Monthly Archives: May 2011
Both of these women — who I imagine to be the baddest, most feared women in the Theater District at one time or another — each mentioned how much they couldn’t stand to actually see a person act. Acting is supposed to look effortless, as though you’re not actually doing it.
Last week we saw Everything Must Go, starring the wonderfully hilarious Will Ferrell. And yes, he can act. Usually. However, this movie was clearly intended for a smaller-name actor, or someone who has more experience with small indie films, who is in tune with their inner-fine-actor. Will Ferrell is larger than life. He can make me laugh unlike no other. And I’ve seen him in more serious roles, and he’s fantastic. But, I think this is his most serious role yet — he plays a drop-down alcoholic who comes back from a business trip only to find his wife has left the house (after changing the locks), he can’t access any of his assets, his car was taken away, he’s lost his job, and all of his possessions are out on the lawn for everyone to see.
The story, I think was good, and the other actors’ performances were pretty good (including the Notorious B.I.G.’s son, Christopher Wallace Jr.!). But there were two things that bothered me overall:
1. The movie felt like it was pushing the audience away. There were moments that were fairly intimate, but there was something that felt like a cold distance was being placed between the film and the audience. When I watch a film, I think I want to feel more submerged into the scene, and this was not inviting enough for such a movie.
2. I think part of this was that Will Ferrell understood where this character was coming from, but there was a distance put up between him and his character. We could see him “contemplating” and “feeling” and “thinking” and “reacting” and “hurting.” It didn’t feel natural enough.
Otherwise, I actually really liked the story, and how it didn’t end so cookie-cutter sweet, and predictable. I mean, it’s a happy ending, but not too happy. It is an indie movie, after all.
Also, I <3 italics!
Once I realized I had a fairly decent idea for a show premise, I decided to test the waters. Based on the inherent traits on the show, I knew who my audience was:
– Women, 18-34
– Gay dudes
Perfect, since I’m an 18-34 year old woman, and 90% of my coworkers are gay dudes. With all of my potential viewers, I gave them the rundown of the concept, and posed the question, “Would you watch this?”
I’m currently concentrating on writing a spec pilot for my application toward Fox’s writing program. Now, I’ve had a couple of ideas in the past for pilots, but none of them have spoken to me quite like this one. To put it vaguely, it’s a workplace comedy set in a highly artistic community. In a way, we would follow the characters in the same way that we followed the characters on Spin City: the ensemble is there to work, and they’re all drawn by the same passion, or belief, represented by their boss (in Spin City‘s case, Mayor Randall Winston).
How did I come up with my premise? How will this help you figure out whether you have a good idea? Find out after the jump…
Since it opened April 22, Madea’s Big Happy Family has made $40.9 million. Why Did I get Married? — that made $55.2 million. The sequel? $48.5 million. Madea Goes to Jail? $90.5 million. And that’s just a handful of Tyler Perry’s films; in six years, his films have racked up more than half a billion dollars, averaging $50 million per movie, and that’s before his current film finishes its theatrical run. Still, his works have become quite a bone of contention, concerning race, gender, class, media consumption, and the definition of quality, and auteurism.