One angry father wrote to the brilliant director, saying his daughter had not bathed since viewing a bathtub drowning in the 1954 French film “Les Diaboliques,” and now she was refusing to shower after seeing Janet Leigh’s character slashed to death in “Psycho.” Hitchcock responded, “Send her to the dry cleaners.” – The Secrets of “Psycho’s” Shower Scene, Salon.com
“Always make the audience suffer as much as possible.” – Alfred Hitchcock
My obsession with Hitchcock was not one that blossomed in a split second. As someone exposed to the art of filmmaking and movies as a whole from a very early age, it took much time and patience to come around to appreciating folks like Stanley Kubrick, David Lean, William Wyler and Alfred Hitchcock. As a person who grew up in front of the television watching slasher films and zombie movie, it required some effort to sit down in front of a television screen to soak in the nuances and undertones of “Psycho” that would soon become one of my favorite horror films of all time. As a horror movie it’s without a doubt a keen exploration in the unending madness and reign of terror of a man forever damaged by his mother during and after her death. But as a film it’s so intricately made and so diversely entertaining that it’s almost impossible not to enjoy it. As a piece of horror filmmaking, Hitchcock made a movie that’s the epitome of the convention breaking genre masterpiece.
Through the respective teachings and psychology of Jung and Freud and many others, author Kim Hudson creates a rather astonishing look at the breakdown and dissection of the virgin role in popular fiction and how the role applies to the order of storytelling and screenplays. For those interested, this is strictly a book for the writers, primarily the screenwriter who would want a second glance and exploration in to the virginal figure of lore and myth that involves the female virgin that forms a quest of exploration through hardships.
While the male virgin is more based around realistic hardships that also lead to a similar quest of exploration. The way author Hudson masterfully breaks down the elements of the character and the models of archetypes and molds, she manages to explain just about every popular tale in pop culture where our virginal hero is one who is guided on a quest and led through a journey of awakening aided by the coward i.e. “Star Wars.”
What’s a MITH? Not a myth, you moron, a MITH.
Well, that’s something you’ll have to find out for yourself. I had to after reading “Save the Cat! Goes to the Movies” and I wasn’t sure I’d get anything out of it.
I mean on the cover it seems cutesy, but the introduction almost suggests it’s going to tell us something we already know. Does it? Well, upon reading the first chapter, I found I couldn’t stop reading, and that’s because Blake Snyder does tell us stuff we already know, but then… he surprises you too.
I wish “Archetypes for Writers” could have been a much better book, instructive it may be. For all its interesting tidbits about getting to understand your character, and stripping down their personalities, it also manages to truly delve into endless exposition into Arkelogy, and archetypes, and constructing practices about archetypes, and the like.
And it also manages to state the obvious. The writer knows the characters more than most people. Doy. A writer’s characters are combinations of the writer’s personality, fears, desires, and inhibitions. Thanks for reminding me. I seriously didn’t understand that. But Van Bergen’s aspirations are fascinating. She’s not only seeking to explore the notion of archetypes, but she also hopes to help the writer use this pit fall to their advantage, while re-defining the concept of archetypes and help their writing flourish.
Anthony Spadaccini, a good friend, and founder of Fleet Street films recently agreed to do an interview with us to help promote his film “Emo Pill”. If you’re a consummate reader here at “Cinema Crazed”, you’ll know we’ve reviewed many of Fleet Street Films’ titles from “Unstable”, to “Monday Morning”, and one thing you’ll notice about Fleet Street is that they not only seek to entertain, but they seek out to do so while making a statement. Spadaccini and I have remained in touch for a few months, and I even have a copy of “Unstable” from him, and with his new film “Emo Pill” in production, we thought an interview seemed proper.
Many of Fleet Street’s films are dramas, but true human dramas that concern real life issues such as AIDS, murder, revenge, and our justification of crimes. Incidentally enough, most of Spadaccini’s work has either been praised or completely hated, and that’s due to the utter realism he strives for. If you’re not familiar with Fleetstreet, then it is the pleasure of “Cinema Crazed” to introduce you to the company, and to Anthony Spadaccini, a humble director whose created many very good films that have received quite an amount of feedback from viewers, and we implore you to buy his films and tell us what you think. Spadaccini fills us in on what’s going on in his life and his work, and boy is it ever a work load.
No matter how hard “Alex and Emma” tries, it’s still the same package but with new wrapping. It’s another recycled romantic comedy, with more recycled characters, but only with a different twist. Kate Hudson has a nasty habit of choosing horrible films of late, and Luke Wilson is no exception. In this vapid formulaic film, Luke Wilson plays Alex Sheldon, an author who released a book and is in debt with what looks like the Cuban mafia. Two Cuban thugs break into his apartment and threaten him, but then again they just could be thugs from another mafia. So, Alex has thirty days to write and publish a book and get them their money or else he goes bye-bye (death), so he hires a stenographer. Why not a ghost writer? Someone from the publisher to help? You figure he being an author he’d be able to type fast, but he instead hires a stenographer by posing as a law agency to which we meet Emma, a beautiful (despite how hard Hudson pretends to be plain), young and uptight stenographer who is convinced by Alex to write the book as he dictates it to her.
Jamal Wallace played by newcomer Robert Brown is an excellent basketball player who is recruited by a top school in Manhattan for his skills in basketball. But he is also a literary prodigy who is somewhat unrecognized. He then meets William Forrester played brilliantly by Sean Connery who is an excellent yet reclusive author who teaches Jamal the art of writing and creating a good novel. The acting in this is excellent, especially by the two main actors who play off each other very well and have an excellent chemistry together.