AARON SORKIN & THE FACEBOOK MOVIE

When 'The Social Network' ended, I was genuinely shocked. "How can it end now?" I wondered, "it's only halfway through!" I normally have a pretty reliable movie-body-clock. That wasn't the case with this movie. The reason being, I was so completely engrossed in the flow of the movie that I lost all sense of time, real-wise and movie-wise. I was swept away in the magic of what was in front of me. This is rare. Really really really rare. It's why I go to the movies and why I watch so many DVD's-- yet this experience of total immersion is very unusual. I can't remember the last time it happened.

For the purpose of this article I will be giving all of the credit to Aaron Sorkin. This is probably not fair-- as I'm sure David Fincher played a giant role in it too-- as did the actors. But for me, this was always about Aaron Sorkin. I love his work. This kind of adulation usually leads to disappointment. There are very few people I'd rush to the cinema for. There's Cameron Crowe, Woody Allen, and---um, Aaron Sorkin. That's about it. I'm not sure why I still do it for Woody Allen, and last time I did it for Sorkin, with Charlie Wilson's War, I was very disappointed (great script, but I didn't love the movie).

But this movie really had it. Every single scene, every bit of dialogue --- it just burned with life and energy. The Sorkin touch was plain to see. He always starts a scene where you don't expect it to start, in a location you don't expect to see, from a perspective you never thought to look through before, and it's always about three different things, just like Erica Albright mentioned in the opening scene, telling Mark Zuckerberg how he always talks about three things at once. That's exactly what Sorkin does, and it's magic.

The film was like a rollercoaster. Actually, not even a rollercoaster-- it was like a really fast car. This is exactly the type of movie I like. If I had my way, every movie would zip along at 2000 miles an hour with razor sharp dialogue. Strange that I feel that, and that it's my preference, because there have hardly been any films in the history of cinema that have truly honored that energy. But 'The Social Network' did, and that is down to Aaron Sorkin's script.

Frustratingly, some of the dialogue that was hilarious in the screenplay didn't translate quite as well on screen. It seems that even a master like David Fincher can't totally do justice to Sorkin's genius. Maybe only Tommy Schlamme can. I'd love to see Aaron Sorkin directing, himself; because I think the hilarity of his wit and humor would really shine, if he was at the helm.

This isn't a review. I don't know what this is. I just know that I was completely engrossed in the movie. That only stopped once, when I desperately needed to pee -- I literally sprinted to make sure I missed as little of the film as possible. I haven't cared that much about a movie in the long time.

This film really reminded me of how incredible motion pictures can be -- and how great we can be as screenwriters if we really try. The energy, the innovativity (or something that's a real word), the structure, the humor; it was all PERFECT.

Aaron Sorkin is the best writer in the industry. I say this with complete confidence.

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You Gotta Get To That Place, Where You Really Wanna Be

Writing only really takes place, when you're really immersed in it. When you forget about your back problem, and you forget about your Facebook addiction, and you forget that you have to be somewhere in an hour. That's how you need to write, and that's how magic happens. That's how your imagination really knows you've clocked in. If you're distracted, you're not really there.

Think of William Shakespeare, sitting down to write. Would he have achieved what he achieved if he was also thinking about writing a Twitter update about his dinner? I don't think so.

Writing is really about getting back to who you are, who you've been, and what it is you need to say right now. But you can't really figure out what to say, you can't really make the choices-- it needs to come from a place you're not really conscious of. What you really need to say, you don't really know. You just need to do the writing. But you gotta get to that place. You gotta allow for it. You need to find a way to get your brain there-- whatever it is, loud Metallica records, or complete silence, or sitting in a coffee house, or laying on your back on the rooftop -- you HAVE TO HAVE TO HAVE TO get to that place where you can flow magically between thought and dreaming, when your characters and stories and knowledge and instincts just glide in and out of each other.

You're probably thinking "I know, but how?" -- I don't exactly know how, but I just know, most of the time, we're not even trying. Don't allow for things to get in the way. Don't start the washing just as you're about to write, don't start to write just as you're due to pick the kids up from school. Find the time, decide on it --- and be present. Be there. Don't put pressure on yourself--- remember a WRITER is what you are. Go into the moment. Have fun. And let me know how it goes.

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The Night I Discovered SOLOMON BURKE

It was 2003. I was maybe less tall; although I can't be sure. The night was a mix of amazing and depressing, which is always the case; when you're the kid with the weird tastes who has to do stuff on his own. I wanted to see Van Morrison live before he died, or before I died. I had it in my head that Morrison was old, really old, like eighty. I soon found out he wasn't-- but by that time I'd already spent £80 on a ticket near the stage.

So there I am, a guy in his late teens, going to see a legend of music, on my own. That made me grumpy. Well, that kind of thing used to make me grumpy-- now it just excites me to like what I like. Van Morrison was okay, he was cool. I didn't love the gig. He messed around with his songs a lot. I normally like that kind of thing but it felt more like messing things up than inspired improvising. All was not lost, because I didn't just discover how young Van Morrison was that night, I discovered Solomon Burke.

He was the support act. He came on stage and he just had PRESENCE. He was THERE. And the minute he sung-- wow. It was beautiful. His big, booming, beautiful voice-- it simply took over the Royal Albert Hall. I wanted to be Solomon Burke. Like, I want that attitude, I want that peace. I want that message, I want that heart. He sung "If You Need Me" and he meant it. I felt like he was there for me. And for me, his version of "Everybody Needs Somebody To Love" is so soulful - it's perfect.

I don't listen to Burke as much as I listen to Otis Redding, Marvin Gaye, Sam Cooke, etc--- for me, those guys are the Shawshank Redemption's of music; you always go back to them. Solomon Burke is the movie you pull out on a Tuesday night when you're feeling depressed and need to hear from an old friend.

Here is his version of 'A Change Is Gonna Come.' I don't see it as a cover of the Sam Cooke song, they're not in competition -- for me, it's something else, a different angle, that fills a different need-- but it's still something that definitely needs to be heard.

There are less and less people like Solomon Burke in the world, and that's a shame. It's strange to me because, just last night; I spent a night sitting at a computer with my Dad, going through all the music we love. Of course, at first; I had to explain what YouTube is, but after that.. it was glorious as we revelled in the magic of Wilson Pickett, James Brown and Otis Redding. And then, hours later it would seem: Solomon Burke died. Rather than be sad about having to say RIP to another music legend, I'd rather just be grateful that he existed at all. He added something to the world.

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Postcard From 13, When I Could Do Anything

"Your favorite movie is your favorite movie because it's your favorite movie. It is better than the movie that you just thought up - by virtue of the fact that it actually exists. Someone dared to make it. Before that, someone dared to write it. And as you count up the times you chickened out of writing a film, as you count up all the scattered 3-pages of notes that pop up in random corners of your home --- the realization dawns; the ugly voice in your head telling you that you suck is COMPLETELY RIGHT; up until the point you ignore him, or at least send him out for groceries and get on with writing. At some point, before the day you die; you may as well just at least attempt to write what is truly in your heart, or at least go in search of it. Because only then can you, or a producer, or anyone, do anything with it."

I never read my blogs after I've written them. But occasionally, randomly, for one reason or another, I stumble across one. And of course, most of the time I just wonder what the hell it was I was rambling on about. But this one, the one that I am quoting above, is one I really like -- and it sums up a lot of what I feel, and what I think goes on in the head of a writer. So, in case you missed it; you can read it HERE.

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The X-FACTOR Comes Alive!

Well, I was wrong. There was me thinking 'The X Factor' was just another bullshit reality show, peddling bullshit acts into the mainstream; convincing the UK that talent is a cool 'image' and the right branding and management. But it turns out I was wrong; this isn't just glorified karaoke; they have real talent!

Check out this incredible act from tonight's show. WOW!

When did this JOY and ENERGY disappear from music? When will we ever see this again? Why aren't we looking for THIS when we listen to modern music? When, as the general public, will we stop listening to the horseshit we're being fed by the 'music' industry?

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Kid In The Front Row Online Screenwriting Competition 2010

It's time to do some writing! Yes, it means we have to get off Facebook, stop flicking through blogs, and stop telling everyone about the projects we're going to be writing soon; because instead, there is one to write NOW! It needs to be written now because:

The deadline is in two weeks.
and
If you win, it gets made! In fact, it gets made many times!

The winner of the KITFR 2010 Screenplay Competition will have their script made by everyone who enters the upcoming KITFR 2010 Directing Competition! So it's a great chance to see your writing not only made, but made many times! And it will be SOON! I hope that's a great incentive!

This competition is for writers of all levels. Whether you're a pro, or whether you're just starting out, or even if you're interested but worried because you've never written a script and don't speak English very well--- I want you ALL to give it a go. Be creative! Have some fun! Write something!

Here's the rules:

• Your script must be no longer than FIVE pages (six including a cover page)
• You must write in industry-standard format. If you don't know how to do that, please read this. If you're still confused, email me, and I'll help you with the formatting.
• The DEADLINE for the competition is THURSDAY 21st OCTOBER 2010. No exceptions.

Those are the technical rules, here are the STORY RULES.

• You must have these THREE characters: Margaret, Abdul and Regina.These are the ONLY characters you can have.
• Your story takes place at the Headquarters of: 'The Equal Rights Committee.' The only locations (within the headquarters) are: Meeting Room, Kitchen, Secret Shelter.
• You must include this line of dialogue somewhere in the script: "Who the hell is Mark Flamstein?"

If you have any questions, please put them in the comments. Also, feel free to take the banner and share the link on your blogs, websites, Facebook's, etc. I am genuinely excited to read each and every script that is sent to me!

The competition opens NOW!

Send Entries To:

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ELIZABETHTOWN - Greatly Terrible And Terribly Great

"Jerry Maguire" and "Almost Famous" were Cameron Crowe's masterpieces. They're perfect movies. Perfect; at least, if you like the Crowe touch; if that's your thing. Don't worry, I'm not forgetting "Say Anything" or "Fast Times At Ridgemont High" (which he wrote, but didn't direct..) but either way; these are his films; and the one thing you could say about Crowe, is that he was Crowe; which is basically Billy Wilder in color, with a little less wit but a little more romance.

And then there's "Elizabethtown," which is generally perceived as something that went wrong, which it did; or something that was terrible, which it wasn't. At least, not all of it. You see, with Elizabethtown; something strange happened - in that, we saw the very best and the very worst of Cameron Crowe. There are moments of true magic, and there are moments where it's almost cringe-worthy watching. The blame has mostly gone one of two ways. One way being "Orlando Bloom sucked," which he did, although; it wasn't really his fault, which we'll talk about soon --or-- that the script was too cheesy, which is wasn't - although I think maybe Crowe thought it was, and had a crisis of faith midway through shooting; which may explain how scattered the movie is.

So what is going on with this film? Strangely, at the beginning, the film is awful. It begins with an Orlando Bloom voice-over, which is one of the most unconvincing voice-over's in the history of cinema. Who knew Bloom could act so badly without a camera on? The way the scenes are directed and cut are also majorly problematic. The seamless feel of 'Maguire' and 'Famous' are gone, and we're left with clunky, awkward edits; which don't even flow continuity-wise. We feel like we're watching fifty different takes, cut together. That's true, probably; most films have multiple takes. But here it really shows.

Cameron Crowe made a film that he wanted to dedicate to his Father, and it was set in Elizabethtown. Weirdly, the film gets much better when we finally get to Elizabethtown. But up until that point, when it's set in Oregon, it's one big struggle. It's almost like, on some spiritual level; the film was at home in Elizabethtown but was alien everywhere else. It just doesn't feel like a real movie until twenty five minutes in. Naturally, this isn't very acceptable, and is a likely reason why most viewers lost faith.

Orlando Bloom is the wrong actor for the movie. I think this is a perfect example of bad casting. I feel sorry for Bloom (actually, not too sorry, he earns pretty well,) but this just isn't his kind of role. The screenplay was calling out for a Tom Hanks, or a Jack Lemmon, someone we believe in. Orlando Bloom, for all he tried, just didn't come across as a human being capable of any feeling. At least not as an actor. It's like that joke from "Friends" when Joey does terribly at an audition because he 'wasn't believable as a human-being.' Well, in Liztown; the character that's needed is like William Miller from "Almost Famous," he needs to be uncool, the blessed uncool. But with Bloom, you just can't buy it. He wouldn't get talking to a girl all through the night and then meeting her at sunrise, he wouldn't get the pure magic of a mix CD. The reason I feel sorry for him is that he really does try, he gives everything. And it probably is good acting, but it's not the right acting. It's not what a Cameron Crowe film needs.

But this is a film that's essentially about moments. It's about meeting someone as the sun rises when really you should be getting ready for work, it's about playing "Freebird" despite the fact you're about to get electrocuted, it's about running through a cemetery and feeling the joy of life, it's about taking solitary road trips, it's about breaking up with a girl when you're not even together and it's about learning to tap dance. THAT, is what Cameron Crowe is great at. He is the KWAN at that. And Crowe gets it right, a LOT in this picture, and he's never really gotten the credit for it. The all-night phone call scene is magic; and his use of Tom Petty's music, is magic; and the whole end sequence of the film is magic.

But overall, the film isn't magic. So what happened? A large part of it is that a film was made. And you can't force a film to be amazing. You just can't. "Elizabethtown" was a beautiful, moving, and funny screenplay. When I first read it some time in 2004 I absolutely fell in love, and was certain this would be the greatest movie of all time. It's what every Cameron Crowe fan hoped for. But how can a director live up to that pressure? The problem is: I think Cameron Crowe believed the hype. His genius at choosing perfect music for his movies had always been amazing to me. But I remember seeing him interviewed around the release of this movie; and he seemed almost smug, even lightly arrogant about how great he is with music, rather than humbled by it. And he seemed sure about himself, and the project, in a way that seemed different to how he was going back five years to when he made 'Almost Famous.' It shows when you watch the film. Some of the music fits almost *too well*, and it doesn't have the emotional impact that the director would have hoped.

When I read the screenplay, I was in love. When I first saw the film in the cinema, at the London Film Festival all those years back: I was angry. Angry for the first half of the film. I couldn't grasp Bloom's performance, or the fake sounding voice-over, or the awkward performances from Baldwin, Greer and Sarandon. But then after about thirty minutes or so, everything seemed to sink into place more, and I started to enjoy myself. By the end of the two hours, I felt true, pure, JOY. There really was MAGIC in the movie. It was inspiring, exciting, romantic and uplifting. If 'Jerry Maguire' and 'Almost Famous' are both a solid 9 out of 10, then 'Elizabethtown' is a solid 4 out of 10 yet also a solid 12 out of 10. It's everything and nothing, it's great and terrible, terrible and great. It's Crowe the artist, trying to live up to his other films; against the weight of a big-budget and a studio-endorsed movie star fresh out of that 'Pirates' thing.

Now, when I watch it; I find myself being forgiving. Underneath the many flaws, is Cameron Crowe's big-beating-heart. When he's on form, he is the epitome of a 'Kid In The Front Row,' when he's off form - he's still better than pretty much everyone else. When Cameron Crowe interviewed Billy Wilder, shortly before his death; Wilder said "Jack Lemmon was my everyman." That's one thing that Cameron Crowe hasn't found. Woody has his Keaton, Ephron has her Hanks, Capra had his Stewart - what Crowe needs is his everyman. And that's when he will truly become the legend that he very nearly is.

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