On the Work of Paul Thomas Anderson

While at a national academic meeting, I found myself at an airport hotel with nothing to do, my colleagues finding things to do without me, so after hours of sleeplessness and boredom, I did a pay-for-view at the hotel on a new film that had a 70’s backdrop that seemed cool called “Boogie Nights.”

"Boogie Nights"

 

Oh my!  While I found the film intriguing, the last thing I expected was a story about the pornographic film industry!  And I did a pay-for-view that showed up on my hotel bill!  Great.  I left, now feeling like I’ve joined a club of perverts.  After getting home and informing my husband of the misinformation on the previews, he laughed and said it didn’t understand how I couldn’t know the film’s subject matter.

OK, OK, clueless check.  I saw a movie with more adult material than I’m used to.  Worse things happen to people.  Later I noticed the critical acclaim, like the actors, and have appreciated the latter films I’ve seen them in.  Also, it was great to see Burt Reynolds since Smokey and the Bandit.

"Magnolia"

 

Years pass.  I’m awake with a midnight migraine as usual.  Another film piqued my interested that showed up on a cable movie channel called “Magnolia.”  I wanted to see this movie because I could relate to a level to Tom Cruise’s character (as obnoxious as he was), having experienced similar issues with my own family.  Aside from Cruise, who did some great dramatic acting at the end (his Oscar nomination) the actors were in Boogie Nights.  Also, I really liked the music in “Magnolia” of musician Amiee Mann.  After finding the soundtrack, later I saw a singer on a Buffy episode I tracked down.  Again, it was Aimee Mann.  Four CDs later, I enjoy her music.  Later, I found out the director of these films were the same and it made sense:  Paul Thomas Anderson.

Next, “There Will Be Blood” starring Daniel Day-Lewis came out.  I heard mixed reviews, and some thought it was boring.  I had to agree, but the writing interested me, because antagonist characters rarely make a lead role work.  Apparently, the film industry agreed.

Paul Thomas Anderson

When I see books translated into film, it’s usually a diluted version with less detail, less compelling concepts.  With Anderson’s films (that he reportedly writes) I feel like I’m reading a book on film.  That may sound bizarre, but his films have complex plots, multiple characters, and take on unusual topics.  I’m not suggesting his films are for everyone, but as a writer, I do admire a director that takes on the entire effort of the beginning to end of film creation (meaning writing the script and direction).  With his new film about Scientology upcoming, I’m looking forward to seeing what Mr. Anderson has for us.

On The Effect of Words and Butterflies

My writer colleague and cool person Niamh Clune after bringing together a class act with Orangeberry Books, now strikes again with another excellent site Plum Tree Books.  As another new group of bringing readers and writers together, this time Niamh and her imaginative team brought in alternative elements to creative energy and more for children.  Check out “Youth Tube,” with our “Self as Child” recent blog hop, and the upcoming “Butterfly Effect” which will take in other areas of creativity than writing, especially photography, art, and music.  As writers the words we create we hope to be experienced in the minds of the readers; we want them to see, we want them to hear, we want them to feel the story.  Niamh and her colleagues put together first-rate work with class and beauty. 

 

Check out The Plum Tree site http://ontheplumtree.wordpress.com/

Plum Tree Books

“The theme might be expressed on an emotional, personal level through a passionate desire, which, if fulfilled, might cause devastation to all around you.”  Niamh Clune

Review of “Cracks” by Shelia Kohler

I saw the film “Cracks” and out of curiosity decided to read the book and found it to be more deviated from the movie than expected.  As in the above description, (book summary) the setting is in South Africa and Fiamma is an Italian girl from an aristocratic family.  As a teenager, she enrolls in an isolated school with other girls her age but has little in common with them, and with the aid of a favored but abusive teacher, the situation degenerates into bullying and finally tragedy.

What I found interesting is how the story crosses so many layers in human culture that fulminates in the horrendous ending.  Culture differences with Fiamma being from Italy, class difference with her wealthy background, and the way aristocracy sees commoners in their eyes; Fiamma wasn’t interested in the other girls, though she intended no ill will.  However, being beautiful, rich, well read, and an excellent swimmer, everyone had some level of obsession with Fiamma. 

The swimming teacher, Miss G, was the favorite of the girls because she made them feel special.  But when she found Fiamma more special than everyone else, it drew the ire of them all, despite of her known mental instability.  Miss G abused her position as teacher by manipulating the girls, abusing Fiamma and the other teachers turned a blind eye to the obvious behavior.

Last, but not least, is the ultimate breakdown of humanity by bullying kids not understanding the consequences of their actions.  In the “Lord of the Flies” moment, the girls showed they were little different from animals as they degenerated into teenage bullies ganging up on a girl made to be a pariah because of jealousy; to be punished only by their own guilt as they aged.  The lack of accountability to society of the crime is disturbing and opens the bare truth that young people do terrible things with few good answers regarding rule of law.

“Cracks” is a mesmerizing read, a bit laborious and devastating.  The book adds many more elements than the film.  Four stars!

On Beer and Anime

"Ghost in the Shell"

When I think back to my entry into undergraduate college, I have the “do as I say, not as I do” moments as others do when we reminisce about days we had a drink or ten. My roommate and I decided on our first day of college, we wouldn’t drink beer.  No worries.  A nice looking guy greeting us at a party cured that little bout of insanity that evening, as “the one that makes sure everyone here has a beer.”  I realized that beer is an acquired taste.  Once you’re used to it, and in the right company, it works.  These days, I still like beer, but left the kegs in the past where they belong.

What does beer have to do with Japanese animation (Anime)?  To me, it’s an acquired taste.  I didn’t grow up watching it, or reading mangas, so my late introduction to this fascinating industry has me still in the process of getting used to it.  When I think animation, I’m into Bugs Bunny as a kid or the ever-offending SouthPark as an adult.  But animation is all that Anime has in common with in any cartoon I’ve seen.

I appreciate Japanese culture with my past experience in martial arts, and with Anime it’s more of what they do well:  More with less, simple drawing, simple dialogue, and complex concept.  While “Akira” is considered a classic, it’s a bit over-the-top for me, but the latter shows I’ve enjoyed, like “Ghost in the Shell,” and “Hell Girl.” 

Boring is not an issue with Anime to me.  The stories tend to be intense, with fatalistic undertones.  If someone goes down, it happens Anime-style, and that’s a style you won’t forget.  Strong female characters often take lead roles, so that’s an extra treat for me. 

In the art, my husband, a long-time Anime fanatic, tells me the protagonists have round eyes, the antagonists have slanted or slit eyes, and the ones “in between” have a straight line along the top of their eyes.  It takes a moment to adjust, but yes, one can often see the good and bad by the art of the eyes.

Amine is not without violence.  I saw one that said something about “scarlet tears” followed by the slash of a sword across another’s eyes.  Yikes!  I haven’t thought of that!  Hey, that’s intensity.

The hardest adjustment to Anime for me is the music.  For simple art, deep, conceptual stories, violence, it ends with some kind of la-la that never seems to match the scene.  But I remind myself; this isn’t another film with John Williams writing the score.  Anime is different, so the music is meant to be different.  Can I embrace something creative and different?

Of course I can!  At this time I’m still acquiring a taste, but enjoy it so far.

On the New Favorite Dark Fantasy Character

"The Imp" from "Game of Thrones"

After mentioning “The Imp” in every review I posted of the series “A Song of Ice and Fire” by George R.R. Martin, and following the well-done extrapolated “Blackwater” episode of the cable series “Game of Thrones” the name “Tyrion Lannister” is almost a household name.  When I read in an article today by a well-known political writer about how he watched the series and he was disappointed that there wasn’t enough of Tyrion, I suspect Martin’s “half-man” is truly reaching new heights with attention in a part of the media usually disassociated with fiction, especially Dark Fantasy.

For the non- “Game of Thrones” informed, to give a brief summary of Tyrion:  He is a physical dwarf, whose mother died giving birth to him.  As part of the rich and powerful Lannister family, his older incestuous twins Jaime and Cersei and his father Tywin blame him for the death of his mother, and disrespect him for his imperfect physical form.  Tyrion is intelligent, well read, and spends his generous sums of gold on prostitutes, food, and wine; he understands the brutal world he lives in.  He knows truth is carried through lies, and life is carried by avoiding death; not by the generosity of others.  His biggest flaw is looking for love in all the wrong places; as a Lannister he can buy loyalty from sellswords easier than love.  He is cunning, quick-witted, and humorous.  Obviously, because of his dwarfism, his nickname that he dislikes is “The Imp.”

How did we get so “Imp-crazy?” We former gamers know “Dwarves” as in LOTR, but a real physical dwarf used in this kind of story is quite innovative and a knock-it-out-of-the-park creation, to be fair to Martin.  To give this character strength with wit and wisdom hits us in our “root for the underdog” instincts.  We like beautiful heroines and handsome heroes, but it’s a great takeaway from Dark Fantasy clichés (criticisms aside about this over-extended epic). 

Last, but not least, is the life that actor Peter Dinklage brilliantly brought to “The Imp.”  I saw the first season of the cable series before I read the books, and it’s as if Tyrion stepped out of the pages.  As a skeptic of Dark Fantasy translation from books into films, this is one of the best character transitions I’ve ever seen. 

Is the series “Game of Thrones” for everyone?  No.  Are the books for everyone?  No.  But for the readers and viewers, that do like it, will everyone like Tyrion?  Yes. 

On Taking On Character Traits

"Last of the Mohicans"

As we create our lead character in fiction, we’re creating someone we’re channeling most of our energy in, nearly betting it all, because in fiction, if the audience does not connect with the lead character, the story falls flat.  I hear about this most often in “method acting” when the actors “become” the characters in order to bring them to life on screen (looks difficult to me). 

In fantasy, do we writers daydream?  I hope so.  Because that’s what fantasy is, drummed up in our minds.  New exciting worlds, enchanting conflict, tension between human and non-human characters, and most often with some kind of protagonist/antagonist concept. 

But when we authors face our reality day-to-day, do we ever feel the traits we created in our characters?  Or did we keep their traits hidden inside, brought to the page, and now feel bolder to expose the alter ego depending on real-life challenges? 

Obviously the above can lead to destructive and even dangerous behavior, so certainly I don’t suggest fantasy writers take on the negative traits of even protagonist characters.  In life, sometimes we feel like we have antagonists, but the complexities of reality reach far beyond any fantasy.   If I thought I was Shevata for a day…let’s not think about such things.  That level of destruction should stay where it is, inside the mind.

Can our fantasy writing ever help us through the tough realistic times?  I think so.  We writers don’t need to pretend we’re someone else for our work.  I like to think about the world I’ve created and of other stories I’ve read.  Creative outlets help relieve stress, and if nothing else, my expanded reading helps my verbal vocabulary.  When I’m cornered professionally, these days I have a verbal answer with “teeth” (no biting) that makes sense, instead of defensiveness.  Professionals need that ability in any field.

Writers, your work is your strength, on and off the page.  Our work is part of us.  While I think it’s a bit far-fetched to go around acting out my character, as I’m not an actor by trade, still our characters we create give something back to us during the times we least expect.  Though limited to our minds, that’s still enough to give us strength when we need it.

On the Cost of Vengeance

"Hatfields & McCoys"

As I’ve written previously about how revenge motivates characters, the cost of carrying out these actions often leads to the climax in the story.  Be it unrequited love, family feud, suspected transgression, harm of a loved one, or act of war, revenge moves characters like fuel moves fire, as it has in non-fictional stories.

I’ve read a number of stories by new authors in which the lead character’s main motivation is revenge, frequently non-law-abiding.  From taking an entire country hostage, to killing whoever killed his/her loved ones, it usually reels in the reader.  In the Gastar novellas, Shevata kills a group of evil priests without a death order, taking revenge for innocent people killed.  But she went against the law and used her skills by her choice instead of command.  Her story is the payment for that mistake.

The tension leading to vengeance carries a plot with the intensity required to keep readers interested that apply to mainstream thrillers (legal thrillers, murder mysteries), paranormal romance, horror, and of course, my genre, Dark Fantasy.  Vengeance translates well across genres because many of us feel wronged in our own lives and can only fantasize the sweetness of revenge if taken the whole distance as it is in many novels.

How sweet is revenge?  Often what is left is blood on the floor, with no real winners and many losers.  The human condition gives us a conscience (hope so), in the most extremes of “getting even” nobody makes it back to square one, the situation before the conflict began.   Savored revenge doesn’t always make peace in reality, but in fiction anything goes.  Such stories need careful crafting to gratify the readers along with the characters.

To me, the most compelling message of vengeance is the cost of it to all involved.  How many innocent lives, were the guilty really worth it, and whether or not vengeance cures the ills of the wronged.  Though a powerful motivator, it’s a fine line, and we fiction writers can learn much about the aftermath of revenge from historic events.