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"Motel sprees, and I'm singing."

The perpetual daylight hangs on, but after the weeks of UV hell, it's a relief. A good long rain last night. A solid week of that and our drought would be lessened. Currently, it's 67˚F in Providence.

Yesterday was another day spent mostly pulling together the last bits of Beneath an Oil-Dark Sea. I chose the pages from Alabaster that will appear in the limited edition, and Kathryn got high-resolution scans from Steve Lieber. So, I have pretty much all the artwork on hand. My absolute deadline for everything that will appear in the book is the 15th, so it's gotten a little hairy here at the end. We still have to get the author's photo taken.

In the evening, Josh Boone called and we spent an hour or so talking about the screenplay for The Red Tree (and a small bit about The Drowning Girl). As I said last night on Facebook, during the conversation I distilled The Red Tree into one sentence: "A haunted woman learns the secret history of a haunted place." In a nutshell. I've pretty much tossed out everything I've done on the screenplay so far, and I'm starting from scratch. This is pretty much terra incognita.

It looks as if we'll be heading back to Woodstock for two weeks, the second half of October. Hopefully, I'll have the first draft of the screenplay finished by then. Oh, yeah. This is something I have to write in drafts. Another first for me.

Last night we watched Solaris (2002) and Jacob's Ladder (1990). I'm revisiting some of my favorite films. Tonight, I think I'll go with Miller's Crossing (1990) and Blue Velvet (1986).

“There is no such thing as ‘was’ - only ‘is.’ If ‘was’ existed, there would be no grief or sorrow.” ~ William Faulkner

Aunt Beast


( 6 comments — Have your say! )
Sep. 11th, 2015 06:22 pm (UTC)
Glad to hear you're going to back to Woodstock. The leaves will be glorious.
Kiki Lang
Sep. 11th, 2015 08:50 pm (UTC)
October? I might (Might?)complain about the State I live in, but damn I love Autumn. All the doors, to all the worlds are open in Autumn. Gather, or buy some wood (Just gather.) When the sun goes down, start a fire, and set an Adirondack chair up wind of the smoke. I used to do this with a radio, and blanket. There is just something about Autumn.

Edited at 2015-09-11 08:53 pm (UTC)
Sep. 11th, 2015 09:46 pm (UTC)
I just saw Solaris again myself; it holds up beautifully.
Sep. 11th, 2015 10:56 pm (UTC)
Hope the screenplay restart goes well. Enjoy the films. A couple of corkers.
(Deleted comment)
Sep. 13th, 2015 08:05 pm (UTC)
That screenplay is going to be a bitch to write
It's a very atmospheric novel, with not much of a plot, and stories within stories within stories. There's the book of the dead professor, there's the ghost story the painter tells, there's the story Sarah doesn't remember having written --not to mention the many Charles Fort quotes... All of that compiled and introduced posthumously by an editor who, of course, wasn't there when things happened.

There's also the fact that we don't really know how much of this tale is factual, since Sarah is one hell of an unreliable narrator. We know (because the editor knows) that the painter was indeed there at some point of that summer, but we don't know her side of the story at all. Even Sarah herself is not sure whether some of their conversations and their one-night stand really took place, and in the end she finds the attic undisturbed as is no one ever stayed there. Or so she thinks. Also, Sarah's diary is written in the professor's typewriter, so in the end there's always the possibility that she also wrote the professor's pages herself.

All of this makes for a book that ends without any sort of clear resolution. It works wonderfully, though, and I wouldn't have it any other way, but translating all of that for the screen is going to be a tremendous challenge. It would be wonderful if the movie could preserve this temperamental, disjointed, collage-like character the book has, but for that it's going to need to be very tightly structured.
( 6 comments — Have your say! )