One of the strange side effects of the strike has been the absence of the white noise of expectation. I was waiting to hear about so many things. Will this studio get back to me about this project, did this director pass on my feature, am I going to hear from these producers about “x?” I was always waiting for the phone to ring or a new email to show up. All day, every day. Refresh, refresh, refresh.
Thanks, Mickey. Your mention of Dragon Tattoo got me thinking about all of the female Protagonist movies in that period, say, 2008-2014? Hunger Games, Twilight, Dragon Tattoo, Zero Dark Thirty, etc. (Gone Girl, Girl on a Train, Bridesmaids?) They were very successful and seem to me to be less *forced* into being, for lack of a better term. They weren't the result of a studio exec saying let's redo X but make the lead a woman to mix it up and we'll market it as female empowerment. In most cases, they were originally written by women, which is a huge part of them feeling authentic, but I don't think that's the only reason they worked. They just were more organic, for some reason; they worked because they were good stories and unknowingly plugged into the zeitgeist rather than TRYING to capture the zeitgeist, which is what so much major studio/network content tries to do these days. Maybe because we do what we do and can't help but see the ropes and pulleys being moved behind the scenes (do you imagine the screenplay page as you watch something, like I do?) we tend to overanalyze, which the general audience does not do, but I think maybe it can help us to turn off the analytical brain sometimes and just create. The trick after that is to convince a decision maker to help realize it because it's such a good story that it demands to be made, rather than because it ticks a bunch of boxes. I don't know where I was going with this, just talking out loud. 😀 Thoughts?
Good luck with the journalling and Vesper!
Now you've got me thinking about Dark Delicacies. I loved that place when I discovered it on a visit to the states a couple of years ago!
Thanks, Mickey. Your mention of Dragon Tattoo got me thinking about all of the female Protagonist movies in that period, say, 2008-2014? Hunger Games, Twilight, Dragon Tattoo, Zero Dark Thirty, etc. (Gone Girl, Girl on a Train, Bridesmaids?) They were very successful and seem to me to be less *forced* into being, for lack of a better term. They weren't the result of a studio exec saying let's redo X but make the lead a woman to mix it up and we'll market it as female empowerment. In most cases, they were originally written by women, which is a huge part of them feeling authentic, but I don't think that's the only reason they worked. They just were more organic, for some reason; they worked because they were good stories and unknowingly plugged into the zeitgeist rather than TRYING to capture the zeitgeist, which is what so much major studio/network content tries to do these days. Maybe because we do what we do and can't help but see the ropes and pulleys being moved behind the scenes (do you imagine the screenplay page as you watch something, like I do?) we tend to overanalyze, which the general audience does not do, but I think maybe it can help us to turn off the analytical brain sometimes and just create. The trick after that is to convince a decision maker to help realize it because it's such a good story that it demands to be made, rather than because it ticks a bunch of boxes. I don't know where I was going with this, just talking out loud. 😀 Thoughts?