November 2, 2016
I’m a lifelong East Coast girl who finally got around to visiting California in June 2016. My previous travels took me as far east as central Europe, but I had somehow neglected to take the westward trek in my own country until a full two years after retirement. Los Angeles was an important goal on my bucket list, mainly because of my love for movies and my interest in the business aspects of movie-making. Also, I’ve been making a fairly desperate and pathetic effort to buy my way into the industry by paying professional screenwriters to convert my four novels into scripts. Having waited so long to see the city of my dreams, I went there with stars in my eyes, determined to soak up as much glamour and creative energy as I could.
Warner Bros and Paramount were major sites on my wish list, since they advertise themselves as working studios rather than mere theme parks. What struck me immediately was that they are, indeed, workplaces. You can tell that sound stages, when they’re not in use, are the province of crews. Highly skilled technicians are required to work all those overhead lights and wires and microphones. Besides the stages, there are rooms full of props that are being collected for possible use in upcoming films. Those that have already been earmarked for a project are tagged and copyright-protected from being photographed. Someone has to oversee these cavernous rooms, which were not well air-conditioned on a hot day. Overall, you get a feel not for glamour, but for the real labor behind the scenes. It hardly seems fair that the actors get to memorize their lines in the comfort of their palatial homes, and then swoop in at filming time to scoop up all the accolades and applause.
This feeling that LA is a hard-working city, and not just a partying hub, was enhanced by the fact that it was hovering around 100 degrees the day I hit the studios, easily the hottest day of the year there. Much of the tour is necessarily outside, as an open-air trolley is used to transport visitors in between lots. You’re not allowed to enter places where the “filming in progress” lights are on, which limits your options to get relief. Luckily, the tour directors had the foresight to set up free water at several stops.
It was not only a hot city that day, but a smoky one, with fire bellowing out of the nearby hills. A little smoke doesn’t bother the residents until it threatens to get out of hand, which tends to happen later in the summer. Likewise, the earthquake that hit San Diego a few days before I visited there didn’t cause much concern, although it was almost as strong as the one that set off major panic on the east coast about five years ago. It wasn’t the Big One, so it wasn’t that big of a deal. As for driving in LA, there are memorable songs about its roadways. I can’t vouch for everything in Sheryl Crow’s description of all-night partying in LA, which she tops off with the chorus, “All I wanna do is have some fun till the sun comes up over Santa Monica Boulevard.” But no driver in LA can deny that Burt Bacharach spoke the truth in his song “Do You Know the Way to San Jose” when he proclaimed, “LA is a great big freeway.”
My trip also featured a tour of movie star homes, although most of them are hidden behind extremely tall hedges. Once in a while you can peek through the foliage and catch a glimpse of a landscaper or gardener. There’s no question Beverly Hills is one of the wealthiest neighborhoods I’ll ever see, yet it’s not all that different from the nicest parts of Bethesda, Maryland or McLean, Virginia. Somehow the east coast seems more modest, since the residents don’t go out of their way to hide from prying eyes, and can even on occasion be seen doing their own lawn work. To be fair, it must be much more difficult to keep up a huge lawn in that dry southern California climate at the height of summer, where the grass is practically tumbleweed.
I guess it all goes to prove that Hollywood is a vibrant place, but hardly magical. We idealize the people who work there without always considering how workaday their lives can be. For example, our young tour guide at Paramount Pictures, whom you might expect to be star struck, is working multiple jobs in order to pay off his humongous student loans. His long-range plan is to get involved in the business rather than the performing side of the industry. In the meantime, he conducts tours by day and reads screenplays for the studio by night. He doesn’t get to know many stars on the job, since they rarely have time to chat, so his stories about them are mostly hearsay.
Did I manage to glimpse any stars myself that day? Maybe future ones. Our tour guide pointed out the back door of a lot where a kid was being admitted to audition for a youth-oriented show. I could only imagine the striving that lays ahead for that ambitious youngster. If she manages to pass this first hurdle, there are so many more to come. All in all, I figure showbiz is a lot like writing, considering all the sweat it takes to make the end result look easy and fun.
December 8, 2014
I’m trying to circulate three screenplays based on my novels, and Hollywood has yet to start knocking down my doors. So I thought I’d try posting one of them, Let’s Play Ball, on the Amazon Studios site. The response there hasn’t exactly been overwhelming either, but the site does give aspiring moviemakers the chance to have a little fun. By uploading your script and converting it to Rich Text Format (RTF), you have the capacity to turn the story into a series of storyboards via a new application called Amazon Storyteller.
This is an innovation that allows the aspiring filmmaker to choose from a stock supply of backgrounds, characters, and props to visualize scenes from a script. Each board has a caption which sets the scene and contains dialogue. You can also use backgrounds of your own, which I needed to do in order to get ballpark scenes into my story. The result is more like a graphic novel or a cartoon than a movie. Amazon is reportedly working to add to its stock of graphics–maybe robots and spaceships some day, they say.
The fun part is learning, mostly by trial and error, how to manipulate the scenes to make them halfway realistic. You can move around characters, scale them to size, change their clothes and facial expressions, give them props, whatever it takes to make them do whatever they’re supposed to be doing. But because of the limitations of this brand-new application, what you get sometimes resembles a frustration dream rather than a narrative. For example, I’ve been struggling to get a group of diners to sit at a table instead of standing around it, staring at a bottle of wine. I’d like my heroine to be able to hold a cell phone in her hand instead of making it levitate in front of her. There’s also the challenge of clothing the characters appropriately.
Who knows, maybe I’m conjuring up actual nightmares that ballplayers have about showing up on the diamond out of uniform, or missing the game because they got stuck in the bleachers. Certainly all of us office drones have had dreams about showing up at work wearing safari or beach clothing, or something even more revealing. During one intense scene between an employee and her boss, I experimented with various gestures, including one in which she appeared to give him the finger. She actually looked happy when he suspended her, so a facial expression adjustment was necessary. I’ve also accidentally created a floating microphone at a press conference, and floating sandwiches that literally flew off a shelf.
But perhaps the main thing for achieving realism in a movie: how do you force these stock characters to get intimate with each other? They don’t seem disposed to embrace or to sit down together, much less to lie down. So far, Amazon Storyteller doesn’t appear to lend itself to hot and heavy lovemaking.
April 29, 2014
I always wanted to be in pictures. I’m a financial backer, in a very modest way, for a Kickstarter-backed film project called “Freelancers The Series.” It’s a fantasy epic produced by Witness Pictures, the independent film company that produced my three book trailers. This series, which has aired four episodes so far, features a strong heroine, and I mean a really strong heroine, named Caitlin.
To put it mildly, she’s a more vivid presence than the “heroines” in my novels, who are doing their best (and often failing) to navigate college dormitories, offices, and the dating scene. Caitlin is a warrior in a fantasy landscape that looks medieval to the naked eye, but has numerous modern touches, such as hip dialogue and flirting. “I think she likes me!” says one of her male adversaries. She is trying to right a wrong done to her family by stealing back a mysterious key. Along the way she steals a lot of other things, and soon ends up on wanted posters.
I have no doubt Caitlin will eventually prevail in her private crusade, even if she has to duel every evildoer who is responsible for her family’s distress. By contrast, my heroines’ idea of victory is not being stood up for the majority of their dates, or getting through a pile of typing before their bosses explode.
My girls, of course, do aspire to more exciting careers. I’ve featured amateur journalists who would prefer to get big stories without having to sleep with their sources, but can’t always manage that. I have a heroine who starts out as a bureaucrat with Homeland Security and ends up conducting a wildcat investigation of her brother-in-law’s kidnapping. My girls would love to lead heroic lives, but they’re not like Caitlin, a true adventurer with the skills of a cat burglar. Dressed all in black, she routinely walks on window sills, climbs up walls, and carries a sword she’ll use if she must, although she regrets shedding blood unnecessarily.
Critics have advised me to strengthen my heroines. Maybe they should take Caitlin as their model as they navigate their workaday worlds. There are, after all, many different kinds of landscapes to conquer.
May 9, 2013
Fantasy and science fiction are riding high these days in both books and movies. These genres seem to be outselling most others by a fair amount, and leaving mainstream works totally in the dust. Even though escapism is all the rage, I’ve never really gone for it much since outgrowing Grimm’s fairy tales and Disney cartoons. I get how tempting it is to take a break from real-world problems, but if I’m going to immerse myself in an alternate world, I prefer it to be recognizable. I guess my daily habit of perusing The Washington Post keeps me too grounded in reality. Most of the inspiration for my own writing comes from the news and my own experiences in workplaces and social settings.
So how can I embrace the unrealism that seems to give others so much pleasure … and incidentally, sells a lot of books and movies? Unfortunately, vampires and werewolves leave me cold, despite being proven gold mines and the quickest way for self-published authors to get through the traditional gates. I’d like my magic to be light and fun, not ghoulish.
Witness Pictures, the independent film company that has produced three book trailers for me, is currently churning out a fantasy web series called “Freelancers.” It claims to have a little bit of everything in the fantasy line: “a timeless realm full of magic and monsters, wizards, warriors, dungeons and dragons.” Yet it maintains some of the real-world familiarity I prefer by presenting its characters as flawed personalities who may have extraordinary talents but still need to pay their bills and get along in the workaday world.
The heroines that populate my novels don’t have much in common with the character played by young actress Caitlin Geier: “a fiery, rapier-wielding cat burglar, on the run from … well, just about everyone after stealing a mysterious artifact from a powerful sorcerer.” Compare that to my cast of office workers, aspiring journalists, sports groupies, and college students. But who knows: maybe one day I’ll figure out a way to throw a few wizards, sorceresses, and assorted monsters into my mixes. Expanding my horizons could be fun.
November 27, 2012
When I was a student at a small-town college in western Maryland during the early 1970s, one of my recurring obsessions was the idea of a road trip. I longed to escape from the grind of study and the cramped feeling of dorm life. I was a suburban D. C. girl, temporarily living in a rural area. I admit the backdrop provided by the Appalachian foothills could be stunningly beautiful, and the springtime smell of manure from the surrounding farms enticing. Still, the small town setting, with its one movie theatre and one bar, could get claustrophobic.
I hungered for the excitement of a big city—the big city, two hundred or so miles away. Many of my dorm mates shared this dream. A group of my girlfriends planned a trip to Broadway. My boyfriend and his best friend, a musician, planned to go there to check out record companies and clubs. I demanded to go with them, but they said no, it would be dangerous. What if they accidently strayed into a trouble spot and had to run for their lives? That only made me more determined to go.
That idea of a road trip, from western Maryland to New York City, provided the genesis of my novel, The Rock Star’s Homecoming. The premise: two years after a homegrown rock band is expelled from a small, rural college, a groundswell builds on campus to invite the now-famous band to return for a Homecoming celebration. Two roommates─ one of them the bandleader’s sister, the other a shy girl who loves him from afar─are charged with the responsibility of driving a van to New York, retrieving the nearly disintegrating band, and transporting the outfit back to campus for the most amazing Homecoming celebration ever. How do they pull it off? The book trailer below, from Witness Pictures, provides a visual idea.
October 14, 2012
I bought my way into the publishing industry. I self-published three novels and paid a pretty penny for editing, covers, ISBNs, marketing, and all the other necessities. My next, far more improbable goal, is to see these stories made into movies. I wonder: is it possible to self-produce a movie if you’re not cinematically talented? Can you throw money at this problem, or do you need connections and know-how?
I’ve already begun this process by paying to have my books converted to screenplays by real screenwriters. If I should get serious about submitting those to various markets, I’ll start collecting rejections again, something I had hoped to be done with forever. However, there are film production companies that work with self-publishers, such as the vibrant Witness Pictures that partners with iUniverse. The company makes professional-looking book trailers that resemble real movie trailers, using actors and filmmakers whose talents are evident. So far I’ve seen synopses of two of my stories come alive in this way. Maybe one of these days, the entire vision from start to finish can be realized.
I suspect the only thing harder than publishing a book traditionally these days is cracking the film industry without connections. Is it even possible to finance a full-length feature film at reasonable cost, or is that billionaire territory? What if a group of amateurs like me invested in a company that pooled our resources to give each project a shot? Sounds like an impossible dream, but who knows? It wasn’t so long ago that publishing a book was an “impossible dream” for most of us.