Script Before the Book

Sarah points to this article on Philip K. Dick adaptations, which suggests that the best PKD movies are those made by directors dismissive of the source material. The Post article points out that Ridley Scott dismissed PKD’s work and hadn’t even bothered to read Do Androids Dream of Electric Sheep? But what the article fails to acknowlege is that, unless the director is also writing the script, the director’s job is to visualize the story, not actually develop it. With Minority Report, Spielberg was more attracted to creating a future than adhering with the PKD hardline (although Spielberg notes in the Wired interview that he had read Dick). But the fact is that a lot of filmmakers don’t read the original books when the script falls into their hands.

Girl with a Pearl Earring — (Michael Weber): “I deliberately held off reading the book for a while as well. There was one thing I was scared of: I had the script, I had done about eight months working on the script with the writer. I was worried that if I read the book too soon, I would have a whole load of knowledge, just there in my subconscious…”

Nicholas Nickleby — (Charlie Hunman): “Yeah, I read it at school. It was probably mandatory to read at least one Dickens and it just so happened that I was asked to read Nickleby. But when this came around I couldn’t really remember what the book was about. I was just nine years old when I read it and, like most things at school, I didn’t really pay too much attention. I read director Doug McGrath’s adaptation for the film before I re-read the book and I thought he did an amazing job.”

The Hulk — (Ang Lee): “We had tried several drafts of the screenplay, but it didn’t quite work – I didn’t really know what I wanted to do yet. And then one day James [Schamus, co-writer] brought to my attention that in one issue of Hulk they brought the father back, and then an idea hit me. But at the same time I thought, Oh no, not the father/son thing again! But I wouldn’t have done it unless I felt that it was bringing something fresh.”

The Eggers Rumor

Okay, folks, here’s what I know about the Eggers-Where the Wild Things Are connection.

I contacted Playtone Productions, the production company that’s behind Where the Wild Things Are. (I won’t dare reveal how I got the number.) I was told by Playtone that they could neither confirm nor deny that Eggers was involved on the screenplay, which suggests that Eggers is possibly involved, but no one is ready to make an official announcement as of yet. I asked if they could tell me if any writer was involved, and they told me, “We don’t give out that kind of information.” So what we have so far is a blank slate.

I then tried contacting Eggers’ office, but was caught in a voicemail labryinth and couldn’t get a live human being.

So at this point, we have nothing but rumors to base a conclusion on. The possibility exists that Eggers has written a screenplay, or is working on a screenplay. Since I’ve lambasted Eggers so much, I seriously doubt he or one of the 826 Valencia people will return the message I left in the general voicemail box. But perhaps someone closer to the fray can give us a definitive answer.

[UPDATE: Couldn’t get a live body at Good Machine. Tried Michel Gondry’s company, Partizan, but didn’t get anywhere, save for a helpful receptionist who replied, “Who is Dave Eggers?”]

Nice Guys & Lesbians

Oddly enough, I had a “date” similar to this, though nowhere nearly as extreme:

ME: Why is she walking home and why are you picking her up.

AFV (now in full blown rage) BECAUSE YOU TRIED TO KISS HER you asshole! Why did you try to kiss my girlfriend. What the hell do you think you’re doing?!?!?…..

ME: What are you talking about? I was on a DATE with her!

AFV: You weren’t on a date.

ME: I picked her up, I bought our tickets to the concert, and I bought our beers. I mean that’s a f*cking date right.

AFV: It wasn’t a date, she just went out with you because she thought you were a nice guy!

(via Six Different Ways)

Work in the Prison

Jospeh T. Hallinan’s Going Up the River has countless revelations for anyone interested in how the prison-industrial complex has changed American life. But two, so far, have particularly stuck out for me:

“Well,” he says, “my wife and I have been married twenty-eight years and lived nineteen years in a travel trailer.” He looks me dead in the eye. “Do you have any idea?”

After ten years, he will be eligible to receive medical coverage after retirement, a benefit so precious, he says, that he is willing to spend his days among killers and thieves. “Be fifty-four and try to go out and buy health insurance.”

The second item concerns teachers attracted by the increased pay rate afforded to public school teachers who have since moved on to educate prisoners in Beeville, Texas:

He and Dave, I knew, feel a little guilty about their defection. Both mention repeatedly, for instance, how much they miss working with kids. But they don’t feel that guilty. “I’m much more relaxed,” Dave says. “I have more time with my family. My lesson plans are a lot easier to write. I haven’t had a parent come to see me yet. And all in all besides that I got about a six-thousand dollar raise.”

Stafford will be fifty-six in a few days, and Texas has mandatory retirement at sixty-five, which means he’s got nine years left. Whether he’ll stay that long, he doesn’t know. “I tell everybody I’m doing five to ten,” he says. “My inmates like that.”

Beyond the rising incarceration rate, and beyond the ways in which corporations have cut exclusive deals for both the products used in penitentiaries and the labor employed to manufacture American goods, is the startling realization that the penitentiary, in some impoverished towns, has become the new Wal-Mart. If your employer won’t pay your health benefits, or if you can’t afford the exorbitant rates of an HMO, work in the prison. If you want to really teach, but can’t afford to live on the impoverished rates the school districts are paying teachers, work in the prison. Not only will they pay you more, but your teaching demands will be considerably less. Because most of the inmates are high school dropouts (in Texas, 60% are, and Hallinan notes that this is about equal to the national average). Of course, even if you rehabilitate prisoners through education, their prospects are grim. In the 1960s, there was a brief moment in which grants were given out to prisoners so that they could earn four-year degrees. The grants were killed in 1994.

Bah Humbug

For all those who have offered, “Happy holidays,” thank you for the well-wishes that don’t specifically reference Xmas. Happy holidays and good cheer back to you.

For those who have polluted the air with insufferable carols, for those who have tried to induct me into their hellish Xmas-Christian propaganda with almost complete artifice and ideological solipsism, for those who say hello to their family and friends but once a year (now, but never any other time), for those who think that a pre-printed card with a mere signature below some bullshit Hallmark “witticism” somehow makes up for this yearly discrepancy (not unlike signing an annual blackmail check), for those who have forced the issue, whether it’s the execrable bastards in control of the Muzak machines or the hypocritical assholes who really couldn’t give a good goddam for those alone, friendless or homeless (the true people in need of attention), then either wander off a butte and die or get with the program.

If you’re in San Francisco (or anywhere), I dare you to throw off the shackles of holiday bullshit and actually do something for the downtrodden. Don’t max out your credit cards on trinkets. Just get in there, volunteer a few hours, and selflessly give of yourself to someone who needs it. Think of others for a change on real human terms. Here are a few organizations that could use your time.

That’s about all I have to say about this sham of a holiday. Except bah humbug.