Sports and the judicial system…

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Some of the films I’ve seen dealing with themes of corruption usually show legal offenses and less of what exactly happens to judges in the judiciary process. I’ve been researching for a screenplay I’m working on and trying to decide how to configure still the sport I want to work with–football, baseball, etc. I’m leaning mostly toward baseball; but that’s an easy one considering I grew up playing baseball–or softball myself for about ten years. Football seems challenging, but it may not be. Interesting are the ethics and immorality of a potential judicial system and how it functions from a system derived based on tradition that hardly adheres to that convention.

Greed is an old theme; but, yes, it still exists–and what, however, surprisingly still exists is bribery sustained yet uncomplicated but severely practiced. It’ll be interesting to see how characters are developed–some of them–based on how they look at the judicial system and how their daily lives involved in a passion that they like or love either becomes the focus or the corruption that they dislike in supporting what that passion becomes–and one that illustrates not just a criminal aspect but one that shows a judicial system that should never have existed. Hypocrisy, cover ups, pay offs, these are just a few formulaic themes but intertwined and/or synthesized may show another means or way of looking underneath the surface of criminality or corruption, whether metaphorically or not. I’ve been researching the history of the judicial system, the power, non-power, abuse of power of judges and supportive/ill-supportive staff, let’s just say, staff–the dovetailing of what a judicial system shouldn’t be and the many divergent atrocities that claim itself and put itself in its own discombobulated way.

It’s what’s underneath the surface of a judiciary system and a person’s passion for what they’ve set out to do with their lives–and their lives mean nothing to them once they have transitioned from what they like doing into a more criminally motivated or pre-meditative means. Characters like people are interesting; and to find out why a person turns to crime or a crime with or without respect for a legal system as a motivator for continuing the character’s passion for what they do might be discovered. A few of my characters are goal-oriented and are thriving in sports positions and others; and one, insofar, takes a U-turn and involves himself/herself, I haven’t yet decided the gender, into a judicial system which either takes him/her under or he/she overturns it. Fiction, yes. Research, truth. But the reality is passion, especially for something a character likes to do. I’ll see what continues to happen.

Sociopathics and landscape…

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I’ve pretty much been curious about how land takes shape and the congruence of how gender fits into landscape; in other words, not so much a feministic approach to it, which wasn’t at all my intension–although land is subjectively fertile. And coming across characters, a male character in this sense, who is a successful lawyer and who moves back to a rural part of land where he grew up, is an interesting challenge even with researching land with psychosis. It’s not because he has to move back to the rural location he grew up in but because he has a controlling nature about him. He finds himself married, which he didn’t expect to be; and it turns out he finds the person he thought he would spend the rest of his life with is what he expects but he can’t deal with it. The character of the wife doesn’t change but he obviously does. The subtlety of sociopathism and a demented side to himself he can’t see but others can and eventually do, including her. This character is just one portion of the novel in that it’s allowing me to explore split personalities and where this character’s sense of self takes place. I didn’t really want to lean toward digging too much into a deeper neurosis with him, as the main character has a handle on most of the inner conflict she has with herself, but she doesn’t understand yet why she does what she does.
Onward! 🙂

Undermining subtlety with characters…

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In drafting a newly, yet revised short play, I’m approaching this one with two women,a teenager (one of the female characters’ son’s) and a male writer. What’s interesting is the issue of who controls what and whom, which doesn’t seem to escape some characters who repeat offend in various themes or stories. I’m starting to shape characters: a grandmother, who has an aggressive approach and disinterest in creativity, a daughter who has an interest in creativity–writing in particular; but she can’t get herself to act with being fully engaged in the craft, and an obnoxious son who is compelled to challenge both women and becomes the writer his mother wanted to be. Intertwined is the daughter who obsesses about a successful writer, perhaps, yet of moderate success, but enough so that she can’t stop projecting through him what is missing in her life; in other words, within the writer, she searches for missing pieces that of male figures. It’s interesting to continue looking into profiling women who draw on things and people who don’t really exist in their lives and who have an inability to demand of themselves the most ridiculous of circumstances and defiance with the simplest of things; they have difficulty finding in themselves the role model they long to be–and search for unrealistic, unattainable people or things and abuse themselves and others in their journey of discounting and shortchanging their own life opportunities. The mother and daughter undermine-conflict is essential to see where the son’s journey takes him. And although each character from the same family is different, there’s one thing that connects them, which is they can’t figure out what connects them but they connect when they are desperate enough not to want to connect. It’s a short play that, perhaps, could turn into a full length play; but I’m wanting to work with a theme that calls for variegating undermining, whether with subtlety or explicitness. I want to see what happens to these women, how dynamic their end result takes shapes. I see them already changing for the worse and for the better–yet I’m still trying to see/capture more the better. But, for now, the better seems to point to the son and how he turns out. We’ll see. 🙂

Looking into John Cassavetes’s work…

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Of significance in learning about film is coming across filmmaker John Cassavetes’s work and perspective about film. Some of the very rudimentary objectives in film and in discovering his views are infinite in the sense of simply finding a passion within a craft, particularly film, whether independent or non-commercial. The important thing to remember, at least for me, is that looking at people and the diverse highways that their lives take shapes scenes in a realistic yet original way that maybe black and white or in color. I haven’t yet seen Cassavates’s work, but I plan to see and review for myself his films and adaptations of his work.

To me, his work really didn’t fit into a genre, per se, at least when learning about what it took to make film, film. One of the most important things to learn about with film is checking out each decade of film, obviously looking and studying different types of film and different directors. I had the good fortune of looking at some tapes of him working at film,filming, and discussing film from the seventies recently and his personal perspective and take on film–and the subjects he chose to work with whether in the subjective-sense or through the dichotomy of yet a dynamic human race. What was captured and continues to be captured is authenticity managed in the most personal of ways; and a way to go about developing this is to approach non-commercialism as non-obtrusive and in a way that focuses on human regard whether that be immoral or moral, consequently in a provakative way, which is what I think Cassavetes did. I’m looking forward to delving more into his work. The most recent adaptation I’ve discovered is a DVD version of Love Streams also from screenwriter Ted Allan. There’s something to be said about not necessarily the primitive–but the intrinsic physiology of humanity and how relentlessly unforgiving personal attributes make or can make film manifest.