I love PULP! "THIS is Hardcore".... The song by PULP!
I love it in orange juice. Without PULP, orange juice is more like...orange drink... and bleccch to that.
THIS is pulp!
I love PULP FICTION. I had already seen and fallen in love with RESERVOIR DOGS when PULP FICTION hit the theaters, and I was among a legion who dragged friends into the theater and became a part of Tarantino's conversion machine. All the guy had to do was make incredible fucking movies and...WOW, people took their friends to the theater to see these stories. It was NOT about the budget. It was NOT about the NAME of the actors in the movie...IN FACT, many of the actors in the movie made their careers during that 2+ hour thrill-ride, a few more made their comebacks (looking at you, Travolta!).
THIS IS PULP FICTION!!!
I love PULP fiction. No, not the movie...that was the last paragraph...Jesus, keep up!...This is an entire genre... The genre that inspired Tarantino to WRITE his movie in the first place and to honor it with the name. One of my very favorite relatives of all time was my Papaw Harry. He was not my Grandfather by blood, BUT he WAS my grandfather from the day I was born, having married my divorced grandmother years before. It was my awesome Papaw Harry who introduced me to eating Pringles (INCLUDING doing the whole "duck bill" thing!), he introduced me to eating "Lawry's Seasoning Salt" which has been found in my cabinets WITHOUT FAIL throughout my adult life, and not ONE TIME do I look at that label ANYWHERE and not think about this guy! If it wasn't for him, I would not regularly risk my life by sprinkling Seasoning Salt onto (already salty) dill pickle slices! If not for him, I would not have introduced my beautiful, amazing niece to this dangerous practice!
It was in my Papaw Harry's closet that I found my first "True Detective"-type magazines at about the age of 7 or 8. HONESTLY, it was the lure of nudity that drew me in upon my initial discovery. But as a voracious reader, my attention QUICKLY jumped the tracks from the Hardy Boys Mysteries I had been reading...to something all together more real, more deadly, more sinister... and completely inappropriate for a kid my age! But the affair had begun, and in the forty intervening years, it has never come close to abating. I LOVE PULP FICTION.
THIS is PULP fiction!
ANYWAY! THIS WAS SUPPOSED TO BE A SHORT POST...LOL... I really just want to go to sleep BUT COULD NOT DO IT WITHOUT reaching out to you guys first.
I LOVE PULP! That is really all I originally came to say! Just thought I would post that and a whole bunch of videos and be able to crash out... but no.
THIS IS PULP!!!! (A few videos on this page! PLEASE ENJOY!)
"Common People" by PULP (MAYBE my favorite...today!) "...I don't see anyone else smiling in here..."
I LOVE PULP! I LOVE this band, guys! I really, cannot explain it in any real detail at this point without just boring the shit out of you (and you MAY ALREADY have crossed over into "bored as shit"!...SORRY!). Just listen.
Just listen. Watch. Sit back and enjoy. Pulp is what you need right now....
Well...It's definitely what I need... This is what I'll be listening to as I crash out tonight guys... BUT I'LL BE DREAMING?... of you. ONLY YOU.
Watch and listen to Pulp. See you again, tomorrow-ish! Pulp "Babies"... JUMP CUT!
"Help the Aged" by PULP...because...once they were just like YOU!
As casting picks up steam and our notice finds its way across a growing number of sites, the number of submissions by actors wanting to play these characters grows and grows. UNBELIEVABLY, the largest number of actors have shown interest in playing the part of the clown... REALLY? During the composition process for this screenplay, I kind of shuddered at the thought of even ASKING someone to play this role, and frankly thought I would try to pawn it off onto Dan Koven, Rita McBean, or whomever else we might rope into doing it for us.
"..uh, yeah, so you're going to play a clown. Uh-huh. And you'll also be naked during the scene. Got that? Well...Ok, then...while naked and dressed as a clown, you will also try help try to kill a man...um naked man being killed by....well, you see that's the thing it says here that he's naked too... Then the clown has to do something a little strange...(say WHAT--stranger than everything else so far?)-- well, yeah... this is a semi-musical, so...the clown's gonna sing..."
But, NO SHIT, this is the role people WANT right now! Casting for this role is looking bright indeed. But... I have been holding back on the one real piece of star-power that I have long had my sights set upon...
The CarryOut was and is 99.98%ish based on and inspired by the real-life cool-as-shit karaoke bar called the Carriage House Cocktails and Karaoke (Click HERE or on the pic below to LIKE their FB page! Tell them "The END of FUN" sent you!!!)
As mentioned, in a previous post, I moved to San Diego in Spring of 2012 after a VERY brief period of complete and total homelessness (many adventures leading directly up to, during that period-- but you are probably able to predict my next words at this point...LONG STORY...we'll get back to that stuff some other day. The events, the people, the business, etc that led to my homelessness is VERY LIKELY one of-- if not THE-- next screenplays I will write). Discovering the Carriage House was one of the first and only really, really good things to happen to me in about a year at that low point in 2012.
So much changed for me during the next 2 years, and ALMOST ALL of it positive, that it will long stand in my memory as a few of the best years in my 40-something life. (This is pretty significant, by the way. I do not feel like I am easy to impress, but every time I feel like my life cannot get better than "X" happening-- my band Wild Love Rebellion-- Moving to SoCal-- Praxdog Productions-- something indeed comes along and not only adds to my life, but uplifts it.) The Carriage House will always be a lynchpin, a fulcrum, an important foundation and integral part of those memories and that time. And, no, it's not the alcohol that makes me think so highly of the place. I can get that anywhere. YOU can get that anywhere-- I wouldn't waste your (or my) time that way....PROMISE! It's the place.
There's a vibe that has been created by the souls that populate the space inside that FAR EXCEEDS what should be possible or allowable considering its size. When the place is full, regulars and newbies alike, huddled together in smaller and larger groups around all its tables (whether for playing pool or having a place to sloppily slosh your spirits to rest while you browse the song-catalog and decide exactly what you wish to inflict upon the crowd that evening through the weapon that is your karaoke mic), this bar comes to life. You can feel it as you become part of its body, its mind, and its soul. It needs us to live, yet it lives ONLY FOR US.
This is a basic diagram of the bar that I "drew" from memory using "Google Drawings". If you ever go there...you'll see.... I NAILED it...Really surprised myself....
So, it embraces us all, drawing us in. Allowing us inside to unite with it, and through it, with each other. Wrapping us in kinship and collaboration, the Carriage House still thrives on and feeds the individuality of each shiny star who grabs the mic each night; the bar allowing its voice to become that wildly changing wail which pours regularly from the speakers.
For me, the song "Just What I Needed" by the Cars may be the first song that anyone anywhere at anytime EVER said to me "Hey, that's YOUR song, right?" One night after about a year of hanging out at the Carriage House, a guy I definitely did not know or even recognize walked up, friendly and extroverted as hell-- a drunk smile plastered across his face like the "Jesus Loves You" (that along with the scribbled addition, "Asshole" reads "Jesus Loves You, Asshole") bumper sticker above the toilet upon which many have meditated while letting liquid loose from one of three orifices (Hopefully only one of those actually, IF they are staring at this particular sticker...), walked up to me and blurted out over whomever was singing badly at that time "Hey, man, do you mind if I do 'Just What I Needed?' by the Cars tonight?" I was stunned.
I just looked at the guy, nodded gently and said "Hey man. It's not my song. Only like Ric Ocasek or the other Cars guys can say that." The guy heard not word one of what I had said to him, but did see the head-nod, understanding the affirmative nature of my response. And that was enough. He left as happily at that particular moment as if I had been Ric Ocasek. While he sang the song, I still drunkenly shouted about MY (yes, Ric, MY) additional lines for the song. When the song says "It's not the perfume that you wear...", I add "...but it helps!" which has become my little addition to the "Carriage House spirit or culture". You often hear those words escape the lips of others there now... it just kind of belongs to the bar...
How did I know I would like the bar so much before I had ever spent one evening there? WELL, that very first night I visited the bar, it was very busy. I got drunk and decided I would put in, and sing a song (probably "Just What I Needed" or maybe "Don't You Forget About Me"-- those were go-to's for the first year or so...). I filled out my song-slip and turned it in, but if you know much about me, then you know I am not exactly "wired" like others, especially after like 4 or 5 Jack and Cokes, which is what I needed that first night, just to make myself stay calm enough to remain in the bar. A half hour passed after I put in my slip and I began to doubt I had ever done it, but did not want to look stupid and fill another one out if I had just done it. So, I waited and another half hour went by-- I was SURE of it! But still I waited.
Finally, when I could take it no more, I made my way back up to the Karaoke KJ and asked "Hey, DO you know when it will be my turn to sing?" This KJ turned to me with a VERY SINCERE smile on her face, and in a very punk-rock attitude that defied her much more sensible and current, fashionably appropriate, far more glamorous wardrobe and appearance, told me, "It'll be your fucking turn when I call your name!" She wasn't mean. It was just matter-of-fact from someone who was swamped and tired as shit of drunk assholes like me stumbling up a few minutes after putting their song in, only to try and rush her through a rotation she worked hard to keep as fair for everyone as possible. Not only did her response not bother me-- in the context, especially at that exact moment-- it was the only answer. I walked away with a smile on my far more patient face and thought to myself "Well, I know I will be coming back here a lot."
By the way, we have discussed this story many times, and she flat out denies the details of her treatment toward me. But then she usually punches, kicks, stabs, shanks, garrots, slaps or otherwise does lasting bodily harm to me...which she will then deny the next time I see her. The pattern repeats as reliably and as necessarily as the rising and setting of the sun. BUT-- BUT-- BUT PLEASE UNDERSTAND, a solid 94.829472-ish% of her verbal and physical violence seem reserved for me exclusively. YOU ARE SAFE if you visit the Carriage House. In fact, she will probably be much more likely to run over to protect you than to hurt you. She is NOT KARI K! But wow, did she inspire her and the story for me in many, many ways.
By the time I had visited the bar a few times, while still very quiet with any patron new or regular, the owner, manager, and bartender, learned my patterns very quickly, exhibiting a level of service that encourages you to drink more, tip more--and FEEL GREAT about coming back again and again to do the same. The folks who show up there to sing only massage the feelings of good times, positive energy and hospitality. The professional service, fun attitude, and amazing regular crowd at this bar are truly something you have to see to believe.
NO WORRIES! I want to put it in "The END of FUN" as a bar called The CarryOut. I want you to see it exactly it is now (it is moving soon!). I want you to see it as I see it. I want you to see it as I love it. I want you to love it as I love it.
Next weekend, we have the first table read coming up. Very quickly during this week and next, we will start to fill the roles of each character with real live actors. MY plan is to speak with the owners of the Carriage House over the weekend and next week to find out all the details we need in order to secure this venue as our MAIN STAR.
Stay tuned. Casting is going nuts and I want to start bringing you some awesome news soon. STARTING WITH THE CARRIAGE HOUSE!
In an earlier post, I spent some time ranting about the influence of Fight Club, Tyler Durden, and their creator Chuck Palahniuk. Those who watch "The END of FUN" with a knowledge of "Run Lola Run" (originally "Lola Rennt"--in German, by Tom Tykwer) and a critical eye will notice its influences on me as a writer and movie-maker, as well.
I saw this movie around the same time as FIGHT CLUB, and was introduced to it by the same guy who forced me to watch that one, Dan Koven, our Senior Executive Producer and BritPop pusher. One of the first things Dan said as we popped it into the DVD player (ask your grandmother, she'll explain "DVD Player"), was "Turn up the volume as loud as you are allowed or as loud as your speakers can stand."
I offer any of you who watch the same advice. The soundtrack is integral to the movie and simply phenomenal.
As with Palahniuk (and Fincher-- never even gave him the props he earned on FIGHT CLUB that led me to see and enjoy every movie he's made since), RUN LOLA RUN turned me onto another artist, this time German auteur Tom Tykwer. This artistic genius wrote and directed the movie as well as providing amazing music for it.
His auteur-nature is one thing that draws me to Tykwer's work in a strong way. His commitment to his RUN LOLA RUN is so absolute and complete, that you simply understand (as an artist) when you watch it that there was NOTHING that would have stopped the man from making this movie.
I can relate to that. And, it seems, so can several others. Something magical and transformative has happened each time I have allowed anyone to read this story (The END of FUN) from beginning to end. The reactions with which I am met, simply fill me with energy and life in a way I can only compare to flowers opening before the morning sun. I. Feel. Reborn.
Each time someone reads this, the look on their face, the questions they ask, the comments they make fill me with more than encouragement. It fills me with the drive I may only IMAGINE Tykwer had going into the early stages of RUN LOLA RUN... and that is?
NOTHING WILL STOP THIS MOVIE. Nothing.
#TEOF Momentum
The Trailer for RUN LOLA RUN gives you the smallest glimpse of the strange beauty contained in its compact sub-90 minute running time.
He has gone on since then to make several other very good movies, and to collaborate with The Wachowskis on a very divisive movie that I truly loved, "Cloud Atlas" (sometimes I feel like I am the ONLY one who loved the movie so much! But love it I do! Visually, tonally, structurally, philosophically, narratively, etc. ad infinitum). Many of the things I love about Tykwer as a filmmaker are born in RUN LOLA RUN and then evolve, like it or not, throughout the rest of his filmography.
The trailer for Cloud Atlas, for better or worse, gives you an idea of the wonderfully complex plot, but in no way prepares you for the trip you take. AGAIN-- maybe that's just me?
RUN LOLA RUN begins, like FIGHT CLUB, with perhaps the most inventive, awesome, and just plain cool opening credit sequences ever. Rather than spoil it, I will simply invite you to take my word for it, rent the movie (BEWARE, AMERICAN FANS: The movie is in German-- I suggest listening in German and reading the subtitles, but that is up to you--- just WATCH IT, for god's sake!), watch and experience for yourself. Or if you are really antsy go searching around on YouTube--I'm sure it's out there somewhere!
One of the other simply amazing things that called down my love like lightning for Fight Club was the TWIST that occurs near the end of the movie. In RUN LOLA RUN, you do not wait anywhere near as long for "the twist" (I put that in quotes because you soon realize that this was not THE twist, simply one of many that are deftly dovetailed together to deliver an emotionally charged mindtrip!). Once this first twist occurs another follows, then another. Then another. Then another. The movie grabs you and simply has its way with you, leaving you fascinated but completely unsure what to think the first time you watch it. By the end, though? By the end, it all comes crashing together in a way that is touching, unexpected, yet exactly right. (WATCH IT, OK?)
Almost more than anything else, I love the plain old non-standard story-telling structure of RUN LOLA RUN and that Tykwer is able to still work with this and create a linear experience of story that makes sense and is only enhanced by its deviation from the expected. It is possibly the most romantic story I have ever seen.
After watching, if you analyze movies, you will be asking yourself-- just as I did: "Was that a LOVE STORY that just looked like a CRIME STORY?...or Was that a CRIME STORY that just kind of looked like a love story?" It is both and it is neither. It could not exist without both, and yet rises above either. (JUST WATCH IT, OK?). While not similar in plot, AT ALL, that basic idea floated around in my head, especially as a lover of noir, pulp, and the "Femme Fatale" concept in general. While writing THE END OF FUN, I was sure I wanted a story that dealt very realistically with the dating issues of the single 40-something male.
But as a fairly avid hater of most "romantic" (quotes are "romantic for romantic's sake) movies, and LOVER of crime stories, I knew which direction I would ultimately steer mine. While I think viewers will see the romantic elements of the plot, when the final credits roll, I think viewers of The END of FUN will feel pretty certain they have just watched a crime movie (a pretty brutal one, at that!).
RUN LOLA RUN regularly throws text up onto the screen. Not OVER the images, but in lieu of them. entirely. This is very important to the movie overall. My movie making began in 2010, a full decade after seeing RUN LOLA RUN. As obsessed as I am with movies and making movies, it is also always VERY IMPORTANT to me to make my viewers read something important during the experience. (At the beginning of SPIDER-- my faithful adaptation of a Charles Bukowski Story-- I actually ADMONISH my audience for watching too much stuff an not reading enough. YIKES!) I cannot imagine NOT putting text on the screen of every project at some point (although it has happened and will again).
This is PART 1 (PART 2 is below/follows) of "spider", my adaptation of one of my favorite stories by Charles Bukowski.) This movie has gotten a bit of attention because it was filmed for about $10, shot, edited and posted in a single 24 hour period.
PART 2 of "spider" (original story by Charles Bukowski--adapted and directed by me: Robert Christopher Smith)
FINALLY AND MOSTLY, the biggest impact from Tykwer, particularly RUN LOLA RUN is its unapologetic embrace of strangeness as a means of advancing the story. The plot, characters, and story of RUN LOLA RUN are elevated by the courage Tykwer exhibits in his ability to allow some fairly risky scenes, that are completely non-linear, to become the strongest support for those uplifted, elevated elements.
This is particularly important to my development of the plot for The END of FUN. Over the past year, I had nearly every plot and character beat fairly sketched out in my head (or drunkenly scrawled as you may want to read here and see scans of my actual notes! http://theendoffun.blogspot.com/2016/06/drunk-reporting-1-mr-blank-and-masks.html or here http://theendoffun.blogspot.com/2016/06/drunk-reporting-2-flying-off-tracks.html ). But it wasn't until I was able to take the break, following being laid off from a teaching assignment that my TWIST occurred to me. Not just a twist, but a full embrace of the type of weirdness Tykwer and a few others like David Lynch, have become so masterful at weaving into and throughout their works-- or occasionally even allowing the weirdness to be the point itself!
There is a very strange, very creepy, very violent scene in The END OF FUN that I feel like could be "the" scene people walk out discussing. It is not there simply for the sake of weirdness though, or violence or creepiness. It is there to move the plot much further than would have been able otherwise. (I NEED TO JUST SHUT UP NOW before I eff up and spoil this entirely....). ANYWAY, I owe Tykwer. I owe Palahniuk. I owe Fincher. I owe David Lynch too (Oh boy, do I owe David Lynch-- but we'll leave that for another time).
I OWE ALL MY INFLUENCES. I never want to, never aim to, never attempt to out and out APE anything by my heroes. However, if I am ever so blessed that one of these ICONS actually watches and enjoys something I have produced, I WANT them to see that "easter egg" and know that it is a love-note of creativity from my soul to theirs, and this is the deepest form of appreciation or respect that I could possibly muster for them.
Thanks for hanging in until the end! I hope you are getting excited about "The END of FUN". I am!!! Can you tell?!?
I would love to hear from you in our comments section.
Please share the links and spread the word! THE END OF FUN IS COMING!
Hello to all potential actors out there, seasoned and rookie! My name is Robert Smith and I would like to express my sincere thanks for your interest in acting for us in THE END OF FUN! IF THE ROLE IS STILL LISTED BELOW...IT IS STILL OPEN! I will update regularly and delete each as they are cast.
Please keep reading for an insane amount of information, including the roles, how to apply and what to do if you just want more information!
About the shooting dates: We are calculating 4-5 days over one or two weeks at the end of August, possibly as late as Mid-September. One reason these dates are not set in stone yet is because of YOU! Being an independent feature, we will be providing compensation, but one of our biggest assets is flexibility. We want to work closely with our KEY TALENT to set firm dates that everyone else who is cast must adhere to.
In addition to the Lead and featured extra roles listed below, you will also notice a need for a great number (20-30) of background actors since the majority of the movie takes place in and around a local bar in San Diego.
***IMPORTANT***ALL Lead and Secondary characters must be able and willing to both sing and dance. The movie takes place in and around a karaoke bar, and every lead and secondary character will also have one day at a studio to record their songs (to be played back during the shoot).
ROLES: Lead Roles
Johnny-- Role Filled by Writer/Director ROBERT CHRISTOPHER SMITH!
Kari K: Mid/late 30's. Average build, can be anywhere between 5'0 and 5'6" (but wears shoes to be whatever height she chooses at any particular time--usually heels when at work). She has blonde hair that hangs past her shoulders and is often pulled back into a pony-tail as it is on the night this story takes place. Kari K is the karaoke KJ ("Kari K, the Karaoke KJ" is her tagline and even on her business cards). She is a high energy Southern California girl, but she wears her emotions on her sleeve, which means that sometimes that high energy may be directed in ways that defy her usual "bubbly" nature and led to her becoming a KJ in the first place. While still beautiful by the standards of any sane person, she is very self-conscious about approaching 40 and being unmarried and childless. She is a great person to have in your corner and a terrible person to have against you. (MAIN CHARACTER) --Partial Nudity Required (Topless--implied full)
Jade Silver: Role Filled by Julia Rosette!
Cammy: Role Filled by JULIA BODEY!
Clown: The naked clown is a very key element to this story. The time onscreen is brief but very powerful, likely to be the most talked about role and scene in the movie. The clown, in addition to being nude, does sing, dance, and fight. (KEY SECONDARY CHARACTER) --Full Nudity Required
SCAB: the violent, conservative, biker-gangbanger wannabe ex-boyfriend of Jade Silver. Over 6' tall and muscular, big guy. Grew up in Brazil until teen-ager and his father moved family to SD from Brazil, fleeing their authorities. Although his father has built a legitimate life for his family in SD, his constant belittling of SCAB, calling him soft, etc finally causes him to go out and form his own gang of bikers, but built on Teabagger political principles instead of ethnicity, etc. SCAB is not very smart, but what he lacks in intelligence he makes up in ruthlessness and an unflinching adoration of violence (KEY SECONDARY CHARACTER) --Full Nudity Required
V V: VV is mid-30's. He is short and somewhat trollish in appearance, but with the sexual appetite and persistence of a movie star times a rock singer to the power of a professional quarterback. VV never passes an opportunity to get next to a woman. He and Johnny are great friends and "running buddies", constantly acting as "wingmen" for each other. When Johnny texts him on the night of this story, it is not automatic, but is does not take much convincing to get him out to the bar. Once there, he falls under the spell of Jade every bit as badly as Johnny but without the good luck of reciprocation that Johnny experiences. (IMPORTANT SECONDARY CHARACTER)
Flash: Role Filled by TY MILLER!
Shay-- Petite, young, Asian (Written as "Asian girl", but very open to any/all ethnicities-- the right person is the right person) girl who sings "Losing My Religion" by REM while Jade dances for Johnny (FEATURED EXTRA)
Matt-Man: a 56 year old regular at the CarryOut--(FEATURED EXTRA--SINGS)
Misty: 36 year old woman hanging out at the CarryOut --(FEATURED EXTRA--SINGS)
LACKEY X (not character's name): Hanging with Scab. Does his bidding. Mid 20's to Mid 40's. Average build--muscular to fat is OK. (FEATURED EXTRA--NO SINGING)
LACKEY Z (not character's name): Rides Scab's bike out to a dump-site (FEATURED EXTRA--NO SINGING)
Danny: the bartender and owner of the bar (late 30's to late 40's) --(FEATURED EXTRA--NO SINGING)
Marvin Lippert--Man in 60-70's. Scab's neighbor (FEATURED EXTRA--NO SINGING) Eleanor Lippert--Woman in 50-70's. Marvin's wife; only seen cowering behind her husband BACKGROUND ACTORS We will be looking for about 20 to 30 background extras to work for 2-3 nights.
There will be a minimum of QUALITY FOOD as compensation for everyone including Featured Extras and Background Actors.
**ALL LEAD ACTORS and SECONDARY ACTORS will be compensated additionally financially, based upon several factors, including experience and other factors that may be negotiated with each actor individually.**
***IMPORTANT***Everyone involved will be credited additionally as an "EXECUTIVE PRODUCER". However, there will be expectations that are associated with this title, primarily being active involvement in the crowdfunding and fundraising efforts overall. PLEASE ONLY APPLY if you completely understand and are willing to enthusiastically take part in the fundraising aspects of this project.( If for any reason, you are unable or unwilling to be part of the fund-raising, please do not apply. This is automatic disqualifier.)
READY TO APPLY? If you would like to be considered for one of the roles above, please follow the process outlined here:
1) Send 8x10 headshot (EVERYONE)
2) Send CLOTHED Body Shot (All LEADS and SECONDARY--just something that shows your general level of fitness)
3) Send links for Youtube clips, etc. of you singing and/or dancing (ALL LEADS and SECONDARY if singing)
4) Please write a short email to explain that you understand the need to actively, enthusiastically engage in the fundraising efforts.
5) Please include your Professional Actors Resume if available. Tell me about what else you have done!
As reported in "Drunk Reporting #1 (http://theendoffun.blogspot.com/2016/06/drunk-reporting-1-mr-blank-and-masks.html), the entire idea, much of the actual plot, and even entire passages of dialog and action were composed initially while under the influence and singing at The Carriage House in San Diego. As you can imagine, for a multitude of reasons, this is not always exactly productive. (AND ALWAYS requires a lot of editing and rewriting once sober...)
In that first drunk report, you saw how a little too much Jack Daniels (I honestly think it was the difference between drinking two JacknCokes and maybe three. My threshold is NOWHERE NEAR what it once was as a punk-metal-hippie), caused me to allow myself to become lost in thought as I pondered masks, their significance and my great love for them. Today, you will see how a little too much Jack Daniels gets in the way again.
The first thing you will see is a perfect example of how events unfolding in the bar (REALLY HAPPENING!) grab my attention and encourage me to work like hell to develop it for a scene in the movie. This particular scratching of notes never went past that, in fact, you will see as the second thing how I just get distracted and abandon the idea (CAN YOU GUESS THE SONG THAT WAS PLAYING??? There is a definite clue in the notes!) and start a drunken pondering of entirely other subjects. My attention either runs very deep when intoxicated or flits like a gnat in crosswinds. Guess which...
TRANSCRIPTION OF NOTES (See scan for actual drunken ranting/scribbling):
FRONT:
*Must include the over-aged/aging prostitute/escort
Johnny watched the aging hooker-with-a-bob and the young Mexican-with-a-butt-cut flirting and thought, "I'm gonna go home and kill myself." Of course he wasn't serious, but the point was still made. That time of the night had been reached and he knew it. His "suicide" would be not be a literal one, but a sexual one. One more night of extended re-virginity. One more night of a bruised cock. One more night of frustration and separation from elusive love.
BACK:
Who has soul? Who
is the soldier?
Does it matter?
Just keep singing
Applause is punctuation
Grand punctuation it is
but punctuation
nevertheless
Life is applause
SCAN OF ACTUAL DRUNK RANT
Front of page
Back of page
THAT's IT! My Advice? Don't drive drunk, but don't write drunk either. It's just not worth it!
Just as my way of planting the initial seeds while there was really no one there yet, I posted a song per day at the facebook page (check it out here or click the pic below! https://www.facebook.com/The-END-of-FUN-605052902991983/) and will end tomorrow when I post "Cheer Up, London!" by Slaves.
But the intention the whole time was to dedicate one of these early "pre-production posts" to teasing you with a complete rundown, INCLUDING the YouTube Videos, for the entire UN (VERY UN)-Official Soundtrack. #TEOFSoundtrack
Everything except the songs by Cloud Nothings, Afroman, Gorillaz, and Slaves is actually sung as karaoke by a character in the movie. There may be a few other songs, and one or two of these may end up CUT in the long run. This is just an early version based upon the script as written in first-draft form!
If any changes occur AFTER production actually starts, I will post a cumulative post addressing that too.
Please check out the list and let us know your thoughts and/or questions (I will answer as much as I can without really SPOILING any of the big moments!)
Song #1 "867-5309" by Tommy Tutone ("LIKE" the FB page above and you can see me singing a "test version" of the song with changes in the lyrics specifically for the movie!)
Song #2 "Fall In" by Cloud Nothings
Song #3 "Take Me to Church" by Hozier
Song #4 "Sex (I'm a)" by Berlin
Song #5 "Because I Got High" by Afroman
Song #6 "Clint Eastwood" by Gorillaz
Song #7 "Stray Cat Strut" by The Stray Cats
Song #8 "Suspicious Minds" by Elvis Presley
Song #9 "All I Wanna Do" by Sheryl Crow
Song #10 "I Will Survive" by Gloria Gaynor
Song #11 "Cheer Up, London!" by Slaves
BONUS: Wild Love Rebellion "Void" (This was my band in the early and mid 90's-- THIS was the only thing close to a mellow song that we ever recorded-- GUESS WHAT??? LONG STORY!!!)
Hello all of my fun-killing friends, family, and fans!
I love the questions posed in the title of this post. Let's use this post to answer those exact questions one at a time! Is there any goal beyond only MAKING the movie?
Yes. It has been a long time goal of mine to have a movie that was of high enough quality all the way around from story to production and directing to acting that I would feel compelled to enter the movie into various festivals, large and small.
At this point, I only have the story and screenplay, but I and every person to read it so far is certain of its quality. In fact, I have never been as confident of any single piece of art I have produced including every piece of fiction, poetry, and music I have ever labored over. Only a VERY SELECT FEW besides me have read the entire screenplay and know every major and minor beat found in its pages.
To my great surprise, and honestly thrilling me beyond my wildest expectations or even dreams, those few folks who were allowed to consume the whole thing have been incredibly excited and enthused. My Senior Executive Producers, Rita McBean and Dan Koven, in particular, appear to be locked in some kind of three-way competition with me at this point for who flips out the most when talking about it! Both of them literally ASSAULTED me with praise following their first readings. SCARY LOVE! (Isn't that always the best kind? Is there any other kind?)
The breathtaking praise, energy and enthusiasm from all involved so far fills me with the confidence that I am right about this story. It is the right story to take to festivals!
Now, I am working very hard to find the right team. Dan and Rita are doing their part to make this happen as well.
Here's who we have so far (*ALL subject to change, of course, until shoot begins):
PRODUCTION TEAM
Writer/Director/Producer--Robert Christopher Smith
Senior Executive Producer-- Dan Koven
Senior Executive Producer--Rita McBean
Make-Up/Effects/Executive Producer--Amy McCain
Sound Engineer/Executive Producer--David Nylund
Executive Producer-- MORE COMING!!! (This is basically our "street team" once crowdfunding starts!)
Casting for our Acting Talent has just begun. There are ads out on Craigslist and people are beginning to inquire about acting in the movie. These efforts will intensify greatly beginning next week, and we approach the one-week mark to the FIRST TABLE READ.
Once that table read is behind us, ALL ROLES MUST BE FILLED quickly. There will be no room for screwing around since we will immediately schedule the second (and this time, PRIVATE) Table Read. This second table read will be exclusively for cast and some crew to begin hammering out our delivery.
The one and only role that I know for sure is that the CarryOut should be played by The Carriage House. I plan to finish those discussions very soon and lock this down.
The pieces are coming together. With the amount of people already working on this with me, and the over all buzz, I am confident THE RIGHT PIECES ARE COMING TOGETHER.
We are taking this movie to FESTIVALS.
Where is this GOING?
It has been a long time fantasy, and now firm goal, to attend SXSW. However, I wish to do so as a participant, and not only as an attendee.
What is SXSW?....HOW DARE YOU!!! Kidding, kidding...No big deal...OK, you are not big enough of a geek yet. Let me fill you in. SXSW is South by Southwest, a huge annual festival held in Austin TX over several days each March celebrating all the best in new music, movies, and more in entertainment. It is the model for music festivals like this and is the largest of its kind in the world. In fact, the attention that it drew to itself in this regard is what has made it so increasingly popular and effective for film and other interactive media.
They absolutely would NOT choose this movie simply because of its musical nature. Having said that, however, "The END of FUN" is more than a natural fit for SXSW, and has the potential to draw a significant buzz (if done right, back to the whole first part, above!).
At this point, I clearly envision myself, a few actors, maybe a producer or two all taking "The END of FUN" to Austin, TX for SXSW 2017 next MARCH!!! Is there a PLAN?
Why yes! Yes, there is a plan!
The plan for developing and shooting "The END of FUN":
Continue casting up to and through TABLE READ 1 (July 9)
Begin Crowdfunding (Kickstarter is likely, and will run for approximately 30 days)
Money for Location(s) including The Carriage House
Money for Actors (I want to hire as professional actors as possible-- whoever is hired MUST TAKE THIS 100% seriously and be deeply committed!)
Money for Production Team (Sound, Make-Up, Cameras, Editing)
The PRIMARY budget has been estimated and will be locked following the finalization of casting and crew hires
Have cast and screenplay "locked" before TABLE READ 2 (projected date=Aug. 13)
Record Audio for karaoke performances (Mid-Aug)
Shoot movie over 4-5 days (Mid-Aug/Possibly Late-Aug/POSSIBLY Early Sept!)
Edit and Postproduction in September
Final VERSION ready by HALLOWEEN 2016
This will be submitted to SXSW Nov.1 (ish)
This will entail a VERY SLIGHTLY higher rate for submission since we will have missed the initial dates, but it WILL NOT AFFECT our eligibility in any way at all!
Prepare Press Kit in anticipation of Positive Response (WE WILL NOT SUBMIT UNLESS ALL IN AGREEMENT THAT THE END PRODUCT LIVES UP TO OUR HOPES, DREAMS, EXPECTATIONS, ETC.)
Attend SXSW in March 2017
WIN? SELL MOVIE?
Who KNOWS?
Continue to submit the film in other, especially more local (we are in SoCal, after all) festivals and events.
Of course each progressive level of success in this business requires not just talent, but persistence, timing and plain old luck. HOWEVER--ANY SUCCESS EXPERIENCED WILL ALWAYS BE SHARED WITH MY FELLOW ARTISTS WHO ARE SO KIND TO SHARE THEIR TALENTS ON ANY PROJECT WITH ME. You have my word on that-- NOW and FOREVER!!!
What do you guys think? Questions? Caution? Advice? Praise? Encouragement? WHATCHA GOT?
