work in progress... Loïg's Scenario Factory III Copyright Loïg 7 Allix Thi Van 1968-1999
LATEST SYNOPSES AT SCENARIO FAC ONE
Alien Five : plot -copyright Loig Allix Thivend 1998 -developed version, cf. here.
The film starts as the escape ship crashes to Earth -see end of Alien 4. Ripley may have killed her newborn, but, in fact, (...) she has continued mutating into a super alien hybrid (...) . She is "welcomed" by the Corporation which, she discovers, rule over the world under the guidance of a military-industrial -pseudo religious council. (...)
They spread throughout the planet running amok in famous cities (...) The remaining human beings on Earth, who were held in captivity, take advantage of the situation (...) storm the rockets' launch pads (...). End of the film/end of the cycle. Reversal of the first. (...) Last image the first one of Alien-number-one.
"the Room" :
Warning : heavy stuff. One woman, constantly humiliated by her abusive/sexist/alcoholic husband, decides one day to take her revenge, and punish him every which way her oppressed her with. The slob used to say that, in an ideal world, he would never have to leave his room, and just watch white-trash TV while getting pissed and eating junk-food; -well, she will call his bluff ! The film starts with a description of how he treats her; then comes the incident one too many which drives her to rebel; finally the main torture scene, in which she traps/jails him inside the bedroom, strapping him to the bed, and force-feeds him junk food/ force-drinks nothing but alcohol/ force-wanks him repeatedly/force-smokes him to death.
Starts pleasantly enough ...or so he thinks; and then, what used to constitute his pleasures accelerate, and amplify. For ex., starts with one can of beer; then two; and so on, until she pours it down his throat through funnel (medieval torture). At some stage, he pisses himself, still strapped to the mattress, and appeals to her : -"well, you never hesitated before, after you would sleepwalk back from the pub", she retorts. Unity of time, unity of setting. Reversal of initial situation/scene. Too much of a good thing, etc. Maximum send-up of male culture (drink, marital abuse, pornography, smoking) : punished by where he sinned. Neil LaBute to direct (...or maybe John Waters.) Main actor : maybe a-lovable-rogue unafraid to break his image, like J. Belushi, or UberMan Harvey Keitel ? (Liam Gallagher ? -ha !!) Actress : should be meek little thing.
copyright Loïg Allix Thivend 1999.
Scary comedy : "Your bestest friend". For a longer version, look here.
Young couple, originally from small town, ("Matt" and "Bridget") moves in recently vacated house : owner sadly committed to psychiatric hospital, they hear. New in town, exciting new job for Matt. At first, everything seems normal : all members of neighbourhood friendly enough.
Then (...) everyone looks up to "Agga" and seems to take their clue from what the big man says. Increasingly, the influential / friendly man invites himself more and more often (...). He decides to find out why exactly the house's owner was put into care (...) Matt realises how dependent his family has become, along the rest of the street. But what if Matt made a stand ? (...)
Comment : a clear political allegory about these oh so benevolent, dominating superpowers and their protection rackets over their "satellite States" and the Third World. (...) Casting : Bridget Fonda, of course (cf. "Single White Female"), and J.-J. Anglade. ...Huh, maybe not a comedy, after all. Copyright : Loïg 777 Allix "Gong Li" Thi-Van , June 2001.
Le Cercle Rouge -my version (quote by Mishima, according to which characters always ultimately meet their fate in a red circle)
A film about fate, coincidences : do we create our own life, or do we abide by predestiny ? cf. the brilliant "l'Appartement", or "the Lovers of the Arctic Circle". Story of two characters, let's call them A and B.
A prophecy warns A , at start of film, that he will become a killer (and kill someone he loves, too) ...but that he will also meet his true love, "in a red circle", all of which leaves A pretty upset. No time frame, he doesn't know when/what first. Time passes, he gets married, and is always on the lookout for any potentially dangerous situation, becomes very cagey... suspicious... over-cautious. As he turns so, his wife becomes disenchanted with him, which in turn worsens his mental (in)stability; their marriage goes nowhere, and he withdraws from her. She starts an affair. Inevitably (according to logic of the plot, that is!), he kills her in one moment of rage. He runs away abroad : faraway wild Canada.
Cut to story of B -choice of narration here : either shown as a separate second part (cf. Godard's "Nouvelle Vague"); or crisscrossed, mixed within "flip side" i.e. A's story ( as in "Lovers")... to be decided- .
B is played by same actor. B is gay, and self-assured. He lives abroad (country to be decided, let's say Seattle, State of Love and Independence). For work reasons, he goes to A's town, where he almost bumps into him once or twice : clips of scenes from A's story, shown from B's point of view. (cf. Kieslowski's trilogy, where protagonists all almost connect). After a while, he comes back to Seattle where he breaks up with his lover, and then moves to Eureka Northern California, Portland Oregon. He looks for a new boyfriend. Guess what : he will come face to face with A in, say, a circular dancefloor surrounded by red spotlights where A has taken refuge.
The idea is : everything A runs away from, B looks for; A tries to escape his destiny, and thus finds himself; B wants to make it happen, but will get there by utter chance. A like Oedipus, n that respect.
The sex aspect : to start with, I thought it would be more interesting with two versions of same person as close as possible : hence same sex, same actor -cf. Greek myth : we were separated from our double at birth, and spend our life looking for our other half. One possibility : maybe A was a closet, repressed gay from the start -important note : that's obviously NOT meant to be taken as a comment on homosexuality ! It has more to do with one's double/mirror image, as similar as possible-; if he was, he realises, when he's on the run, that he had nothing, in fact, against the poor woman who was predestined to be his victim : that would make it more poignant. I imagined, alternatively, that he kills his victim -someone else : a guy he might find himself chatting up ?- out of self-disgust as he realises his true, gay, nature; but THAT, I imagine, might be seriously misconstrued and dodgy... This being said, that would fit the pattern too : he fulfills his destiny by trying to run away from it.
Copyright Loïg Allix Thivend 1999.
"Round And Round". (A matrix for plot to be developed, either as thriller or comedy)
Film starts with criminal who has just embezzled money from company. Wants to frame an innocent : foreign new colleague. Enter detective, who collects statements. Importantly. everyone in the company is pursuing their own agendas, and by doing so, takes part unwittingly in the criminal's masterplan : "Witness A" incriminates designated suspect who was going to take his place in the hierarchy -but, by doing so, he draws cop's attention to the hitherto unknown forthcoming company's restructuring : only a couple of directors, the boss, knew that the company's shares were gonna be transfered ("insiders' dealings"). "Witness B" incirminates designated suspect, cos' the, say, Japanese newcomer had caught the eye of a director he -B- was courting ...which, then, draws the cop's attention to everyone's marital situations ...including the boss's recent , costly, divorce. And so on : any lead designed to incriminate the "fall guy" actually backfires. Third action to prove the suspect's guilt may include mentioning to the cop that the suspect had a chequered disciplinary or employment record (or something along those lines)... which inadvertently will reveal that the personnel's files on the company computer had been systematically accessed by the boss two weeks before the "coup". Any attempt to shift the focus of the investigation actually works the other way. As I said, either comedy (like "The Kingdom"'s irascible Swede's attempts), or thriller mind-game (like "Columbo"). Structural matrix to be easily adapted for different plots. Possible cosmic joke : the one convicted, at the end, is neither the fall guy, nor the master ciminal, ...but a third party that every lead could as easily point to !
It is my belief that if you were to investigate any individual's activities, you could surely end up convicting them of one thing or another : no saint anywhere. Self-fulfilling prophecy : rubbishing someone through their personal lives, under any angle available. The fall guy would be from a different culture with a different sense of honour : less inclined to get down to slanging match, and lose his dignity by answering personal allegations directly.
Choice : cop, either a bumbling Inspector Clouseau type, charging in all directions and finally getting the right man by utter chance; or intelligent, analytical, ...and ultimately fooled. (Echoes of "Touch Of Evil").
Variante : Comedy genre ? Dialogue quiproquos . Maybe new kid in town, tries to fit in, and changes his style according to the various pillars of the community he meets : tries sporty, tries grunge, tries egg-head. And would you have it : gets-the-girl at the end, despite all attempts, from all angles, to throw him offcourse. The viewer must be aware, from the start, of main plot line, such as show-off bad boy wants to get-the-girl for himself for the cliché Prom-Night. Seemingly has all the aces up his sleeve, especially against newcomer.
(Obviously in need of developement, as to the details.) 09/09/2001.
Court-métrage (short) to be developed... "The War Between Brunettes And Blondes".
Self-explanatory, really; with hair dyes as a secret weapon for secret agents inflitrating the other camp. Maybe scenario for porno film ? i.e. : need to check all bodily hair, hee hee... .
The War Against The Shadows. Read a longer version, come here.
Somewhere in the Bible Belt or, preferably, Central America. Pre-credits scene : one night, a bunch of Christian fundamentalists try to accelerate The Second Coming with a ritual ceremony and, in doing so, unleash by mistake the power of darkness (...)
The next morning, in the bunker of that religious sect, somebody gets attacked by his shadow. As others try to rescue him, in the sun, they too get slaughtered ny their own other halves. Terrified survivors (children) hide inside (...) At night, they flee to the nearest town to raise the alarm.
(...) They raid the local supermarket for batteries and torches which scare the evil shadows away, like holy water on vampires. Barricaded inside supermarket (...) For instance, they devise portable lamp-posts under which they can venture outside safely and escape contagion (...) As film progresses, the shadows get more and more evil and organised (...) Copyright Loïg Allix Thivend 1997.
"(I've got the) Touch" -please go and check this page.
Another fable a la "Watcher". Setting : big, unspecified town. Massimo is a big, friendly guy who gets on well with everybody, the heart and soul of every party, the office clown, etc. Totally unthreatening. Except he (...)
Contrast between scene in public where he amuses the gallery, and vision of him in his room staring at the wall (...) Back to Irene : she casually checks on his mother's medical status at the council's records (...) and doesn't find any trace of her. Intrigued, she senses some kind of dark secret; manages to get inside the house (...)
Comments . The real surprise with modern life, these millions of people sharing a mere quarter mile ("a town") daily , is that there is not much more crimes/mental and physical illnesses. We have to construct ourselves a persona to cope, and go about our business under that mask. But, in a perverse way, isolation grows : it's an oft-repeated fact, that, in town, noone knows their neighbours. Massimo has a desert at his core, and only benefits from others, draws his strength from them. In return, they don't really want to know about his personal life, (...) conspiracy of silence, noone wants to rock the boat. As always, I want the film to take many directions, at times a comedy, at times frightening(...). Copyright Loïg Allix Thivend 1996, bastards.
Les sanglots longs des violons... (signal radio de la Libération : Débarquement)
First scene : slow travelling, young woman in grey urban landscape, dreary, gloomy, etc. Inner voice : "Oh no, not again... wake up ! wake UP ! oh god, please...!" More of this oppressive atmosphere until -alarm clock ! Credits (générique : The Fisherman's Blues-the Waterboys)
Heroine wakes up, full of beans (the inevitable Irene Jacob, Winona Ryder, Marisa Tomei or Bridget Fonda). Sun is shining, etc., drives to work : nice office etc. Valentine (let's call her) is in contact with some irritable colleagues, who she cheers up, that kind of lovey dovey feeling (cf. Cameron Diaz in "Smthng about Mary"). She only dreads the clock ticking : soon enough it's time to go to bed : falls into a dream, which is the same as the beginning. In her dream life, she leads a miserable existence. Depending on the angle chosen by director (poetic, comedy, allegory, science fiction, etc.), it could be a giant assembly line in a Stalinist factory, or she could work in a slaughterhouse. Thankfully, she wakes up. Back to her much more enjoyable real world.
More of the same (gloomy nights/fun days) dichotomy. For instance, she goes and visits her sister, who has one or two young children she hardly looks after and moans about; Valentine plays with them (easy scene to shoot : just film toddlers playing, aaaahhh...). Her depressed sister spends her time watching TV, in particular that stupefying mind-numbing series already used in "Touch". She also knows a young junkie (subtlety never was my forte), who wastes her/his life away. By various means, our heroine tries to stay awake as long as possible (coffee, up all night, whatever) until she finally collapses at her desk in the middle of a really good moment (element of comedy here) and takes a hell of a nap during which, maybe, a well-deserved promotion escapes her. She tries again and, in another scene, she ends up in bed with someone/her new boyfriend ?, but she is simply too sleepy to do anything; he 's off, then.
Anyhow, I still haven't found an acceptable end ! I'd love it to be ingenious cute and clever, but... I'm afraid we might just go for : oh well, she resigns herself to lead a double life and accept her nighttime version; or... she makes a stand in her dreamlife and -hey, presto !- lightens up the whole place : exacty the kind of utter crap Hollywood would come up with. Let's say, then, that she only takes steps towards a better existence, which allows for a -future, possible- happy ending dreamwise. hmm... not exactly satisfying, is it ? Send me your suggestions, then, wise guys.
Comments. With this one, I just wanted to reverse the usual dream/reality plot which has been done to death. Simple, eh. Especially as life, in itself, is not necessarily bad. -Don't get me wrong, it certainly is, for billions of people too, but there exists, also, "reasons to be cheerful", and Valentine taps right into it. She has the knack for bringing the best out of (morose) people, she sees goodness and brings hope : she radiates (any resemblance here with Three Colours Red's Val. is, of course, totally ...voluntary). The slaughterhouse parallel, on the other hand, symbolises what everyday people don't want to hear about, in their automatic quest for selfish ignorant tranquillity. Her nightly trips take her to the "undercurrent", the other side of our pampered status quo; maybe it's the same vision every night, maybe she ends up in different versions of hell , like starving in a desert, suffering from AIDS/tuberculosis in the third world, etc. Possible, oblique influence : "Nightmare On Em St.", where the héroine forces herself to stay awake. Soundtrack : some great, life-affirming, anthems a la "don't want to know if you are lonely"-Husker Du (ha !), or "like a prayer"-Madonna (double ha !). -copyright Loig Allix Thivend, June 2000, a spaced odyssey.
Painful to say the least... "Gunshots Were Heard"
Inspired, but NOT based on, the Littleton massacre. Somewhere in a quiet, sleepy, sunny little town (typical cliche suburbia)... A TV reporter is called up to prepare a special program on a forthcoming massacre. Slightly amazed, she travels there and first meets her contact, the local sheriff who explains that a troubled teenager (let's call him Milan) has posted death threats on his college Internet site, on which he claimed that he will kill all his schoolmates next week. All the police can do is warn the minor (numerous misdeeds already : emerging portrait), it's up to the parents to sort him out.
She goes and meets the parents : father unconcerned (watches basket-ball on TV), mother overworked. Then to the neighbours : various testimonies about his mounting episodes of vandalism (psycho. profiles show that most serial killers follow the same pattern : escalading cruelty to animals in their childhood). -The kid in question, Milan, is still nowhere to be seen.- Next day, the arms dealer confirms that Milan has recently, legally, bought automatic weapons and ammunition (legal details to follow/NRA line on personal weapons exposed); she visits the video arcade where Milan allegedly spends his time (mandatory wargames/metal soundtrack). The next day, she goes back to the house and gets access to Milan's room : description. She learns that he has no friends, goes to the college which he no longer attends since the outcry over his rantings. All the attention there is focussed on the forthcoming big base-ball match against neighbour/rival college (banners in the streets, hype by local radio: smallish, sunny, community cf. "Scream" as opposed to big, anonymous, town a la "Seven").
The school psychologist (Black or Jewish) explains that she was herself assaulted by Milan : he is no angel/victim of circumstances; she remarks that Milan might/will try something on a day of maximum exposure. Shots of students : Prom' queens, white teeth, etc.; nobody is really interested in talking about Milan. Next day : Milan reappears : ordinary-looking kid who dresses in black. Everyone taunts him; he receives a visit from local Baptist priest : usual incomprehensible religious claptrap. The journalist confronts him down the street : he is at first resigned to his "destiny" (the odds are against him, it was "written" etc.); then gets sarcastic/provocative (as Jocks driving by tease him); finally goes on an apocalyptic diatribe (in the central shopping mall with everyone watching). All along, the journalist either reports back to her office or phones her boyfriend every night (standing for the audience; first as an observer, then gets increasingly involved) : comments on her changing impressions. She gets more and more convinced of the possibility of such a massacre happening (growing feeling of ineluctability, helplessness) as hints accumulate. The last we see of her : she is trying to phone (someone) : no answer, she gets irritated and tries again, to no avail.
The next day is the Big Match. That morning, Milan gets up (faint, anodyne radio music in the background), gets to the college where he is greeted with a sarcastic remark by the metal detector guard ("so, this is the big day you' gonna kill us all, right ?"), goes to the machinery room where he picks up a sports bag full of weapons (after he enters the premises : no more music, sound fading away to complete silence; then, a voice (his ?) recites the lines of that Peter Gabriel song in which a kid shoots the president). He gets ready (total lack of emotion on his face, robot-like), and proceeds to the gymnasium (still total silence in the soundtrack); He opens the door ("and I step into the light"). End. Closing credits : police radio messages "gunshots were heard at the gymnasium...".
Comments- One can't possibly show this film's final/central shooting, nor try to portray the actual Littleton massacre : as a matter of principle, I am against biographies/restaging of real events. On the other hand, that extraordinary -or... is it so uncommon ?!- tragedy surely must be re-presented and pondered. I started with the assumption that everyone know from the start what's gonna happen, but are unable to stop it, due to the social/political circumstances, which makes it all the more unbearable. (As far as I am concerned, it is to departing President Clinton's eternal shame not to have seized the Columbine massacre as the perfect occasion to strike a historical blow against these murderous NRA cretins.) "Milan" mustn't come across as blameless, but at the same time, many bear a part of responsibility; such shootings happen again and again, for a variety of reasons. Milan himself is hardly the main character in the story (presence on screen) : the town is ?. The audience must feel trapped : maybe lack of sky/horizon, conversations left unfinished, actors offcentre. Milan's actor must be an unknown : no bloody teen poster boy. Journalist ? No gorgeous, prescient, heroine either, who would be right against the world (cf. the ridiculous Al Pacino part in "The Insider" !). Soundtrack : opening sequence and credits to "the Ballad of B. Hubbard/What God Wants"-Roger Waters. Copyright Loïg Allix Thivend 2000.
"I Love Nena" ( why not after all : a title that would draw attention !)
Social comedy about the concept of community and relating : everyone tries to find existential comfort through those who they think have The Answer. That is : sincere religious character (mature woman), computer Internet geek who spends his whole nights "surfing" in his room, passing mention of pupils and teacher in local school, young couple falling in love, elderlies noone cares about (despite their incredible, and unheard, life stories) and war veterans noone wants to be reminded of (set in subtle opposition to young skinheads and banal creeping racists on the sly noone takes any notice of anymore), etc.. Point : no matter what we all go through at one stage or another in our lives (bereavement, heartbreak, job loss, illness), there is always bound to be someone, somewhere, who's been through it -if only we could contact them, and heed their advice ! Ideally set in : a microcosm (such as a particular neighbourhood), in middle of big town, where neighbours famously simply don't know each other. Variations on a theme.
A "community" is a paradox : collection of different individuals somehow gathered into false unity. Also : intelligence sees differences, true genius makes out real unity. The film aims at uncovering how, if they behaved naturally rather than conforming to social's mores, the members of this arbitrary community would match their pros and cons. (cf. "L'Appartement"'s lesson : if any of its characters behaved rationally, "normally", at any given moment, the whole conspiracy would collapse) Fact : there's never been so many lonely people, there's never been so much information available on the Net : why dare we not address each other ? how do we miss what we're looking for ?
Tour de passe-passe / choregraphy : characters with matching personalities / problems and answers pass each other by, without noticing / communicating. Comedy (cf. de Broca's, Marthe Keller, Marcel Aimé... that one with village bought and recreated in the USA; the utter masterpiece "L'Honneur perdu de Pédonzigues", or D. Thomas's "Under MilkWood"). Structure of film : maybe like "La Ronde", with one character linking to another, and so on in a chain; (soundtrack : allegro Vivaldi ? Waltz : i.e. circular movement ?)
Ends on positive note, when one of the characters with a problem (say... he or she feels lonely) catches up with alter ego with the solution (say... she or he is ready for relationship), thereby implying that the rest of the dualities will fall into step and connect accordingly. Hmm... sort of Kieslowskiesque, I realise; and what's wrong with that ! Soundtrack suggestion : following Lambchop's golden "Nixon" album (which I make the unbelievable mistake of lending to someone... with the usual consequence.) Cast : Irene Jacob for a change, great old W. H. Macy, J. Godreche & S. Kiberlain, J. Goodman in a part doing justice to him (as in the unforgotten "True Stories"), our-friend-Kevin (Spacey), new superstar on the block B. Crudup...
Copyright L7 Le Hic July 2001.
The Sat'day Night Game Of Death (Another one that came to me in a dream.)
Anyhow... Plot : in not too distant a future (-ha !), a hyper-popular TV game in which everyone HAS to find themselves a partner for the night, under penalty of severe punishment (see later). In a given place, to be decided on the day, -it could be a nightclub, a pub, even an office building- everyone inside has to "cop off" with someone else before the end of the game (by the end of the night, or 90 minutes ?). Competition/race against time refereed by the most glittering/vain/airheaded couple around (who could never be subjected to existential loneliness if they tried to); thus intoxicated by their sudden distinction, these two will not be fooled by cheats. (Otherwise, it would be too easy to pretend; the couples have to "gel"; maybe subjected to quizz; or, quite simply, have to demonstrate their, er, affection on camera ?) Those who can't possibly pull meet their fate in the end -all "live", of course- : they get either castrated (men), or genitally mutilated (women). End of the game, end of the film (no critical distance afforded to this film's audience, unlike in "the Truman Show" where the director Peter Weir covered his arse by pretending that those who watch the film would not be the same ones who would be glued to the TV show, oh no.)
Comments. Shot in a loud, vulgar, TV game-show style ("Blind Date"), complete with trivial/insensitive advertising breaks (cosmetics, the devil's offspring "Friends" on video, that kind of futile crap) and jovial TV announcers (halfway between blandmeister Terry Wogan and Jerry Springer -I blame Jerry Springer for dragging society back to the circus age). Influenced by le boy Brett Easton Ellis, ever so good at magnifying our "people" culture's mind-numbing glitz. Possible added cruelty : one of the unwilling contestants could be handicapped; no "PC" mandatory token gay. Oliver Stone directing in his usual restrained way ? Copyright Loïg Allix Thivend March 2000.
"Back To School" (Hellooo, the DefTones !)
Typical "college" of today : bullies, slackers, kids wearing caps indoors, tribes, intimidated teachers, etc.. After another incident in which a teacher tried to discipline a bully and got roughed up by the kid's thugish big brother, the headmaster decides he's had enough. Calls for confidential meeting all teachers and staff of the establishement, one evening... The next week, all parents and pupils are called in for a "very special" assembly, officially regarding new grants to be awarded (the only way to ensure their attendance). Once inside, the guests find themselves locked up, and taken in hand by the staff, seconded by martial arts Zen monks. Noone leaves until they learn respect, ...and their multiplication tables. The good pupils are soon released, and given the week off. The violent elements, who refuse to back down, find themselves victims of their own stance. "Not to worry", comments the young (gay) pilosophy teacher, who was himself bullied, "we've got all the time we need...".
Possible (surreal) ending : (the next week), life resumes as it started, in the same climate of fear and violence : as if the extraordinary rebellion didn't make any difference but, in fact, was just another measure taken every now and then by the authorities, without any impact.
Comments : just a funny role reversal, with teachers regaining control -literally- of their school against the prevaling decadence. Being careful here not to turn it into a Nazi propaganda exercise : those punished are those who sinned in the first place : justice of a sort, "live by the sword..." . Pretext for countless puns on phrases commonly said without anyone actually meaning them : "and now, we shall..." "what did you learn today ?" "apply yourself", and such-like; also, gym teacher now in charge of some serious "tough love", school doctor to administer first aid in real situation, philosophy teacher to impart basic Kantian principles, importance of speaking and writing a language understandable by all in a community when in public, etc.. The "tough guys", who used to go on about gangsta rap or hard as nuts footballers, forced to account for their self-created image; sexists find themselves re-educated by the derided female school counsellor/ psychologist; xenophobes forced to learn about geography and foreign culture; religious fanatics told to study and take into account other ideologies.
Settings now turned into fortress : use of contre-plongée. Dormitories returned to their original function, and those who prevent the others from sleeping soon ostracised, or prevented from sleeping themselves. Facade of school off Caversham Rd. in Reading, shot in contre-plan.
Structure of film : the usual exposition; then the incident too many who broke the camel's back; mysterious twist to be revealed; revenge. Reversal : at first idealistic, cerebral, "wimp" headmaster uses his brains to hatch his plan, and turns into ("enlightened") dictator of a sort. Obviously, very thin line to walk, ideologically, hence importance of first part, which highlights what "this world is coming to" (ex.: continuous ambulance / police sirens, car alarms in background), with precise statistics about, for ex., teachers' plight (suicide rate, nervous breakdowns, difficulty of recruiting) . Pervese plot appeals -precisely- to reptilian brain of audience, to shake it out of its complacency and make (us) ponder (message) about what happened to what should be the most noble / exciting / rewarding period of life, whatever happened to curiosity and tolerance (or, in other words : using what film denounces : resort to violent instinct ...to combat it).
Music : "The Teachers Are Afraid Of The Pupils", Morrissey; "The SideWinderSleeps" REM (for no particular reason, except I like it). For the film to work, it must be fairly wide-reaching, insofar as not caricatural (like singling out only one category of stereotypical offenders : white skinhead type / red-necks) (racism exists in many shapes, from all directions), as well as "posing" (anglicisme retourné, ha ha) thought-provoking questions, set into broader context (like the famed English reluctance to learn any foreign language, the fundamentalist Islamic intolerance, rap's messages, the American / liberal worship of greed by any means, , and so on...) Vaste programme ! Beat Takeshi territory ?
Copyright : Loïg 7 "Aurora Snow" Akira 'lix-Thi-Van , July 2001
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Contact : Loig7@aol.com . XTC-The Disappointed. Immortal line : Pet Shop Boys : "if I didn't have you, I would go and find someone else" ; Nena : "Utopia""Du kennst die Liebe nicht". Jesus Lizard "Gladiator" ("I'll calm down ! I'll calm down! -but I'm still shaking.") "Our love, is like the flowers / the birds, the trees and the hours"-new order : 184, or smthg. "Special Needs" Placebo; "How the West was won... and where it got us (!)"-REM. Whatever happened to Paw ? (essential album : "Dragline"); and New Automatic Daffodils. Meat Is Murder, and boycott petrol multinational Esso too. My aim in life is to drink as much coffee and write as much as I possibly can, thangyouverymuch.