Kyle Michel Sullivan's Blog: https://www.myirishnovel.com/, page 232
March 6, 2015
I may keep posting...
To make me get done with it in a timely fashion...so here's more of CK, in order...
----------------------------------
EXT. CANTINA MADRIZA - NIGHT
Junkyard cool. Right by a two-lane blacktop. Cars park on the desert. A shack behind it. A mock shooting-range behind that.
A TRIO OF BIKERS roar up -- DAX CASTOR, 40, a junkyard-dog covered with tattoos; JJ HOWITH, 30, burn scars, Dax's backup and ideological twin; and SPIT, 35, chunky with a beard. SUSAN, 30, spiky hair and mousey everything else, sits behind Spit.
INT. CANTINA MADRIZA - NIGHT
The perfect reflection of its outside, all neon beer signs, crap music and linoleum floor cracked to within a inch of being useless.
ZEKE LINDSTROM, 28, ex-military, elaborate tattoos of Nordic symbols over his arms, tends bar. He has a bionic leg. RHONDA, total cowgirl, handles the tables and booths.
Carli plays solitary pool, a shot and a glass nearby. Nice and casual.
Dax, JJ, Spit and Susan roar in. Dax hits the bar.
DAX
Zeke, you seen Grady?
ZEKE
Not in couple days.
DAX
Shit. Rhonda, pitcher and some J-D.
RHONDA
Be right over, Dax.
Zeke starts the pitcher. Dax joins JJ in a back corner booth. They make calls on their cell phones.
Spit and Susan grab long-necks and sit in another booth. He leers at Carli. Susan notices, hurt.
DAX
It’s Dax. Grady been ‘round? ... Today, yesterday? ... You sure? ... Shit.
JJ
Hey, Priss, it’s JJ. You seen Grady, recently? ... When was that? ... Thank you.
DAX
Izzy says he picked up, Friday.
JJ
He hasn’t been to Priss’s in two weeks.
Carli’s chalk drops. She squats to pick it up, returns to playing.
Spit gets up, swaggers over to Carli and gropes her ass, giggling. Susan glares after him.
SPIT
Why you playin' alone, sweet-cheeks? I'm all set for a game.
Some patrons chuckle.
MALE PATRON
Shit, Spit, give it up.
FEMALE PATRON
Ride him, honey; he’s just your style.
Susan holds up her pinkie.
SUSAN
Yeah -- big. Real big.
More patrons laugh.
Carli turns. Twists her fingers in Spit’s beard. Forces him to the table.
CARLI
Touch me, again, and I’ll rip those peanuts you call balls off and shove ‘em up your nose. And don’t think I can’t...
She hisses sharp red nails at him -- lets him go.
He snaps up, snarling. She whips her cue into his crotch then on his instep. He yelps and falls on his ass. Cries out.
SPIT
Shit, my back!
The whole bar laughs.
Susan goes to help him up. Guides him to the booth, his back wrecked. Zeke takes him an ice pack.
Carli chalks her cue.
Dax saw it all.
DAXWay to go, baby; you gone and hurt Spit’s back, an’ he’s gotta work, tomorrow.
She looks him over, like a jackal eyes its meat.
CARLI
Spit? The name fits.
DAX
What name fits you?
CARLI
Depends on who’s asking.
DAXMe.
CARLIThat doesn't tell me much.
DAX
Dax.
CARLIDax? What kind of name is that?
DAXMine. Yours?
CARLI
Not interested.
She turns back to the pool table. Dax starts to get up but Zeke slips between him and Carli.
ZEKESay, Dax, how 'bout some nachos?
DAX... Fresh made?(off Zeke's nod)Extra jalapenos.
ZEKEGot it.
He returns to the bar, casting Carli a quick, wary glance. Another Harley roars up, outside. RAT, 20’s, missing an eye, enters and goes to Dax.
DAXAnd?
RAT
Our charming compatriot, Grady, granted Bellamere’s the pleasure of his company, night before last.
DAX
Shit, Rat, talk English.
JJ
Who told you that?
RAT
A lovely young waitress, JJ, with eyes of amber, who believes my eloquent usage of the English language is fascinating. She informed me, he made all the right moves with an amazingly attractive redhead, and they left. Together.
JJ
Amazingly attractive?
RAT
And I quote -- Tits to here; hips to there; and an ass to die for. This, from a woman, so I doubt she exaggerated.
JJ
What about the kids he works?
Rat slaps a wad of bills on the table.
RAT
Tribute from the Southside group. I’ve been unable to locate Luna or Madrigo.
DAX
He didn't pick up? Aw, this is bullshit!
He dials a number on his cell phone.
JJ
Hey, Zeke.
Zeke's by a microwave, behind the bar.
ZEKE
Yeah?
JJ
Double up on those nachos. Gonna be here reaaalllll late.
----------------------------------
EXT. CANTINA MADRIZA - NIGHT
Junkyard cool. Right by a two-lane blacktop. Cars park on the desert. A shack behind it. A mock shooting-range behind that.
A TRIO OF BIKERS roar up -- DAX CASTOR, 40, a junkyard-dog covered with tattoos; JJ HOWITH, 30, burn scars, Dax's backup and ideological twin; and SPIT, 35, chunky with a beard. SUSAN, 30, spiky hair and mousey everything else, sits behind Spit.
INT. CANTINA MADRIZA - NIGHT
The perfect reflection of its outside, all neon beer signs, crap music and linoleum floor cracked to within a inch of being useless.
ZEKE LINDSTROM, 28, ex-military, elaborate tattoos of Nordic symbols over his arms, tends bar. He has a bionic leg. RHONDA, total cowgirl, handles the tables and booths.
Carli plays solitary pool, a shot and a glass nearby. Nice and casual.
Dax, JJ, Spit and Susan roar in. Dax hits the bar.
DAX
Zeke, you seen Grady?
ZEKE
Not in couple days.
DAX
Shit. Rhonda, pitcher and some J-D.
RHONDA
Be right over, Dax.
Zeke starts the pitcher. Dax joins JJ in a back corner booth. They make calls on their cell phones.
Spit and Susan grab long-necks and sit in another booth. He leers at Carli. Susan notices, hurt.
DAX
It’s Dax. Grady been ‘round? ... Today, yesterday? ... You sure? ... Shit.
JJ
Hey, Priss, it’s JJ. You seen Grady, recently? ... When was that? ... Thank you.
DAX
Izzy says he picked up, Friday.
JJ
He hasn’t been to Priss’s in two weeks.
Carli’s chalk drops. She squats to pick it up, returns to playing.
Spit gets up, swaggers over to Carli and gropes her ass, giggling. Susan glares after him.
SPIT
Why you playin' alone, sweet-cheeks? I'm all set for a game.
Some patrons chuckle.
MALE PATRON
Shit, Spit, give it up.
FEMALE PATRON
Ride him, honey; he’s just your style.
Susan holds up her pinkie.
SUSAN
Yeah -- big. Real big.
More patrons laugh.
Carli turns. Twists her fingers in Spit’s beard. Forces him to the table.
CARLI
Touch me, again, and I’ll rip those peanuts you call balls off and shove ‘em up your nose. And don’t think I can’t...
She hisses sharp red nails at him -- lets him go.
He snaps up, snarling. She whips her cue into his crotch then on his instep. He yelps and falls on his ass. Cries out.
SPIT
Shit, my back!
The whole bar laughs.
Susan goes to help him up. Guides him to the booth, his back wrecked. Zeke takes him an ice pack.
Carli chalks her cue.
Dax saw it all.
DAXWay to go, baby; you gone and hurt Spit’s back, an’ he’s gotta work, tomorrow.
She looks him over, like a jackal eyes its meat.
CARLI
Spit? The name fits.
DAX
What name fits you?
CARLI
Depends on who’s asking.
DAXMe.
CARLIThat doesn't tell me much.
DAX
Dax.
CARLIDax? What kind of name is that?
DAXMine. Yours?
CARLI
Not interested.
She turns back to the pool table. Dax starts to get up but Zeke slips between him and Carli.
ZEKESay, Dax, how 'bout some nachos?
DAX... Fresh made?(off Zeke's nod)Extra jalapenos.
ZEKEGot it.
He returns to the bar, casting Carli a quick, wary glance. Another Harley roars up, outside. RAT, 20’s, missing an eye, enters and goes to Dax.
DAXAnd?
RAT
Our charming compatriot, Grady, granted Bellamere’s the pleasure of his company, night before last.
DAX
Shit, Rat, talk English.
JJ
Who told you that?
RAT
A lovely young waitress, JJ, with eyes of amber, who believes my eloquent usage of the English language is fascinating. She informed me, he made all the right moves with an amazingly attractive redhead, and they left. Together.
JJ
Amazingly attractive?
RAT
And I quote -- Tits to here; hips to there; and an ass to die for. This, from a woman, so I doubt she exaggerated.
JJ
What about the kids he works?
Rat slaps a wad of bills on the table.
RAT
Tribute from the Southside group. I’ve been unable to locate Luna or Madrigo.
DAX
He didn't pick up? Aw, this is bullshit!
He dials a number on his cell phone.
JJ
Hey, Zeke.
Zeke's by a microwave, behind the bar.
ZEKE
Yeah?
JJ
Double up on those nachos. Gonna be here reaaalllll late.
March 5, 2015
Continuation...
More from Carli's Kills. Cut 20 pages down to 13, so far.
-----------------------------------------------------------------
EXT. DESERT - DAY
Buzzards circle two Bureau of Land Management SUVs, two BLM AGENTS near them. On a small plateau in the middle of nowhere sits a gleaming Mercedes convertible.
A sheriff’s cruiser rolls up and SHERIFF ANSON PARRIDGE gets out -- 50s, tall, completely at home in the desert. With him is a young, beefy deputy, REYMON.
BLM AGENT
Hey, Anson.
ANSON
Anybody touch anything?
BLM AGENT
My agent didn’t go all the way up on the plateau. The second he saw it, he came down and called it in.
ANSON
Why’s he over here lookin’?
BLM AGENT
The car. The buzzards.
REYMON
How’d they get that flash ride up there? It’s a city car, not for backroadin’.
ANSON
Reymon...just call in the license plate. See if we can get a name.
Reymon scurries back to the cruiser.
Anson climbs up the plateau to find --
Grady’s body staked to the ground...crawling with ants. Pieces of flesh pulled away. The empty honey bear is nearby, also crawling with ants.
Anson looks at the buzzards. Heads back down to the cruiser.
ANSON (CONT’D)
Been there a couple days, at least. Ain’t gettin’ no prints, that’s for sure. Got an ID on that car yet?
REYMON
Belongs to Anastasia Greene, over in L-A.
ANSON
What?! You sure ‘bout that?
REYMON
That’s who comes up.
BY SOME DISTANT ROCKS
Carli watches the men through the sniper scope of a NEMO Omen .300 Rifle. Their voices come from her iPhone.
BLM AGENT (O.S.)
Anastasia Greene? I heard that name someplace...
ANSON (O.S.)
Killed her married boyfriend then herself, few days back. In LA. But nobody said nothin’ ‘bout her car bein’ missin’.
Carli smirks.
A van approaches.
ANSON (CONT’D)
Here’s the coroner. Seal the area off.
Reymon pulls police tape from the cruiser’s trunk.
REYMON
You think that might be her, up there?
ANSON
Reymon -- that wasn’t no girl them buzzards was pickin’ at.
REYMON
Oh? Oh. OH!
Anson heads to meet the van.
Carli quietly sneaks away, smirking.
-----------------------------------------------------------------
EXT. DESERT - DAY
Buzzards circle two Bureau of Land Management SUVs, two BLM AGENTS near them. On a small plateau in the middle of nowhere sits a gleaming Mercedes convertible.
A sheriff’s cruiser rolls up and SHERIFF ANSON PARRIDGE gets out -- 50s, tall, completely at home in the desert. With him is a young, beefy deputy, REYMON.
BLM AGENT
Hey, Anson.
ANSON
Anybody touch anything?
BLM AGENT
My agent didn’t go all the way up on the plateau. The second he saw it, he came down and called it in.
ANSON
Why’s he over here lookin’?
BLM AGENT
The car. The buzzards.
REYMON
How’d they get that flash ride up there? It’s a city car, not for backroadin’.
ANSON
Reymon...just call in the license plate. See if we can get a name.
Reymon scurries back to the cruiser.
Anson climbs up the plateau to find --
Grady’s body staked to the ground...crawling with ants. Pieces of flesh pulled away. The empty honey bear is nearby, also crawling with ants.
Anson looks at the buzzards. Heads back down to the cruiser.
ANSON (CONT’D)
Been there a couple days, at least. Ain’t gettin’ no prints, that’s for sure. Got an ID on that car yet?
REYMON
Belongs to Anastasia Greene, over in L-A.
ANSON
What?! You sure ‘bout that?
REYMON
That’s who comes up.
BY SOME DISTANT ROCKS
Carli watches the men through the sniper scope of a NEMO Omen .300 Rifle. Their voices come from her iPhone.
BLM AGENT (O.S.)
Anastasia Greene? I heard that name someplace...
ANSON (O.S.)
Killed her married boyfriend then herself, few days back. In LA. But nobody said nothin’ ‘bout her car bein’ missin’.
Carli smirks.
A van approaches.
ANSON (CONT’D)
Here’s the coroner. Seal the area off.
Reymon pulls police tape from the cruiser’s trunk.
REYMON
You think that might be her, up there?
ANSON
Reymon -- that wasn’t no girl them buzzards was pickin’ at.
REYMON
Oh? Oh. OH!
Anson heads to meet the van.
Carli quietly sneaks away, smirking.
March 4, 2015
I give up...
First 2 scenes from Carli's Kills:
CUT IN TO:
INT. ISOLATED HOUSE - NIGHT
Front door smashes open and two people -- GRADY (32, biker) and CARLI (28, pretty, as tough as any man and ready to prove it) -- crash in, tearing at each others’ clothes. Hungry kisses.
Outside is desert. Inside, cheap-assed furnishings are just visible.
They laugh, grab, kiss some more till Carli breaks away. She backs into a kitchen that was new in 1950, pulls a couple of beers from the ancient fridge.
Grady paces her, hungry. Grabbing. She shoves an open beer in his right hand. His left hand lost three fingers.
CARLI
What’s your rush, bitch?
GRADY
Got places to be by midnight.
She grabs his tee-shirt. Pulls him close. He drinks.
CARLI
You just gonna dump and run?
GRADY
Careful, this is my saint shirt.
CARLI
Saint shirt?
GRADY
All holey.
They kiss. He nuzzles her breasts.
CARLI
Grady’s hungry.
She tears off his shirt. Reveals an elaborate tattoo on his chest.
CARLI (CONT’D)
Any more tatts?
GRADY
Stasi’s gonna see -- real soon.
He downs more beer. Unbuckles his belt and the buttons of his jeans. She pinches his tits. He grinds against her. Kisses her. She dribbles beer down her front. He licks it up -- then grunts and tries to keep his balance.
CARLI
Problem?
GRADY
Just feel weird and -- and -- what the fuck? That beer...
CARLI
Grady -- have roofies been used on you, before?
GRADY
Roofies? Me? Fuckin’ bitch -- what you -- what you doin’ -- ?
He falls on his ass. Tries to talk but his words dribble into nothingness.
She pulls off a wig then her top. A bustier pushes her breasts up and accentuates her curves. Off it comes.
She stretches. Towers before him. Smiles.
He passes out.
EXT. DESERT - NIGHT
Grady wakes, bound spread-eagle to the ground, a ball-gag in his mouth. Wearing nothing. He fights to get free.
Carli straddles him. Makes him look at her. Smacks his face with a stack of twenties.
CARLI
Hi, Grady. Sleep well?
GRADY
(grunts)
What the fuck? Don’t you fuckin’ steal from me, you fuckin’ bitch! I’ll cut your tits off.
She holds up a Smart Phone.
VIDEO PLAYS — shows a drugged college girl held down on a pool table by four men as Grady rapes her. The man holding the girl’s head and shoulders is not completely visible.
CARLI
That’s you doing your thing.
GRADY
(grunts)
I dunno what you’re talkin’ about. You got the wrong guy. I ain’t done nothin’ to you. I don’t even know you. What do you want?
CARLI
You don’t know me? Okay. My name’s Carli. Last name -- Vincenzo. Fire up any memory cells?
It does. He breathes faster. Pulls harder at his bindings.
Carli ends the video. Pulls a full honey bear from her purse.
CARLI (CONT’D)
Yes. This girl you’re raping -- she’s Lara Vincenzo -- my sister. This video was posted on her college’s web-site. A week later, she killed herself.
Next comes a buck knife. She caresses his chest with it. Trails down his belly to his pubes.
CARLI (CONT’D)
I think that’s a crime, Grady, and where there’s a crime, there should be punishment. Here’s yours. Hope it was worth it.
She slices the knife into his skin, cutting around the tattoo.
Grady’s CHOKING SHRIEKS fill the dark, empty desert.
CUT IN TO:
INT. ISOLATED HOUSE - NIGHT
Front door smashes open and two people -- GRADY (32, biker) and CARLI (28, pretty, as tough as any man and ready to prove it) -- crash in, tearing at each others’ clothes. Hungry kisses.
Outside is desert. Inside, cheap-assed furnishings are just visible.
They laugh, grab, kiss some more till Carli breaks away. She backs into a kitchen that was new in 1950, pulls a couple of beers from the ancient fridge.
Grady paces her, hungry. Grabbing. She shoves an open beer in his right hand. His left hand lost three fingers.
CARLI
What’s your rush, bitch?
GRADY
Got places to be by midnight.
She grabs his tee-shirt. Pulls him close. He drinks.
CARLI
You just gonna dump and run?
GRADY
Careful, this is my saint shirt.
CARLI
Saint shirt?
GRADY
All holey.
They kiss. He nuzzles her breasts.
CARLI
Grady’s hungry.
She tears off his shirt. Reveals an elaborate tattoo on his chest.
CARLI (CONT’D)
Any more tatts?
GRADY
Stasi’s gonna see -- real soon.
He downs more beer. Unbuckles his belt and the buttons of his jeans. She pinches his tits. He grinds against her. Kisses her. She dribbles beer down her front. He licks it up -- then grunts and tries to keep his balance.
CARLI
Problem?
GRADY
Just feel weird and -- and -- what the fuck? That beer...
CARLI
Grady -- have roofies been used on you, before?
GRADY
Roofies? Me? Fuckin’ bitch -- what you -- what you doin’ -- ?
He falls on his ass. Tries to talk but his words dribble into nothingness.
She pulls off a wig then her top. A bustier pushes her breasts up and accentuates her curves. Off it comes.
She stretches. Towers before him. Smiles.
He passes out.
EXT. DESERT - NIGHT
Grady wakes, bound spread-eagle to the ground, a ball-gag in his mouth. Wearing nothing. He fights to get free.
Carli straddles him. Makes him look at her. Smacks his face with a stack of twenties.
CARLI
Hi, Grady. Sleep well?
GRADY
(grunts)
What the fuck? Don’t you fuckin’ steal from me, you fuckin’ bitch! I’ll cut your tits off.
She holds up a Smart Phone.
VIDEO PLAYS — shows a drugged college girl held down on a pool table by four men as Grady rapes her. The man holding the girl’s head and shoulders is not completely visible.
CARLI
That’s you doing your thing.
GRADY
(grunts)
I dunno what you’re talkin’ about. You got the wrong guy. I ain’t done nothin’ to you. I don’t even know you. What do you want?
CARLI
You don’t know me? Okay. My name’s Carli. Last name -- Vincenzo. Fire up any memory cells?
It does. He breathes faster. Pulls harder at his bindings.
Carli ends the video. Pulls a full honey bear from her purse.
CARLI (CONT’D)
Yes. This girl you’re raping -- she’s Lara Vincenzo -- my sister. This video was posted on her college’s web-site. A week later, she killed herself.
Next comes a buck knife. She caresses his chest with it. Trails down his belly to his pubes.
CARLI (CONT’D)
I think that’s a crime, Grady, and where there’s a crime, there should be punishment. Here’s yours. Hope it was worth it.
She slices the knife into his skin, cutting around the tattoo.
Grady’s CHOKING SHRIEKS fill the dark, empty desert.
March 3, 2015
Warning...writer venting to come...
It's been a nice rough and tumble couple of days, working and fighting and wrestling with Carli's Kills. The damn story doesn't want to be a book; it wants to be a screenplay. I'm trying to get it told and it's refusing to let me even consider a way to adjust it into novel format.Problem is, no one wants my screenplays. I've got thousands of rejection notes -- both printed and e-mailed. Here's just the latest:
Thanks for your query. This isn't quite what I am looking for.Good luck with your writing.Sincerely,
Jay Rodriguez
Itchy House Films
I got it while I was in Lisbon (and also found out The Cowboy King of Texas did not make the final cut in Emerging Screenwriters).
I've hit people seeking screenplays and screenwriters on Mandy.com and through ISA and using Craigslist (that's a laugh) and via InkTip and on and on...and they all say pretty much the same thing: "Thanks but not what we're looking for." Ever. At all. Can't even get an agent to do the selling for me (though I am waiting to hear back from one who was willing to read a script of mine to see if they're willing to rep me).
That's why I'm shifting to novels; I don't want to die with my stories unseen or unread or unavailable once I'm gone. But this little bitch of a story won't work with me, and is driving me nuts. Not the same kind of nuts as with ...Owen Taylor; that was a seeking the story kind of craziness. No, this one...I know the story now. But it won't let me tell it in a narrative form. It wants me to do a script. And storyboard it. All the way through.
WTF is that all about -- my own private madness?
March 2, 2015
Kurosawa's 100 favorite films...
To mark my 5th year in Buffalo. I've seen a bit more than half of them (as noted in red)...
1. Broken Blossoms or The Yellow Man and the Girl (Griffith, 1919) USA
2. Das Cabinet des Dr. Caligari [The Cabinet of Dr. Caligari] (Wiene, 1920) Germany
3. Dr. Mabuse, der Spieler – Ein Bild der Zeit [Dr. Mabuse, the Gambler] (Lang, 1922) Germany
4. The Gold Rush (Chaplin, 1925) USA
5. La Chute de la Maison Usher [The Fall of the House of Usher] (Jean Epstein, 1928) France
6. Un Chien Andalou [An Andalusian Dog] (Bunuel, 1928) France
7. Morocco (von Sternberg, 1930) USA
8. Der Kongress Tanzt (Charell, 1931) Germany
9. Die 3groschenoper [The Threepenny Opera] (Pabst, 1931) Germany
10. Leise Flehen Meine Lieder [Lover Divine] (Forst, 1933) Austria/Germany
11. The Thin Man (Dyke, 1934) USA
12. Tonari no Yae-chan [My Little Neighbour, Yae] (Shimazu, 1934) Japan
13. Tange Sazen yowa: Hyakuman ryo no tsubo [Sazen Tange and the Pot Worth a Million Ryo] (Yamanaka, 1935) Japan
14. Akanishi Kakita [Capricious Young Men] (Itami, 1936) Japan
15. La Grande Illusion [The Grand Illusion] (Renoir, 1937) France
16. Stella Dallas (Vidor, 1937) USA
17. Tsuzurikata Kyoshitsu [Lessons in Essay] (Yamamoto, 1938) Japan
18. Tsuchi [Earth] (Uchida, 1939) Japan
19. Ninotchka (Lubitsch, 1939) USA
20. Ivan Groznyy I, Ivan Groznyy II: Boyarsky Zagovor [Ivan the Terrible Parts I and II] (Eisenstein, 1944-46) Soviet Union
21. My Darling Clementine (Ford, 1946) USA
22. It’s a Wonderful Life (Capra, 1946) USA
23. The Big Sleep (Hawks, 1946) USA
24. Ladri di Biciclette [The Bicycle Thief] [Bicycle Thieves] (De Sica, 1948) Italy
25. Aoi sanmyaku [The Green Mountains] (Imai, 1949) Japan
26. The Third Man (Reed, 1949) UK
27. Banshun [Late Spring] (Ozu, 1949) Japan
28. Orpheus (Cocteau, 1949) France
29. Karumen kokyo ni kaeru [Carmen Comes Home] (Kinoshita, 1951) Japan
30. A Streetcar Named Desire (Kazan, 1951) USA
31. Thérèse Raquin [The Adultress] (Carne 1953) France
32. Saikaku ichidai onna [The Life of Oharu] (Mizoguchi, 1952) Japan
33. Viaggio in Italia [Journey to Italy] (Rossellini, 1953) Italy
34. Gojira [Godzilla] (Honda, 1954) Japan
35. La Strada (Fellini, 1954) Italy
36. Ukigumo [Floating Clouds] (Naruse, 1955) Japan
37. Pather Panchali [Song of the Road] (Ray, 1955) India
38. Daddy Long Legs (Negulesco, 1955) USA
39. The Proud Ones (Webb, 1956) USA
40. Bakumatsu taiyoden [Sun in the Last Days of the Shogunate] (Kawashima, 1957) Japan
41. The Young Lions (Dmytryk, 1957) USA
42. Les Cousins [The Cousins] (Chabrol, 1959) France
43. Les Quarte Cents Coups [The 400 Blows] (Truffaut, 1959) France
44. A bout de Souffle [Breathless] (Godard, 1959) France
45. Ben-Hur (Wyler, 1959) USA
46. Ototo [Her Brother] (Ichikawa, 1960) Japan
47. Une aussi longue absence [The Long Absence] (Colpi, 1960) France/Italy 48. Le Voyage en Ballon [Stowaway in the Sky] (Lamorisse, 1960) France
49. Plein Soleil [Purple Noon] (Clement, 1960) France/Italy
50. Zazie dans le métro [Zazie on the Subway](Malle, 1960) France/Italy
51. L’Annee derniere a Marienbad [Last Year in Marienbad] (Resnais, 1960) France/Italy
52. What Ever Happened to Baby Jane? (Aldrich, 1962) USA
53. Lawrence of Arabia (Lean, 1962) UK
54. Melodie en sous-sol [Any Number Can Win] (Verneuil, 1963) France/Italy
55. The Birds (Hitchcock, 1963) USA
56. Il Deserto Rosso [The Red Desert](Antonioni, 1964) Italy/France
57. Who’s Afraid of Virginia Woolf? (Nichols, 1966) USA
58. Bonnie and Clyde (Penn, 1967) USA
59. In the Heat of the Night (Jewison, 1967) USA
60. The Charge of the Light Brigade (Richardson, 1968) UK
61. Midnight Cowboy (Schlesinger, 1969) USA
62. MASH (Altman, 1970) USA
63. Johnny Got His Gun (Trumbo, 1971) USA
64. The French Connection (Friedkin, 1971) USA
65. El espíritu de la colmena [Spirit of the Beehive] (Erice, 1973) Spain
66. Solyaris [Solaris] (Tarkovsky, 1972) Soviet Union
67. The Day of the Jackal (Zinneman, 1973) UK/France
68. Gruppo di famiglia in un interno [Conversation Piece] (Visconti, 1974) Italy/France
69. The Godfather Part II (Coppola, 1974) USA
70. Sandakan hachibanshokan bohkyo [Sandakan 8] (Kumai, 1974) Japan
71. One Flew Over the Cuckoo’s Nest (Forman, 1975) USA
72. O, Thiassos [The Travelling Players] (Angelopoulos, 1975) Greece
73. Barry Lyndon (Kubrick, 1975) UK
74. Daichi no komoriuta [Lullaby of the Earth] (Masumura, 1976) Japan
75. Annie Hall (Allen, 1977) USA 76. Neokonchennaya pyesa dlya mekhanicheskogo pianino [Unfinished Piece for Mechanical Piano] (Mikhalkov, 1977) Soviet Union
77. Padre Padrone [My Father My Master] (P. & V. Taviani, 1977) Italy
78. Gloria (Cassavetes, 1980) USA
79. Harukanaru yama no yobigoe [A Distant Cry From Spring] (Yamada, 1980) Japan
80. La Traviata (Zeffirelli, 1982) Italy
81. Fanny och Alexander [Fanny and Alexander] (Bergman, 1982) Sweden/France/West Germany
82. Fitzcarraldo (Herzog, 1982) Peru/West Germany
83. The King of Comedy (Scorsese, 1983) USA
84. Merry Christmas Mr. Lawrence (Oshima, 1983) UK/Japan/New Zealand
85. The Killing Fields (Joffe 1984) UK
86. Stranger Than Paradise (Jarmusch, 1984) USA/ West Germany
87. Dongdong de Jiaqi [A Summer at Grandpa’s] (Hou, 1984) Taiwan
88. Paris, Texas (Wenders, 1984) France/ West Germany
89. Witness (Weir, 1985) USA
90. The Trip to Bountiful (Masterson, 1985) USA
91. Otac na sluzbenom putu [When Father was Away on Business] (Kusturica, 1985) Yugoslavia
92. The Dead (Huston, 1987) UK/Ireland/USA
93. Khane-ye doust kodjast? [Where is the Friend’s Home] (Kiarostami, 1987) Iran
94. Baghdad Cafe [Out of Rosenheim] (Adlon, 1987) West Germany/USA
95. The Whales of August (Anderson, 1987) USA
96. Running on Empty (Lumet, 1988) USA
97. Tonari no totoro [My Neighbour Totoro] (Miyazaki, 1988) Japan
98. A un [Buddies] (Furuhata, 1989) Japan
99. La Belle Noiseuse [The Beautiful Troublemaker] (Rivette, 1991) France/Switzerland
100. Hana-bi [Fireworks] (Kitano, 1997) Japan
1. Broken Blossoms or The Yellow Man and the Girl (Griffith, 1919) USA
2. Das Cabinet des Dr. Caligari [The Cabinet of Dr. Caligari] (Wiene, 1920) Germany
3. Dr. Mabuse, der Spieler – Ein Bild der Zeit [Dr. Mabuse, the Gambler] (Lang, 1922) Germany
4. The Gold Rush (Chaplin, 1925) USA
5. La Chute de la Maison Usher [The Fall of the House of Usher] (Jean Epstein, 1928) France
6. Un Chien Andalou [An Andalusian Dog] (Bunuel, 1928) France
7. Morocco (von Sternberg, 1930) USA
8. Der Kongress Tanzt (Charell, 1931) Germany
9. Die 3groschenoper [The Threepenny Opera] (Pabst, 1931) Germany
10. Leise Flehen Meine Lieder [Lover Divine] (Forst, 1933) Austria/Germany
11. The Thin Man (Dyke, 1934) USA
12. Tonari no Yae-chan [My Little Neighbour, Yae] (Shimazu, 1934) Japan
13. Tange Sazen yowa: Hyakuman ryo no tsubo [Sazen Tange and the Pot Worth a Million Ryo] (Yamanaka, 1935) Japan
14. Akanishi Kakita [Capricious Young Men] (Itami, 1936) Japan
15. La Grande Illusion [The Grand Illusion] (Renoir, 1937) France
16. Stella Dallas (Vidor, 1937) USA
17. Tsuzurikata Kyoshitsu [Lessons in Essay] (Yamamoto, 1938) Japan
18. Tsuchi [Earth] (Uchida, 1939) Japan
19. Ninotchka (Lubitsch, 1939) USA
20. Ivan Groznyy I, Ivan Groznyy II: Boyarsky Zagovor [Ivan the Terrible Parts I and II] (Eisenstein, 1944-46) Soviet Union
21. My Darling Clementine (Ford, 1946) USA
22. It’s a Wonderful Life (Capra, 1946) USA
23. The Big Sleep (Hawks, 1946) USA
24. Ladri di Biciclette [The Bicycle Thief] [Bicycle Thieves] (De Sica, 1948) Italy
25. Aoi sanmyaku [The Green Mountains] (Imai, 1949) Japan
26. The Third Man (Reed, 1949) UK
27. Banshun [Late Spring] (Ozu, 1949) Japan
28. Orpheus (Cocteau, 1949) France
29. Karumen kokyo ni kaeru [Carmen Comes Home] (Kinoshita, 1951) Japan
30. A Streetcar Named Desire (Kazan, 1951) USA
31. Thérèse Raquin [The Adultress] (Carne 1953) France
32. Saikaku ichidai onna [The Life of Oharu] (Mizoguchi, 1952) Japan
33. Viaggio in Italia [Journey to Italy] (Rossellini, 1953) Italy
34. Gojira [Godzilla] (Honda, 1954) Japan
35. La Strada (Fellini, 1954) Italy
36. Ukigumo [Floating Clouds] (Naruse, 1955) Japan
37. Pather Panchali [Song of the Road] (Ray, 1955) India
38. Daddy Long Legs (Negulesco, 1955) USA
39. The Proud Ones (Webb, 1956) USA
40. Bakumatsu taiyoden [Sun in the Last Days of the Shogunate] (Kawashima, 1957) Japan
41. The Young Lions (Dmytryk, 1957) USA
42. Les Cousins [The Cousins] (Chabrol, 1959) France
43. Les Quarte Cents Coups [The 400 Blows] (Truffaut, 1959) France
44. A bout de Souffle [Breathless] (Godard, 1959) France
45. Ben-Hur (Wyler, 1959) USA
46. Ototo [Her Brother] (Ichikawa, 1960) Japan
47. Une aussi longue absence [The Long Absence] (Colpi, 1960) France/Italy 48. Le Voyage en Ballon [Stowaway in the Sky] (Lamorisse, 1960) France
49. Plein Soleil [Purple Noon] (Clement, 1960) France/Italy
50. Zazie dans le métro [Zazie on the Subway](Malle, 1960) France/Italy
51. L’Annee derniere a Marienbad [Last Year in Marienbad] (Resnais, 1960) France/Italy
52. What Ever Happened to Baby Jane? (Aldrich, 1962) USA
53. Lawrence of Arabia (Lean, 1962) UK
54. Melodie en sous-sol [Any Number Can Win] (Verneuil, 1963) France/Italy
55. The Birds (Hitchcock, 1963) USA
56. Il Deserto Rosso [The Red Desert](Antonioni, 1964) Italy/France
57. Who’s Afraid of Virginia Woolf? (Nichols, 1966) USA
58. Bonnie and Clyde (Penn, 1967) USA
59. In the Heat of the Night (Jewison, 1967) USA
60. The Charge of the Light Brigade (Richardson, 1968) UK
61. Midnight Cowboy (Schlesinger, 1969) USA
62. MASH (Altman, 1970) USA
63. Johnny Got His Gun (Trumbo, 1971) USA
64. The French Connection (Friedkin, 1971) USA
65. El espíritu de la colmena [Spirit of the Beehive] (Erice, 1973) Spain
66. Solyaris [Solaris] (Tarkovsky, 1972) Soviet Union
67. The Day of the Jackal (Zinneman, 1973) UK/France
68. Gruppo di famiglia in un interno [Conversation Piece] (Visconti, 1974) Italy/France
69. The Godfather Part II (Coppola, 1974) USA
70. Sandakan hachibanshokan bohkyo [Sandakan 8] (Kumai, 1974) Japan
71. One Flew Over the Cuckoo’s Nest (Forman, 1975) USA
72. O, Thiassos [The Travelling Players] (Angelopoulos, 1975) Greece
73. Barry Lyndon (Kubrick, 1975) UK
74. Daichi no komoriuta [Lullaby of the Earth] (Masumura, 1976) Japan
75. Annie Hall (Allen, 1977) USA 76. Neokonchennaya pyesa dlya mekhanicheskogo pianino [Unfinished Piece for Mechanical Piano] (Mikhalkov, 1977) Soviet Union
77. Padre Padrone [My Father My Master] (P. & V. Taviani, 1977) Italy
78. Gloria (Cassavetes, 1980) USA
79. Harukanaru yama no yobigoe [A Distant Cry From Spring] (Yamada, 1980) Japan
80. La Traviata (Zeffirelli, 1982) Italy
81. Fanny och Alexander [Fanny and Alexander] (Bergman, 1982) Sweden/France/West Germany
82. Fitzcarraldo (Herzog, 1982) Peru/West Germany
83. The King of Comedy (Scorsese, 1983) USA
84. Merry Christmas Mr. Lawrence (Oshima, 1983) UK/Japan/New Zealand
85. The Killing Fields (Joffe 1984) UK
86. Stranger Than Paradise (Jarmusch, 1984) USA/ West Germany
87. Dongdong de Jiaqi [A Summer at Grandpa’s] (Hou, 1984) Taiwan
88. Paris, Texas (Wenders, 1984) France/ West Germany
89. Witness (Weir, 1985) USA
90. The Trip to Bountiful (Masterson, 1985) USA
91. Otac na sluzbenom putu [When Father was Away on Business] (Kusturica, 1985) Yugoslavia
92. The Dead (Huston, 1987) UK/Ireland/USA
93. Khane-ye doust kodjast? [Where is the Friend’s Home] (Kiarostami, 1987) Iran
94. Baghdad Cafe [Out of Rosenheim] (Adlon, 1987) West Germany/USA
95. The Whales of August (Anderson, 1987) USA
96. Running on Empty (Lumet, 1988) USA
97. Tonari no totoro [My Neighbour Totoro] (Miyazaki, 1988) Japan
98. A un [Buddies] (Furuhata, 1989) Japan
99. La Belle Noiseuse [The Beautiful Troublemaker] (Rivette, 1991) France/Switzerland
100. Hana-bi [Fireworks] (Kitano, 1997) Japan
March 1, 2015
Back to normal...for me...
Carli's Kills has simplified its meaning into my usual one -- Revenge destroys the innocent as well as the guilty...as Carli finds out. A bad guy named Spit has developed a girlfriend who's kind of mousy and hints at being one of those abused people who never think they're being abused...and she winds up in the middle of the death and destruction at the end. Trying to protect her man...or something like that. I'm not clear exactly how that's going to work, yet.
I'm still working on the outline, but it's made me switch the positions of a couple of scenes -- where Carli realizes Zeke couldn't have helped hurt her sister, and when she connects with him on a more...oh, let's just say...carnal level. And that's when he admits he knows who she is and has a good idea why she's come. And while he understands, he owes too much to the guys he's with to take her side.
Maybe.
I did this while my laundry was underway. Then I did lots of grocery shopping. 4 different stores to get what I want and need -- Wegman's (for general groceries), CVS (to use a 20% discount on some druggie stuff), Dollar Store (for the DP I want), and NoCo gas station (for windshield wiper fluid; mine's out). Tomorrow, I need to hit Tops for a couple things I forgot and something only they seem to carry -- Sandwich Spread; I use that to make my quickie tuna salad.
Tomorrow it's back to work. Hopefully, everything will be okay, again, but I never know. This marks 5 years in Buffalo, now. I landed here at the end of February 2010. God knows where I'll wind up, next.
If I wind up somewhere else; that's not a given.
I'm still working on the outline, but it's made me switch the positions of a couple of scenes -- where Carli realizes Zeke couldn't have helped hurt her sister, and when she connects with him on a more...oh, let's just say...carnal level. And that's when he admits he knows who she is and has a good idea why she's come. And while he understands, he owes too much to the guys he's with to take her side.
Maybe.
I did this while my laundry was underway. Then I did lots of grocery shopping. 4 different stores to get what I want and need -- Wegman's (for general groceries), CVS (to use a 20% discount on some druggie stuff), Dollar Store (for the DP I want), and NoCo gas station (for windshield wiper fluid; mine's out). Tomorrow, I need to hit Tops for a couple things I forgot and something only they seem to carry -- Sandwich Spread; I use that to make my quickie tuna salad.
Tomorrow it's back to work. Hopefully, everything will be okay, again, but I never know. This marks 5 years in Buffalo, now. I landed here at the end of February 2010. God knows where I'll wind up, next.
If I wind up somewhere else; that's not a given.
February 28, 2015
More of Cascais...
An old fort long since abandoned...
The coast just west of Cascais...
An old fort in the town of Cascais...
Municipal building of some kind...
Leaving Lisbon...
The Hudson River, frozen over except for one narrow ship channel. This is what I came back to.Best laid plans...
I got some details going on Carli's Kills and a better outline set up, along with some clarity on a few characters, but I'm nowhere near what I thought I'd have on this trip. I couldn't get the energy up. Or focus. Or whatever. First dealing with the weather screwing up my initial flight then rushing about to get everything done in time so I didn't have to change my flight back...and the usual rack of problems that showed up...I never had the time to work my way into the story.
Flying back, I actually dozed on the plane and watched some old episodes of Friends. I never even broke out my laptop. I've still got issues to handle as regards Holiday Inn Express, in Lisbon (I got lectured at for being on time for the shuttle to the airport instead of being early!!) and the actual shipping of the stuff out of Portugal...as well as a couple other things.
I spent today drifting and staying in my apartment, trying to get my return in order. I was going to go grocery shopping, but instead just made do with what I had. I've got a pile of laundry to do, so I'll just make it an all-day deal and not bother with anything that doesn't have to be bothered with.
Maybe it's the meds I'm on, but I'm in a down mood. I've been here, before, and know it takes a couple days for me to get irritated with my whining and get back to work. Too damn typical.
Oh boy...looks like I'm still headed south in this mood swing...
Flying back, I actually dozed on the plane and watched some old episodes of Friends. I never even broke out my laptop. I've still got issues to handle as regards Holiday Inn Express, in Lisbon (I got lectured at for being on time for the shuttle to the airport instead of being early!!) and the actual shipping of the stuff out of Portugal...as well as a couple other things.
I spent today drifting and staying in my apartment, trying to get my return in order. I was going to go grocery shopping, but instead just made do with what I had. I've got a pile of laundry to do, so I'll just make it an all-day deal and not bother with anything that doesn't have to be bothered with.
Maybe it's the meds I'm on, but I'm in a down mood. I've been here, before, and know it takes a couple days for me to get irritated with my whining and get back to work. Too damn typical.
Oh boy...looks like I'm still headed south in this mood swing...
February 26, 2015
Lisbon...
It's a rich-looking, very busy city for one that's supposed to be on the EU's sick list. I only had a couple hours to look around, but here's glimpses of what the city's like.
Lisbon Castle...I tried to get up to see it; I heard it was open till 6pm. It is, but they stop selling tickets at 5:30 and I arrived at 5:35. Dammit.
Shot of Lisbon's 25 April Bridge, fashioned after the Golden Gate.
Inside one of Lisbon's more self-deprecating churches.
The Alfama District, near the harbor, to give you an idea of how the old city's built.
Very tight streets.
But there's a square with a statue every 200 feet in that town.
More later; right now I need to sit in a hot bath for the next five years.
Lisbon Castle...I tried to get up to see it; I heard it was open till 6pm. It is, but they stop selling tickets at 5:30 and I arrived at 5:35. Dammit.
Shot of Lisbon's 25 April Bridge, fashioned after the Golden Gate. 
Inside one of Lisbon's more self-deprecating churches.
The Alfama District, near the harbor, to give you an idea of how the old city's built.
Very tight streets.
But there's a square with a statue every 200 feet in that town.More later; right now I need to sit in a hot bath for the next five years.
February 25, 2015
This was on the way to work, this morning...
What more need be said?
