How to make your Budget Car Rental Experience Feel Like a Michael Bay Movie

png_base6487a713b2546501a4For me, there are two sure signs of summer:  Loud, fun popcorn-filled blockbuster movies and inefficiently cumbersome rental car lines. Both can be equally long (thanks, Budget!), but the latter can be made much more enjoyable when you attempt to infuse a touch of Michael Bay’s signature style to the process. Here are five tips on how to punch up your car rental experience:

 

 

  1. Introduce the threat of an alien attack

Every good summer movie has a sense of urgency (or a “ticking clock” as I learned from all of those screenwriting books collecting dust on my lopsided Ikea malm shelf), but unfortunately the idea of “urgency” is about as foreign to Budget employees as an alien invasion. Like a tender rack of BBQ ribs, they prefer the “low and slow” method in which they talk as low as possible so that you can barely understand what they’re saying and they move as slow as humanly possible (sometimes even ceasing to move at all for several minutes). What’s a better motivator than an impending alien attack? Thus, the first sentence you should say to every employee you come in contact with is “We don’t have a lot of time before the alien invasion starts, so let’s make this quick.” Erratically look at your phone or watch during all conversations while mumbling “it’s going to be too late…”

 

  1. Steal a walkie talkie

Walkie-talkies play a very important role in Budget’s highly inefficient process for obtaining a rental car. This centralized form of communication between the counter and garage means that you’ll have a captive audience if you can get your hands on one. There’s a small chance this will get you kicked out with no rental car, but having to use a different (and more efficient) rental car company might actually work to your benefit. If you’re less bold, you can ask to use the walkie talkie. They won’t let you, which will give you the opportunity to look them in the eyes and earnestly say, “But we need to get everyone out of the city!” If for some reason you do get your hands on a walkie-talkie, use your platform to inform your audience of the imminent attack and the importance of getting out of the major cities. Be sure not to specify exactly how much time remains, rather just make it clear that “time is precious” and the vague importance of moving quickly.

 

 

  1. Make your own love story

You have some freedom here, as you can inform the employees of you desire to see your significant other “one last time,” or if the mood strikes you, turn your interaction at the rental car counter into a “meet cute.” Start subtly by expressing your physical attraction to their hands/eyes/hair/etc. Compliments for people in their position are likely rare, so you may have to sprinkle in a few more during the process of booking your car (this is in addition to #1 and #2 above, as these are meant to work together). This may seem like a lot to cram into your visit to the counter, but trust me, you’ll have plenty of time since what should take five minutes will undoubtedly take anywhere from 30 minutes to the rest of eternity. Now that you’ve buttered them up, introduced the threat of aliens, and are ready to leave the counter to get your car you can make your final move:  Look him or her in eyes, hold out your hand and make Schwarzenegger proud by saying:  “Come with me if you want to live.”

 

  1. Squeal your tires

Once you finally get your car, throw your bags in the back, jump into the driver’s seat as fast as you can and FLOOR IT. It won’t be hard to make the tire squeal, since you’ll be in a garage. Aside from getting the attention of everyone in earshot, there’s not really any point to doing this, since you’ll likely have to immediately stop and wait in yet another line with other cars trying to exit. But, it’ll feel cathartic since you’re one step closer to escaping the aliens.  

 

 

  1. Shed a tear while spewing a heart-felt monologue

There will be numerous interactions with Budget employees since each step involves adding an unnecessary human as often as possible. Save the monologue for the last person you interact with at the gate. Even though you’ve already confirmed the reservation and your information with at least three people prior to this final “gate check,” you will be required to provide proof of a driver’s license and receipt for your rental car. Once the attendant opens the gate for you, this provides an excellent opportunity to utilize those high school acting skills in one last final monologue. You can improvise if you like, or utilize the three-plus hours of waiting to write, rewrite, and polish an Oscar-worthy speech. Hell, you may have enough time to email a copy to William Goldman for a few punch-ups. Get out of the car and make sure you speak to any other cars in line behind you, as this is your last chance to rally mankind against those damn aliens. Be sure to incorporate your desire to see your significant other one last time, lots of references to the aliens (there can never be too many), and as many metaphors about American pride as possible. Preferably you will be renting a Ford to really help sell that last one. Start crying during the final act of your monologue (the wetter your cheeks, the better). Budget employees are barely trained to handle normal customers, let alone one that keeps referencing an alien attack while crying. At this point the gate will have closed again, thus revealing the real point of the monologue as a tactic to stall. You want that gate closed, so you can crash through as fast and as furiously as possible (you paid for the damage waiver, right?).

 

See? Not a bad way to spend six hours at an airport and by the time you leave, there will be twice as much story and character depth as whatever Transformers they’re up to now. Also, while you’re there, tell Satan I said ‘hello’.

How to Train Your Audience

I imagine deep underground DreamWorks headquarters hides the formula to making a blockbuster animated film. Let’s call it How to Train Your Audience. The logic behind the document is sound: animated films are an expensive endeavor and getting the optimal blend of safety and freshness from both original ideas and sequels is the best way to put audiences in seats and give them a few hours of surefire enjoyment. How to Train your Dragon 2 enters theaters as the latest expression of this formula. And as the formula predicts, that’s not a bad thing.

unnamed-1In the first movie, Hiccup (Jay Baruchel) and his dragon Toothless established a peace amongst the Vikings of Berk and the races of dragons. In this sequel, Hiccup must commit to the increasing pressures of being heir to his father, Chief Stoick (Gerard Butler), and to the responsibilities of one day being chief. But the world outside Berk is largely unknown and Hiccup is willing to neglect his administrative duties to find out just how big the world is. Hiccup soon runs into the other inhabitants of this bigger world – among them, the mysterious dragon rider Valka (Cate Blanchett) and Eret (Kit Harington), a bounty hunter working for an old rival of Stoick – Drago (Djimon Hounsou). Hiccup’s curiosity places the fate of Berk directly in their plans.

The world of Berk and beyond are beautiful; the filmmakers have taken the best parts of the first How to Train Your Dragon, Disney’s Brave, and Cameron’s Avatar to create this potent flavor of eye candy. They’ve built a living world existing between the real and the computer cell. They’ve pushed the points of their models so that there’s a weight, a history in which the characters naturally exist.

The technical achievement of creating this world is saved from being an expensive tech demo by the flow of a tight narrative. Hiccup doesn’t have the voice or sultry eyelashes of a Disney Princess to command his own take on the “Let it Go” chorus, but he has the reliability of the prototypical awkward teen. It plays well off the mimed humor of Toothless.

At times, the formula seeps through and the film feels like a paint-by-the-numbers affair. The plot moves in the typical Pixar/DreamWorks fashion and the characters grow and evolve and learn the lessons of so many children’s movies. But the numbers paint such a beautiful and efficient picture, the whole doesn’t suffer in any meaningful way.

While this seems like a home run for DreamWorks, there are rumblings of a protest. Buried in the typical nods to parents is one ad-libbed line by Gobber (Craig Ferguson): “This is why I never married. This and one other reason.” Dean DeBlois, the film’s director, has since stated the line is an intentional reference to Gobber’s homosexuality.

Now while it’s easy to see why this is the doom of the heterosexual parent (perhaps even of all heterosexuals everywhere), we must ask:  even with this knowledge, will kids question their sexuality due to this subtle joke? Or will they, not yet burdened by the ionized charge of American politics, simply laugh and disregard it in favor of the colorful dragons in the rest of the movie? Did they know the movie had an insidious agenda before their parents told them?

Maybe that’s the freshness part of the How to Train Your Audience formula. Then again, maybe it doesn’t mean all that much.

100 Movie Challenge: #91 Sophie’s Choice

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Sophie's Choice 1982
Sophie’s Choice 1982

Our  journey through film’s finest has brought us to one of the all-time tearjerkers.  Based on the novel by William Styron, the 1982 drama, Sophie’s Choicefeatures a dazzling performance by a young Meryl Streep and comes in at number 91 on our list. And while the story may not make a perfect transition from page to screen, the high-intensity drama and Streep’s masterful work are something to behold.

The plot follows Stingo, a small-town novelist who has just moved into an apartment complex in Brooklyn; played by Peter MacNicol. Once there, he is befriended by the charming but unstable Nathan (played by Kevin Kline) and his girlfriend, Holocaust survivor Sophie.

On paper, it’s by no means a perfect film. The action is slow at times, the plot is extremely vague, and the character development is certainly limited at best. Most of this can probably be blamed on the film’s novelistic background. Even if you’ve never read the book, you can get a pretty good sense of how it reads from watching the film. There’s an amazing attention to detail and characterization that is certainly unique on screen, but lacks some of the cinematic qualities we’ve come to expect.

However, that wealth of character background is perhaps what made these characters so lively on film. Every one has a seemingly endless breadth of past experiences to draw upon. And as those past experiences are revealed, the film picks up an intense amount of dramatic steam.

A young Meryl Streep as "Sophie" alongside MacNicol as "Stingo"
A young Meryl Streep as “Sophie” alongside MacNicol as “Stingo”

If you want to talk about a film that is at risk of spoilers, this is it. The film culminates in an emotional  scene that literally left me with my mouth open. If it hasn’t already been spoiled for you, I will say no more in order to preserve your innocence, other than it is quite possibly one of the most tense, emotional, dramatic, and well-acted scenes I’ve ever seen. The film is worth it for this scene alone.

But that’s not all that’s there! Which is why Sophie’s Choice earns an A, and for the constant debate over socialist themes and theories, earns a 6.5 on the Liberty Scale. It is truly a lesson in acting from one of film’s all-time greats, and surely would compete for the title of Streep’s greatest role. Fans of Streep, fans of acting, and fans of drama alike should all have Sophie’s Choice in their cinematic vocabulary.

We’re shifting gears next time with the lovably upbeat Fred Astaire and Ginger Rogers in #90 Swing Time.

Were you floored by Streeps performance? Or were you unable to get past the novelistic style of Sophie’s Choice? Let us know!

To see the rest of the list click here.

Climbing the Hollywood Hill

To anyone who has ever dreamt of being “someone,” it can be almost unanimously agreed upon that Hollywood is the place to be. Of course, “someone” is mostly arbitrary and subject to one’s own opinion of the term.  It’s mind-boggling to think of the way we are trained from such an early age to believe in the falsehoods of fame and fortune, and, even moreso, that we could be the exception to the rule.  At the ripe young age of 8 (roughly the age when I personally realized my love for the film world), who could know any better?

So as we go through puberty, and grow into young adults, we start to take this love for entertainment to be something much more valuable than just a “love for entertainment.” We want it to be our lives. We want it to be the focus of our careers. We gradually aspire to become the next individual voice of our own generation because what “I” have is unique.  No one else has ever had the ideas “I” have.  “I” am going to make it.

unnamedThen college happens (if such the route is chosen) and we start seeking internships. We strive for Hollywood because that’s where it all happens.  The fact that we don’t actually realize what Hollywood is at this point is moot. We just want to be there.  We want to get our hands dirty and start building that resume. So we dabble for a summer or a semester in the illusion that is the glamorous Hollywood life. It’s our first time experiencing “the real world,” even though we have no idea what it’s really like when we’re still under the academia’s protection.  We return home, telling our friends that we had the time of our lives (because at the wise, intuitive age of 21, we probably did) and that we can’t wait to graduate and go back.

Then we come back.  The struggle becomes oh so real.  This is where the reality of the “real world” sets in. Now, some may call me jaded, but I personally believe that it’s necessary to have at least a small chip on your shoulder.  Especially in this business, you have to be just jaded enough to not be naïve enough to not be jaded.  In laymen’s terms, you can’t be oblivious to the point of selling out.  As we try to carve a path for ourselves and begin to pursue what we’ve always believed was our dream, we start to realize the painful truth of that saying that’s always felt so cliché; “Good things come to those who wait.” Key word: Wait.  Waiting…and waiting…and more waiting.

One of my personal favorite lines about the business, which can apply to any young adult pursuing their dream career; “The key to success is failure and persistence.”  There is something terrifying, yet reassuring about this.  It implies that we must fail (terrifying), yet if we’re failing, we are, in a strange way, succeeding (reassuring).  Because if we are failing, at the very least, it means we are putting ourselves out there. We’re exposing ourselves to the possibilities of success rather than being too afraid to pursue it all together. I believe that the bottom line is to pick a goal and stick to it. Work the system.  You will undoubtedly face some of (if not THE) most challenging situations of your life on this journey, but why not look at those situations as a way to grow, rather than a road bump that we can’t get over?  Shifting gears back into positivity, if we push through the most difficult times and continue to pursue that dream that was so realistic to us at the ages of 8 and 21, what could possibly stop us? We are the next generation. YOU are a part of that generation.  Someone has to be next in line, why not you?

 

A Look Back: X-Men: Days of Future Past – The Comic

So you’ve seen the X-Men: Days of Future Past, the movie, but have you read the original comic book?

That huge movie event has its origins in Uncanny X-Men #141 and 142, just two little old issues from 1980 written by Chris Claremont and drawn by John Byrne.

X- Men Uncanny #142
X- Men Uncanny #142

Warning:Spoilers ahead for the comic book; movie spoilers won’t exceed what you see in promotional materials.

Shortly before Days of Future Past, the Claremont/Byrne team made use of another classic storyline, The Dark Phoenix Saga, which resulted in the death of Jean Grey. Cyclops quit the team after that, and leadership duties fell to Storm. In fact, DOFP was her first mission as team leader. The rest of the “present-day” team consisted of Wolverine, Nightcrawler, Colossus, Angel, and 13-year-old newcomer Kitty Pryde, all under the guidance of Professor X. (Hank McCoy/Beast was an Avenger at this time, following an unsuccessful attempt at spinning him off into his own solo adventures.)

The “future” of the comics’ storyline is 2013, and the robotic Sentinels have taken control, similar to what we see in the movie. A new character named Rachel uses her mental powers to send the adult Kate Pryde’s mind back to her teenage body, at a time before she had been trained to shield herself from any mental attacks.

That’s why Kitty is chosen as the time-traveler—she was the novice. In the movie, they need to send someone back to 1973, before Kitty was born, and since  Hugh Jackman is the star, so writers took liberties with her phasing powers and added “passing people through time” to her usual skill of “passing through solid objects.”

Unlike the movie, her objective is not to save the life of the Sentinels’ inventor, but to save the life of Senator Kelly, whom moviegoers met in the first X-Men film.

Mystique still plays the role of assassin—or rather, leader of a group of mutants out to kill the senator as a show of mutant strength.

Days of Future Past is Mystique’s first appearance in the X-Men comics. She had debuted a couple of years earlier as a nemesis for Ms. Marvel (a non-mutant super-hero and Avenger who today is experiencing a surge of popularity among comics fans as Captain Marvel).

At this point, the comics’ Mystique has no personal ties to Charles Xavier or Magneto. There are hints that she has a connection to Nightcrawler, and we later learn she’s his biological mother. Additionally, Mystique is the foster mother of Rogue, who is about a year away from her comics introduction.

Jennifer Lawrence gives a great performance as Mystique in DOFP, but hers is a more youthful portrayal, a disillusioned young woman whose path and personality haven’t been set in stone yet. From the beginning, comics Mystique comes across as worldly and set in her ways. However, both incarnations are willing to do whatever they feel is necessary to protect their fellow mutants.

Also of note, Professor X and Magneto didn’t even have any personal history at this point in the comics either. Their past friendship was retroactively inserted into continuity about 20 issues later.

X-Men Uncanny #141
X-Men Uncanny #141

Wolverine is a bit more psychotic than Hugh Jackman’s more mature portrayal. At a couple of points, he’s ready to impale a bad guy with his claws, and Storm goes out of her way to stop him and issue a stern warning that he will not slay anyone on her watch. It’s a nice little mid-battle moment giving us an early glimpse of Storm’s leadership potential and reminding us what a shame it is that Halle Berry’s Storm isn’t more fleshed out.

While the present-day battle is a pretty basic brawl, the future scenes were more groundbreaking at the time, as we see our favorite characters in a world in which they’ve failed and don’t have much else to lose. And we see them die. This is basically The End of the X-Men—a true “last stand.”

It’s pretty dark at a time when comics were regarded as kids’ stuff (and indeed, most of them were).

DOFP packed a lot of story into two issues. Modern comics would expand this into at least a six-issue storyline, if not an 18-part crossover across six different X-Men titles.

The writing style is somewhat dated. Claremont tends to be verbose, with characters often saying exactly what they feel.

Still, these comics are worth reading. That goes for the full Claremont/Byrne run, which ran from #108 to #143. They’re fun and exciting whether you’re 10 or 40—as great comics should be.

Staying Out Instead of Breaking In

 

It’s not a secret. Everybody wants to break into Hollywood. Your retired uncle on your mom’s side took an acting class at a community college. Your father-in-law got a GoPro for Christmas and thinks he’s the next Spielberg. Hell, even your sixteen-year old dogwalker has a spec screenplay that’s “kind of a romantic sci-fi comedy scavenger hunt written for Ryan Gosling as the lead.”

Fame, fortune, following your passion, feeding your ego… There are plenty of motivators, but have you really sat down and thought about why exactly you want to be a part of Hollywood? Maybe the answer isn’t quite clear. Maybe it’s a gut feeling that you have but can’t explain.

With filmmaking technology becoming exponentially better and cheaper, screenwriting contests and fellowships becoming more prevalent, and social media turning nobodys into kind-of-somebodys, aspiring filmmakers are constantly being told that there are more ways to break in than ever. But, is “breaking in” even worth it? If filmmakers have everything they need to create content (especially content in which they have creative control over), then what exactly do they need Hollywood for?

 

png_base64b0a2c8f2e1ca9194Mitch Hurwitz created arguably the greatest sitcom of all time, Arrested Development. As such, many wannabe sitcom writers envy this comedic genius and would no doubt love to be him in certain capacities. However, as he explained at the Banff World Media Festival last week (and could be ascertained from previous interviews) it wasn’t all fun and games creating/running a show for Fox. And “running” was a loose term, since they tried so very hard to handicap him.

 

This isn’t significantly new information, nor is Mitch’s case all that unique. Some show runners have even been fired from the very show that they created (ahem…Dan Harmon…ahem). The difficulties aren’t specific to high-level show creators either, as the path to get there is rarely easy. There are tons of screenwriting horror stories which relate breaking in to having gone through war. Actors and actresses don’t have it any easier, as many are reduced to reality show roles to pay the bills until they land that Oscar-worthy part in a Martin Scorsese feature.

And once you’ve “broken in” it’s not like you automatically get a Bentley, estate in Beverly Hills, and a loyal-customer punch card for the best attorney in LA. You have to stay in. Professional screenwriters, John August and Craig Mazin, have talked frequently on their Scriptnotes podcast about how “staying in” is sometimes harder than breaking in.

So, you struggle to get in and once you’re in, you struggle to stay in. Sure, you might be rich, but money doesn’t buy happiness, especially not if you’re constantly stressed out about getting kicked out of Hollywood and losing everything.

Consider, instead of breaking in, using the available tools to create the content you want and staying out of Hollywood. The scope may be on a much smaller scale, but you’re level of happiness may actually be improved due to a lower level of stress and higher level of control over your content.

 

png_base645aab9a5e12d6edccThis independent attitude isn’t new, but with so many more young filmmakers entering the industry, I feel like there’s more promotion of the gold rush mentality, rather than the idea that you can carve out your own small segment of the industry and happily operate without constantly trying to get noticed by Hollywood.

 

Yes, I realize that the lack of monetary rewards probably impede the desires of many filmmakers to stay outside of the Hollywood bubble. But if more and more filmmakers actively stay out of Hollywood, eventually someone’s going to figure out how to make a decent living from it.

Instead of constantly trying to break in, maybe the new goal should be to stay out, stand out, and and enjoy the view of Hollywood from the outside. Of course all that goes out the window if you’re offered a check for $1 million. You’ve got bills, so cash the check. Seriously, renting a Bentley for an hour is so much more fun than struggling from the outside…

Riders in the Sky – Still Yodeling and Lasso-ing After 36 Years

I must have been 10 or 11 years old when my parents took me to the Lied Center for the Performing Arts in Lincoln, Nebraska to see what remains to this day one of the most incredible acts I’ve ever experienced.

I remember the stage containing an up-lit campfire made of flickering orange cellophane, a tall plastic cactus, and tumbling tumbleweeds that looked like they were pulled straight from a Yosemite Sam cartoon. These props were carefully arranged in front of a gorgeous painted backdrop featuring the kind of desert sunset into which Gene Autry or Roy Rogers (not to mention John Wayne & Clint Eastwood) would have proudly ridden at the end of any of a dozen iconic films.

Four colorfully dressed cowboys complete with ornately embroidered pearl-studded shirts along with impressive hats, chaps & boots walked out on stage and introduced themselves as “Ranger Doug, the Idol of American Youth”, “Woody Paul, King of the Cowboy Fiddlers”, “Too Slim, the Man of a Thousand Hats” and “Joey the Cowpolka King”.

It seemed a little weird, over-the-top, and out of place for the early 1990s… But even as an essentially suburban kid with no special affinity for cowboys or “Western” themes, my imagination was instantly captured.

Then they picked up their instruments and started to play.

These guys weren’t – to borrow a relevant term – all hat and no cattle. They were each incredible performers! As if it weren’t enough to have technical mastery over their instruments, their vocals relied on complex four-part harmonizing, flawless intonation, crystal clear tone, and it all fit together seamlessly. Their show was punctuated with genuine comedy… And yodeling. And lasso tricks!

They called themselves “Riders in the Sky” and I was impressed.

Listen for yourself:

The first time I saw them perform, they’d been playing together for 15 years… And that was about 20 years ago. They’re still touring today and I’ve had the great fortune of seeing them a few times since, most recently, two weeks ago on my birthday during my first-ever trip to Dollywood in Pigeon Forge, Tennessee. Their show was just like I remembered it… Only better.

After 7 years of music school, and another 7 in the “real world” working professionally in music and film, they’re still one of the best acts I’ve ever had the privilege of seeing. Everything I loved as a kid is still there, but now I also have a much deeper understanding of their musicianship and the writing, skill, and rehearsal time that went into the wit and humor of their presentation. Take my word for it. They’re fantastic.

SAM_3766

But they are getting old, so I hope you get a chance to see them in concert before they retire (assuming, of course, that you like going to shows that are fun and awesome).

Riders in the Sky occupies a very specific niche in American culture. They have spent the last 36 years playing together, keeping a unique musical and storytelling tradition alive. They’re a whimsical throwback to the Cowboy movie and radio serials of the 30s and 40s, if not strictly accurate to the music of the 1880s that those old shows romanticized. They’re really not like anything else that exists today.

And while they are probably a bit too obscure for most people to know by name, I’m betting that you’ve actually heard Riders’ music before – perhaps without even realizing it.

Do you like Pixar movies? If you do, then you may already know exactly who I’m talking about. Riders in the Sky won a Grammy in 2001 for their work on “Toy Story 2” and another in 2003 for the music to the short film, “For The Birds”, which aired before Monsters Inc.

Riders in the Sky is a timeless testament to perfected craft and dedication to an old artistic tradition… And in the interminable age of the hipster, that’s refreshingly unironic.

In this humble artist’s opinion, life is way too short to pretend to like things just for the sake of signalling to other people how cool you are.

There’s little better than watching exceptionally talented people who genuinely love what they’re doing performing live on stage, no matter how niche the idiom. I suspect that we all have a few things that we like that aren’t mainstream, or hip, or even on anybody else’s radar. But as an adult getting to revisit something I enjoyed as a kid, Riders in the Sky provides a great reminder that it’s ok to toss aside any concern for popularity or other people’s opinions and simply love the things you love for the sake of what they are and what they mean to you. It’s your life to enjoy, make the most of it.

PS. Check out Riders in the Sky here.

Liberty or Horror?

Why not both?

Eli Roth
Eli Roth

Filmmaker Eli Roth has a new entry into the world of horror and “torture porn” due out in theaters this September. Judging by the , The Green Inferno looks to be an uncomfortable gore-fest that will most likely have legs going into the Halloween season. Horror has been, is, and will continue to be one the most successful film genres. These films can be made on relatively small budgets and rarely need a big name attached. As long as you promise to scare the crap out of audiences, and mount an aggressive marketing campaign, you are almost guaranteed to make back your film’s budget in opening weekend. The first Saw film was made for under $2 million dollars and made $18 million it’s opening weekend and spawned 6 sequels and countless imitators. Eli Roth’s first film Cabin Fever was also produced for under $2 million and raked in $8 million it’s first weekend. If you’ve got some talent and a good story, making a horror film is a no-brainer. So is it also any wonder that some filmmakers routinely use Horror films as a way to influence our culture and reinforce certain narratives? While I haven’t seen Roth’s The Green Inferno yet – and at the risk of painting Eli Roth in a light undeserved – judging by the trailer it looks to be no different.

Audiences go into these films knowing they are gonna be half bored for about 15-20 minutes until

The Green Inferno
The Green Inferno

everything goes to hell and the fun & mayhem begins. Whatever discussions or topics the characters happen to be engaging in has no real consequence on the horrific fate they are headed for. This is where filmmakers get to feel good about their work and sneak in their own opinions to mold the culture.

 As depicted in the trailer, the protagonists of the film are headed to South America to assist in helping the locals – and in turn the world – by fighting back against the evil anti-environmental interests of some western conglomerate hell-bent on tearing up the Amazon jungle because… energy, fascism, greed, ‘merica, whatever. What difference does it make? The point is old white men are destroying the Amazon and it’s up to a young white female (and her male suitors) to stop them or else global warming, climate change, weather reassignment… whatever. Of course, since this is a horror film – when the do-gooders do arrive they are eventually pursued, hunted and cooked for breakfast by a local cannibalistic tribe.

Being a Global Warming Apologist, a Climate Change Denier or just someone who cares deeply about Amazon jungle tribes, doesn’t matter when you sit down to watch this film. You just want the gore. If you are a GWA, the reason for the mission simply reinforces the narrative you and your friends hold. If you are a CCD, then you simply shake your head or roll your eyes and just hold out for the splatter fest to commence. If you have no opinion or aren’t familiar with the debate, then you most likely are to assume that the ideology being presented is the obvious position and, who cares I just want blood.

Hopefully human-freedom loving filmmakers out there reading this will recognize the template. When it comes to smash cutting the culture, you must do so in the language of the masses. Your film can’t be about liberty. It has to be about “A” looking for “B”.  A filmmaker with a personal passion for liberty and free-market ideas could basically have the same premise of The Green Inferno, and swap the environmentalists for free-market fanatics. I’d cast Jessica Biel as a young Friedrich Hayek loving grad student from George Mason University who travels to South America to teach local tribes the fundamentals of free-trade and capitalism. When these do-gooders arrive they are eventually pursued, hunted and cooked for breakfast by a local cannibalistic tribe. Can you imagine the effect on some weekend city teenager’s mind who heads to the local multiplex and hears Jessica Biel on screen quoting Friedman while on the road to terror?

Hollywood pioneer Samuel Goldwyn famously said “Pictures were made to entertain; if you want to send a message, call Western Union.” He’s absolutely right. But that doesn’t mean your characters can’t be champions for liberty and human freedom. As long as your female lead is acting out revenge with a machete, torn tank top and sweaty abs, Jessica Biel can quote Friedman all she wants leading up to it.

Cheese Wars

I’m proposing this as a follow-up to filmmaker Anat Baron’s exceptional 2009 feature length documentary . In BW, Baron explores the vibrant-but-fledgling world of small, American craft brewers who are trying to carve out a livelihood, and you know, generally make good things, despite mounds of bureaucratic red-tape and the well-connected corporate “beer” makers (i.e., your MillerCoors, your Anheuser-BuschInBevsSterlingCooperDraperPryces) who would rather they didn’t.

Now, I know some of you are thinking, “Hey! Why you picking on my Budweiser Black Crowns, you hipster bully?” And you have a point; we all should be free to consume whatever suits our fancy. I’m not a Luddite, or a soda czar. In a weird way, I stand with you and your right to patronize mass-produced crap. I mean, we’ve been doing it since the turn of the Industrial Revolution, so why stop now? After all, the Industrial Revolution meant better living standards and longer lifespans and yay!

But it also conditioned us to become a nation of short-term, self-indulgent spenders willing to throw our shekels at every Model T and tract home that came our way. America is nothing if not a nation of consumers–hell, it’s our answer to nearly everything–and our capitalistic empire relies on people spending billions on bland, vanilla products they don’t need, and in many cases, aren’t good for them. And American industries, and the corporate executives who run them, know this. And they love it.

This is cheese
This is cheese

But with the rise of a new class of successful entrepreneurs who care as equally about their bottom line as they do about the quality of the product they’re making, American corporations are getting a little territorial.

So territorial, they’re coming for our cheese. And they have helpers. According to Forbes,

The Food and Drug Administration (FDA) has issued an executive decree banning the centuries old practice of aging cheese on wooden boards.  One bureaucrat within the FDA, without surveying all of the scientific literature, and without public commentary, has rattled hundreds of small businesses across the United States.  Consumers who eat any kind of aged cheese should prepare for a potentially catastrophic disruption in the market for artisan, non-processed cheese.

Corporate cheese makers like Leprino and Kraft will be able to weather this regulatory storm — they don’t make cheese, they manufacture cheese.

So the FDA has decided that real cheese is dangerous, and needs to be outlawed. Fine. But they’re going about it in an illegal manner. Per the same article, agency rule books require that any change to best practices and standards be subject to a “notice and comment-rule making” process, which is supposed to work something like this:

  • The FDA says, “Whoa, you fromage-loving hippies. No more wooden boards. They’re killing our children and destroying our homes.”
  • Cheese makers are given the opportunity to provide counter evidence (i.e., they’re afforded due process)
  • The FDA takes their input into consideration, and only after deliberating issues a final verdict

    This is not cheese
    This is not cheese

But that’s not what’s happening. Instead, the FDA is ruling by fiat, and inviting a legal battle that will surely cost independent cheesemongers millions to fight–all to have the right to keep doing what they’ve always been doing. Meanwhile, as Forbes points out, corporate “cheese manufactures” get to sit back, relax, munch on a Lunchable, and rake in their billions.

Man. It’s enough to make you need a stiff drink.

 

Is E3 Important Anymore?

For 10 years of my life, I was an avid subscriber to the late, great magazine Nintendo Power. I would be excited every month when I got to catch up on my favorite consoles, games, and installments. But there was an issue every year that always stood out — the publication’s coverage of E3.

Now for those of you who don’t know, E3 — or the Electronic Entertainment Expo — is an annual fair sponsored by the Entertainment Software Association (ESA) and it begins today. The Expo has beenlmwmrfgsfxo6eezzeoqx the premier place for companies to show off all their new games, systems, and merchandise. E3 has been around since 1995, and in its glory days, it was like watching Apple’s Worldwide Developers Conference. Big consoles made all of their debuts there, there were wicked displays by companies that went all-out, and the place was just magical. I personally never got to go, but just watching live coverage was enough. E3 was a regular gamer’s dream, and this year the event will be at the Los Angeles Convention Center on June 10–12. But I can’t tell if I should be excited or not.

Lately it seems that the expo is fading into the background, just like Nintendo Power (I still own a copy of volume 282), and I’m not sure how to feel about it. Several game developers are saying “good riddance,” while others like to make the case that the event still brings gamers and developers together, and therefore is important. But for me, I’m busy asking what the point of E3 still is? When it comes to funding, a lot of indie gamers can’t afford to show off their stuff, while some of the larger developers aren’t using the expo to make those grandiose statements, opting to do it beforehand and not dropping too much cash. And because of this, I feel like surprises are now few and far between.

yluovazuiigvxtahr424But speaking of dropping cash, what’s the point of a normal gamer to go to E3? As time goes on, the place only seems to have become a swirling carnival of demos among professionals swapping of business cards, and regular gamers are just paying way too much money to get swept away by the tide.

But the 12 year-old inside still says I’m wrong, still says that the coverage is totally worth it, and still says that Nintendo’s new Zelda WiiU game they’ll be premiering is totally drool-worthy. But how do you guys feel about E3 — is it still worth getting excited about? Do you find yourself following all the coverage, or are you burnt out?

 

Turf luck

The rest of the world can have the NBA and NHL Finals, because I want to talk turkey (actually, that’s my other blog)–specifically soccer turkey in the form of next year’s world cup. You know: the one played on stadium sized fields, with regulation sized balls, but by humans that aren’t men (read: the ladies). The World Cup that has, for some time, been ticking off a number of highly visible players from around the globe, specifically because of host country Canada’s curiously frugal choice to stick with artificial turf instead of installing real grass.

The advantages of using grass are nearly limitless (safer for players, cool jersey stains), and yet player-advocates seem to be hollering into the middle of a wind tunnel buried somewhere in the center of Earth’s core which can only be accessed by way of Mordor. Particularly disappointing (though not surprising given its “leadership”) has been the lack of pressure from FIFA to upgrade the fields in time for 2015.turf_toe

Despite the , and the crazy addictive games of the 2012 Olympics (the Women’s final was the most-watched event in the history of NBC Sports), the 2015 WWC only attracted two bidders–the aforementioned neighbors to the north, and Zimbabwe. (To compare, the 2011 WWC had six bidders.) Perhaps Canada, who won the bid in March of 2011, thought they were getting a bargain. The 2007 World Cup proved to be significantly less monumental than , and 2003 was a bit of an organizational nightmare, as the US scrambled to replaced original host China after that whole SARS scare. But then 2011 happened, and the world watched. And 2012 happened . And maybe if you’re Canada you’re thinking “We don’t have time to fix our fields any more,” or, more likely “We thought no one would care.”

Look. I get it, Canada. You want to save a few bucks. But there are lots of ways to save money without cutting corners. For example, I buy cheese in blocks instead of pre-sliced (for more info on that, check out my cheese blog).

So, here’s my pitch to FIFA: let Zimbabwe host. Sure, they were never gonna get the bid thanks to corruption allegations, but since when has FIFA been preoccupied with rules or their enforcement? If anything, the signal FIFA is sending is that you’re not legitimate until fraudulent markets decide you’re worth exploiting. Luckily, women are great at being exploited! Players could even get in on the betting. And then maybe they could buy Canada some real grass.

High-Profile Kickstarter Campaigns Coming in 2014

Last week, we saw the Kickstarter campaign for Reading Rainbow dominate social media. The timing was perfect, as anyone who grew up in the 80s and 90s was more than happy to throw money at the idea of having Reading Rainbow for their own kids. Sure, some people criticized the idea of a for-profit venture asking for millions of dollars in donations, but it isn’t really a Kickstarter campaign without some good ol’ fashioned negative media.

 

Despite the negative attention that many campaigns receive, most of it is moot if the goals are met and the donors make it rain (less Kickstarter’s 5% cut and Amazon’s 3%-5% processing fee). Which is why you can expect to see bigger, and “better” projects during the rest of 2014. Kickstarter isn’t just for small indie short films produced by your brother’s roommate in college. Nope. Don’t be surprised if you see some of these high-profile projects in the near future.

 

Avatar 2 – $250 million

 

 

If Zach Braff can raise over $3 million, why can’t James Cameron raise a quarter billion? Yes, Avatar 2 is already in production and has a budget/funding/major studio support/blah/blah/blah, BUT this is James Cameron we’re talking about. If anyone could find a way to spend an extra quarter-bill, he could (even if it’s making sure the a character’s retinas sparkle JUST RIGHT). Best Donor Perk:  For $10,000, you can have virtual 3D sex with the Na’vi of your choice. Better start growing out your hair now.

 

Jaden Smith’s “I am God” Project – $500 million

 

 

You don’t wear a custom made white Batman suit to someone else’s wedding without having a God complex. And once he sees James Cameron’s Kickstarter, he’ll be all over Kickstarter like white on…a Batman cowl worn by Jaden Smith. The point of his Kickstarter campaign will be a bit unclear, but it will be full of confounding hyperbole. Since it’s hard to connect the dots and figure out how donating to his campaign proves he’s God, he’ll throw in references to “making his own Avatar, but better” and “painting all trees blue.” Best Donor Perk:  When you donate $100,000 he’ll personally mention you in one of his punctuation-deficient, philosophically confusing tweets.

 

U.S. Government – $1 billion

 

 

Sooner or later Republicans and Democrats will be united with the a bi-partisan realization that Kickstarter can be used to syphon more money from the American people. Republicans will be happy, since tax breaks for the wealthy can continue, while the Democrats will be excited at the prospect of looking “hip” to the kids. The only downside is we’ll have to ignore the fact that the cost to produce and run the Kickstarter campaign is projected at $1.5 billion.

Best Donor Perk:  $500 gets you an American flag t-shirt. (What do you expect? It’s the U.S. government. Also the t-shirt is made in China.)

 

Boko Haram Ransom Campaign – $1 katrillionzillion

 

At its core, isn’t Kickstarter already set up for ransom negotiations? “You want to see a sequel to you favorite movie? Give me fifty bucks, or I’ll never release it!” It’s only natural that it would eventually be used for real kidnappings. Plus, Boko Haram has already had success with viral videos, so they’re already dominating social media. Might as well tap into that Vine fame and make some serious money with Kickstarter.  Best Donor Perk: $1 million gets you a “100% promise to never kidnap your village or take over your country.” Money well spent.

 

Satan’s “I’m not such a bad guy” Short Film – $10,000

 

 

After taking a Robert McKee’s Story seminar, the Lord of the Underworld is inspired to follow his dreams of being a filmmaker. The story centers upon a down on his luck writer, who is perceived by the outside world as a bad guy. From what I understand the script is okay with some quirky characters (especially his hispanic roommate Jesús), but suffers from a lack of stakes and clear plot points. Best Donor Perk:  You can be listed as an Executive Producer and hang out on set for just $2,500. You also get the perks from the previous levels, including a digital copy of the script, blu-ray DVD, and poster signed by the cast, crew, and Lucifer himself. If you’re low on cash and want to contribute, you can score a “thank you” in the final credits simply by pledging him your soul.

 

But what about the rest of you, who have brilliant ideas (iphone wallets ARE the future) but aren’t high-profile enough to convince strangers to send you buckets of digital money? You’re in luck, because my research partner, , and I are working on a list of sure-fire steps you can take to ensure a successful Kickstarter campaign. Stay tuned! (aka just keep your RSS feed reader linked to Smash Cut Culture).

 

Scripps National Spelling Bee: Fantasy League

This past week, ESPN televised what is perhaps the most exciting annual event in sports. No, not the Super Bowl, not the Masters, not the World Series. Instead, families huddled around their TVs to watch their favorite middle schoolers spell words that no one has ever heard of…

It’s certainly a strange phenomenon, with growing popularity due to the prime time ESPN coverage and the release of the movie Akeelah and the Bee in 2006The Scripps National Spelling Bee has become a cherished event by many in our nation, and I am no exception. There’s something about it that is just jaw-droppingly fascinating.

Ansun (left) and Sriram (right)
Ansun (left) and Sriram (right)

This year was an especially legendary year, as the spellers were so good they actually ran out of words! That’s right, Sriram Hathwar of Corning, New York and Ansun Sujoe of Fort Worth, Texas were named co-champions after exhausting the list of designated final words. What made it even more interesting is that both spellers actually missed a word in the same round, forcing them to continue the duel.

So that got me thinking. As a massive sports fan, I have been drawn into the world of fantasy sports. Using the talents of big-leaguers to gain bragging rights against friends and co-workers has gained popularity every year.

But the Spelling Bee, despite being one of the most heralded sporting events in the country, has never had the opportunity for fantasy. Until now. I have drafted the rules to a Scripps National Spelling Bee Fantasy League. Follow the guidelines below and prepare to assemble your roster of encyclopedic adolescents.

 

League Rules:

Drafting

  1. General leagues will be made up of 10 teams.  There are 50 spellers in the Scripps National Finals.  Therefore, each team will have 5 spellers on their roster. Other leagues’ roster sizes will be determined by the number of teams in the league (10 max), but the number of active total roster members cannot exceed 50.
  2. The original draft order will be random and the draft style will be serpentine (1,2,3,4,5,6,7,8,9,10,10,9,8,7,6,5,4,3,2,1,1,etc.) before the final day of competition.
  3. Players will have time before the semi-final round to determine their drafting strategy.  Will you draft seasoned veterans who came oh-so-close last year?  Or are you likely to go after pedigree, drafting the younger siblings of previous champions?  As a former homeschooler, I will be seeking out the spellers who forgo the traditional schooling model to sit at home with Mom and study Latin etymologies.

Transactions

  1. Trades between teams may be done at any time after the draft.   There is no limit to the number of trades that can be made.
  2. At all times a “Free Agency” pool will be available to all teams that includes all spellers that are not currently on a team.  General Managers can add and drop spellers as they choose, so long as their roster does not exceed 5 spellers.  The Free Agency pool can be used to replace eliminated spellers up until the Championship Finals.
  3.  If a “Keeper League” is ever made available, players on a roster at the conclusion of the Spelling Bee will remain on the roster for the following year (which may make drafting the lone 5th grader more valuable).

Scoring

  1. All seedings and championships will be based on total score in comparison to all other teams.  There are no matchups or brackets.
  2. Each speller will amass 30 points for the first correctly-spelled word.  For every following word there will be an additional 5 points (30, 35, 40, 45, etc.).
  3. Additionally, spellers will earn points based on the rarity of the letters in their word.  Each letter has a point value (just as it does in the game Scrabble).
  4. The winner of the league will be determined by the score accumulated between the Semifinal and Final rounds (the 3rd day of the Scripps National Spelling Bee).

Optional Rules

A league may also choose to implement additional rules that add a new facet to the competitive atmosphere.

  1. A team is deducted 10 points if an eliminated speller goes to sit on his or her parent’s lap.
  2. A team is deducted 20 points if a speller cries.
  3. A team is awarded 10 points for every word with four or more syllables a speller uses in an interview.
  4. A team is awarded 30 points if a speller already knows the definition to his/her given word.

All I need now is a partner to help me code this thing for next year.

If a Spelling Bee fantasy league interests you, or if you have some adjustments to make to the rules, let us know!