Just when you thought it was safe to embrace the newest tech:
Movie theatres, as usual, are jam-packed with sequels this summer.
Hollywood is addicted to sequels for one reason: A proven concept can reduce the risk of failure in a business where hundreds of millions of dollars are at stake.
EDITOR’S NOTE: Dead Men does some amazing things. It began as the most intense web series we at TVWriter™ had ever seen. And now it’s a film. As they used to say back in the ’30s, when westerns were considered “easy” to shoot – now they’re anything but – “Read all about it!”
Better yet, watch this trailer, and then start reading:
Alternate Title: “Why You Should Admire David Lynch But Not Like Him.” But the truth is that everybody we know who has worked with Mr. Lynch or hung with him or whatever likes him. A lot. Seems selfishness isn’t always what it seems:
David Lynch seldom smiles in photographs. His etched Easter Island statue
of a face doesn’t glower so much as brood; lips pursed and eyes hooded, he looks every inch the auteur in winter. The quiff completes the effect, its lush swirl seemingly frozen in place by alarming, Lynchian thoughts.
In his 40 years of film-making, the director has taken audiences from sunlit American idylls to surreal dimensions populated by demons, doppelgangers and psychotic killers. His are scenes you can’t forget: the whimpering, deformed baby in Eraserhead, the severed ear in Blue Velvet, the blood-spattered, skull-crushing violence of Wild At Heart, the nuclear explosion in Twin Peaks: The Return. Google “David Lynch creepy”, and you get 5.5m results.
Here’s a little gem that speaks to all of us, regardless of the specifics of our creativity:
You have a great idea.
You have lots of notes and the plot all mapped out in your head and maybe a synopsis typed into a word processing program.
It fires you up every time you think about it. But nothing messes up a great idea like not having the energy to bring it to life on the page.