Showing posts with label production. Show all posts
Showing posts with label production. Show all posts

Wednesday, November 20, 2024

"Lost in Space"...the movie, the TV show (old AND new), Blade Runner, and...Whatever?

Last night my son and I was texting and he said he just finished watching the DVD series I sent him last week, "Childhood's End" by Arthur C. Clark. He said he was great and "pretty messed up". He said he was just starting to watch the old "Lost in Space" movie from 1998. His DVD player had broken so I had also sent him one of those and he was going through his old DVDs.


Yesterday I had been watching the new Apple+ show, "The Day of the Jackal", which is very entertaining. And was binging the new Amazon Prime series, James Patterson story, "Alex Cross" with Aldis Hodge. I've liked his performance through many a series, so I was looking forward to it. But I hadn't seen "Lost in Space" for a while so I said now I wanted to watch it tool

Today I went into my DVD library to find it and watched it. Then I put on the director and writer commentary which I'm listening to now while rewatching the film and writing this.

All this got me thinking.

In 1993 I had started LgN Productions with a friend so we could shoot the 25th anniversary documentary for the Lost in Space TV show. My son and I also liked the more recent Netflix Lost in Space series. Much more mature version. 

When my friend and I realized no one was going to do a 25th-anniversary LIS tribute show, we were stunned. HOW? Why? Someone should make something for it! By the way, I'm mentioned on the IMDb page as executive producer. Last good Nerve Productions was restarted for my 2018 short film homage to Edgar Allen Poe in, "The Rapping".

He had worked on one of the LIS "Tech Manuals". There was a devoted fan base as there was for Star Trek, though I suspect not as big. We found many years later there was another done in Australia, but hey, we did our in America. 

There's was 25th anniversary from its first airing (1965) while ours was from its last year (1968). Ours had a lot of unknown info from my friend vast fan knowledge as host, and some interesting bits, even if rather low production quality. For ours, my video editor at the cable station broke and we had to wait for it to be sent to California, fixed, and returned. 

Why didn't we use one of the other five editing bays? We tried, the master tape wasn't working properly on them. When the fixed machine returned a month later, the master tape worked perfectly. Which is why I think when it was cablecast to the public, the mainstay of the music soundtrack did not play. I'm hoping now to somehow get that back and make a digital copy that includes all the soundtrack. Thankfully this had not affected the on-set recording of our host's speaking.

It never worked quite right with my master VHS videotape. Some of the video clips we used had been from multi-generational recordings and are not clear but are of video footage that many would never have seen. You can see it here, but I'm warning you, it's rough. My films these past so many years are much better and the many awards I've won prove it. That work decades ago taught me a lot about managing talent, producing, editing, crew, creation, all kinds of things that came into play more recently and really paid off.

There is a listing of music at the end credits which are never heard during the film. That's an issue with the damaged editor and I just a couple of weeks ago bought an old Panasonic editor from a Canadian production company to try to clean it up a bit. As was public access cable in the 90s, licensing wasn't an issue as it is today. So when I uploaded it to Youtube years ago, I got a lot of license hits for it, but it's good to go, just can't make money off of it. When I never had anyway. 

As it turned out it's an interesting experience in what we did with a problematic  Panasonic VHS tape editor. It was cablecast around the Greater Seattle area in early 1994, twice for public access cable TV at Viacom Public Access Cable station on Roosevelt Street near the U District where I lived in various places for a while as I spent a very memorable seven years or so working at various jobs at the University of Washington. Public Access back then was the Wild West of TV. Some amazing stuff on there and some who had shows then eventually moved into commercial cable.

My friend and I had previously for years argued about the Lost in Space vs Star Trek issues of which was better? I couldn't stand Dr. Smith, who as a hardcore sci fi reader since childhood found to spoil the series most of the time. He however loved that character. I saw Star Trek as science fiction and speculative fiction but LIS as silly fantasy. He would laugh and say, "you don't think ST was fantasy too?" Well...I'd counter that it was far more pure sci fi than LIS. An argument we used to have back then about the Star Trek vs Star Wars, sci fi vs space fantasy.

I would like to point out a serious flaw in the original LIS TV show. They seemed to utterly forget about a medical doctor on the flight. You send a family to the other side of a galaxy with no medical personnel? Or did they expect Dr. Smith to trap himself during a moment of sabotage? That was fixed in the movie by making Judy a doctor. They also updated gender roles in the film so the women (and kids) had more purpose than existing. Or homemaking.

Eventually, we agreed both were good (but ST was better, yes, he'd disagree). He had convinced me of one thing. The first five b/w episodes were good. After that something changed. He'd argue the ridiculous Smith had his brain broken because he wasn't cryogenically frozen and lift-off had damaged his brain. I would counter with "Uh huh, didn't happen to our real astronauts. But we agreed in the end if that was the conceit, then, maybe...OK.

I did as a child however, love the boy and robot B line plots. I saw it as a series from the boys point of view. My friend contends that it's actually from Dr. Smith's POV and so he is the focus of much of it and some of the skewed orientations are because they are from mad Dr. Smith's versions. Some apparently think it was from Penny's diary. Whatever.


I also had (have? I can't remember) a copy of the Space Family Robinson comic book (the one shown above from a stock photo I found online).

Was there ever a Lost in Space movie director's cut released?

Yes, sort of. It turns out there was an extended cut of the 1998 Lost in Space movie directed by Stephen Hopkins, but it wasn't officially marketed as a "Director's Cut." My DVD has extra cut scenes, so maybe it was just putting those into the film. The extended version includes about seven minutes of additional footage and was released on DVD. The added scenes provide more character development and context to the storyline but do not significantly alter the plot.

However, as to a fully reimagined director's cut that changes the film in a major way, such as what happened with Blade Runner or Justice League, no such version exists. Stephen Hopkins has not indicated dissatisfaction with the theatrical release, and the extended cut is the closest to an alternative version of the film.

Regarding the Blade Runner versions. I loved both versions. The original for its originality and the narration never bothered me as I was also a fan of old noir. And the director's cut for it's pure sci fi format which was confusing a bit, but only made it more enjoyable to a sci fi/noir purist.

Regarding Blade Runner, and as exposition for this type of thing...

Anyway, back to the original thread about a director's cut of LIS...

Too bad, I'd like to see the original version where they had made it as a more adult-oriented film.

Apparently, I'm not alone in that wish! The 1998 Lost in Space movie initially aimed for a darker, more mature tone, closer to science fiction epics like Aliens. However, studio decisions shifted the film toward a family-friendly blockbuster, reflecting the source material's campy charm but losing the grittier edge some fans hoped for.

Reports from production hint at a more complex, ambitious script that was trimmed down, with certain darker elements and character-driven moments removed. For example:

  • Doctor Smith's arc was allegedly more sinister and layered, in line with his morally ambiguous nature in the original series.
  • The time-travel subplot and character relationships were more intricate but got streamlined to prioritize action and effects.
  • Some more adult themes, like the struggle for survival and psychological stress of the Robinson family in deep space, were likely toned down.

While no full "adult cut" or original version has surfaced, the idea of revisiting that concept in a modern adaptation would certainly resonate with fans of grittier science fiction. It’s also worth noting that Netflix’s Lost in Space series leaned into a darker and more serious tone, possibly reflecting what the 1998 movie might have been with more creative freedom.

But how does that compare to the series released many years later?

The Netflix Lost in Space series (2018–2021) takes a much darker and more serious approach compared to the 1998 movie, aligning more with modern science fiction storytelling while still appealing to a broad audience. Here's how they compare:

Tone and Themes

  • 1998 Movie: The film aimed for a balance between family-friendly adventure and darker science fiction but leaned heavily on late-90s blockbuster tropes, including campy humor, flashy CGI, and action sequences. The darker themes that were initially intended were toned down for broader appeal.
  • Netflix Series: The series embraces a more grounded and serious tone, focusing on survival, family dynamics, and moral dilemmas. It explores themes like resource scarcity, the psychological toll of isolation, and the moral ambiguity of characters like Dr. Smith.

Characters

  • 1998 Movie: Characters retained their archetypes from the original series, but some, like Dr. Smith (played by Gary Oldman), were given a darker, more villainous edge. The Robinsons felt a bit one-dimensional, with their personal struggles largely overshadowed by the action.
  • Netflix Series: Characters are more nuanced and complex. Maureen Robinson is portrayed as a strong, resourceful leader, while John Robinson grapples with being a distant father. Each of the kids has distinct arcs, and Dr. Smith (played by Parker Posey) is a master manipulator, making her a compelling and unpredictable antagonist.

Visuals and Technology

  • 1998 Movie: Relied on early CGI, which was groundbreaking for its time but now looks dated. The Jupiter 2 and robot designs reflected the era's love for sleek, futuristic aesthetics.
  • Netflix Series: Utilizes modern VFX and practical effects to create a realistic and immersive look. The alien environments and the robot have a more organic, mysterious design, adding to the sense of wonder and danger.

Storytelling and Pacing

  • 1998 Movie: Condensed storytelling with a focus on spectacle over substance. It tried to introduce time travel and emotional arcs but struggled to balance them effectively.
  • Netflix Series: Episodic format allows for deeper exploration of the story and characters. It builds tension gradually and often focuses on problem-solving and teamwork under duress, which aligns with classic science fiction storytelling.

Dr. Smith

  • 1998 Movie: Gary Oldman’s Dr. Smith was overtly evil, with less emphasis on cunning manipulation. His transformation into a spider-like monster in the finale was a bold but divisive choice.
  • Netflix Series: Parker Posey’s Dr. Smith is a master manipulator who survives through deceit and psychological manipulation. Her character is morally ambiguous, making her both relatable and terrifying.

Overall Reception

  • 1998 Movie: Mixed-to-negative reviews, with criticism for its uneven tone and dated effects but praise for its ambition and Gary Oldman’s performance.
  • Netflix Series: Generally well-received, with praise for its visuals, character development, and emotional depth. Some criticism centered on pacing issues and occasional reliance on conveniences in the plot.

The Netflix series is closer to the "adult-oriented" version of Lost in Space that the 1998 movie might have been. It balances the family-friendly appeal with serious, thought-provoking science fiction, while the 1998 film is more of a flashy, popcorn adventure that now feels like a product of its time.

Well, sooner or later, someone will re-envision it.

Compiled with the aid of ChatGPT

Friday, August 30, 2024

The works of JZ Murdock - Where to Find Them today?

A bit about myself and where my works are to be found today, on my birthday. I'm offering for 1 day, my epic ebook DEATH OF HEAVEN for free! 

Coupon (1st 100): C3ULQ

Cheers! Sláinte!

My writings, my film works? As for my social media links, those can be found on LinkTree. Like easy ones such as JZMurdock.com or LgNProductions.com.

I have been interviewed a few times. Here's my December 2019 Slash Night Shorts interview, a monthly film festival a friend and I created, until Covid hit and killed it. We had local indie filmmakers show up and it was basically a party once a month, with films and on stage interviews and networking of filmmakers and fans.


Below is a photo of some years ago at a gallery in Port Orchard, Washington, during my author reading for my book, DEATH OF HEAVEN.

This is an interview from February 2018.

Regarding my books, ebooks, and audiobooks, they are all available at Amazon, Smashwords, and Audible.com.


Many of my covers are produced by artist Marvin Hayes.

There is more than anyone should ever want to know about me, on my website.

My films, are different...

Some are available on my TheJZMurdock YouTube channel.

Some are on my LgN Productions YouTube channel.

"Gumdrop", a short horror, is currently only available (for $1.99) on the LgNProductions video site. This is a rough film, indie film, but also a film noir/horror film shot with a nod to the film, "Henry: Portrait of a Serial Killer". Technically, there are interesting things going on in it as well as some things often missed going on in the background. 

And in part because of that, it's also an award-winning film. 17 awards to be exact: Best Noir, several Best Horror/Thriller, and others.

My biggest award-winning film is, "Pvt. Ravel's Bolero". Sadly it's in limbo until the primary (and title) song goes into the public domain in January of 2031. It's a long story, I misunderstood the song's public domain status during research and production and was later surprised to find it's still owned by a company). I also started on the film when I was trying to struggle out of a year of long covid, so maybe it's not surprising I made a mistake on something. Still and that being said, it's now won over 60 international film festival awards.

Its trailer, outtakes reel, and "Wars on Earth" videos are available on YouTube.

My first narrative film, "The Rapping" (referring to a sound, not music), is available.  This is an unlisted link so you cannot find it by searching online for it. This film includes NASA InSight Mars Lander audio incorporated into the soundtrack to add to the eerieness.

It is also the long version of the pieces of it used in my next and longer film. That film is, "Gumdrop", a short horror, which I have already covered. It has a trailer. Curious as the entire film lasts only 8 minutes. 

I also have some short silly films like, "Below in the Dark". Or, "Happy Birthday from Dragon Boxer - February 18, 2011". A film I made for my youngest backpacking eastern Europe at the time, and feeling rather low. This cheered them up. How could it NOT? 

Another favorite of mine is the short "Eagles & Crows, a fable". Yes, for a 4-minute film, I did ridiculously make a trailer for it. I had some footage of the eagles in my backyard over months and thought I should use it. One day I watched a crow harassing an eagle and thought it was funny. 

I made one up of some extra video for an audio recording I made of my son and friends playing drums up at Ft. Warden Park in Port Townsend years ago. I called it, "Beyond Abbadon's Gaze. For a while I used that percussion audio for the original trailer for my film, "Gumdrop". I liked the coarse, uneven beatings and noises for the trailer. But when my soundtrack composer Andrea Fioravanti heard it (from the Italian band, Postvorta), he offered to do the music for the trailer, and I went with that.

How dumb DO you have to be to piss off an eagle? So I made a film about why that happens, why a crow would attack an eagle, and made it about the eagle trying to educate the crow. Silly film I thought kids just might like. But I don't think any yet have seen it.

Here's a couple of old pieces from Indies Unlimited:
- Meet the Author: JZ Murdock
- Article on JZ Murdock by LA Lewandowski: "Gender Bender"

I also made up some book trailers for my books. These are from 11 year ago and since I started producing films, my tastes have changed and I would make this very different today. But they are what they are and so I offer them out of nostalgia if nothing else.

Like Expedition of the Arcturus, a generational spaceship story. First published on the online, hard science fiction magazine, PerihelionSF.com

I have several new books out after those above. The sequel to my first collection of short stories is, Anthology of Evil II Vol. I & "The Unwritten" Vol. II. Also Suffering "Long Covid"

And that's a list of where all or most of my works are located, should anyone be interested. Have fun!

Cheers! Sláinte!

Thursday, July 20, 2023

3 Amazing WWI Documentaries - JZ Murdock, Peter Jackson, Brian Henry Martin

My WWI documentary is a filmic poem and an antiwar film. I wrote a poem years ago and tried to get it published. I worked on it once in a while, got comment from a professional poet and he said to just keep working on it. And so I did. Until one day I stumbled into the idea of making a documentary, and then a WWI documentary, and then a documentary built around my fanciful poem, "Pvt. Ravel's Bolero" (trailer). To be clear, the title of this blog is in an order I would suggest to watch these three films and has nothing to do with any lack of knowing the great quality of the other two filmmakers!

I've written about the experience of making this film previously. I am working on a film companion book for this film, which is about half written. It took me six months of editing to finish the documentary with years of research under my belt in acquiring public domain media and information. Something I continued throughout the production of the film. I had for several years intended on turning the poem it is based on into a minimalist animation. But no animator would touch it without more money than I could come up with. The finished film itself I had hope of eventually reproducing it with much better resources. Seeing what Peter Jackson did with his film makes that prospect even more desirable. 

New Poster for ThrilzTV where it can be viewed

"Pvt. Ravel's Bolero" is a film that only came into existence because of having Long Covid acquired from COVID-19, for at least the second time. Having first acquired this miserable disease and first noticing its symptoms on February 9, 2020. I eventually wrote a book about it: "Suffering Long Covid".

What I'm writing about here today, is regarding what happened over this past week. I'm suggesting an order one might watch these films in. Even if you do not (yet) have access to view my film, it will still make it's point if you watch these other two. I'm sure there are many good WWI documentaries out there. But this blog here involves only three. Mine, Peter Jackson's and one from about photographer/Lance Corporal George . I just finished watching that one.

About "The Man Who Shot the Great War" (2014), from Acorn TV:

"Premiering in North America December 19th. Among the thousands of men from Britain and Ireland who fought on the battlefields of the First World War was Lance Corporal George Hackney, who did something remarkable: he brought his camera with him to war. Described as a "photographic discovery of the century," the images he took captured the brutal realities of the front lines and fueled a moral quest that altered the course of his life." 

The other day I watched Peter Jackson's WWI documentary, "They Shall Not Grow Old" (2018). From Warner Brothers Pictures' Youtube channel:

"The acclaimed documentary is an extraordinary look at the soldiers and events of the Great War, using film footage captured at the time, now presented as the world has never seen. By utilizing state-of-the-art restoration, colorization and 3D technologies, and pulling from 600 hours of BBC archival interviews, Jackson puts forth an intensely gripping, immersive and authentic experience through the eyes and voices of the British soldiers who lived it."

Three films about WWI. The "Great War", the "War to End All Wars".

My film as I said, took me, alone with what small resources I have in filmmaking and editing, took me six months of editing as I was coming out of a rough winter with long covid. My son got me playing a video game on my desktop video editing workstation and I did that for months. Part of an hour the first time until I was playing all day long after a few weeks (months?) and then realized I was not only able to get out of my living room recliner chair I'd spent most of the winter in just watching TV, dozing off and on and not feeling well, but I was actively engaged in this Fall Out 4 game. I'd put 700 hours into it. 

It was time to actually do something. Unable still to be able to handle a production with actors (and a schedule), the idea came to me to make a film of some sort that I could handle doing all by myself, on my schedule, if and when I could, whenever. In considering what to do, I landed upon the project I eventually finished. Twice after months of editing I wanted to quit, give up as it is exacting work of digitally splice media together, AI colorization, multiple layers and tracks and sophisticated audio work in syncing music and sounds and creatively doing Folly work, making sounds that come from one source being made to sound like another. But finally, I finished it.

I sent it to a few festivals and immediately that week got an "Official Selection" from one. Shortly thereafter, the next week, it won an award for "Best Documentary". I entered more festivals. Then it won "Best Experimental Film" at another festival. I entered more and continued winning, not all festivals, but more than I had ever expected. Far more than my previous and narrative film, "Gumdrop", a short horror. Yes, from horror film (really more of a film noir), to the horrors of our perhaps our greatest horror in wars in human history.

As I indicated above, I detail this all elsewhere as I had to hire voice actors and a poet to translate my poem, a center point to the project, for the voice actors to read. At one point I hired a sound engineer to clean up what I could not in digitizing Ravel's "Bolero from an original Polydor double record set from 1930 I bought online from a seller in Paris.

I used some visual media in the film that were never seen before like this because they were not of pristine or perfect quality or focus, all of which played into the "poetic" nature of the film as not just documentary but fantasy and visual poetry. That is important, because it has a lot to do with why I'm writing today about this and the other two documentaries. 

In my film you can notice the French always face and move to the right, which the Germans, their opponents in Verdun, France in this film, always facing and moving toward the enemy, the French, to the left. From the perspective of the French in the film, when they are headed to the right of screen they are moving toward, entering the war. When to the left, they are moving away from, leaving the war. When the visuals are blurry, the poem visuals are referring poetically to the "fog of war" and such metaphorical elements and considerations. 

In moving from my film therefore to Peter Jackson's tour de force of his, "They Shall Not Grow Old", documentary, the effect is intense. With all that Jackson has available to him, the money, the team/teams, the quality of media he could acquire, the legal team for handling all that, and his special effects professionals, what he could produce is truly, as I've said elsewhere... awe inspiring. I'm not here to review his film.

However, Rotten Tomatoes said: 

"An impressive technical achievement with a walloping emotional impact, They Shall Not Grow Old pays brilliant cinematic tribute to the sacrifice of a generation. Read critic reviews"

I was stunned at the amazing quality Peter Jackson turned out in this film. I deeply and intricately know what it takes to do what he did in that film. I'm speechless, to be clear. Watching probably any WWI documentary prior to Jackson's could most likely give you the same effect as seeing my film and then his. But the difference in the quality of experience and visuals, not to mention the high quality level of his Folly work and audio dubbing, are truly inspiring. And that is all outside of the effect of the subject matter itself.

 


On "The Man Who Shot The Great War", Film Affinity said about it:

"Revealing for the first time what has been described as 'the photographic discovery of the century', this documentary uncovers the remarkable story of the Belfast soldier who took his camera to war in 1915 and how his experiences were to have a dramatic and unexpected outcome many years later."

It is a touching film about an amazing find so long after WWI.

Watching these three films in this order, for me anyway, was a very rewarding experience. My film is likely, for most people anyway, a bit of history and imagery you have never seen or known about.That is mixed up with a humanist, antiwar message through the people that runs throughout it and read by a female French actor as Ravel's Truck, whom he had named "Adelaide". 

Ravel's imaginary actions in the film brings the fear and evolution of a trench soldier into sharp focus. the end of the film with its long scrolling list of all wars on earth is a stark reminder of who we are and what our history has been. Evoking the question, why should this continue and how to stop it.

Going then into the Jackson film, the realization of his film is very impactful. It's almost like he went back in time and shot these war moments with a film crew. His ADR (Automated dialogue replacement, voice dubbing), his Foley work (sound effects), and his colorization and visual enhancements are impeccable. It's a moving film, in ways beyond my own film, while a perfect adjunct to it.

Then moving on to the George Hackney film and what it uncovers is touching and amazing in entirely different ways and I highly recommend it. 

These are short films, offering us a bird's eye view, even closer, and in ways no bird and few humans have envisioned. It is a set of films from a time long forgotten, which is repeating itself every decades since. We are changing our ways of war. They are becoming more exactly, civilians are not often "collateral damage" as they used to be. So often today, victims due greatly to specifically targeting them on purpose.

Such as Putin from Russia has so often done in his illegal war in Ukraine. And we are becoming more "green" in war with a realization that every weapon discharged is costing humanity in damage to our environment. And all too often, to civilians years or decades later in unexploded and lost munitions and toxic chemicals.

But the one thing that remains is, the cost to the human psyche, the friends and families of those soldiers and the damages to our world and ongoing blemishes to our history of humanity. 

Cheers! Sláinte!

I wish us all the very best!

Films:

"Pvt. Ravel's Bolero", available exclusively on ThrilzTV.com

"They Shall Not Grow Old

"The Man Who Shot the Great War"

Monday, October 14, 2019

Let Me Tell You A Story About Tacoma, WA in 1973

Let me take you back, into my past...to the year 1973. Tacoma, Washington. I was seventeen. Allow me to set the stage...
Myself in Manhattan in 1974
I had graduated at seventeen, got a job, moved out of my parent's house and finally, started my life. Like many teens, I'd been ready to be on my own for years. Though in reality, I wasn't really ready for it. In some ways, I was more ready for it than many adults ever become. In other ways, not so much. I was very adept at problem-solving, at heading toward trouble when necessary, regardless of my personal feelings.
Me on the left fighting in the 1967
Seattle Open International Karate Tournament put on by my Sensei.

I had started martial arts in grade school. I had studied flight ground school. I had studied search and rescue and first responder disaster first aid in an auxiliary of the USAF, the Civil Air Patro. I had been on a private rifle team and then spent three years on my high school rifle team. I had flown small planes.
Me on the left with my high school SCUBA club in 1971
Immediately after high school, I had started sky diving. I already had my SCUBA diving license in tenth grade and performed my first open water, saltwater dive in Puget Sound's waters the same day I took my driver's license written test. In fact, I was sitting in my wet swimming trunks immediately after my open water dive while I took my written exam at my high school, after hours.

I can remember being distracted while taking my driving test by my wet swim trunks under my jeans and if anyone could smell the salt waters of Puget Sound from me while we sat stressing over filling out our test. Still, I passed both tests that day, for SCUBA and for driving.

My 2nd-floor apartment at 17
One day while sitting at my apartment in an old house in Old Town part of Tacoma, a very nice area of manicured lawns and beautiful old houses, I got a phone call that would echo throughout my entire life to today. For purposes of story and filmmaking, we altered things to turn that phone call into a party instead. But it only made the story more interesting and wrapped up several issues quickly and neatly, increasing the tension and decreasing the cost of making the film overall.

That phone call led me to some years ago, to begin writing a new screenplay. I had just been thinking of what story from my past would make an interesting story, one that could be written and filmed and sold and shown in theaters. See, when I left my parent's house in 1973 it was my desire, after a childhood of adventures, to continue on that path to bigger and better adventures, better stories, stories I could one day, as an old man, write and people might want to buy and read, supplementing my retirement.

By this time in about 2013, I had published short horror stories for money. Years before in the 80s I had gotten published in various local computer magazines, those that looked like tiny newspapers or a Nickel want ads format. I'd gotten published in the greater Seattle area and my favorite piece "Cyberspace", about the new internet for people and not just the military and universities, and about workers and managers dealing with the use of the internet at work.

Many managers were freaking out about it...should they fire employees over it? I argued it was little different at the time as over personal use of telephones which once gave managers great concertation and to today, is an issue with employees. Especially considering today the use of cell and smartphones.

So, I reviewed in my mind on that day in 2013, what stories I had that would be best to attempt a biopic of my past life. I reviewed my published stories and my memories. I looked at old photos.  I considered stories from my years in the USAF when I had a secret clearance for working around nuclear weapons. Some interesting stories there and I'm released from talking about my work in the service after twenty-five years had passed. Which they have. I thought about years growing up in the 60s and 70s and even 80s. Lot's of interesting stuff then.

In the 90s and after 2000 I was in IT work, raising my kids and my life had toned down quite a bit. In fact, when my son was about eighteen months old in 1989 I remember driving down the street considering if in now having a child I shouldn't curb my activities and do my best to be there for him growing up. And so that day I truly became a father. Then in 1993 my daughter came about and even more reason to live sane and safe.

Then I remembered something from my past, when I was seventeen. I graduated from high school and moved out of my parents as soon as I could. I got an apartment in an old house and a job where my sister had her first post-high school job, three years prior to me. Then one day I was sitting at home and a friend called me and asked that I give a woman a ride who was staying with him and his roommate. To make a long story short, I gave her a ride and ... the rest of that story seeped back into my mind.

As I ran over that day, that week actually, I realized that may be the story. My most marketable story. A story I had never told anyone. And the more I thought about it the more I couldn't believe I hadn't thought about it sooner.

Because the story was about my staying with a woman for a week until she could leave town. Something about where she had worked, at the Polynesian style Tiki Restaurant in the Tacoma suburb community of Lakewood, Washington. there had been a murder three of the young bouncer there. It was at Tacoma's first topless venue. The bouncer was only twenty-five.

The woman, in about her late twenties, admitted to being where the murder had happened and said that those who committed it believed she saw it. A murder allegedly according to the newspaper and Sheriff's office was by an anonymous patron. But a murder she claimed had been committed by the restaurant owners themselves. Those "owners" were the local mafia. Not like today where you hear about a mafia of a loosely held gang. This was the real mafia.

So I agreed. I would stay with her for that week and keep her out of trouble, away from prying eyes and keep her alive until she could leave town forever for her old home town. It was an interesting week. So I agreed. With myself. That would be the story, the screenplay I would write. One day. Some day. Time passed. Occasionally I would research some on it but never got past that stage.

A few months later I was contacted by an author whom I had written an adaptation of her novel, an espionage romance, to screenplay format. it had been a few years. She said her book been optioned once for a film, but the year had passed and the option expired. Now she had interest from another producer. One in London who wanted to see it. So I contacted him via email.

I ended up sending him a copy of the screenplay. In our emails back and forth he asked me what else i had available. So I sent him a list of my finished screenplays and protected screenplays I was considering writing. I mentioned Gray and Lover The Heart Tales Incident, which had been a semi-finalist in the Circus Road Films screenplay contest. I mentioned a few others: Colorado Lobsters.

And, Popsicle Death, Sarah, and Poor Lord Ritchie the three short stories/screenplays I had included as a part of Gray and Lover and then due to coverage suggesting removing them and let the frame and main part of the screenplay to run free, I  then cut. And to very positive effect in coming close to winning a contest with it. But then I set Gray and Lover aside for this new property.

I included a list of screenplays I was thinking of writing. He latched right onto one and asked to see it first should I ever write it. The name really grabbed him: "The Teenage Bodyguard". I finished writing it in nineteen days and sent it back to him. I never heard back from him on either property. I looked him up later and found he had disappeared from the scene. So I moved on. Continued to research and send out to contests that gave feedback. I honed the screenplay and researched more.

I'll skip the ins and outs of my efforts on this screenplay. However, through my research, I stumbled onto exactly what I had gotten myself into back in 73. The story only continued to get more interesting.

I finally got a producer to work with me just a few months ago and because of that, we have redrafted the screenplay to a smaller and more marketable approach. It's been a learning experience with producer Robert Mitas. A nice guy, interesting and knowledgable guy I've enjoyed working with who is now attached to my project.

Robert has a few irons in the fire, another film in the works similar to mine as it's a true story from a young guy's past and I'm looking forward to seeing it.


I watched his latest film, an adaptation of Shirley Jackson's story, "We Have Always Lived In The Castle". Michael Douglas was an executive producer. I really liked it. Crispin Glover was excellent as always as a quirky character, an uncle.

For my project, our project, we are now looking for a director and have a shortlist we are working off of. I look forward to seeing this project produced because it's an interesting story, a story about a place and time that hasn't received any attention.

Who KNEW there were mafia efforts in Tacoma, Washington in the 1970s? I didn't and I lived through going up against them. I just thought it was a bunch of bad actors at the time. Had I known back then, at seventeen, who they were, would it have made any difference to me at the time? I really don't think so. Here was a frightened and abused woman, who was asking for help and who was I with all the skills at my disposal, to walk away from her. That just wasn't me.


There is much more to this story. You'll be able to watch some of it in "The Teenage Bodyguard" once we get it produced and on screen for people to see. It's a much bigger story than will be on screen and maybe we'll get around to telling more of it in ensuing years. But I believe, as does Robert, that what you'll see when this version, this part of the story gets told, is a very interesting and entertaining film and you won't regret watching it.


Monday, June 17, 2019

A Creative Mind and Life

I have noticed something of late and I wanted to share that. Full disclosure, I had ADHD as a kid. ADD as an adult. I'm getting older, I turn sixty-four near the end of August. I was lucky. As a kid, I had lots of activities that taught me control and discipline.

Myself as a kid
It was torture to master. Years of practice. Years of pain and frustration. Years of delayed gratification. We all need some of that, some of us far more than others. Structure to be unstructured. Discipline to be undisciplined when the right times come upon us.

I noticed as I got older that I had better control over things. Far better than many. Not as much as some, to be sure. I had built good habits growing up. Or they had been built into me. Probably out of necessity so as not to kill me as an offspring.

It was a struggle to figure out, to learn, but in the end, I did figure it out. I found I had a certain way of thinking and that it was more productive to work with what I had rather than to work against it. As we are typically taught in school through K-12.

Once I realized that my life got easier. I also realized I had to hide it. To be perceived as the other kids. To fit in while not fitting on. So I had to work around things, had to work harder and faster than others. Reminds me of that comment on Ginger Rogers doing what Fred Astaire did, only backward, and faster. I'm not claiming to know the female experience in life as I'm male, but intellectually, I do get it.

I learned to make notes for myself. I learned to take responsibility. To not be a victim to my circumstances but to find a way to succeed despite them. I learned that if I had to do something I had to see it got done to completion and if that required extraordinary means, so be it. If I had to walk the extra mile from others, no one cared, as long as I got my responsibilities cared for.

I realized that I was very good at creating in going forward, not so much remembering and regurgitating. I was exceptional in synthesis, in synthesizing things. In taking from one concept and adapting it to many others.

I was very good at taking something and modifying it, making it far better. Eventually creating from scratch myself and then modifying that over time. As they say in the writing field, writing is rewriting. So it is in other fields. To create, you make something and modify it, over and over to perfection. To YOUR perfection.

As you modify you learn. When humans do anything, in doing it over and over they find the flaws and find the enhancements needed. Those who sse that, who apply that, find success. The other end of that is the business side of creativity which is hard for most artists and why so many fail.

My grandmother told me repeatedly, if you start a book, always finish it. I can today count on one or two hands, all the books I've started in my life and not finished. Probably on one hand.

Another side of this is perseverance. Those who give up fail, by definition. Don't be defined by your failure. As Thomas A. Edison said: "I have not failed. I've just found 10,000 ways that won't work." I've heard so many who have "made it" who said it was luck. You do have to, as they used to say, "take a licking and keep on ticking." Persevere.

Being in the right place at the right time, making that happen, so that luck could happen to them. So it is luck, but it's also setting yourself up for luck to happen, rather than failure. They've also said that in their never giving up, while their friends had, who started when they did, some who were even better then they were at whatever their endeavors were, while they made it, the others didn't. Because they quit or couldn't take rejection after rejection.

A famous author once said about rejection in relation to writers, that you should collect your rejections as a positive thing. As a collection. Put them on your office wall where you see them every day. Collect more. Fill the wall. Fill another wall. Fill all your office walls. Then start to fill another wall in another room.

By the time you fill your wall, or your office, or another room, or your entire home, you will have a sale and then another. You have to acclimate yourself to so-called, failures. Because each failure is a success in learning, in moving past that failure to the next and so eventually to the success you want. Or another success you never saw coming. And be sure to see that when it arrives.

Opportunity knocks only once, they say. Be sure to answer when it knocks. Truth is, opportunity knocks in our lives many times. But we often never ever hear the knock because we're looking for a knock at another door. Or listening for a knock when it is a doorbell or a whistle from outside our windows.
My High School Graduation Photo
My sister suggested when I entered high school (and that was the year after she had graduated so we missed one another), that I should write notes and put them in my jeans pocket, the pocket with my keys in them. She said it had worked for her. And I knew she was smart. After some months I found that some days, I would have a pocket full of small pieces of paper with notes on them.

When I was leaving school at the end of the day I would reach for my keys, in 12th grade, it was my car keys to drive home (even better) and I would feel the notes, read them, refresh my memory on what was to come.

Or if it was for the next day, leave it in my pocket for tomorrow morning to refresh again my memory and then try to remember to, remember. Or to keep checking my pocket throughout the day. It got to be a habit as the day went on to just touch my pocket, to feel if there were notes in there. I would remember (maybe) what the note(s) said (which actually helped my memory) or when I couldn't remember, pull them out and review them. Which also helped my memory.

My confidence grew. I made it a point to show up for things on time or a few minutes early. I came to be known as punctual. Also, dependable. A teacher pointed out one day the difference between most kids who sit in the front or back of a class.

I started putting myself on the front line, in the front row. I found I could pay more attention, get more involved. I became more interested. I had always felt I didn't want to engage (a holdover I think from my lower grade school experiences. I found ways to trick myself to, or to force myself, putting myself into positions where I had to learn or to become involved. At first, I hated it. But I persevered and eventually got to relish the interactions.

All this led to a change in how I was perceived by others. For two reasons. My strong desire to be trusted and dependable, and those pocket notes. For a while later on, it became my watch with an alarm. But there were times, without a supporting pocket note, that the alarm would go off and I would have absolutely no idea why. Nowadays, of course, I have my smartphone and calendar app along with other apps for support.

My reason for bringing this all up though really has to do with creativity. Something I studied at university. My major being psychology, one of my classes actually was titled, Creativity. And it wasn't an easy class. I quickly realized that shot name classes were hard and classes with longer names were easier.

I've noticed something for some time now about my creative pursuits. I'm very good at them. I can produce a lot, much if not most being of very high quality. But not always. And, why not?

What I have noticed first, is a change in myself as I age. When I was younger, I had massive amounts of energy. In fact, I seldom got a full night's sleep in high school. I would lie awake most of the night until four or five in the morning. Then fall asleep and wake exhausted to my alarm clock.

I had a night job at a drive-in theater snack bar. I became the snack-bar manager for the last couple of years there. I went to school during the day, then to work in the evening, then home and bed. I learned to get my homework done at school during the day.

Sometimes working in one class on homework for another class. Teachers weren't stupid and they'd rail against kids doing that. So you had to be smart about it. And you still had to pay attention to the class you were in. But I seemed to be good at multitasking and it kept my mind from wandering (ADD again).

But at night, I was usually running at a high rate of speed by the time my head I hit the pillow.

Still, I had the energy to spare when I was young. In fact, being ADHD/ADD I had far too much energy most of the time. I just had to learn to use that to my advantage and not disadvantage.

What I've noticed as I've aged though is that decrease in energy. Obviously. I'm getting older. Regular workouts become ever more important as we age. It's not just that I could be in better shape though.

There is another and well-known component involved. I asked my doctor at a checkup some years ago about changes I'd noticed. I seemed to feel things more deeply. Emotionally. I'm more affected by things than I ever used to be. He said that was really quite normal (normal, there's a concept).

Obviously, as you age you gain experience and so you feel things more deeply, he said.

OK, that made sense. Then I noticed that my creativity seemed to become more problematic. That is, I've always been able to produce quality on demand. I still can, to be sure. Years as a technical writer do that, just as Isaac Asimov had claimed in his first autobiography, In Memory, Yet Green. A book that affected me deeply when it came on the market years ago. But for pure creativity and comfort, I've noticed a change.

Example. in 2016 I sold my house of sixteen years and moved to a rental in another town, Bremerton, WA. I went where the best deal possible was at the time. I had to. I wasn't rich and I was going to retire and live off of my retirement at too young of an age. Because I could.

I was retiring, young at sixty-one I was tired of on call and IT work and wanted to finally take the time and effort (and could) to explore my creative pursuits. Writing fiction, screenplay, become proficient in film production, perhaps shoot my own films from my own writings. And so I am now doing all this and making progress.

I expected to live there a year or two and look around, find where I really want to live after having sold the house, and then move to a more long term situation. I was also retiring from twenty years in IT. Which I did. One month after moving.

Now, if you talk to a realtor, they will tell you that buying (or selling) a house is like dealing with the death of a loved one over the course of that year. There is actually a numeric scale of how much stress you should have in a year that gives you a kind of guide by which to know if you are heading into taking on too much, if not headed into more serious issues.

Friends told me when I retired that it takes people anywhere from six months to two years to recover from retiring. It is a massive changed after all and I had not only sold a house I had moved into with my wife and children, but was now a house I was to move out from without that wife and kids now full grown. And I was retiring. All that in one year was a lot. Apparently.

Yet, I figured, "I'm tough, I can handle it." Maybe a month or two to reorient and I should be good. Several months of partying and doing whatever I wanted and having drinks nearly every day if not more, one day I realized that I wasn't slowing down. It was over six months later that I realized, I was finally getting over that previous summer's house sale and move.

Two years now after selling my house and moving, I moved again.

In the interim, I had to deal with family member situations, my dog of fifteen years dying and within a month, my mother dying. There was more family drama overall going on than I want to go into here but suffice it to say, it took a lot out of me. Now that I look back I think over this last move, even though it was only from one rental house to another and only a mile away at that, it really was more intense and compromising than the move two years previous.

Once again I am trying to get back onto my creative feet and needless to say, it's been difficult. Though to be fair now, there were issues with this move too. I had volunteered to help refurbish the new rental house so I could move in earlier without paying rent for the partial first month.

The guy moving out had three large dogs, hadn't paid rent in several months and seldom on time when he did and he took questionable care of the house and yard. It was a mess. We had to rip out all the wall to wall carpet and replace them and paint the entire inside as well as clean and remove things left by the previous renter. Unused to 10-12 hour days of physical labor and during some very hot summer days, I was pretty beat when finally I moved in.

Because the carpets were put in a week after I moved in all my things were downstairs except for a bed we had to move to have the carpets installed. So I'd been delayed in getting all fully "moved in". It took a while to get my writing desk in place or a working...workspace.

It was a little frustrating. My youngest child (mid-20s) was having problems finding a place and so had moved into the previous house and about a week into the new house before moving to a new location, and suffered the interim condition of the house along with me.

My real point in bringing this all up is... I find when I go through mental duress, and working for a month requiring oneself to ignore the pain and exhaustion of remodeling in sweltering heat at my age, is a mental thing too. I find that it compromises my creative endeavors.

I find I need a period of decompression, if you will. Of relaxation and perhaps, of healing. I can fight it, or I can give it its space, which I did as I happened to still to have that luxury. Lucky me, to be sure.

I have struggled to do what creative things I could. My hardest work is writing. Alone, blindly and boldly creating, if you will. I've done some events and other physical things where I could do something creative. I've worked on and been in a few local small indie horror film projects for instance. Attended some Cons. But my goal has been writing, creating, and film production as in filming and editing my own works.

Here's my mental image of what I'm dealing with.

It's like my mind is a vast and finite cacophony of (as in a murder of crows) eggshells, all arranged in a massive solid structure. Each next to and stacked upon another. When I go through these periods of, shall we say, challenge? Some of these get crushed. So I need time once the difficulties are over, for these things to heal back up. Or be replaced. Whatever works.

If the structure is somewhat crushed I cannot traverse the creative routes. Like trying to wind through a maze in a forest, where there is too much overgrowth and too many downed trees. IF however, I take the time to clean up that part of it, to allow things to heal and grow back, then I'm back to normal and not untypically, even better.

It's just that I find now that it is easier for this structure to get crushed than ever before. Though now that I think about it, there were times in mid-life when I had trouble being creative and I gave that up to laziness. When in hindsight I can now see it was daily stress and just many of life's compromises.

It is frustrating now though because I now have what I've worked toward for some years and I'm unable to be that creative or productive. Still again, my point in bringing this all up is that I know it will pass and I only have to work with myself in order to get back on track and... I will.

I have for one, made an appointment for the first time with a top rated consultant on a screenplay of mine that has been consistently getting high reviews (THE TEENAGE BODYGUARD). I have high hopes for it, as do others. But also I need to be writing every day for a full day at a time and I'm not. Still again, I know it will come... and eventually, I'll get to where I'm headed.

Because it's all a matter of time and allowing myself to take the time I need, to properly heal up and then step bravely into a new stage of my life.

But for now, I feel kind of broken.

Like my fragile list of daily habits has been broken. Floating, drifting, rudderless. I just need to rebuild my list with a new set of habits. Or the same exact list as I had before, which can be frustrating. When you get used to that happening in your life, that urge to rebuild that which shouldn't have been broken becomes more challenging. First world problems, I know.

Taking the time to live the new life, to get used to it, to assimilate it, the list will come, eventually. If I need it faster, then I need to do it intellectually, pedantically. to know that the rest of me will eventually catch up, organically.

It is in not understanding that, where some people go wrong. They become irate, unsociable, irrational. When all you need to do is relax, be patient, and work towards a positive outcome. As best and quickly as you can. No stress, just effort.

No. It's not all wonderful. But it doesn't have to be a big difficult life event either.

You just have to let yourself... Live.

I wrote the above during the third quarter of 2018.

At this point so much has happened. I have produced my first short horror film. I'm about to start shooting my second, more than twice the length of that first eight minutes short. I'm now working with a Hollywood producer on my screenplay, The Teenage Bodyguard. This week I'm shooting an interview of me to hopefully be included in a horror documentary from the UK on horror writers and filmmakers. And I now qualify ss both.

It took me a while but I'm finally in a good place to explore the creativity I had always wanted to explore over most of my life. Those skills and things I've gone through over a lifetime have paid off and I'm seeing hope for a new career. I've met many new and interesting people. I see a path up now.

It hasn't been easy, it hasn't been quick. Not by a long shot. But those who persevere, who set themselves up to be in those places where luck CAN happen for them and others they have surrounded themselves with, who hone their skills and creativity, who take the time to make themselves indispensable to others who can help them...they are the ones who have a chance.

They are the ones who made their opportunities. And when that knock comes, will hear it. Even if it is a whistle.

And I'm just getting started...

Monday, June 11, 2018

In Memory, Yet Crystal Clear, A New Audiobook

It is finally UP and Available to the public on Amazon, Audible and iTunes:

Original artwork by Marvin Hayes
In Memory, Yet Crystal Clear. The title, an homage to science fiction writer Isaac Asimov's 1979 first autobiography which I found so affective and orienting to me as a writer, In Memory Yet Green.

My story is a tale of how a dystopian society comes to be through the efforts on a single man who takes over much of America's thinking through his managing their daily feed of information.

Sound familiar? Seem a bit too real? A bit too much like today? It is. But this is a reality we can easily escape, simply by finishing listening to or reading the story.

From the Amazon description:

A short story about a world reminiscent of a Philip K.Dick story since the 2016 US Presidential election, or this story here where a world famous surgeon helps his missing son's best friend. Only to find that his actions lead to monumental changes in the United States and as well around the world. All in ways he would never have foreseen.

I wrote this story in the 1980s and eventually saw it sold to an east coast horror quarterly magazine. It became my first published short sci fi horror fiction in 1990. Then in 2012 it became the first story in my first book Anthology of Evil (to which I'm currently shopping to publishers its sequel, Anthology of Evil II). That first book of mine is a collection of my original older short sci fi and horror, including its ending novella (Andrew) that evolved through one other short short story (Perception) into my second book, DEATH OF HEAVEN.

In 2013 I had produced and narrated three audiobooks on my own. The Conqueror Worm (first and standalone short horror which opens my DEATH OF HEAVEN book), The Mea Culpa Document of London (also in Anthology of Evil), and Expedition of the Arcturus (the title an homage to the 1920 book,  Voyage to Arcturus, by Scottish author David Lindsay) and was first published in the hard sci fi free online magazine PerihelionSF.com (thanks there to publisher Sam Bellotto).

I am now putting out audiobooks with friend and professional voice actor Tom Remick in a collaboration we are both finding rewarding and just fun to do. Here is a short video intro to Tom's work. We have since changed our equipment and recording setup for the current audiobook, In Memory, Yet Crystal Clear.

Next up... first, I am narrating my most popular piece, a science fact article I've renamed, On Psychology. It details the history of psychology, proposes new research on synesthesia and schizophrenia and offers some perspective on today\s related political environment.

We already have audio tracks for the next story recorded for Mr. Pakool's Spice, a short story about a single father trying to get his two young kids to safety through the back winter woods of Oregon during a zombie apocalypse. With no food, barely surviving, and with of all people an international terrorist hot on their tail. It's a well drawn and heart wrenching tale.

Included with that story in the ebook and now audiobook is the short short story, The Regent's Daughter, a medieval tale which won Best Tension, in a short short story contest among a group of writers.

After that we will be recording the engrossing and tense sci fi horror story, EarVu about a new and frightening technology. It seems like a fun technology... at first. Then the several scientists who developed it find strange things happening around their top secret lab.

Tom and I are having a great time. Producing audiobooks is not easy and takes a lot of work which we hope genre fans and others, will appreciate. It's especially rewarding for me as some of these stories I wrote a very long ago. My older ones even going back to my university days in the early 1980s.

Having read and re read them so many times during the crafting process, over the years and then to hear a talented voice actor read them, to bring them alive, brings another level entirely to these stories. Some of which I have now updated to be more relevant to today's sensibilities. And in some cases as with this current audiobook, our present reality has only enhanced the intensity of the story.

So many authors have said their stories are in a way, like children to them. This experience has been like my stories have gone from high school to college and who knows, perhaps one day they will achieve professional status to become produced on film. Part of the reason I retired in 2016, buying film production equipment and restarting up my LGN Productions (AKA Last good Nerve Productions, started in 1993) company was to produce my stories in new formats.

But until that happens these stories are available as print, ebook and now audiobooks as we produce more and more of my stories. Please take a look and a listen. I think you'll be very pleased with the result we have culled out of them in bringing new life to them as audiobooks. If you do like what you hear and read in my stories, please do share with friends and feel free to post your reviews. I look forward to seeing what you think.

All the best and do... keep reading and listening!

From the ever beautiful American Pacific Northwest... JZ Murdock.

Slainte!


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