a wrench in the gears
Jul. 25th, 2008 12:11 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
greygirlbeastOn Wednesday, I wrote 875 words on Chapter 3 of The Red Tree, which brought me to the chapter's end. It also gives me 35,491 words total on the manuscript, or 150+ pages. Even if I'm forced to do the full 100,000 words stipulated in the contract (which would call for some serious padding), I'm more than a third of the way to THE END. If I get the 75,000-words length I want and think the story needs, I'm almost halfway there. Which is quite encouraging at this point. And, at this stage, I have to admit, I like where the book is going.
I took yesterday off, because I badly needed a day off. A full day off, with no expectation that I would write anything. Not even a blog entry. And I have been gorging on movies.
Wednesday night, we braved a thunderstorm to see Werner Herzog's Encounters at the End of the World (2007) at the Avon on Thayer Street. The Avon is wonderful. It was built in 1938 and is even cooler than the Plaza in Atlanta. And the film was, of course, very good. Herzog has yet to let me down. Encounters at the End of the World, while a documentary, covers some of the same ground as Herzog's recent sf film, The Wild Blue Yonder (2005). But it was ground I didn't mind retracing.
Yesterday, we caught a matinée of Christopher Nolan's The Dark Night, and I can now say that, finally, someone has made a Batman film I like better than Tim Burton's Batman Returns (1992). Indeed, someone has finally made a superhero film that works as a film, period, even if divorced from the context of comic-book adaptations. The film is just superb, top to bottom. Yes, Ledger's Joker is fucking brilliant. As much as I love Christian Bale, this film belongs to the Joker, not Batman. Indeed, I'm hoping we see Ledger receive an Oscar nomination for this, at the very least. I also thought Gary Oldman's performance was excellent. James Newton Howard and Hans Zimmer's score was perfect. And I wish I were not so fucking asleep, so I could articulate my thoughts better. I should have written this last night, not this morning, while I'm sitting here waiting for the Ambien to wear off. Anyway, even though I found that The Dark Knight far exceeded my expectations, and I'll go so far as to say it's a damn near perfect film, I did have a couple of qualms with the last twenty or thirty minutes. And I don't feel like fooling with the tags for an LJ cut, so IF YOU HAVE NOT SEEN THE MOVIE AND WANT TO AVOID SPOILERS, SKIP TO THE NEXT PARAGRAPH. NOW. Frankly, I think one of the ferry's should have blown, and it should have been the one loaded with civilians. There was just too perfect a build up, and when one didn't blow, it felt like a letdown. Up until that point, the Joker seemed, to me, to be functioning as a sort of bringer of revelations to Bruce Wayne. The Joker always won, one way or another, and he was never wrong, until then. And it felt forced, like maybe the studio execs were too afraid of a test audience in Little Rock or something. If the civilians had pushed the detonator and their own ferry had exploded, after having been spared by the convicts, that would have been true to the film. But that's my only major quibble. Also, big nods to the screenwriters, because, damn, that's a quotable movie, one of the most quotable since Pulp Fiction (1994), I think. I'm making a list of my favourite lines, such as (as the Joker explains himself to Harvey Dent) —— "Do I really look like a man with a plan, Harvey? I don't have a plan. The mob has plans, the cops have plans. You know what I am, Harvey? I'm a dog chasing cars. I wouldn't know what to do if I caught one. I just do things. I'm a wrench in the gears. I hate plans. Yours, theirs, everyone's." Fucking A. Or another of the Joker's lines —— "You see, nobody panics when things go according to plan. Even if the plan is horrifying. If I told people that a gangbanger was going to get shot, or a busload of soldiers was going to get blown up, nobody would panic. Because it's all part of the plan. But tell people that one tiny little mayor is going to die and everyone loses their minds!" Or Harvey Dent's line —— "You either die a hero, or you live long enough to see yourself become a villain." Great stuff.
Then, last night, we watched an odd little zombie film, The Signal (2007), which was divided into three parts, with three directors —— David Bruckner, Dan Bush, and Jacob Gentry. It also contains a beautiful cover of Joy Division's "Atmosphere," by the way, courtesy Ola Podrida. A visceral, gory film that does a nice job of keeping you off balance, and of mixing a sort of cosmic horror with black humor. Not great, but a nice surprise.
Anyway....if you have not yet ordered a copy of the new mmp edition of Daughter of Hounds, I ask that you please do so. Thank you. Let's keep these books in print. Meanwhile, Herr Platypus says Friday is as good a day as any to subscribe to Sirenia Digest. And, of course, subpress is taking preorders on A is for Alien.
And wouldn't you just know, as soon as I try to back away from Second Life, I go and discover a pretty cool Medieval Persian rp sim that allows me (more or less) to resurrect Shahrazad al-Anwar, this time as a mute, amnesiac necromancer? I have been spending far too much time in the sim —— Kingdom of Sand —— the last two days, and sleeping far too little. You can see my character's profile and a screencap here (if you're into that sort of thing). Last night, I even caught a djinn.
Now...I have to try to wake up, answer email, and get started on a new story for the next issue of the digest. Where's my cocaine!
I took yesterday off, because I badly needed a day off. A full day off, with no expectation that I would write anything. Not even a blog entry. And I have been gorging on movies.
Wednesday night, we braved a thunderstorm to see Werner Herzog's Encounters at the End of the World (2007) at the Avon on Thayer Street. The Avon is wonderful. It was built in 1938 and is even cooler than the Plaza in Atlanta. And the film was, of course, very good. Herzog has yet to let me down. Encounters at the End of the World, while a documentary, covers some of the same ground as Herzog's recent sf film, The Wild Blue Yonder (2005). But it was ground I didn't mind retracing.
Yesterday, we caught a matinée of Christopher Nolan's The Dark Night, and I can now say that, finally, someone has made a Batman film I like better than Tim Burton's Batman Returns (1992). Indeed, someone has finally made a superhero film that works as a film, period, even if divorced from the context of comic-book adaptations. The film is just superb, top to bottom. Yes, Ledger's Joker is fucking brilliant. As much as I love Christian Bale, this film belongs to the Joker, not Batman. Indeed, I'm hoping we see Ledger receive an Oscar nomination for this, at the very least. I also thought Gary Oldman's performance was excellent. James Newton Howard and Hans Zimmer's score was perfect. And I wish I were not so fucking asleep, so I could articulate my thoughts better. I should have written this last night, not this morning, while I'm sitting here waiting for the Ambien to wear off. Anyway, even though I found that The Dark Knight far exceeded my expectations, and I'll go so far as to say it's a damn near perfect film, I did have a couple of qualms with the last twenty or thirty minutes. And I don't feel like fooling with the tags for an LJ cut, so IF YOU HAVE NOT SEEN THE MOVIE AND WANT TO AVOID SPOILERS, SKIP TO THE NEXT PARAGRAPH. NOW. Frankly, I think one of the ferry's should have blown, and it should have been the one loaded with civilians. There was just too perfect a build up, and when one didn't blow, it felt like a letdown. Up until that point, the Joker seemed, to me, to be functioning as a sort of bringer of revelations to Bruce Wayne. The Joker always won, one way or another, and he was never wrong, until then. And it felt forced, like maybe the studio execs were too afraid of a test audience in Little Rock or something. If the civilians had pushed the detonator and their own ferry had exploded, after having been spared by the convicts, that would have been true to the film. But that's my only major quibble. Also, big nods to the screenwriters, because, damn, that's a quotable movie, one of the most quotable since Pulp Fiction (1994), I think. I'm making a list of my favourite lines, such as (as the Joker explains himself to Harvey Dent) —— "Do I really look like a man with a plan, Harvey? I don't have a plan. The mob has plans, the cops have plans. You know what I am, Harvey? I'm a dog chasing cars. I wouldn't know what to do if I caught one. I just do things. I'm a wrench in the gears. I hate plans. Yours, theirs, everyone's." Fucking A. Or another of the Joker's lines —— "You see, nobody panics when things go according to plan. Even if the plan is horrifying. If I told people that a gangbanger was going to get shot, or a busload of soldiers was going to get blown up, nobody would panic. Because it's all part of the plan. But tell people that one tiny little mayor is going to die and everyone loses their minds!" Or Harvey Dent's line —— "You either die a hero, or you live long enough to see yourself become a villain." Great stuff.
Then, last night, we watched an odd little zombie film, The Signal (2007), which was divided into three parts, with three directors —— David Bruckner, Dan Bush, and Jacob Gentry. It also contains a beautiful cover of Joy Division's "Atmosphere," by the way, courtesy Ola Podrida. A visceral, gory film that does a nice job of keeping you off balance, and of mixing a sort of cosmic horror with black humor. Not great, but a nice surprise.
Anyway....if you have not yet ordered a copy of the new mmp edition of Daughter of Hounds, I ask that you please do so. Thank you. Let's keep these books in print. Meanwhile, Herr Platypus says Friday is as good a day as any to subscribe to Sirenia Digest. And, of course, subpress is taking preorders on A is for Alien.
And wouldn't you just know, as soon as I try to back away from Second Life, I go and discover a pretty cool Medieval Persian rp sim that allows me (more or less) to resurrect Shahrazad al-Anwar, this time as a mute, amnesiac necromancer? I have been spending far too much time in the sim —— Kingdom of Sand —— the last two days, and sleeping far too little. You can see my character's profile and a screencap here (if you're into that sort of thing). Last night, I even caught a djinn.
Now...I have to try to wake up, answer email, and get started on a new story for the next issue of the digest. Where's my cocaine!
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no subject
Date: 2008-07-25 06:30 pm (UTC)Well, not necessarily a liar - which would just be an order of contrarianism - but yes, I see and agree with your point. I was just trying to figure out why this occurred from the point of view of the film's internal logic. It's impossible to know what people were expecting, but I think the film had already set up an "anything could happen" dynamic - suggesting that it was entirely possible that it could happen. The fact that it didn't, while all of us bloody-minded cynics were certain it would, is where I saw the subversion of audience expectations.
Oh, and with some reflection, perhaps the inspirational moment of the two ferries had more to do with a post-9/11 response to terrorism. I hate to bring that up - but perhaps it was less "...a test audience in Little Rock.." than a test audience in NYC: "I'd tell that Joker to take his detonator and cram it in his ass, I tells ya!!" Dunno. Just popped in there.
I think my problem is that, for me, the Joker was the film's true hero.
I truly felt that Ledger had not played "the Joker" - the comic book character, the villain, Batman's nemesis - he had invented a new character who was a shrewd, brilliant, and completely unstoppable maniac who was simply known as the Joker. He was a force of nature. As Alfred notes, he "wants to see the world burn" - not because he hates it or is vindictive, that it is somehow flawed, or deserving of punishment. Simply because there's nothing better on television at the time.
As I mentioned, I could go on for a long time here...
no subject
Date: 2008-07-25 06:31 pm (UTC)I truly felt that Ledger had not played "the Joker" - the comic book character, the villain, Batman's nemesis - he had invented a new character who was a shrewd, brilliant, and completely unstoppable maniac who was simply known as the Joker. He was a force of nature. As Alfred notes, he "wants to see the world burn" - not because he hates it or is vindictive, that it is somehow flawed, or deserving of punishment. Simply because there's nothing better on television at the time.
Yes!
no subject
Date: 2008-07-27 07:55 am (UTC)No!
Ledger was good, I'll give you that, but the things you are crediting him with, actually go to the writer. Everything I like about this Joker came from the writing. His utter fearlessness, his great quotes, his psychology all come from Chris and Nathan Nolan.
Heath did come up with some great tics, and I totally bought him as the Joker, but that is what they were tics and tricks. I would love to see what another Oscar caliber actor would do with this part. Such a good villain. (Though if you ask me Scarecrow was behind this some how. Joker says he's not a planner but if not he was pretty damn prepared for the Just In Case.)
A good villain because, this isn't someone who snapped because there was nothing on TV, this was someone who ate the shit the world served him for too long. The lies of this is how it's supposed to be.
Maybe the realization that justice is for those that can pay for it, that people under the boot of order need an escape that when a champion comes forward another force needs to balance it out.
But something caused him to snap into action, moving him to take that next step and it wasn't the lack of TV choices.
Something hinted at in that self inflicted smile, a way to remove himself from society. That there would be no way he could lose his guts and try to bury his head again. Society would always see him on the outside how he felt on the inside, as an outsider.
Maybe he wants to burn the world, not because he hates the world or is vindictive but because it is his duty. If he doesn't stand, no one else will. A necessary opposition to the order. A emissary of Discordia.
I am still not sure, but that is what makes this such a good movie. I am examining a character for motivation, expecting it to move under the microscope like a real person might.
My favorite part of the "Some people just want to see the world burn." story is where Alfred and his cronies burn down the forest to catch the thief. It makes you wonder who really wants to see the world burn? Or the lengths that order will go to see chaos wiped out.
no subject
Date: 2008-07-27 02:40 pm (UTC)No!
Ledger was good, I'll give you that, but the things you are crediting him with, actually go to the writer. Everything I like about this Joker came from the writing. His utter fearlessness, his great quotes, his psychology all come from Chris and Nathan Nolan.
I think it's grandly ironic that you are accusing me, in my own journal, of having not given the screenwriters due credit. It was never my intention to imply they were not important to the creation of the role. But, you're awfully naive regarding the process of film making if you think that they were somehow solely responsible for what we saw of the character on the screen. A huge part of that goes to Ledger. Many actors would never have been able to pull that off, just as the character was also the product of collaboration between Ledger and the director, and folks like the art director/s and make-up team. I suppose I could have said all this to start with, but assumed it was unnecessary.