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2018.003

Well goddammit. I suppose I have to do this thing in the spirit its intended. How do I quantify 2017, now that we’ve all moved forward in our joint temporal experience of now…?

Pride. Love. Loss. Success. Achievement. Failure. Disappointment. Joy. Anger. Frustration.

I began 2017 with an entire catalog of expectations that proved to be as wrong as wrong can be. I have ended the year in exactly the same fashion. Along the way I got married, lost a good friend, lost a truly delightful mother-in-law, completed a film I’m extremely proud of, failed to sell that film (so far) due to truly ridiculous circumstance 100% beyond our control, and gained and lost all hope, faith and aspiration daily (or, some days, hourly).

Shoulda fastened my seatbelt. It’s been a bumpy night.

I knew when I set out on my blog-a-day mission that there would be several that were private; journal entries that are for my eyes only. As it happens, there have been a LOT more than I expected. as 2017 came to a close, it became apparent that there were a lot of thoughts and opinions I’m simply Not Allowed to Voice. That’s a hard place for me, but I have responsibilities beyond my own public persona, so I’ve ranted in silence, and it’ll stay that way for now.

Going forward into 2018, I’m still having daily crises of self centered on talent, strength of will, ambition… I’m still frustrated that we haven’t closed a sale for Diminuendo… I’m still inexplicably surprised to discover that I continue to be, by a large measure, my own worst enemy…

For some of these problems, there are already plans, mechanisms and solutions in place. For others… well… I guess I keep my enemies close.

I should have made it clear when I mentioned that I would be writing something every day that not all of it would be public. We had some fairly major kicks to the gut lately (professionally speaking), and I have had lots to say, but none of it for public consumption. Likewise, I’ve been very vocal about a lot of things happening in the press, industry and world… but these are things I simply can’t print for public consumption.

might talk about some of the professional drama in days to come. I will resume public posting shortly with my “Last Jedi: review.

The 1956 classic Forbidden Planet tells of a scientist studying the long-dead alien homeworld of a race he calls the Krell. Millennia more advanced than humans, the Krell had created a massive machine which could quite literally turn their very thoughts and desires into reality. The day they activated the machine, their civilization died because they had failed to account for the subconscious desires that still lurked in the back of their fantastically advanced minds.

The internet is our version of the Krell machine. Thousands of years from now, when the next dominant species, or some group of alien explorers, comes to exhume the remains of our crumbled stab at civilization, they will find a species that imploded because they gave themselves the power of easy knowledge and instantaneous communication.

As with some many things, Douglas Adams understood the dangers. His description of the Babel fish (a small creature which allows perfect communication irrespective of language) from Hitchhiker’s Guide concludes with this paragraph:

“Meanwhile, the poor Babel fish, by effectively removing all barriers to communication between different races and cultures, has caused more and bloodier wars than anything else in the history of creation.”

We don’t have the Id to blame. The internet has revealed once and for all that we are all, at our core, monsters.

When you’re making a film, there comes a moment. It has happened on every film I’ve ever made, and every one I almost made. It’s a moment of equilibrium, either gained or lost. A fleeting moment of critical mass.

You feel it. It settles as a moment of giddiness, or a crawling in the pit of your stomach. The moment where you know, with unshakable certainty, that the film either is or is not going to happen.

Y’see, unless you’re working at a very high level of film or television, production is never certain until The Moment comes. Every movie is like a snowball rolling downhill. It either takes on weight, gains velocity and feels as if it will continue under its own momentum, or it comes apart and disintegrates.

This morning, the moment hit me. Diminuendo is happening. It’s a beautiful thing.

You’re going to be hearing me talk a lot about this film over the next several months. Here’s the scoop:

Never fully recovered from witnessing Cello Shea, the love of his life, commit suicide in front of him, famous director Haskell Edwards has fallen into a nine year, alcoholic, drug-induced slump he isn’t even sure he wants to pull out of.

When a high profile tech-company invites him to direct a movie about Cello’s life, Haskell’s not sure if he should take the job, especially when they reveal the utterly lifelike robot that will be playing Cello.

Recruiting his old friends (and enemies) to help him produce a movie that honors Cello’s legacy, Haskell is forced to relive his whirlwind relationship with Cello and finally address the differences between love and obsession.

THE CAST includes Richard Hatch (Battlestar: Galactica, Cowboys & Engines, The Rainmakers), Chloe Dykstra (Nerdist, Drag Me To Hell, Spider-Man 2), Leah Cairns (Interstellar, 88 Minutes, Fargo [Season 1]), James Deen (The Canyons, Happy-ish), Gigi Edgley (Farscape) and Walter Koenig (Star Trek, Babylon 5) as Milton Green.

PRODUCING the film are Sarah Goldberger (Cowboys & Engines, X-Rated), Hollywood Heard (Range 15, Jake’s Corner), and Ryan Linderman of Lionsgate Entertainment. The Executive Producer is Michael Hemmerich (The Jokesters, Prey).

DIMINUENDO is directed by Bryn Pryor (Cowboys & Engines, Poker) and written by Bryn Pryor & Sarah Goldberger.

Rebel 11 and Faithless Films present Diminuendo, a Flamboyance Films production.

www.DiminuendoMovie.com

 

 

So, continuing (sorta) my return-to-blogging warmup from the other day, I wanna talk about a series most of you have probably never watched: Casual.

I’m a huge fan of Jason Reitman. I would fuck Up in the Air if I could, and I’m in the narrow minority who loved both Young Adult and Men, Women and Children. I respect him to the point that I don’t even care that he hated our script for Diminuendo.

(Full non-disclosure; he is, to date, the only person I’m aware of to have this reaction. In fact, everyone else has been ridiculously positive. Also, no, I won’t tell you what he said or how we got it to him).

I love his fucked up situational awareness and train-wreck characters. So, I thought Casual, being his series, might be worth a look. And it was. Until it wasn’t.

Look, I knew we were in for a show filled with awful people doing awful things they don’t know are awful. I expected that, and wasn’t disappointed for the most part. Until the end of season one. Earlier in the season, Alex, the lead trainwreck, adopts a chocolate lab puppy. In that arc, he wisely realizes he can’t even care for himself, much less a dog, and returns the puppy to the store.

The writers, apparently out of ideas for what else to do to end the season, brought that dog back into the story at the end of the season for no reason except to kill him offscreen. So they can make a joke about it. And it’s really, really not fucking okay. It is literally a pointless, unmotivated moment of ugliness that the character can simply never recover from. In the context of the real world, it doesn’t even make sense. A whole lot of things that would never happen have to happen for this puppy to be dead.

People who know me understand my love for animals. If you’re gonna kill an animal in a story, it needs to be motivated. Important. And I will still never forget. Game of Thrones, for example, will never make me care what happens to Sansa, no matter what abuse she suffers, simply because she was responsible for Lady being killed. To paraphrase Don Corleone, “This, I do not forgive.”

So, yeah, Jason? You can do better. And Casual, as an entity, can blow me. I can only hope that Hulu cancels it after season two since we are apparently the only people watching it anyway.

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To punish me for my contempt for authority, fate made me an authority myself. — Albert Einstein