapelton enters. Wrapped in his shroud. He slowly approaches Julian - close enough that the artists can see his face. It *is* Stapleton! He slowly walks upstairs. A hand on Julian’s shoulder - Thorne. The doctor says that Stapleton is alive and wants to be with his wife. He wants to share his joy of being alive with the woman who loves him. Julian says that she never loved Stapleton, she just married him for his money... so that she and Julian could be wealthy together. Dr. Thorne asks Julian if Victorine knowingly buried Stapleton alive? Yes! “The necklace and bracelet - she took them off him and buried them under a stone.”

Upstairs, Stapleton’s shrouded corpse wakes up Victorine... who is now close to insane.

Victorine comes downstairs holding the necklace, says she tried to persuade Stapleton to put it back on... maybe Dr. Thorne can help her. She’s gone over the edge.



That’s when Stapleton’s corpse glides to the top of the staircase. Thorne asks him to come downstairs... and Julian freaks out. Tries to run away. But Thorne grabs him. As Stapleton’s corpse slowly comes down the stairs, Julian admits to everything - Victorine drove Stapleton to another attack, hid the necklace and bracelet, did not tell the doctors of his condition, had him buried in foreign soil... all of this so that they could be together and inherit his fortune! Stapleton keeps climbing down the stairs, closer, closer, closer! His face a pale mask - skin white! After Julian has confessed to everything, implicated Victorine in murder; Stapleton’s corpse touches him... the Stapleton reaches up and *takes off his face*.

It is a pale white mask - Stapleton’s death mask. Underneath it - Dr. March.

When Dr. Thorne went to retrieve the body, he went to the place in the woods where he had died... and found a stone with no moss on it. Moved. Underneath the stone - the bracelet and necklace. And inside the coffin? Stapleton had been buried alive and tried to claw his way out! Died a horrible death from suffocation inside that coffin. Murdered by Victorine. The only way to prove it - get Victorine and Julian to admit their guilt.



Review:One of the most interesting things about this episode is how it uses the raw material of Poe’s story in unusual ways. The Karloff introduction is almost taken word for word from Poe’s introduction in the story. Though the narrator in Poe’s story is the fellow who is buried alive, he tells us of previous incidents of people buried before their time - including the story of Victorine and Julian (a writer in the story instead of a painter & sculptor) - she was the one buried alive in that story. Also the story of Stapleton, who broke open his coffin inside his crypt... but was unable to escape the stone slab which walled him inside... they later discovered his skeleton! By taking all of these pieces and reforming them into a Weird Tales type story of murder and revenge, we have a great Season 2 entry... and great roles for both Karloff and the screenwriter as doctors!



The story has traces of Poe’s TELL TALE HEART mixed in around the halfway point, where the dead man haunts his two killers, and that’s what makes this episode more than just the original Poe story... turning it into something that will make you squirm and scream. All kinds of nice horror moments, and that great moment where they think it’s Thorne pretending to be Stapleton... but Thorne is in the room behind them. Kind of a jump moment and a twist all in one.

That idea of having the corpse return for revenge is a stroke of genius, and we have to give a bunch of credit to screenwriter William Gordon (who gets to play the corpse) for coming up with a way to turn the creepy Poe story about being buried alive into an all out scare-fest. The great twist that it’s a scam to force the killers into admitting their guilt is icing on an already delicious cake. This episode was made a year before the Corman AIP version, and I think they did more in an hour than the feature did in half again as much time. Here’s the link to that movie.



Some great direction in this episode as well, with shots like the one from inside the coffin as the dirt is being shoveled into a grave a stand out. Some great low angles and high angles and moving camera shots and reveals. One of the things the elevate the good episodes of the series is the *cinema* style direction (based on specific shots) and often is present in the bad episodes is the “TV style direction” (master shot, close up, coverage - but no specific shots). It seems like there was a secret war of direction styles going on behind the scenes, between old school like television style and movie style on this show... which points out the importance of directors. Even with the same DP, one director turns in a pedestrian episode and another turns in an amazing episode.

And this is one of the handful of episodes where Karloff gets to do more than hosting duties. He’s basically the lead character, here, and gives a great performance again. Karloff’s deal on the show involved getting the chance to act in some of the episodes, and even though he was an old man at the time he always seems to give it his all when he could have easily coasted. This was the guy who played the monster in the original FRANKENSTEIN back in 1931... and thirty years later he’s using electricity to bring a dead guy back to life.

Season 2 of THRILLER is on a roll! And next week is another great episode - the weirdly twisted Robert Bloch story about a custom made suit... where the custom is demon worship!

- Bill

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Wednesday, January 18, 2017

ATLiH: Rubber Gloves Of Death!

As usual, the names and details have been changed to protect the very very guilty!

One of the things about low budget movies that bothers me these days is that so many of them just suck. Now, I fully understand films made on low budgets have little or no money to do things, but often it seems as if no one on the film is trying to make up for that with creativity, imagination, and passion. It often seems like they just don’t care. I know that good films, even great films, can be made for no money. I see films in festivals made on a shoestring like FAVOR and DOWN AND DANGEROUS and FOREV and JOE SHERMANN SONG and dozens of others (sorry if I didn’t mention your film) that just kick ass. They are often *better* than anything Hollywood could do on a Hollywood budget. I also see some films that don’t quite work, but you can see the filmmakers really trying to make something excellent, they just didn’t have the cash or some small thing sunk them. But often I see low budget films where it seems like nobody gave a damn...

And that’s a problem.

Recently I rented a low budget film that a guy I know was involved in. A sci fi action flick. Now, I can get behind a cheap sci fi action flick. I interviewed the guys who made SIX STRING SAMURAI before the film came out, and *that’s* a wild ride! But this film just sucked... because the people involved obviously didn’t care. They were just making a product - and not even a very good one.

The way to become a loser in Hollywood is not to care. Even if you are making a cheapo genre film, make it the best it can possibly be. Not the best you can make it, because you always want to stretch and grow - so make it the best it can be (which is better than you can do... you have to stretch). In this case, the writer-director just didn’t care and made 90 minutes of pure torture.





This was one of those “Mockbusters” - a cheapo film designed to have enough similarities to a big studio blockbuster to maybe fool someone into thinking it’s a prequel or sequel or maybe that studio blockbuster available in a RedBox kiosk or on the shelves at Walmart at the same time it’s in the cinemas. These films basically use the TV adverts and trailers of the big studio blockbuster to help sell their cheapo version. Before striking gold with the SHARKNADO movies, producer The Asylum made a ton of these - even being sued by studios because they copied the posters and other elements of movies like BATTLESHIP (AMERICAN BATTLESHIP) and THE DAY THE EARTH STOOD STILL (THE DAY THE EARTH STOPPED) and THOR (ALMIGHTY THOR) and TRANSFORMERS (TRANSMORPHERS) and 40 YEAR OLD VIRGIN (18 YEAR OLD VIRGIN) and I AM LEGEND (I AM OMEGA). But this wasn’t an Asylum movie - it was made by other folks with the same scheme. Can I tell you the biggest problem with a “Mockbuster”? You can easily compare it to the actual big budget blockbuster... and these films don’t compare well.

The story opened on a space ship... which was the worst CGI exterior I have ever seen (why not use a model if you can’t afford good CGI? This looked like a really bad cartoon of a spaceship. Heck, you could build your own unique model of the space ship - all that takes is time *before production begins* when you don’t have a cast and crew waiting.) And when we cut to the interior? It was some office with a drop ceiling and a visible drinking fountain in the background (how would that work in zero gravity?) and there was a gameboy console or something on a desk. Nothing was done to dress the office to make it look like a spaceship. The space ship had drop ceilings and florescent lights and a drinking fountain and square windows with vertical blinds. WTF?





I worked on a friend’s sci fi movie where he took cardboard and curved it to look like a space ship wall and painted it gray and made some oval windows with black cardboard sheets that had little LED lights punched into them as stars. Cost him a couple bucks total. He also built a pretty nice control console and put a couple of $29 desk chairs behind it (the actor’s bodies covered the chairs, but they could turn like STAR TREK chairs). The console had knobs and buttons and blinking lights and screens with green gel and lights behind them. Basically, he took a couple of weeks before he made the film to build the space ship set in his garage. It looked amazing on film. This film made by this looser that I paid real money to rent? No time spent on anything!

The story had a spaceship filled with hot female prisoners crashing on an alien planet, and (of course) the aliens want to capture the women and mate with them... because if a spaceship filled with *alien* females crash landed on Earth, the first thing you’d think was: can we have sex with them? Sure, they’re green and look like lizards or something, but can we have sex with them? That’s the whole danged plot! Except the escaped female prisoners are attractive human women.

Now here’s the thing about cheapo films like this - they are exploitation flicks. My friend Fred Olen Ray says that “nudity is the cheapest special effect”, and many a bad film I rented back in the VHS days and watched with buddies from work while drinking beer and eating pizza were saved by nudity and inventive action and some funny lines. Here are two things about nudity (female or male or aliens wearing rubber gloves for some reason) - and these not only appeared in ever version of my SECRETS OF ACTION SCREENWRITING book, they go all the way back to the xeroxed “generic script notes” that spawned that book: 1) A rape scene is **not** a sex scene (it’s a violence scene, and if you write it or film it to be “sexy” that’s just plain disturbing and wrong), and 2) All nudity must make sense! If a character just gets naked for no reason, that’s stupid! They have to get naked for a logical reason! Fred has a movie (don’t remember which one) where a character gets completely spattered with blood when one of their friends is killed by a monster, and what would *you* do if you were covered in blood? Wash it off! So the character takes a shower - and now we get a suspense scene where we know the monster is out there and this character is *vulnerable* because they are naked. Hey, it’s the danged “Psycho” shower scene, but with a monster instead of Mrs. Bates. I’m not saying this is art, but you understand why the character takes off her clothes. She’s not just disrobing for the pervs in the audience - there’s a logical reason. Nudity has to make sense! Even a crappy film where nudity might be the only thing that saves the movie from being torture needs to have *motivated* nudity. Or else it just seems cheap (which it is, but we don’t want the audience to be thinking that). Even with the six pack and the pizza, you want the story to make some sort of sense.





When I pitched my BLADE RUNNER type script STEEL CHAMELEONS about the underground railroad for androids that wanted to pass as human... and ended up getting paid to write a movie about robot hookers from outer space, I decided to write the exact kind of movie that my buddies from work would want to see. A six pack and pizza movie. Funny, lots of action, some inventive elements, maybe a little parody of some popular film snuck in there (EMPIRE STRIKES BACK in that case) and some *motivated* female nudity (and even some shirtless dudes in case someone watched it with their girlfriend). Fred directed that, by the way. So you might have watched that film and thought it was stupid, but it would at least be *fun* and include all of the elements the target audience wanted to see. “Hey, I saw this movie, and it was terrible... but funny and had a cool spaceship battle and beautiful women.” (Or hunky dudes, if that’s what you enjoyed). But there’s a *criteria* for films like this... do you think this film delivered on any of the required elements?

The aliens chasing our escaped women? Well, they obviously bought some cheap alien masks the day after Halloween, and then had the actors playing the aliens dress in jeans and long sleeve shirts (so they didn’t need to do full body make up). Oh, and tennis shoes. But what about the *hands*? The alien hands that would be grabbing for these escaped women? Well, instead of doing any sort of make up, they just gave them yellow rubber gloves. Worst looking aliens *ever*! I did better stuff when I was making super 8mm films in High School!





Then the rest of that film was filled with “we don’t care” costumes and “we don’t care” acting and “we don’t care” sets and “we don’t care” props and a “we don’t care” script and, worst of all, no action! Most of the film was two or more characters standing somewhere talking about action that had happened earlier. No action scenes at all!!!!

You know what’s almost as cheap as nudity? A foot chase or a fight scene. Or even a shoot out - when I was doing those stupid super 8mm films in High School I had toy guys from Toys R Us painted to look real, and created cool muzzle flares by wrapping match heads in aluminum foil and heating the end (this was built into the toy gun - a disposable cigarette lighter to do the heating). The match heads exploded out of the barrel, which looked really cool at night. I also used flash bulbs built into those Toys R Us plastic guns with a battery that connected when the trigger was pulled. And blood squibs - a bent piece of aluminum tubing hidden in the victim’s shirt, plastic aquarium hose going down the body connecting the tubing to a lens cleaner bellows taped onto the bottom of their shoe, filled with Kayro Syrup blood. The victim stomps on the bellows and the blood sprays from their chest! You could shoot them in a long shot! People always wanted to know how I did that - because there was no visible special effects rig and the victim could show their empty hands on camera (no trigger in their hands). As long as the foot was angled right or off screen. So if I could do a cool shoot out when I was an idiot High School student, someone making a film that I could rent from a legit rental source could probably do the same... if they cared.





Now, here was the funny part: this was obviously shot in the woods somewhere. Once they were off the flying rental office, they landed on some wooded planet where the female prisoners escaped and those aliens in Playtex gloves chased them. Except they didn’t. There was no chasing in the film at all. When the hero woman escaped, she instantly twisted her ankle and was recaptured within seconds.

She got maybe two steps, max.

Then it was back to evil alien in bad Halloween mask making a never ending speech gesturing with his rubber gloved hands as if he had been interrupted while scrubbing the toilet as attractive female hero just sits there listening and waiting her turn to make *her* never ending speech. If I had the woods, I would sure as hell use them for a great foot chase. I would have characters hide and almost be discovered, generating suspense. I would have spent the time to write a great script, because the one thing a low budget film has as an advantage is pre-production time. The more time you spend in prep, the more you can solve problems long before they pop up on set. The more you can craft something exciting that won’t cost a lot of money to make. I would have taken the time to write the greatest script ever. I would do a big action chase thing like MOST DANGEROUS GAME, but with aliens! MOST DANGEROUS GAME was a low budget film when it was made...

But here? No chases, no danger, no nothing... just people sitting and talking.

Wearing rubber gloves and Halloween masks.

For 90 very very long minutes.

With absolutely no nudity, motivated or not.

And no hunky dudes, if that’s what you enjoy.





And nothing they said was clever or amusing - it was dead serious, as if they expected the audience to take all of this stuff as if were Shakespeare or something. Hey, wait, Shakespeare is damned funny! All of that clever word play and those dirty jokes for the groundlings!

But nobody involved cared enough to make this even slightly amusing, or have any chases or suspense or action or anything else that people might want to see. That’s what makes the writer-director of this mess a loser. They didn’t care. They were just trying to fill 90 minutes of film so they could collect their check and go home.

You have to care. You have to do the best that can be done with what you have. You have to give it your all... even if the movie is about robot hookers from outer space when you wanted to make something like BLADE RUNNER. It’s better to try and fail than to not try at all.

- Bill

Tuesday, January 17, 2017

Trailer Tuesday: RIVER'S EDGE

RIVER’S EDGE (1986) written by Neal Jimenez, directed by Tim Hunter.

I have called Keanu Reeves “The Luckiest Actor In Hollywood” because he has been in so many hit movies. But maybe it *isn’t* luck? Maybe Keanu actually selects roles that he finds interesting or scripts that he thinks are mind blowing page turners? Keanu has not only been in a bunch of big box office hits, he has also been in a bunch of art house favorites like MY OWN PRIVATE IDAHO and PERMANENT RECORD. Oh, and the now forgotten film RIVER’S EDGE which not only launched the career of screenwriter Neal Jimenez, it also brought back Dennis Hopper and probably paved the way for the films of David Lynch. The film is based on a true story, a murder that happened in the Sacramento area; and my friend Tom’s uncle was one of the investigating officers on the case. The story made the news because it was one of those “shocking how immoral our children have become” outrages, since all of the kids in the high school not only knew about the murder, they had visited the body for fun. Kind of like a field trip. Cool! A dead girl! Dare you to touch her!



My other odd connection to this film is the actor who plays the teen killer Samson, Danny Roebuck, is a friend of a friend of mine and I’ve met him a couple of times. Danny is one of those actors who is in *everything*, from being the cop on Matlock to the dad in the Cody Banks movies. He’s a great guy, a real fan of horror movies, and when I was trying to “earn” my producer credit on CROOKED I got my friend Duane (the pawnshop owner from PULP FICTION) to talk to him about playing suspects... except the producers decided not to hire them and to hire complete unknowns (who were their friends) instead. So, instead of a group of suspects that you recognized so that you didn’t know who the guilty party was because *all* of the suspects were recognizable actors... there were a bunch of unknowns and Gary Busey. Who do you think the killer is? I didn’t know Danny when I first saw the film, didn’t know Tom’s uncle investigated the case, and had never heard of screenwriter Jimenez. I just thought the film was great.

The movie is all about how this younger generation is desensitized and unemotional, and that carries through the film in several story threads in addition to the main story. High school kid Samson (Danny Roebuck) murders a girl in his class Jamie (Danyi Deats) after having sex with her at the edge of the (Sacramento) river, then stops to have a cigarette as if nothing has happened. Ten year old problem kid Tim (Joshua Miller) watches this happen from a bridge... but doesn’t go to the police. Later Tim tells a group of high school kids, including his older brother Matt (Keanu) and perpetually stoned Layne (Crispen Glover) plus a couple of Jamie’s friends including Clarissa (Ione Skye) about the dead body... and they take a field trip. All of the kids look at the dead girl, kick her to make sure she’s dead, etc... and even though they all knew her, none of them seems to care. It’s just kinda cool. They go back to school and their every day lives as if nothing had happened.

Except both Matt and Clarissa separately realize they feel terrible, Jamie was their friend... and even though Layne wants everyone to rally around Samson, can they really support the friend who killed over the friend who was murdered?

Matt’s home life is hell, his mother is a nurse with an unemployed boyfriend... his bother Tim makes that kid from THE OMEN seem well mannered (Tim takes baby sister Kim’s doll and chops it up) and steals cars, smokes pot, robs houses and eventually steals a gun with the intention of killing someone. This is a *ten year old*. The little sister’s “dead doll” runs an amazing parallel to the dead girl at the river’s edge, and the doll’s grave eventually triggers Matt to call the police anonymously about dead Jamie and Samson. And narking on Samson is what leads to Kid Brother Tim gunning for Matt.

The police question all of the kids, and ask Matt how he feels about Jamie’s death, and he answers: “I don’t know.” Even though he was disturbed enough to anonymously call the police, he is still desensitized to emotions. The policeman says he’s tired of hearing “I don’t know how I feel” from all of the kids he interviews. They all say the same thing: none of them feel.





Samson is hiding out at drug dealer Feck’s house (Dennis Hopper in a signature weird role), where Feck lives with his blow up doll Ellie. Yes, he has a long term romantic relationship with an inflatable girl. Feck is another parallel story: he once contributed to the death of the woman he loved and still feels guilt over it. At first Feck thinks Samson has much in common with him, but then he realizes Samson feels nothing and no longer wants to hide the killer.

Matt confesses to Clarissa that he called the police, and they realize they may be the only two people in their school who are disturbed by Jamie’s death. Both have been plagued by nightmares and guilt. This leads to romance: both care, and care about each other. While they are making love they hear gunshots...

Feck has taken Samson to the river’s edge and killed him. In the process, Feck’s inflatable doll Ellie blows into the river, later prompting one of my favorite lines in the movie when the kids spot the blow up doll in the water: “That's Ellie. Feck's girlfriend. I wonder what she's doing here?”

Talked to Danny last night, and he sent me this awesome shot from the set!



The chilling thing about this film is how what was true about the younger generation in the 80s being desensitized and not caring seems even more true today. There’s a TV commercial for mobile phones that talks about the joy of being alone... and isn’t the least bit ironic. We live in a world where people don’t interact with other people, we interact with *screens*. Think about how crazy that is for a moment. There are people today who text each other when they are sitting across from each other. Talk about desensitized! THE RIVER’S EDGE held a mirror up to the 1980s... and had no idea things would only get worse. Keanu gives a great performance, as does Danny Roebuck and Dennis Hopper and everyone else in the cast. Let me mention one of the greatest acting jobs in the film: Danyi Deats as the dead Jamie. Imagine having to play dead for an entire film! Deats is a TV and Music Video producer now (some of Sting’s videos). This is one of those lost movies where everyone gave an amazing performance, and screenwriter Jimenez would go on to adapt Tony Hillerman’s Native American cop mystery THE DARK WIND and write and direct the amazing film WATERDANCE after he became paralyzed. He was one of the team of poker playing screenwriters who contributed to the fun film SLEEP WITH ME (famous for the Tarantino speech about TOP GUN as a Gay love story). If you like gritty, edgy flicks, check out RIVER’S EDGE.

Bill

PS: That set shot has a digital watermark, so steal it and I will look for you, I will find you, and I will kill you!

Monday, January 16, 2017

Lancelot Link Monday: Hidden Fences

Lancelot Link Monday! Just in time for Martin Luther King Day - the #1 movie over the weekend was a true story about NASA's first manned space flight... and the *African American* *women* who made it possible. This film made more money that ROGUE ONE or the new Ben Affleck Movie or the horror movie (released on Friday the 13th). Awesome! If you make it they will come (unless you are Ben making the middle book of a trilogy). While you're thinking about that, here are this week's links to some great screenwriting and film articles, plus some fun stuff that may be of interest to you. Brought to you by that suave and sophisticated secret agent...




Here are a dozen links plus this week's car chase...


1) Weekend Box Office Estimates:
1 Hidden ........................ $20,450,000
2 La La .......................... $14,500,000
3 Sing ........................... $13,810,970
4 Rogue One ...................... $13,759,000
5 Bye Bye......................... $13,378,000
6 Patriots ....................... $12,000,000
7 Monster ........................ $10,500,000
8 Sleepless ....................... $8,468,787
9 Underwear........................ $5,815,000
10 Passengers....................... $5,625,000




2) LA LA LAND's Long Fight To The Screen.

3) Lonergan (MANCHESTER BY THE SEA) On Writing.

4) My Friend Matt Altman On Screenwritin' and Kung Fu Fightin'

5) Wriring With A Partner: How To Avoid Killing Them.

6) The Reality Of Being A Best Selling Writer. The Same Is True For Screenwriters!

7) French People Prefer Thrillers Over Dramas. (Um, this is nothing new - check out the films of Chabrol or Robert Enrico or even Truffaut.)

8) Old Spielberg (he's 70).

9) Why People In Boston Hate PATRIOTS DAY.

10) Seven Screenwriting Tips From Oscar Nominees!

11) Apple TV - Making Their Own Shows (someone has to write those).

12) Complete List Of For Your Consideration Screenplay PDFs Available For YOU To Read!

And the Car Chase Of The Week:





Bill

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Friday, January 13, 2017

Fridays With Hitchcock: FRENZY (1972)

FRENZY (1972)

Screenplay: Anthony Schaffer based on the novel by Arthur La Bern.
Starring: Jon Finch, Barry Foster, Anna Massey, Barbara Leigh-Hunt, Alec McCowen.

Hitchcock’s second-to-last film manages to combine many of his most popular elements into one story: We get the wrongly accused man story - this time very similar to one of his other lost gems, YOUNG AND INNOCENT. We also get a STRANGERS ON A TRAIN story of guilt transferred. Plus we get a sexy, violent, shocking serial killer story like PSYCHO. Hey, add a twist ending and you've got quintessential Hitchcock. Oh, and it's funny and clever, too - screenplay by the brilliant Anthony Shaffer...writer of the original SLEUTH, the original WICKER MAN, and SOMMERSBY. This is the best Hitchcock film in the post-PSYCHO period.




After a bunch of interesting failures after PSYCHO - movies that only Robin Wood could love - Hitchcock needed a hit... and here it is. FRENZY is a return to England and to London. The business had changed, and Hitchcock - who always seemed ahead of the curve - had coasted on past brilliance in the 60s until he stopped dead. This was the film that restarted him - and probably the film he should have gone out on. Though it’s about a man who is wrongly accused, he isn’t on the run like in NORTH BY NORTHWEST, instead he’s kind of “a man on the hide” - trying to find some safe place to hole up or some scheme to avoid the police by being smuggled out of the country. After years of sly winks from Hitchcock about sex - trains entering tunnels - the new permissive world of cinema practically demanded that he do a film full of nudity and sex. This is Hitchcock’s only R rated film. Instead of those glossy Hollywood “personality” stars like Cary Grant that he had used in the past, or the new method actors and low-key guys like Paul Newman - who didn’t match his style, FRENZY stars a bunch of fine British stage actors. You don’t know their names, but you may have seen them in movies or on TV before. The hostess of Masterpiece Theater, Jean Marsh, plays a role. Whether Hitchcock was returning to his roots or his comfort zone, the results are a fun and frightening little film that is still fun to watch.




Nutshell: Bitter bartender Richard Blaney (Jon Finch) seems to have lost everything in his divorce, including many of his friends. The one pal who took his side was Bob Rusk (Barry Foster) who runs a produce company at Covent Garden. These two are polar opposites. Where Blaney's life is a mess, Rusk is on top of the world.

London is plagued by the Neck Tie Killer - who strangles swinging single women with neck ties. When Blaney’s ex-wife (Barbara Leigh-Hunt) becomes the latest victim only a day after they had a very public fight, he finds himself on the run from the police. Unfortunately, everyone sided with the ex-wife in the divorce, and no one will believe he's innocent. And when another Neck Tie Killer victim can be traced back to Blaney? Even his old pal Rusk thinks he’s guilty... and turns him in to the police. Lots of twists and turns, and one of those great end twists where the real killer is revealed.




Hitch Appearance: In a crowd listening to a political speech - right
at the beginning of the film... then someone spots a dead woman floating in the Thames River, naked except for a neck tie. “Is that my club tie?” someone asks.

Hitch Stock Company: Elsie Randolph who plays the Hotel Clerk was also in RICH AND STRANGE (1931).

Birds: One of the few Hitchcock films without birds - though there are some seagulls in the opening shot and a quail is served at dinner.

Experiment: Hitchcock plays it safe as far as story is concerned. FRENZY is a great example of taking us into a world, Hero & Villain “Flipsides”, character flaw creating story, set ups, and traditional twist endings. There are also some visual experiments in the film that we look at in MASTERING SUSPENSE.

A great summation of Hitchcock's thrillers that also works as kind of a little tour of London and a behind the scenes of Covent Garden market. Lots of suspense, twists, and a fun look at what happens when you lose all of your friends in the divorce... except for the bad boys you used to hang out with as a bachelor. Great script by Shaffer, great cinematography by Gilbert Taylor. Marred by iffy music by Ron Goodwin (replacing Bernard Herrmann after he had a falling out with Hitch). Hitchcock's best film in the Post-“Psycho” era (after he began to believe all of those critics that called him a genius - and made mostly cruddy films). A modern film, that holds up really well and has some great lessons on protagonist and antagonist relationships and twists.

Of course, I have my own books focusing on Hitchcock...

- Bill

HITCHCOCK: MASTERING SUSPENSE


LEARN SUSPENSE FROM THE MASTER!

Alfred Hitchcock, who directed 52 movies, was known as the “Master Of Suspense”; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?

This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!

Films Included: NOTORIOUS, SABOTAGE, STRANGERS ON A TRAIN, THE 39 STEPS, REBECCA, TO CATCH A THIEF, FRENZY, FOREIGN CORRESPONDENT, THE LODGER, THE BIRDS, TORN CURTAIN, SABOTEUR, VERTIGO, THE MAN WHO KNEW TOO MUCH (1934), THE MAN WHO KNEW TOO MUCH (1955), SUSPICION, and NUMBER SEVENTEEN. 17 Great Films!

Only 125,000 words!

Price: $5.99

Click here for more info!

OTHER COUNTRIES:


UK Folks Click Here.

German Folks Click Here.

French Folks Click Here.

Espania Folks Click Here.

Canadian Folks Click Here.

And....

HITCHCOCK: EXPERIMENTS IN TERROR






USA Readers click here for more info!

HITCHCOCK DID IT FIRST!

We all know that Alfred Hitchcock was the Master Of Suspense, but did you know he was the most *experimental* filmmaker in history?

Contained Thrillers like “Buried”? Serial Protagonists like “Place Beyond The Pines”? Multiple Connecting Stories like “Pulp Fiction”? Same Story Multiple Times like “Run, Lola, Run”? This book focuses on 18 of Hitchcock’s 52 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock’s *silent* films! We’ll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.

Films Examined: “Rear Window”, “Psycho”, “Family Plot”, “Topaz”, “Rope”, “The Wrong Man”, “Easy Virtue”, “Lifeboat”, “Bon Voyage”, “Aventure Malgache”, “Elstree Calling”, “Dial M for Murder”, “Stage Fright”, “Champagne”, “Spellbound”, “I Confess”, and “The Trouble with Harry”, with glances at “Vertigo” and several others.

Professional screenwriter William C. Martell takes you into the world of The Master Of Suspense and shows you the daring experiments that changed cinema. Over 77,000 words.

UK Folks Click Here.

German Folks Click Here.

French Folks Click Here.

Espania Folks Click Here.

Canadian Folks Click Here.

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