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Not with a whimper, but with a bang.

Yesterday, I wrote 1,340 words on Chapter Three of The Red Tree. A good writing day, and I hope it's going in the right direction.

I do not yet have my finalized schedule for Readercon, as I've asked to be taken off a panel. But I'll get it up here as soon as possible. Perhaps tomorrow.

I want to go to the ocean, but the tourists have come, like a swarm. It won't be so bad next week, and maybe we can sneak down one evening and find a tourist-free place. Still feel like I'm sleeping much more than usual, except at night, when I should be sleeping. But, hey, no more fits. I don't think I left the house yesterday, which is unusual these days. Spooky made stir fry for dinner. I got some reading done. There was some Second Life rp (thanks to Artemisia, Cerdwin, Joah, et al.), but my infatuation with SL continues to wane. Best Toy Ever? I thought that once. Maybe if the world were ready for it, which it clearly isn't. Perhaps it never shall be. Something I hear a lot about SL, and in particular about SL rp, that you get out of it what you bring to it, or what you put in, or something like that. I think the problem here is that very few arrive inworld with more than a desire for a sort of chatroom visual interface, or a new MMORPG, or free virtual sex, or an fps experience, or perhaps the hope that actual money can be made with this thing. Very few come bearing the imagination, skill, and ingenuity to take advantage of the potential inherent in SL. Any world imaginable. Anyone imaginable. Any story. Any vision. But visionaries are a rare commodity in SL, and it seems to me that, more often than not, they are looked upon (if recognized at all) with suspicion and annoyance. I think I'm learning that, in SL, genuine creativity must confine itself to marginal, unexploited niches, if it is to survive. Anyway...

Last night, we watched Richard Kelly's Southland Tales (2005/2006), but I'm putting all my thoughts behind a cut, to avoid spoilers:

What amazes me the most is that after this box-office and critical disaster, Kelly was still able to raise in excess of 30 million dollars for The Box (2009), his forthcoming adaptation of Richard Matheson's "Button, Button." On the one hand, yes, Southland Tales is a gargantuan mess, and it manages to do very little that wasn't done far, far better in Donnie Darko (2001). Indeed, this film is pretty much Donnie Darko tarted up as a great, gaudy, long-winded variety show of apocalyptic proportions, devoid of the essential spark and compassion that I think made Donnie Darko work. And yet, I simply could not look away. It is, undeniably, a spectacle, and as a spectacle, I have to applaud it. I think I may even have to sit through the blasted thing a second time, just to be sure it was actually as fucked up as I think it was. It's not a brilliant film. It might not even be a very good film, but it's...well, a spectacle. Then again, so was Tammy Faye Baker/Messner. We saw the 144-minute cut, the only one that I'm aware is available on DVD. And it's at least half an hour too long, maybe more. I think Moby's score was probably the best bit, with a few inspired performances strewn here and there. Now and then, the film clicks, for just a moment or two, and you can glimpse what it might have been — such as Justin Timberlake's musical number, or the opening scenes of the nuclear attacks in Texas. And, I'll admit, the last forty-five minutes had me staring in slack-jawed bewilderment at the sheer strangeness and audacity. But, in the end, strangeness and audacity aren't enough, and the film's rather simple premise folds in upon itself like the cataclysmic time warp portrayed in its final moments. This is not a complex story requiring complex story-telling devices, but a very, very simple one burdened with excess baggage, along with the director's desire to say everything at once using far too many characters. Still, I think it's a must-see. I hope Kelly recovers from this fiasco, because, if nothing else, his screenplay for Tony Scott's Domino (2005) proves he has stories to tell that are not merely bloated rehashes of his first success.

And now...I have this day to deal with.


Jul. 14th, 2008 04:13 am (UTC)

Out of curiosity, how long have you been into RP? How much had you done before you got into Second Life? I've no idea if you were a D&D type growing up, for instance.

I've been into rp, of one sort or another, since high school (D&D, etc.), though I'd say that the "pretend" of childhood is the true beginning of all rp (and theatre). So, lots, of one sort or another (and some acting), before SL.
Jul. 14th, 2008 01:49 pm (UTC)
Ah, childhood; that was when I would playact, and also when I was vaguely headed towards this writing thing. (I know I'm, at best so far, at the stage J. Michael Straczynski was when he called Harlan Ellison out of the blue asking for his words of wisdom for fledgling fiction writers. Harlan just said Your writing sucks. When it no longer sucks, it will sell. Straczynski took that in the spirit it was meant and endeavored to have his fiction Not Suck.)

I've sometimes felt I'm a "behind-the-scenes" performer, kind of like Howard Ashman when he'd record his interesting demos for his songs, as opposed to someone who'd feel comfortable on a stage or in a roleplaying environment. I don't have the in-the-moment ability to become someone different in those environments; I'd be a stiff actor. (Writing, of course, gives you more time to think Now if I were a completely different person than myself, how would I behave here?)

What sort of acting have you done? Stage stuff? Filmed stuff? And any of it worth sharing? :-)
Jul. 14th, 2008 02:40 pm (UTC)
(Writing, of course, gives you more time to think Now if I were a completely different person than myself, how would I behave here?)

Here's the thing (and I think this goes for writing and for rp): You do not think, What would this person say? or What would this person do?. Rather, like method acting, you so completely immerse yourself in the mind of the character that their actions become your second nature, almost your first. Then there are no questions to be asked, no deliberations to be made, no hesitation (unless they hesitate). You can't be stiff, because you are the character in question, and you know how hesheit will react to any given situation, or better still, knowledge is replaced by instinct, and you are free to simply act.

What sort of acting have you done? Stage stuff? Filmed stuff? And any of it worth sharing? :-)

Oh, all of it was high school and college. Yes, it's true. I was a drama-club nerd.

Edited at 2008-07-14 02:41 pm (UTC)
Jul. 14th, 2008 02:53 pm (UTC)
*reads Cait's performing advice*

I definitely can see you as the method-actor type. I don't see myself as that type, at least not yet, but I find it an interesting type to see.

Oh, all of it was high school and college. Yes, it's true. I was a drama-club nerd.

I wasn't, but happily I was friends with the drama-club nerds. At a remove, but with an interesting perspective. I was much more involved in my high school newspaper; a good place for me, and I'm glad I eventually did professional newspaper work, too. (Reminder To Myself: I have been paid for writing! I can do that again!)