Entering my Sonata #3: Progress

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I have started entering a lot more passages from my “Piano Sonata #3” from 1962, and then 1974, in Sibelius 7.5 on a new MacBook in an OS 10.2 Yosemite platform.

The first two movements, and most of the slow movement were composed in the spring of 1962, after I had entered George Washington University and was “living at home” after my William and Mary “expulsion” for admitting “latent homosexuality” the previous November. My father had experienced a mild “heart attack” over the stress and was sometimes unnerved by the volume of classical music coming up from the basement.  Some of the music, especially a theme in the slow movement, recalls that period.

I finished the slow movement and sketched out a finale while living in Piscataway, NJ in 1974, and traveling back and forth to St Paul MN while working for Univac.

I’ll give the “names” of the files, really for my own reference (they aren’t online as such), and note how they were entered.

A segment entered manually (“M”) is fitted to the measures exactly.  A segment recorded through the Midi from an electric piano is harder to read and doesn’t match the measures yet.

In the first three movements. all files have the form “Sonata3Mov1,,,: (or Mov2 or Mov3)

First movement

Ein:  Introduction, Molto Moderato, 4/4

E1  Exposition  C Major. Allegro Moderato, 2/2   page 2

E2  Exposition, A minor, second theme, Scherzando, page 3

D1 Development  Adagio, 4/4 no signature

D2   Moderato, F# Major, based on second theme

D2c  twelve tone fugato, Andante, 4/4  tone row based on first theme

About seven pages of development remain to be scored

R1  Recapitulation, 4/4, Eb Minor, based on first theme, Allegro Maestoso,  R2-R4 continue the Recapitulation with a “false start trick” to go to Ab Minor before returning to C for the second theme (to introduce more asymmetry — remember how the Recapitulation of Mozart’s famous C Major Sonata 15 first movement is a mirror of the exposition, starting in F, that’s a little boring). The Coda R5 goes suddenly to minor, Mahler-style, and introduces the descending third fragment to come back in the Finale.

7 pages of recapitulation remain.  The second theme slows down and reappears in C Major.  Then a new descending third “applause” motive appears, and leads to a quiet coda that suddenly turns to minor.

Second movement: Scherzo

E1 and E2:  Main theme, A-flat major, 3/4, Vivace, a lot of octave passage work, repeated rhythm cycles almost like Bruckner.

T1:  Trio, F Major.  This is a comic majestic section with lots of blocked chords in varying rhythms, followed by leggerio passage work, in many cycles.  The trio is long and takes 9 pages (just 2 are coded). There is a deliberately pedantic nature to it.

Main theme returns, briefly

A second trio, in C# Minor, 3/4 waltz (“Valse Triste”) rhythm, much shorter than the first

Main theme returns, about 5 pages, ends in a flourish, FF.

Third Movement: Elegy (slow movement)

E1  starts with a stately introduction, a twelve tone theme, but harmonized artificially in E-flat minor.

It then proceeds to a second theme, in F# Minor,  Adagio, the “father theme”, although there is a little bit of similarity to the slow movement theme of the Hammerklavier, but this is much more florid. (It’s not quite a “chamber of sorrows”).

E2 is a perfunctory fugato in B-flat minor, followed by a reprise of the “father theme”, expanded into octaves and four voices.

Then R1, “Religiosos”, is a 2-minute hymn, slow tempo, in B Major, very chromatic, rather like a Liszt Consolation.  It could be played stand alone (like as a church offertory).  It would work on an organ. It is essentially the “middle section” of the slow movement.

D1 and D2 “develop” the “father” theme and as well as  the opening tone-row.  They build up to a loud climax.

Here, I want to add a “cadenza” with some chordal passages showing how chromaticism and twelve-tone are equivalent, and introduce a fragment of the “Applause” theme for the finale. After great shouts, the movement will play the opening dirge in retrograde, harmonized again in E-flat minor, and close quietly and simply.

The Finale exists in hand sketch, one manually entered opening, then many passages recorded at the Casio.

The opening Allegretto, C Major (nominally) is a fugato  (“MSonat3FinaleS1”), 2/4 but with changing tempi (7/8 at one point), seemingly playful.

The Fugato “development) occurs in E2, E2a, E3a, mixing toccata-like fugal writing with dissonant chords.

The fugato generates a couple more playful themes, almost by asexual budding, as if to defend the introverted, solitary personality. The music becomes more chordal and modal, with tempo changes, until the true “second subject” appears, which I call the “Hold Applause” theme, based on a dream, but appropriate when a pianist wants to assemble a single uninterrupted program from contrasting composers.  The theme starts in F# Major, migrates though minor thirds to C before coming back to F#.  It is hymn-like, and may recall a Chopin military polonaise.

After more perambulations of the scherzo-like theme, the Applause theme occurs again with great majesty as a Rachmaninoff-style big tune, migrating from F# gradually back to C.

Hymn theme files:  HoldAppauseHymn1, HoldApplause1

Conclusion: Su701FsApplauseTheme (more melodic variety toward end), Su702Cfrom FS

(Published Tuesday,  March 17, 2015, 11:50 PM EDT)

 

 

 

 

A note about jobs and roles in film production

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Because I’ve discussed a number of my own proposed film projects on this blog, and mentioned those of others of which I am aware recently in social media, I thought this would be a good time to review a few of the functions.

The main concept to mention is that typically an Executive Producer supervises the actual Producer(s), and director(s) and other screenwriters (producing the shooting script), who may be supervised first by the producer(s).  The concepts are explained on the PGA website here.  For a film where the content comes from an author who actively promotes the making of a film as he or she imagines it been viewed (without changes), the author may well wind up as an Executive Producer.  But the EP also has to be concerned with finding funding or investors and satisfying them. The concept could well apply to  completing an unfinished film from another source.

Typically there is some arrangement to compensate the EP in various steps.

While I’m mainly concerned with how to produce one of my own scripts, I am interested in assisting other artists with some specific possible projects of which I am aware.  The list is pretty narrow.

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(Published: Monday, March 16, 2015, around 11:30 PM EDT)

Will my novel, screenplays be “too close to my own life” for (other people’s) comfort? When will “Imajica” come to the screen?

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Today I did discuss the subject of fiction disclaimers for the “fiction” part of my “Do Ask, Do Tell III” book on the notes WP blog.

There’s a remaining question:  when people write fiction, should they write stories modeled after situations they have been in or could be in?  Is fiction expected to be “politically correct” with respect to gender and race interchangeability?   It’s true, the most successful novelists seem to do well with scenarios far away from their own surroundings.

One of my screenplay treatments largely occurs on another planet, and the main one occurs on a “space station” near or on Titan, a moon of Saturn.  But unlike “fantasy” (which is essentially a “parallel universe” concept with no possible contact with Earth), my scenarios all assume that contact with “aliens” is possible and should happen.  In fact, the changes that would happen for life on Earth, over time, is of interest to me.  So I have to deal with problems like speed of light limits, black holes (maybe miniature), and wormholes.

That’s also true of the novel “Angel’s Brother”.

Generally, not all my characters can be interchangeable.  Usually, at least one is similar to me, but “I” and not always a “main” character (except in DADT-III as already published, and in the DADT-Conscripted screenplay).   In the novel, my past writings provide a lot of the “real” and rumored “backstories” for the main characters.  At least a few of them have to be “sexually attractive” in my value system, which means they have to be (fit) young adult white males.  Otherwise, there is no “tension”.  So be it.  But in the “conscripted” play, there should be at least one major character who differs from what “he” wants in order for him to understand the context of his mission.

As for the examples from other writers:  Tolkien would be the prime example of fantasy (with Hobbit and Lord of the Rings), along with all other fantasy like “Game of Thrones”.  “Harry Potter” is a kind of special case of fantasy.  Clive Barker’s “Imajica” has a richness comparable to Tolkien, with a major difference:  In this 1991 fantasy, the five “dominions” (essentially planets) are reconciled (by wormholes) so contact between them and Earth increasingly drives the apocalyptic conclusion of the plot, with a particular interpretation of Christianity.  This novel would be very controversial if filmed, but it is definitely Imax 3-D material (it would require two 150-minute films to cover the story).  It seems a natural for a company with a lot of contacts with British and Canadian film.  I prefer Lionsgate for this effort.  A lot of it would get filmed down under.

Another comparison is Frank Herbert’s “Dune” books and movies (80s), in which the various worlds have contact with one another but not Earth.  The same is true of “Star Wars”.  “Star Trek”, however, was simply far in the future for Earth; same for the “Alien” franchise.  “Pitch Black” (2000) was interesting. So is “Jupiter Ascending” where there is contact with Earth.

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Update: March 16

I saw Disney’s remake of “Cinderella” tonight (Branagh’s direction, Weisz’s writing) and, yes, I am struck by how relationships and “marriage” are presented as mattering for the future of a people. I also see that the movie still would work (even better) if you do introduce race into it.  There were some gremlins in the kingdom that sound familiar from the other “Imajica” dominions.

 

I do have copies of the screenplays “Adaptation”, “Good Will Hunting” and “Storm of the Century”

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As I prepare to revamp my major screenplay (“Do Ask, Do Tell: Conscripted”) and tidy-up at least three other works, I took a look at the printed screenplays I had purchased from Amazon years ago, probably when I was living in Minnesota. These appear to be “shooting scripts”.

The most important of these is “Adaptation” (2002) directed by Spike Jonze and written by Charlie Kaufman, from Columbia.  I saw this film in a large complex in suburban Edina, MN.  As printed, the script runs just 100 pages, but there is a lot of commentary in the appendix.

This film is remarkable in that it is a “meta-film” — that is, a movie about writing a screenplay to adapt a book to film.  The book is “The Orchid Thief”  by Susan Orlean.   The main screenwriter (and actual writer for “Adaptation”) is Charlie Kaufman.  Now Kaufman has developed writer’s block and hates formulaic screenwriting. So do I!  He finds out that his twin brother (a doppelganger invented for the movie) has sold a horror movie screenplay “The 3”.  Both brothers are played by Nicholas Cage, but the effect in the film is more like that of other doppelganger movies like “Enemy” (Jake Gyllenhaal) and “The Double” (Jesse Eisenberg).  Gradually the film shifts from being about the screenwriting (and ideas in the industry like “spec script”) and the actual events in the novel, leading to a chase in the Florida Everglades and to murder, almost as in a Hitchcock film.  This movie was well liked by critics,

The screenplay draft follows all the industry standards, and doesn’t show the layering.  I have that issue in my own work, and find I need to set up a relational database and number the scenes on the database, and tie them to the draft.

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This film is sometimes said to be a sequel of “Being John Malkovich” (Jan. 8, 2015).

The second film to discuss here is the uplifting “Good Will Hunting” (1996, Miramax), directed by Gus Van Sant. Matt Damon (then 26) plays the undiscovered math prodigy Will Hunting, Ben Affleck is his best friend in South Boston, and Robin Williams plays Will’s therapist. Will is very determined that his talents won’t be misused by the government (most of all, the NSA).  This was a very inspiring film when I saw it.  Remember the line, “It’s not your fault.”  This script is longer, 156 pages.

The third is Stephen King’s “Storm of the Century“, a six-hour miniseries on ABC in 1999.  King did not publish this as a novel, just as the screenplay, 376 pages for the equivalent of 3 films.  A monstrous visitor Linoges (Colm Feore) takes over Little Tall Island off the coast of Maine as a record-setting President’s Day weekend blizzard shuts down the town.  It is true that February is the most likely time of year for this kind of Noreaster. Remember the line “Give me what I want and I’ll go away”.  But what he wants is mysterious, and has a lot to do with the lost colony off Roanoke Island, NC back in the 15th Century.

(Published,  Monday,   March 9, 2015, about 12:15 PM EDT)

 

Why does “The Duke of Burgundy” stick out in my mind?

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Another recent film, “The Duke of Burgundy” (directed by Peter Strickland), which I saw at the West End Cinema in Washington DC last week, brings up a “juvenile” writing effort from my own past. The title of the film refers to a butterfly with whom the dominant lesbian in the film works.  (Yes, that’s Tiny Tim’s “O Gay Way Butterfly” in my Army days at Fort Eustis.) Some how the title reminds me of David Cronenberg’s “Spider” about a metally ill man living in a halfway house.  I saw a special premier in Minneapolis at the Landmark Lagoon in Uptown with the director present for QA.

In ninth grade (spring 1958) “General Education” class in junior high school (these were in the days that formal high school started in tenth grade), we had read some Dumas novels for book reports (I was taking French I, and I think we read some excerpts in that class, too)  — particularly “The Three Musketeers”.  Then we had some creative writing.  I wrote a story called “Who Stole the Mona Lisa?” which, as I recall, got pretty gory (as to what happened to the bad guys when caught), and got pretty graphic as to descriptions of what is manly.  Then I wrote (in English) a two-act play “The Duke of Burgundy“, about which I recall relatively little now.  I think it was about how Philip the Good (Philip III) contributed to the capture of Joan of Arc.  Maybe the handwritten manuscript is lying around in the attic somewhere.  I would see the Columbia-Gaumont film “The Messenger: The Story of Joan of Arc“, directed by Luc Beeson, with Milla Jolovich, on a cold night on Thanksgiving weekend of 1999 on a road trip, in Aberdeen, SD.

The BBC film on the life of Joan of Arc appears above.

There was a film in 1977 “The Message“, a biography of Mohammed (as inspired by the Angel Gabriel), directed by Moustapha Akkad, which I remember seeing at the Uptown in Washington.  Mohammed was (is) the messenger from the one God, Allah.

I also wrote a short story in Ninth Grade French Class called “La vielle maison“, or “The Old House“.  A teenager walks into a house with a false front (like on an “Amos ‘n’ Andy” episode from the 1950s) and finds himself on Mars.  When it gets hard to breathe, he has to struggle to get back through the door in a dust storm.

But in Tenth Grade English, in high school, when we had a writing assignment for the short story unit, I wrote a story “The Lifeguard“, where a teen is confronted with whether to save a drowning victim when there is an air raid, for real, warning of impending nuclear attack — that is, “duck and cover”.  I got a “B” ion the story, but an A in the course.

 

WJLA7 News Channel 8 offers “Fight for Freedom” Town Hall regarding “chilling effects” on journalism from radical Islam, North Korea, and other foreign interests

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On Monday, February 9, 2015 I sat in the studio audience on the Second Floor at WJLA TV (7), in Arlington VA, for a special debate on News Channel 8 at 7 PM EST (one hour), “Town Hall: Fight for Freedom: Your Voice, Your Future” .  Sometimes WJLA refers to this program in a different word order “Your Voice, Your Future: Fight for Freedom”.

The four panelists were Frank Gaffney from the Center for Security Policy, Clifford May from the Foundation for Defense of Democracies, Jane Hall, Professor of Communications (Journalism) at American University in Washington DC, Faheem Younus (“Muslimerican”) and remotely, Congressman Scott Perry (R-PA).  Jeff Barnum moderated, and Scott Thuman managed the external stories and questions from social media.

WJLA offers a complete 58-minute video here.  I’m “in the movie” as the old man in the middle on the second row.

I made six small excerpts.

Clip 1

Clip 2  will be shown as an embed.  There was a stirring comment about how author Salman Rushdie (“Satanic Verses”) was told he was “in trouble”.

Clip 3

Clip 4

Clip 5

Clip 6

(Posted Wednesday, February 11, 2015 at 2 PM EST.)

“Russian Ark” gives one a vicarious historical tour of Russia

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The Russian anti-gay propaganda law has made the country seem like a “no go zone” for me right now;  I presume that a western blogger with publicly available material on LGBT matters could be detained.  And an early chapter in my “Angel’s Brother” novel (Chapter 4) has a scene in the Hermitage in St. Petersburg.  So the next best thing is film.  And perhaps the most important film ever shot about the museum is “Russian Ark“, by Alexander Sokurov.  I originally saw the film in 2002 (the year it came out) at the Landmark Uptown Theater in Minneapolis, on a big screen.  Recently, I bought the BluRay DVD from Anazon (distributor is Kino Lorber).

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The concept of the film (for example, as explained here)  is another interesting example of layering.  A ghost, the Marquis de Custine (Sergey Dreyden) comes awake and time-travels through the Hermitage, starting in the Winter Palace, reviewing all of Russian history (and meeting all the great public figures) up to the time of a great ball in 1913, before revolution would expropriate a lot of Czarist wealth.   The royal residence would be transformed into a museum in 1917, after a new government was in power. The ghost is accompanied by a “spy” dressed in black (Leonid Mozgovny).  The film digresses in the middle section, presenting a great hall reduced to rubble by WWII battles.

The presentation of Russian history would seem to rival that of the opening ceremonies at the Sochi Winter Olympics in 2014.

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The orchestra plays some music by Glinka toward the end.  At the very end of the film these is a ghostly, impressionistic image of the outdoor canal in ice, surrounded by fog.

The DVD includes a 43-minute short, “In One Breath“, explaining how the film was was shot in just one continuous take (ironically, a technique known from Alfred Hitchcock).

Wikipedia attribution link for 2008 image of Winter Palace by Dezidor (author Dezidor. CC 3.0 unported).

(Published Saturday Jan. 31, 2015 at 10 PM EST.)

In fifth grade, I was a “filmmaker”, so-to-speak

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During a good part of the year 1954, when I was in fifth and then sixth grade, I developed an interesting hobby, “making movies.”  Actually, my cousin, one year older, and I drew “filmstrips” which at the time were an important media in the school systems.  We would have movies to write up, mostly black and white, and filmstrips, mostly history and social studies.  In fifth grade, I recall a BW movie about the Texas Republic, odd to be taught in Virginia. Gov. Perry would be pleased today.

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Actually, the way we had handled “social studies” in fifth grade probably provided the inspiration.  We studied the geography of the continental United Stats in sections.  Each one of us would get assigned a state, and develop reports and drawings based on the state.  There were also project murals, little layouts (rather like model railroads without the trains) in the classroom.  I think I got Montana, not California,

In ninth grade (“General Education”), in 1958, we would do something similar with world geography.  I remember doing “Afghanistan” which turns out, now, to be oddly prescient.  I even picked it out, and the teacher said she knew that’s what I would pick.  Did we both read the future?  Maybe Iraq or Syria would seem more prescient now.

We each set up “home theaters” to show the filmstrips, and these consisted largely of manual scrolls as feeder and take-up reels for the drawings.   Sometimes we experimented with enlarging or altering the images with mirrors and magnifying lenses, a forerunner to Imax, maybe?

We even had an “Academy Awards”, I think around September, that ended in disaster.  We were kids.  Maybe we had two ceremonies.

Most of my filmstrips were based on specific places.  Over time, we built up drawing larger images, from “regular” to “Cinemascope” to “VistaVision”, to “Cinerama”, and finally “Cineramascope.”  Many of mine were drawings based on images in the 1950 World Book Encyclopedia.

I remember winning “Best Educational” with “The Land of the Bible”. These must have comprised pictures of the Holy Land.  At the time, I could not have cared about politics, about what was in Israel and what was on the West Bank, or possibly farther into Syria or even Iraq. Kids don’t care about other people’s religions or political affiliations until adults make them do so. But at age 11, I probably could not have grasped what the Holocausr had meant.  In fact, right now there is an outstanding IMAX film “Jerusalem” in museum auditoriums now (including Franklin Institute in Philadelphia).  We need something like a “Land of the Bible, Torah and Koran”, in Imax, without the politics.

I don’t remember the names of many of the other filmstrips.  I found a strip of “Alaska”:

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I made a few “horror” and “comedy” strips.  “One out of every six” was to be a horror film.  My contributions were “Squish” and “Sea Monsters”.  The first of these might have been inspired by “The Blob”.   For comedy, there was “Pie Face”, and I think a man “got it” from his wife in more ways than one, even including the razor.  In those days, movies weren’t supposed to present “real” romance or marriage.  (There was “Bloody Mary” in “South Pacific”, remember.)

There was one “movie” my mother detested.  I think it was something like “Old Maid” (maybe inspired by the card game), based on the idea that some women weren’t pretty enough to find husbands — remember a scene about that in “Gone with the Wind”?

Maybe it was something like “Other Men’s Women”, pre-code Hollywood.  Both this and “Maid” are in my Netflix queue to refresh “boyhood” memories.

Other images

WY:

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CA:

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UT:

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SD:

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CA:

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AZ:

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MT:

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(First image is Mt. Rainier, WA);

After sixth grade, the summer of 1955, I and another friend would do fungo fantasy baseball in our backyards.  The Baltimore Orioles and St, Louis Cardinals won the pennants, and St. Louis would have won the “World Series”.  The Senators finished last.   Unfortunately, the paper records were tossed.  The Orioles had just moved to Baltimore from St. Louis in 1954, and the first season, much of the outfield at Memorial Stadium had no fence.

(Published: Jan. 29, 2015, 8:30 PM EST)

“Lilies”, a based on Bouchard’s play, was a quirky gay film in the 1990s and is now a musical

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Sometime in 1998 or 1999, while living in Minneapolis in the Churchill Apartments near the Mississippi River, I saw a bizarre gay film “Lilies“, directed by John Greyson, based on the play by French Canadian Michel Marc Bouchard.  I saw it at the Reading Theaters on the East Bank, in an old auditorium.  The Reading chain was a precursor to today’s Angelika theater chain.  At the time, it had showed mostly mainstream movies, but it showed this film from Alliance Atlantis.  The same theater previewed “Judas Kiss” at the Twin Cities LGBT film festival in 2011, and I happened to be in the right place at the right time to see it.

The film and play concept is layered. In 1952, a bishop (Michel Sabourin) visits a prison in Quebec.  The inmate locks him in, and makes him watch an embedded morality play in which the Bishop’s own involvement in a gay relationship, covered up, four decades before, is developed.   The structure of the film or stage play deserves study for anyone else (like me) developing a screenplay with a lot of embedded backstories.

There is a new production of the play as a musical in Belgium. (In Dutch or Flemish, the spelling is “Lelies“),

There is a 13-minute YouTube video (see below), mostly in Dutch (a little German and a little English — Dutch is so close to “old” English you don’t need sutitles) with cast members chatting about the musical, and performing a few snippets, including the song “Go Back to Jail”.  (In Minneapolis, at a coffee bar off the Skyway, a friend who worked as an actor sometimes made a joke “Stay out of jail” to everyone after seeing this movie.)

The music is by Sam Verhoeven.  The chamber ensemble has a curious sound that mixes French humor sometimes with a little gentle Viennese expressionism, like Schoenberg unwould as tonal. But much of the music is cheerful, almost like on Broadway.

The cast includes Timo Descamps,  Matthew Michel, Hans Peter Janssens, and Aar Halici.

Flanders is well known as an independent film center (as with films from Strand Releasing). Although the “Dutch speaking part of Beligum”, to American travelers it seems like the rest of the Netherlands (and Belgium) for that matter.  I was last there in 2001.

The name of the theater in Antwerp, Belgium is apparently “Judas Theater Productions”, link here.

I would wonder if the musical will come to Quebec, and then to New York and Los Angeles and other cities (Minneapolis).

(Published Sunday Jan. 25, 2015 at 9:50 PM EST.)

Update: Tuesday, April 4, 2017, 9:00 PM EDT

There is a complete YouTube channel with 15 videos, that would convey most of the opera.  Timo presents one of these on a posting on his Tumblr blog.

“Being John Malkovich”: the idea of becoming someone else has been tried before (and not just during Advent)

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On November 30, 2014 Rev. Judith Fulp-Eichstaedt at the Trinity Presbyterian Church in Arlington VA started an advent series about getting into the mind of some of the characters leading to the Christmas story, with a sermon titled “Being Isaiah”. And she started out by a mini-review of the 1999 independent satire film “Being John Malkovich“, directed by Spike Jonze, from Gramercy Pictures

Here’s a short clip:

The story concerns a puppeteer, Craig Schwartz (John Cusack) who takes a job as a file clerk (a job about to become extinct) on a hidden floor, 7-1/2, in an office building, only 4 feet high, working with Lotte Scwartz (Cameron Diaz),  Craig finds a hidden door, and when sliding down the chute, he finds himself living inside the mind of actor John Malkovich (who plays himself, of course).  After a 15-minute simulation of being another person, the puppeteer gets ejected near the (divided) New Jersey Turnpike, in the days before Chris Christie’s deliberate traffic jams (and accidental overzealous gun control).

Needless to say, a story like this can explore “what it would be like” to have a relationship — if you really could be another person. Craig gets several tries at this experience, before it plays the usual games what we expect from the theory of relativity (he goes beyond the “Schwarzchild Radius”).

It’s one thing to wonder what it would be like to wake up on the morning of a critical day in your life years before, and “play the game” differently — like choosing a different subvariation in a critical chess game.  (Maybe stepping up to some kind of existential challenge to work with others on their terms when you really have to, as with a particular substitute teaching assignment in early 2005, link .)  But what I would relish, as an “old man”, is the chance to wake up and experience my body as it was at, maybe 24 (when I was in my best physical shape ever, after mandatory Army Basic Combat Training), and notice the things I’ve lost to “time” (as a fourth dimension), like leg and “pate” hair.

But waking up in someone else’s body, it he was an 18 year old Clark Kent (for perfection, try the market on another planet, like Gliese 581 G, thank you), would be cool.  Actually, though, this movie is about being inside someone’s mind.  So imagine waking up as “Clark” and knowing all his memories (from Krypton, or maybe a tidally locked perpetual-twilight Gliese planet), for maybe fifteen minutes or so — and then  — poof!  You vanish until the next session (or maybe wake up from a great dream and go back to being “you”).  One thing, about being Clark Kent, is that losing his “powers” even temporarily isn’t cool (see this blog Jan. 7, 2014).

Actually, in my novel “Angel’s Brother” something like this happens to some people, because of bizarre virus that encapsulates a micro black hole  (see this blog June 9, 2014).

One irony is that, of practically all the A-listers  Hollywood (March 4, 2014), John Malkovitch could best play ME as I am now.  And I am working on just the right script for “moi” (July 17. 2014).

And don’t forget, Mark Zuckerberg is an alien.

But he is too young for John Malkovich to play.

 

(Published: Thursday, Jan. 8, 2015 at 3 PM EST.)

 

Comparative media reviews on hot topics