“Although we read with our minds, the seat of artistic delight is between the shoulder blades. That little shiver behind is quite certainly the highest form of emotion that humanity has attained when evolving pure art and pure science. Let us worship the spine and its tingle.”― Vladimir Nabokov
Wednesday, August 15, 2018
Posted by David Angsten at 11:50 AM
Thursday, August 9, 2018
When people ask why I stopped writing screenplays, I tell them about MEG.
MEG was the ultimate high-concept picture. Box office gold in two words: "Jurassic Shark." What studio exec or marketing department wouldn’t chomp at that? Total no-brainer. A global slam-dunk.
All it needed was a good story. I was writing scripts at the time and was hired to write the book/movie pitch, based on Steve Alten’s well-researched but flabby unsold manuscript (his first) called “White Death.” It had been turned down by over forty publishers. Steve’s literary manager and I re-titled it “Megalodon,” then MEG, re-wrote the first 100 pages, and re-structured and outlined the remainder of the story. Instead of taking it to New York first, he sent it straight to the studios.
Chomp, chomp. The 100 pages + outline sold overnight to Disney for “seven figures”--the writer’s Holy Grail. Took that to NY and made a two-book deal for another seven (double what it fetched in Hollywood).
Pop the champagne!
That was back in 1996. We thought the movie would be in theaters in a year. It's taken twenty-two.
Twenty-two years in development hell. Endless succession of producers, directors, screenwriters, stars. World’s longest slam-dunk. To the point that the movie--out this weekend--is nearly unrecognizable to me.
Imagine how many years you can waste trying to get your not-high-concept screenplays produced. (I don’t have to imagine. I tried.) Meantime over those decades, Steve Alten wrote a shelf-full of books and built a successful career.
Moral: Life’s too short. Want to tell stories? Write novels.
Posted by David Angsten at 4:48 PM
Monday, August 6, 2018
|"Destruction" from "The Course of Empire" (1836)|
"We have not fully recovered from the Dark Ages: the insecurity that excites greed, the fear that fosters cruelty, the poverty that breeds filth and ignorance, the filth that generates disease, the ignorance that begets credulity, superstition, occultism—these still survive amongst us; and the dogmatism that festers into intolerance and Inquisitions only awaits opportunity or permission to oppress, kill, ravage, and destroy. In this sense modernity is a cloak put upon medievalism, which secretly remains; and in every generation civilization is the laborious product and precarious obligating privilege of an engulfed minority."
~Will Durant - "The Age of Faith: The Story of Civilization, Volume IV"
Posted by David Angsten at 3:37 PM
Monday, July 30, 2018
Summer's a girl who takes you by the hand saying Come...
Birdsong in the dawn,
with each stroke of the paddles
open churned water gurgles,
mist over the pond.
this day, she whispers, not any day but this day, Come...
Bright sun pouring through
fresh new leaves hanging tender,
grass just cut from the mower,
kite spins in the blue.
right now; at the words with your heart leaping wildly, Come...
Scent through the curtains,
roses and honeysuckle,
far away water-chuckle,
night breeze uncertain.
not yet, she says wait...
...a butterfly kiss and she's gone.
~ Ian Barth
Posted by David Angsten at 5:31 PM
Wednesday, June 20, 2018
"No one can flatter himself that he is immune to the spirit of his own epoch, or even that he possesses a full understanding of it. Irrespective of our conscious convictions, each one of us, without exception, being a particle of the general mass, is somewhere attached to, colored by, or even undermined by the spirit which goes through the mass. Freedom stretches only as far as the limits of our consciousness."
~Carl Jung (1942)
~Carl Jung (1942)
Posted by David Angsten at 5:20 PM
Sunday, June 10, 2018
Sunday, May 13, 2018
My soul is a fox with a hen in its maw
And the tingle of blood in its tooth and its claw
That slips through the curtain of half-conscious dawns,
Its ears always pricked for the hounds and the horns
Of its past and its future, its life and its death,
With the kill in its mouth and the shriek on its breath,
Into mornings of calm, when there's nothing to hear
And the air is quite still, and the sky is quite clear,
And the prey is at peace, and the fox in its den
That has lived one more day in this strange world of men.
(painting - The Fox Hunt by Winslow Homer)
Posted by David Angsten at 10:38 AM
Monday, May 7, 2018
Saturday, April 14, 2018
Storytelling depends on the suspension of disbelief. The suspension of disbelief is enabled through emotion. Emotion is a response to basic biological truths. Those truths are expressed in universal archetypes. Those archetypes form the basis of traditional values. Traditional values are best expressed through the medium of story.
Posted by David Angsten at 1:00 PM
Sunday, April 8, 2018
|illustration by Louis-Maurice Boutet de Monvel (1850 – 1913)|
Nietzsche, Tolstoy and Joan of Arc walk into a bar...
“The wild worship of lawlessness and the materialist worship of law end in the same void. Nietzsche scales staggering mountains, but he turns up ultimately in Tibet. He sits down beside Tolstoy in the land of nothing and Nirvana. They are both helpless — one because he must not grasp anything, and the other because he must not let go of anything. The Tolstoyan's will is frozen by a Buddhist instinct that all special actions are evil. But the Nietzscheite's will is quite equally frozen by his view that all special actions are good; for if all special actions are good, none of them are special. They stand at the crossroads, and one hates all the roads and the other likes all the roads. The result is — well, some things are not hard to calculate. They stand at the cross-roads.
"…Joan of Arc was not stuck at the cross-roads, either by rejecting all the paths like Tolstoy, or by accepting them all like Nietzsche. She chose a path, and went down it like a thunderbolt. Yet Joan, when I came to think of her, had in her all that was true either in Tolstoy or Nietzsche, all that was even tolerable in either of them. I thought of all that is noble in Tolstoy, the pleasure in plain things, especially in plain pity, the actualities of the earth, the reverence for the poor, the dignity of the bowed back. Joan of Arc had all that and with this great addition, that she endured poverty as well as admiring it; whereas Tolstoy is only a typical aristocrat trying to find out its secret. And then I thought of all that was brave and proud and pathetic in poor Nietzsche, and his mutiny against the emptiness and timidity of our time. I thought of his cry for the ecstatic equilibrium of danger, his hunger for the rush of great horses, his cry to arms. Well, Joan of Arc had all that, and again with this difference, that she did not praise fighting, but fought. We know that she was not afraid of an army, while Nietzsche, for all we know, was afraid of a cow. Tolstoy only praised the peasant; she was the peasant. Nietzsche only praised the warrior; she was the warrior. She beat them both at their own antagonistic ideals; she was more gentle than the one, more violent than the other. Yet she was a perfectly practical person who did something, while they are wild speculators who do nothing. It was impossible that the thought should not cross my mind that she and her faith had perhaps some secret of moral unity and utility that has been lost."
--C. K. Chesterton
Posted by David Angsten at 4:34 PM
Sunday, April 1, 2018
Friday, March 30, 2018
Friday, March 9, 2018
Sunday, March 4, 2018
Tuesday, February 27, 2018
THE AIR OUTSIDE was humid and smelled of fajitas and rotten fish. Car lights streaked past, and the pedestrian parade on the Malecón seemed to be moving in slow motion. The only single girl of note was a short, boxy mestiza in a hotel uniform, shuffling through bus fumes after a day spent scouring bathrooms. I noticed a tiny silver cross at her neck—another long-suffering Mexican saint. She looked up as we passed one another, and the brief glance from her warm brown eyes gave rise to an unexpected shiver. It may have only been a flare of desire brought on by the buzz of the tequila, but it seemed that her eyes had revealed something darker—something like the mystery of Mexico itself.Dan had written about this more than once in the time he’d been traveling the country. I remember in particular a postcard he sent showing the monstrous, massive stone carving of Coatlicue, the Aztec earth goddess of fertility and death. He said the statue was a perfect example of his unjustly ignored anthropological thesis, “A Freudian Geography of the North American Mind.” In this dubious disquisition, the USA took the role of the ego, the lone pioneer on the vast Great Plains, the central, controlling, conscious will that dreamed and schemed and acted on the world. Canada was the superego, the hunter on the harsh, intolerant tundra, the high and mighty conscience of the Great White North. Lowly Mexico was the id, the crazed Nahuatl priest in the lush mountain jungle, the deep subconscious, teeming with untamed instincts and arcane imagery, ruled by a primitive nightmare logic. This was the ancient land of the Olmec, the Maya, the Toltec, and the Aztec. Of bloody human sacrifice, pyramids, and treasure. Of conquistadores and missionaries and zealous revolutionaries. A nation of greed and grief, of cruelty and corruption, of grinding poverty and religious fervor. A country that prayed to saints and danced with the devil. A country that celebrated death and the dead.
Had I glimpsed all that in the poor girl’s eyes?"
(excerpt from DARK GOLD)
Posted by David Angsten at 5:25 PM
Tuesday, February 20, 2018
Thursday, January 25, 2018
|Bridge Tower, Prague|
Rudolf von Alt, 1843
|photo, Anonymous, 1927|
I'll take a drawing over a photograph any day. Looking at a drawing is like seeing through the artist's eyes the process of perception, replaying his thoughts, and feeling his reactions. The subjective rendering of light and shadow, perspective, color, depth and detail, brings the scene alive, humanizes it. A good drawing delivers that essential human element--the experience of the place. In a way it's much more accurate than a photograph.
Saturday, January 6, 2018
NEW YORK—In a groundbreaking new study published Friday in The Journal Of East Asian Studies, a team of leading historians has proved that meditation originally spread from ancient China because a single, highly annoying monk went around telling everyone how much it had changed his life.
Analyzing documents uncovered across the Eurasian continent, researchers determined that the monk, who lived in the seventh century A.D. and learned rudimentary breathing and visualization exercises from a group of Mahayana Buddhists, traveled widely and talked constantly about how practicing meditation for only a week had fundamentally altered his personal outlook. From the Korean peninsula to the Central Asian steppes, he is believed to have aggravated people everywhere he went, inevitably shifting every conversation to the importance of mindfulness and being centered, even when it was clear no one was interested.
Read more on this exasperating monk at the Onion.
Posted by David Angsten at 6:57 AM