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Tuesday, July 20, 2021 11:41:21 AM

Storytelling In Bernie Goetzs Writing Techniques

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The aim of the association will be to create a common platform for experts and art lovers, to focus on certain topics, issues and areas in art, to provide knowledge and educational mediation, to give support for art, artists, initiatives, institutions and to network internationally. Its initial focus is the Bulgarian contemporary art scene. It is only responsible to its members. Over the coming months, the initiative will be accompanied by exhibitions and encounters with artists, works of art and actors in the cultural field and will lead to the legal and official founding of the Circle of Friends.

All such encounters will take place in compliance with all health regulations and rules of personal conduct. But we are convinced that it is even more important to support art, artists and initiatives now, in this fragile situation. Keeping the Balance is the first temporary exhibition at the Ludwig Museum following the lockdown, presenting about sixty works from the Telekom Art Collection. Most of the works are by artists of Eastern European roots. Originally planned to open in early June, the exhibition is a clear sign of attentive and careful return to normalcy. How can we find and keep the balance in a complex, contradictory and often conflict-laden reality?

The question in the focus of the exhibition at once implies hope and formulates a statement that artistic discourse and confrontation can provoke thoughts and convey experiences which are specifically helpful in finding this balance. Grasping information, non-refined by the center systems, has made the Georgian peripheral vision as a source of original creativity. Being periphery means freedom of initiation.

How much this freedom of initiation is preserved in contemporary visual culture in Georgia? Francisco Martinez, researcher in cultural heritage at the University of Helsinki. Part of the programme for Berlinsky Model Karol Radziszewski, QAI Project since , books, color prints, photographs arranged in vitrines, video interview with Mikhael Koptev, Open Group, Open Gallery, 7 lightboxes, wooden frame, plastic, colour printing, each 90 x90 cm, Maria Kulikovska, Homo Bulla white, green, red , Neumann, director of Kunsthalle Rostock, gives an introduction into the history of the Kunsthalle, which has been founded in as Pavillon for the Biennial of the Baltic Countries — The Biennale has been the most important and influential contemporary art exhibition in the former German Democratic Republic.

Referring to this history and rewriting the history, the Kunsthalle will concentrate its future perspective and exhibition programme onto the Eastern European art. The short closes with a conversation and discussion about perspectives and strategies of institutional practice to mediate contemporary art. Two members of D. The lecture will give an insight into the changing concept of understanding sculpture in an urban environment. Especially the art programme gave many artists an excellent opportunity to exchange ideas and develope their work. Shape of Time — Future of Nostalgia, installation view. Slaven Tolj — Museum of Contemporary Art Rijeka How to combine regional and local interests with the international community?

The gallery was home to Salon 54 and following Rijeka Salons in , , and — exhibitions of Yugoslavian painting and sculpture. From on 16 Youth Biennials were held until In the institution changed its name into Museum of Modern and Contemporary Art. Anything to throw us off the trail. To be unflinching. Death Wish is a hard script to read because Carnahan takes you as far down that alley as he can. He knows what each character wants out of the scene, and he knows what HE wants to do with the scene. Contrast this with Tusk, which I was talking about yesterday. Kevin Smith goes at his scenes in the exact opposite way. He just sees where his characters will take him. This is why his scenes often drift aimlessly and go on for way too long.

But as you near your final draft, all your scenes should have purpose — they should have a clear point going into them so that they DRIVE the scene forward. Looks like it could be fun, and different and really interesting. However, it also actually looks like it might suffer for the precise reason you spelled out in your description Carson. Therefore, it looks like it might suffer just a bit from not being that inspired. He is holding back, wanting to give his all to Death Wish, instead. Yet, that is what I came up with when piecing together the trailer, along with your timeline of him doing The Grey, and then trying to get Death Wish made, then stepping back and deciding to do Stretch. Still, I can see his skill just from the trailer to Stretch, so am hoping for great things from it.

It feels like the midpoint in both scripts needs to be achieved quicker. I fell asleep during The Grey. I just got a feeling of bland second act and I was never drawn in until that point. Read this many moons ago and I agree wholeheartedly that you can feel the blood on the page. This was written in such a distinctive voice it really made me take notice how boring and mundane a lot of other scripts are. Thank you!

If you did, could I ask if you would please send a copy along? Thanks mucho so mucho,. Google mail sent me a failure to deliver notice. Sometimes the message actually goes through, but if not I will resend. I would love to read it as well: b. Big fan of Joe C. NARC will always be one of my favorites. Would love to read this script. Bring on the Brutal! Zmanx: Would love to read the script; can you share it? Death Wish was a huge hit back in the day. But it was and remains a lousy movie. It was a zeitgeist hit. Fun city was a pretty scary place back in the early seventies.

In the original Bronson was an architect- and honestly the only good scenes in the movie involve him figuring out an architectural problem. The rape scene is not just explicit but one of the nastiest scenes in seventies cinema, and commercial movies were a lot more hardcore back then. He just goes Bernie Goetz for an hour mowing down any mugger who accosts him. The thing is nearly plotless. The police do pick him up eventually and then let him go because his vigilante rep has brought the crime rate down.

The end. Not sure why a first rate filmmaker would want to remake this. I hope there is more to this script than simply an artful portrayal of bloodlust. And yeah, the success of Death Wish did cast a shadow over the latter part of his career, especially in regard to his film output at Cannon Films. Once Upon is a masterpiece. Walter Hill never made a movie better than his debut Hard Times and Bronson was never better than as the bare knuckle Shane. Alistair Maclean was weakest when he tried to write mysteries and Tom Gries was a so so driector but I still have a soft spot for Breakheart Pass. Red Sun is a fun premise. Just wish the movie were better. People forget just how great Bronson could be in the right role. He had that indefinable thing called Screen Presence.

While his range was limited, he was a highly skilled actor… always restrained and believable.. Apart from his good supporting performances, and maybe he would have been better off reputation wise if he had stayed a character actor, I always liked Bronson best in the parts where he played laid back and affable. He was also good in the generally feeble Valachi Papers. But that movie has one of my all time favorite shots. Guess the budget was tight. Also kind of fond of the nothing special Mr. Majestyk, which was in the middle of that brief heyday you cite. Amazing how small and modest even A level action movies were back in the day.

Drives me up the fucking wall when writers are touted for their precision with words and on the very first page I see a mistake. Uhm, congrats? Prone can mean many things; one of which is to lie flat; which can be either on your back or on your face where you end up a lot based on the tone of your negativity… pends on how the word is used in the paragraph screenwriting is all about making it your own which Carnahan seems to be about. I agree with you the script is unoriginal in itself, but your comment about his grammar is besides the point. Who gives a shit? Stop sniffling over one little word, every script has mistakes, no matter how great the writer. Pick your battles. At least it acknowledges that Bronson is off his rocker, refuses to sanitize his acts of violence, and even finds a sliver of social commentary here and there e.

I recognize the power of revenge stories, and love me some good movie carnage, I just hate it when a story refuses to own up to the morality of its premise. At the time of its release crime was at an all time high, society was seen as breaking down, and audiences identified with this man taking the law into his own hands and establishing order. That itself was social commentary. These movies were elevated, perhaps, because Bronson was a powerhouse action-movie badass, a big name and a direct contemporary of Eastwood and Lee Marvin.

John Wick does acknowledge that the protagonist is not normal. Much like post-apocalyptic films, I really have really begun to make an effort to stay away from revenge films. While I understand the story elements, and meditations on the human condition, so much darkness and dread seems like more crap being piled on top of a huge mountain of it from the media, internet, and just about everywhere else. Maybe it is impossible, but I would love to see more films that had all the tension and conflict of great darker films, but also be optimistic.

I see other commenters doing it all the time. To answer your query, Carson, no, by and large, the writing in video games does not compete with film. Many gamers think it does. Many game developers want to claim it does. As someone who plays games quite extensively, I can tell you that very seldom do I encounter a game whose writing it anything beyond passable. For the most part games are incredibly derivative works, composed of the developers favourite scenes from their favourite movies and driven by an aesthetic that would seem tired if displayed on the silver screen.

For games to succeed in storytelling, the two need to become one. It has yet to take a leap as an industry. Rather its the bit-players within it that take leaps but are kept down by the big names and big sellers who guarantee pre-orders for broken games just based on brand recognition alone. Rule books composed of pages they stole from other people. A story that asks things of you, that makes you the protagonist.

And not in a superficial way, like allows you to control them. But an emotional way. It puts you in charge of the decisions, the pacing, the structure and many times even the atmosphere and characterisation. Or, at the very least, giving the only man who seems to be willing to take risks his due — Ken Levine. Juggling weighty themes and handling exposition in the most spellbinding way possible — excellently written and recorded audiodiaries you must find and listen to of your own accord something only a game can do — the narratives are simple constructs of someone attempting to get to point C or find character B that evolve quickly into Kubrickian psychological examinations of power, corruption, freedom, captivity, blind faith, rationality, scientific ethics and religious persecution and ultimately fate, free will, choice and consequence.

They are truly marvellous works of writing that — although imperfect — show how games can be a writers medium. For the experience of playing a game with friends. They are NOT playing these games for the stories. I should know, I have a ten year old brother and many a cousin that age who opt for a game over a movie. Stretch is on Netflix. I actually watched it twice. Every five minutes things get worse and worse for our lead guy. This just goes to show that you should break the mold one and a while. Just really crush it and do something different, something unlike anything else. Hey Carson has advised us to write movies as opposed to scripts, and what better way than to write something that has already been a movie three or four times?

You write Act One for the studio guys to greenlight, you write Act Two for yourself, you write Act Three for the audience. Can you please elaborate on your rules for Acts one, two and three? Here is an example Act One: Who is the main character? What happens that changes their life? How will they react to this change? What will be their goal for the rest of the screenplay be? And if no one is going to watch your movie, then no studio will want to make it. And as a hip hopper — someone who has participated in, observed, criticized, and championed the culture for twenty years -- the aesthetic techniques and political assumptions of my work derive from the foundational tenets of hip hop as I understand them.

Other writers of my generation have been similarly affected, in ways more complex, profound and subtle than have generally been recognized by readers, critics or the market. I want to do two things in this essay: discuss my lit hop aesthetic, and explore some of the ways lit hop has been misunderstood thus far, in hopes of preventing future works from being dissed with the ease, ignorance and prejudice that currently pervade the public discourse. The literary establishment grows ever more elitist and alienating, and threatens to exclude not just a generation of writers, but a generation of readers. As a well-intentioned but problematic strand of hip hop originalism emerges 2 , it becomes common to hear hip hop talked about as if it is a cosmic revelation, bestowed upon Herc, Flash and Bam atop some Bronx-rooftop equivalent of Mount Sinai.

Hip hop becomes a single-narrative in the retelling, a child sprung full-grown from the womb, five-elements-indivisible-for-which-we-stand. The practices of b-boying, MCing, graffiti writing and deejaying had never been seen before, but the aesthetic concepts that underwrite them were updated, not invented. As with everything in hip hop, the key is how everything is put together, and the energy with which it is suffused. In and of itself, there is nothing about this concept that is unique to hip hop. Hip hop introduces a specific sense of interplay in revealing and obscuring the layers of the collage, takes a specific kind of pleasure in the mash-up refreaking of technologies and texts, understands history as something to backspin and cut up and cover with fingerprints in a particular kind of way.

Not just the impulse to think interdisciplinarily, but the instinct to do so, hardwired in hip hoppers in a way no previous generation can claim and made manifest in every hip hop artform. Not just innovation-as-mandate, a feature of many artistic movements, but the specific critical skills and frenetic learning curve that hip hoppers taught themselves -- the way train pieces and rhymes and musical productions became fodder for what was to come next at the exact moment of their completion, went from innovative to passe in the blink of an eye because of the sheer intellectual force of every kid clocking and biting and scheming on how to take it one step further, chop those wildstyle letter-segments or that rhyme scheme or that drum loop just a little bit… flyer.

I like to think of a novel in terms of a mix board. If not, it should still work. But differently. If you were so inclined, you could drop out everything but the samples and graph their meanings and connections the same way you might drop everything on the PE mixboard but the drums, and just peep those. Some samples might be deliberately forefronted; others, in the tradition of DJs steaming off record labels to protect their secret weapons and producers making artful chops to avoid illegal-useage litigation, are obscured.

Sampling is more than an authorial technique in my work. Conversant with race literature and real-life struggle, the characters are able to position themselves in relation to these traditons, both playfully and seriously. The events of their lives are bound together by the same internal logic, and with the same sense of tension, that binds a bunch of disparate sounds into a coherent musical composition. They act with the freewheeling, undisciplined vigor and all-embracing attitude of hip hop: natural historians, but only for eight bars at a time. Not the entire breadth and context: just the party-rocking shit. Lest I sound too celebratory about it, I should also say that this mindstate underwrites both their success and their failure.

They face the same void in leadership that hip hoppers did as we came of age in the eighties, step into that void as best they can, and do just as brilliant and terrible a job of it. Ultimately, the notion of literary hip hop aesthetics begs the question of form versus content.

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