Tag Archives: movies

John Milius, Hollywood Wildman

John Milius

John Milius was once a force of nature in Hollywood. He co-wrote the first two Dirty Harry films, received an Academy Award nomination as screenwriter of Apocalypse Now, and wrote and directed The Wind and the Lion, Conan the Barbarian and Red Dawn.

Here’s an interesting anecdote about Milius, from the Castalia House blog:

My all-time favorite Milius story concerns his frequent battles with producers and other movie executives.

One day, Milius was describing the concept of a movie he was writing to a woman who was high up on the studio chain. It was a macabre tale of a soldier betraying his king, filled with murder, sex, and madness.

At the end, the female movie executive gets up and exclaims; “Mr. Milius, what you have told me is absolutely disgusting and awful! We have no interest in making any film like that, and hope you will work hard to come up with something better!” She walks off.

Milius then looks at a man who witnessed all this, shrugs his shoulders, and says “Some people just don’t dig Shakespeare.” He had described Macbeth to her.

Good thing he didn’t pitch Coriolanus.

Why kids can learn more from tales of fantasy than realism

Fantasy learning

Deena Weisberg is a senior fellow in psychology at the University of Pennsylvania. Her specialty is “imaginative cognition,” which studies how imagination boosts one’s ability to learn. Her research demonstrates that children absorb new material taught in the context of a fanciful scenario better than they do when it’s presented in more realistic terms. In a recent edition of Aeon, she challenges herself with a question she’s grappled with before: Why do fantastical stories stimulate learning?

What can be going on? Perhaps children are more engaged and attentive when they see events that challenge their understanding of how reality works. After all, the events in these fantastical stories aren’t things that children can see every day. So they might pay more attention, leading them to learn more.

A different, and richer, possibility is that there’s something about fantastical contexts that is particularly helpful for learning. From this perspective, fantastical fiction might do something more than hold children’s interest better than realistic fiction. Rather, immersion in a scenario where they need to think about impossible events might engage children’s deeper processing, precisely because they can’t treat these scenarios as they would every other scenario that they encounter in reality.

They must consider every event with fresh eyes, asking whether it fits with the world of the story and whether it could fit within the laws of reality. This constant need to evaluate a story might make these situations particularly ripe for learning.

Writers of every genre know that a fresh metaphor adds to a reader’s interest and enjoyment. But Weisberg is arguing that there’s more to fantasy stories than just another metaphor. It appears that the act of forming impossible scenarios in one’s mind focuses more of our mental resources and forces us to pay greater attention than ordinary, representational stories of the day-to-day.

In a world where the day-to-day assaults and surrounds us on television, on our phones, and on our computers, the allure of the fantastical is compelling. Maybe even necessary. It would explain why the speculative inspires so many hit movies, TV series, and books these days.

This is hardly revolutionary. We’ve long realized that children learn better when learning is mixed with play — and children are teaching themselves about the world when they invent their own styles of play. Songs, skits, and stories are entertaining and effective learning media.

And hey, if it’s good for the kids …

Carrie Fisher Dies at 60


Sad news from Los Angeles – Carrie Fisher has died:

Family spokesman Simon Halls released a statement to PEOPLE on behalf of Fisher’s daughter, Billie Lourd:

“It is with a very deep sadness that Billie Lourd confirms that her beloved mother Carrie Fisher passed away at 8:55 this morning,” reads the statement.

“She was loved by the world and she will be missed profoundly,” says Lourd, 24. “Our entire family thanks you for your thoughts and prayers.”

Rest in peace, Princess Leia.

4 Lessons from Star Wars

Star Wars

Alice Osborn writes: “Star Wars is more than shoot ‘em bad guys with laser guns and escaping in fast spacecraft—it’s about 4 fundamental life lessons.” Alice discusses those lessons in her latest blog post, which I highly recommend.

Almost 40 years after it blasted its way into movie theaters and popular culture, Star Wars still commands our attention. There’s good reason for that. In crafting Luke Skywalker’s grand adventure, George Lucas took Joseph Campbell’s heroic myth, added memorable characters and innovative special effects, and produced a cinematic classic that tells a timeless tale. Lucas managed to “Make it New!”

Ezra Pound’s battle cry not only inspired the Modernists who explored radical techniques to convey their ideas, but also describes the maddening challenge all artists wrestle with, to take what already exists, whether paint, bronze, or words, and shape those elements into something both meaningful and worthwhile of our attention.

Part of that challenge is to work within a living tradition and keeping “it” alive by adapting it to present-day needs and concerns. The artist’s goal is to select and rearrange timeless insights and conventions and make them into something a new generation wants to enjoy and claim as its own. Timeless messages, such as Campbell’s heroic myth, have endured over generations because they speak to the human condition, something that does not change even as the conditions in which it exists does change, sometimes dramatically. It takes artistic vision to perceive those enduring patterns and make them interesting. It also takes hard work. But when it all comes together, it’s a beautiful thing to behold. No wonder we keep going back to classics such as Star Wars.

The Art or the Artist?

art artist

Today’s issue of irevuo features my article “The Art or the Artist?”

The painter Piet Mondrian once declared, “The position of the artist is humble. He is essentially a channel.” But John Lennon saw things a bit differently: “If being an egomaniac means I believe in what I do and in my art or music, then in that respect you can call me that… I believe in what I do, and I’ll say it.”

Which is right? I offer my answer at irevuo.

Sunset Boulevard

Sunset Boulevard

For my birthday, my wife took me out for a night on the town that included a screening of Sunset Boulevard at the ImaginOn playhouse. It was part of a series entitled “Hollywood Shoots Itself: 11 Movies About Movies.” I saw Sunset Boulevard decades ago while working as a projectionist at a small television station, and was amazed at what I could remember — AND at what I’d forgotten.

Joe Gillis, played by William Holden, is an ambitious writer in 1949 Hollywood, but hasn’t sold a script in months. In typical writerly fashion, he wonders if just maybe his scripts are “too original” for Hollywood. (Hey, I’ve been guilty of that. How about you?) Anyway, Gillis finally snags an appointment with a producer, and makes his best elevator speech about a script for a movie with the working title Bases Loaded:

All right, Gillis. You’ve got
five minutes. What’s your story

It’s about a ball player, a rookie
shortstop that’s batting 347. The
poor kid was once mixed up in a hold-
up. But he’s trying to go straight —
except there’s a bunch of gamblers
who won’t let him.

So they tell the kid to throw the
World Series, or else, huh?

More or less. Only for the end
I’ve got a gimmick that’s real good.

Lesson for Writers Number 1: Your story has to stand out. Not only must the stakes be high, but you have to have a concept that’ll intrigue and entertain. It’s too easy to resort to stale formulas and hope YOUR version of a plot that’s been done to death will be different because YOU are the writer. News flash: It’ll take more than good writing or, worse, some kind of gimmick to get readers’ attention. Writers have to offer both a theme that readers will identify with as well as an interesting new twist on that theme. Gillis just doesn’t get it.

But he runs into someone who does when Sheldrake summons Betty, one of his readers, played by a businesslike but adorable Nancy Olson:

Hello, Mr. Sheldrake. On that Bases
Loaded. I covered it with a 2-page
(She holds it out)
But I wouldn’t bother.

What’s wrong with it?

Just a rehash of something that
wasn’t very good to begin with.

Ouch. But Betty’s right about Gillis’ script. In fact, everyone can see it’s a stale muffin except Gillis. Betty and Gillis gradually forget their awkward first meeting and couple up, but guess what? Even after Betty falls in love with Gillis, she still thinks Bases Loaded is a turkey.

That brings us to Lesson for Writers Number 2: Don’t take criticism personally. When you hear your wip doesn’t have what it takes, it doesn’t mean your readers don’t like you. Consider that the problems come from your manuscript rather than the debased natures of the philistines who don’t swoon over your work.

If you haven’t seen Sunset Boulevard, or haven’t seen it in a while, check it out. It’s a treasure chest of hilarious, sad, embarrassing, and educational scenes for all writers.