Gear School short: The local angle

The short film based on my comics series, Gear School: Plug and Play has played in festivals all over the US and Europe, a fact that blows me away. But I am humbled by the fact that it has been selected as to screen at my hometown's film fest, The Salem Film Festival. Salem's festival has been named one of the top ten small film fests in the country by Livability.com, so you know it's legit.

At the moment, I'm not sure when it will be screened, but I'll update the blog as more information becomes available.

And if you want to see a teaser trailer, I've posted it to this blog before.

R.I.P. Leslie Neilsen

Also, weekend numbers.

Just this morning I was talking to to my wife about Police Squad and some of the hilarious devices they used in each episode to satirize detective shows at the time. This evening I was saddened to learn that Leslie Neielsen, the star of Police Squad and Airplane! and, of course, Forbidden Planet. Nielsen was one of those lucky actors who got to have a second act to his career. (I know that F. Scott Fitzgerald was mostly wrong when he said that there are no second acts in American lives, but, as far as actors are concerned, he was mostly right.) A handsome dramatic actor as a young man, Nielsen was given the opportunity to reinvent himself when he starred in Airplane! There was no looking back.

I remember seeing Airplane! in the theater, which seems impossible now since I was only ten years old at the time, but that might say something about how I was raised. Regardless, I know I didn't understand everything I was watching, but I knew it was transformative. That movie was the benchmark against which I measured all comedies for a very long time.

I'm going to look on amazon.com now to see about buying Police Squad on DVD. If you haven't seen it before, I suggest you do the same.

And here are the numbers:

Daily word count: 3,266 (1,049 novel, 701 story, 1,516 new project)

Monthly word count: 33,242 (25,225 novel, 5,790 story, 2,227 new project)

Novel word count: 96,726

Over the Edge

I remember watching Over the Edge when I was a kid. Maybe ten or so. There are a handful of movies I saw around that time that I feel, and felt at the time, were transformative. That altered me. The Exorcist, Tommy, Altered States, The Godfather, and, of course, Over the Edge. I was too young to be watching any of these people, truth be told, and there's no way I'll let Oscar watch them when he's that age, but discipline was lax at the Gallardo household, I guess.

The movie is a low budget number about rebellious youth, or youth gone wild, or what happens when adults abdicate there roles as authority figures. One or all of those. I just remember that the images of kids rising up against the adults left an indelible mark on me. The fact that the adults deserved it was even more revelatory.

One thing about the movie, however: I've never talked to anyone else who's seen it. Even the biggest film buffs I know seems to be unaware of it. For a while I thought I'd made it up, imagined it completely. So imagine my delight when I found a story on the indispensable BoingBoing.net linking to an oral history of the films production. The article itself resides at Viceland.com. It's fairly lengthy and I haven't made it through the entire piece yet, but what I've read leaves me wanting more.

It also leaves me wanting to watch the movie again. What are the odds it's available on DVD?

Here's the trailer for your viewing enjoyment:

This business we call "show"

Culled from this week's Publisher's Weekly/Comics Weekly newsletter, a quote from comics writer Greg Rucka:

"What I learned is that the checks cash just as well whether the movie is made or not. Whiteout was on and off several times since first being optioned in 2000, and I think the secret to all that not driving us [he and artist Steve Lieber] crazy is that it was never our goal to get a movie deal out of this. A lot of people are writing comics or graphic novels in the hopes of getting it made into a movie. That is a recipe for disappointment."

To which I would just like to add: Amen, sir.

Anyone who gets into comics so that they can get a movie made is going to get their damned hearts broken. Hell, anyone who gets into comics for any reason other than to make comics is destined for el corazón quebrado.

I remember a few years ago I spoke to a high school class that was studying comics (although the courses may have actually called them "graphic novels") and one of the things I said, based on a question about how quickly one can become rich as a comics artist, was, "if you get into comics to get rich, you're in for a nasty shock. The only reason to get into comics is because you love comics."

The teacher and the owner of the local comics shop both gave me dirty looks. It quickly became apparent to me that these kids had been told something other than this pessimistic view I was spouting. Maybe they had even been told, as incentive to get them to take the class, that they would become overnight sensations and that people would throw buckets of money at them where ever they went. And here I was saying that comics might have some worth beyond the ability to make you rich and attractive to the opposite sex.

But some people get their comics made into movies and earn money that way, right?" the teacher asked me. His expression said to me that I should not contradict him. And, since his statement was true, I said, "yes." But I didn't go on to say that these kids would be better served taking a class that taught them how to play the lottery than they would be learning how to make comics that got turned into movies. How many comics movies have there been in the last ten years? Twenty, thirty? And how many comics are published every month? Hundreds! Hundreds of comics a month get published and only three or four a year get turned into movies. If Vegas offered those odds, there wouldn't be any casinos still in operation.

So, please, kids, if you want to make movies, do that. Go to film school; buy a camera and go shoot something. Just, please, don't think you're going to make a comic that will be seen by Steve Spielberg and then turned into a movie. It ain't gonna happen.

And no, the recently scuttled deal for 100 Girls has nothing to do with this rant. Why would you even think that?

A real-life The guy who doesn't get the girl

I remember as a kid watching these movies in the theater or on HBO for the first time, I could never fully enjoy them. They were funny and all, but there was always that one character. If only he would say the right thing at the right moment, or not act so desperate, or pick up on the girl's signals. I wanted to jump up out of my seat and yell at the screen, tell the guy to wake the hell up and get with the program!


I realize now, of course, that I wanted to yell at that guy so much because he was me. Or I was him. Either way.


And it was no consolation that the film makers often made sure this character got a girl, but I wasn't going to be placated in such a way. Getting some faceless chick was in no way the same as getting Molly Ringwald, okay?


Thank God I grew up to be a guy who could get the girl. Or she got me. Either way.