Work, Work, Work
Sorry I’ve been a stranger, but I’ve been hammered with work. I finished off my Wild Card interstitial and delivered it on July 4th. At that point I had to move back to a project I’m developing with my manager for Hollywood. He made this off the cuff remark about a possible TV series and my brain grabbed it and just took off. I’m not going to post any details until I get in front of show runners and networks because I’ve had some many of my ideas get into the ether and get grabbed up by someone with more Hollywood clout then I have. I pitched a tv show set in the world of the CID (criminal investigation division of the Army) two years before JAG was bought. I was told that nobody was interested in the military, and then Bellasario sells the show. Of course he had Quantum Leap etc. This isn’t meant as any kind of accusation. I get the feeling that ideas just enter the zeitgeist and suddenly everbody has gone there. I’m just trying to keep my idea out of the zeitgeist. Of course that might mean I am once again ahead of the curve. 
Anyway I’ve spent the past week plus writing up the overarching look at the series, the pilot episode, creating one paragraph descriptions of possible episodes, creating the main characters and writing up their bio sheets, and with Ian Tregillis’s invaluable help, preparing the secret and the science behind the series. Unlike TWIN PEAKS or THE X-FILES I know where I’m going. If we get six episodes or six years I know the final episode and how it all resolves.
Some of that is Hollywood training, but some of it is due to what we in Critical Mass call, the Blessed Dorothy Dunnet. When you finish the eighth volume of the Niccolo series you realize that she set out for you in the first twenty pages _exactly_ what was going on. It is a breathtaking example of structure and information control.
Also, Wild Cards seems to be coming back to life. Keep your fingers crossed for me on all these fronts.
Melinda
July 12th, 2007 at 12:47 pm
I remember that moment in the Niccolo books. I just sat back and laughed. They’re great books anyway, but that was just amazing.
July 13th, 2007 at 8:57 am
Condensing the world of Wild Cards into a single screenplay seems like it would be impossible. How did you do it, can I ask? Or is that file classified?
July 13th, 2007 at 12:50 pm
Selling the world is actually easier in a screenplay than in a book. I’ve got pictures to help me. I can have the Wild Card Day celebrations occuring in the background. Set a scene at Ace’s High, etc.
Also, I’m not adapting a book or even a story from the books. I’m using the world, and certain characters, events that have occured or been suggested in stories, and creating a new adventure.
If you look at the first 2 Harry Potter movies they suffered because they were such slavish adaptations of the books. You’ve got to be a little (or a lot) brutal when you are adapting prose for the screen.
July 13th, 2007 at 1:52 pm
I understand that movies are a different genres, but I still don’t see why Aragorn had to fall down the Cliff of Uncanonicity.
But overall, I’m a bit more forgiving than some people posting on that LOTR discussion list I’m on. I can see why the character of Faramir is darker in the beginning; and the Elves in Helm’s Deep make for some cool visuals.
Good luck with your projects.
July 13th, 2007 at 2:48 pm
Yes, I completely agree. I turned to my friends when Aragorn fell off a cliff and got kissed by horse, and said, “well, that was a waste of four minutes of screen time.” That just screamed studio note. “Aragorn is our hero, we have to up the tension.” Ugh.
I liked the changes in the Faramir character. He is so perfectly noble in the book, and you’ve got to give some depth to these characters. Don’t everybody scream at me. The Lord of The Rings are my favorite books of all time. Whenever I’m sad or depressed I always reach for those books.
Actually the Helm’s Deep fight was just _endless_ in the film. I actually dozed off once. Tolkien wasn’t all that much in love with hacking and slashing, but again the studios think the audience won’t accept something unless there is non-stop action.
July 13th, 2007 at 2:59 pm
Well, I like battle scenes, so for me Helm’s Deep worked ok.
But I see what you say about Tolkien. He actually _tells_ half of the battle at the Pelennor fields instead of _showing_ the action. I don’t think many writers would get away with that today.
I just reread that one and some other battle scenes in books for an online workshop on my blog.
July 14th, 2007 at 6:02 pm
Don’t get me wrong. I love a good action sequence or battle scene, but I thought Helm’s Deep just went on and on forever and ever, amen. I also hate the modern technique of how they film an action sequence or fight scene. It’s all extreme close up, fast cuts and you can’t see a damn thing.
Take the THREE AND THE FOUR MUSKETEERS with Chris Lee and Michael York, et al. The fight scenes were all medium or wide shots, and they were _wonderful_. That was a time when they took the time to actually choreograph a fight. Or Jackie Chan. You get to actually watch him work. DRUNKEN MASTER is one of my favorites.
July 14th, 2007 at 8:21 pm
Lol, I have a vague memory that I switched that Musketeer film off after some 30 minutes because it was even farther off the book than some others. I love the book, but I haven’t found a film version that doesn’t suck yet. Good fighting scenes nonewithstanding.