Pressed In a Book

So the WGA writers are on strike. They’re demanding that they get a bigger piece of the money producers reap from DVD sales and legal downloading. It’s hard to blame them really. After all, if not for those who write the material, we the audience would have no good material to watch (that said, I didn’t mind getting a bit of extra sleep last night after not staying up for The Daily Show). Writers get teased an awful lot, and don’t seem to be too high on the film making food chain, but it’s thanks to their frustration and imagination that these wonderful stories play out on big screens around the world. So grab your picket sign and start to chant..

#5. SHAKESPEARE IN LOVE (1998)… We begin with the master himself, in a fictionalized account of the pains Shakes went through to create Romeo & Juliet. I never thought this movie should have won Best Picture (still don’t), but I’ve always thought the story was pretty clever. He hasn’t done much with his career since then, but Joseph Fiennes really nails this part as he paints Will as a hopeless romantic.It’s intriguing to watch one of history’s greatest authors dealing with writer’s block – though I’m sure he must have had it at least once or twice. Best Line – “You see – comedy. That’s what they want. Love, and a bit with a dog” #4. STRANGER THAN FICTION (2006)… I’ve always loved when a goofy comedian dials the volume down and shows how good an actor they can be, such as in this movie where Will Ferrell doesn’t strip down even once (!). Once again we have an author dealing with writer’s block (it’s a theme on this five – get used to it). This time with Emma Thompson as an author struggling with the details of killing of her novel’s hero, although in this case we also get to watch a character resist against his own narrative. I’m pretty sure that no film ever made discusses a third person omniscient nearly as much as STRANGER THAN FICTION dwelled on the term “Little did he know…” Best Line – “Did you like the cookies?” “Yes. thank you for forcing me to eat them.”

#3. THE SHINING (1980)… I knew there was a reason I didn’t use this one in last week’s list of movies that gave me the creeps. I know that writer’s block can drive a person to fits, but I don’t think a blank page has ever pushed me towards carving up a bathroom door and screaming pop-culture catchphrases (give me time though). Kubrick’s telling of Stephen King’s tale feels like a perfect storm of an author’s frustration. Stressed marriage. Isolation. Alcoholism. Writer’s block. Oh yeah, and paranormal activity. But really, which writer out there hasn’t had a conversation with an imaginary bartender? Best Line – “Danny isn’t here right now Mrs. Torrance”

#2. CAPOTE (2005)… Is it possible to dive so deeply into your subject matter, that you never resurface to life as normal? If Truman Capote’s ordeal with writing In Cold Blood is the evidence, then you better believe it is. When Capote began writing his nonfiction crime novel, he became close with Perry Smith, one of the two men arrested for the murders Truman’s book was chronicling. Research turns to friendship, friendship turns to obsession. Smith used Capote for friendship and legal help – Capote used Smith for gory details and personal gain. The experience would leave Truman so shell-shocked, that it would prove to be his last book. The lesson – choose your subject matter carefully. Best Line – “You’re the only person I know with the qualifications to be both a research assistant and a personal bodyguard”.

#1. ADAPTATION (2002)… Lordy – where to begin. Along with the fact that we’re back to the theme of writer’s block, this film also details the peril of trying to interpret someone else’s work. Screenwriter Charlie Kaufman once tried to adapt Susan Orlean’s nonfiction book The Orchid Thief into a movie. As it turns out, his struggles trying to do so turned into a far more entertaining film. In the film Charlie tries to be truthful, but his search for the truth leads him into interfering with his own story. Worse yet, his twin brother Donald tries his hand at screenwriting at the same time and finds success with an unoriginal, formulaic story. He bemoans the “Orchid Thief” film turning into a cliche, and sure enough, “Adaptation” starts firing off cliches (Following all of this?). ADAPTATION starts to run off the rails with tongue firmly in cheek, and takes the most delightful look at the struggle to write a story. Add to all of this merriment the fact that I know what it’s like to have a brother who’s a fellow writer, and I can’t help but put ADAPTATION on the top of my list. Best Line – “Mom called it ‘psychologically taut'”.