Funnily enough, the idea is from watching Giallos of all things. This what the premise says on the papers first page:
A Private investigator living in America invites his friend from the UK to stay with him in Los Angeles, promising a better life and career, due to the friend’s many bad choices back home left him in some trouble. After arriving, The PI is contacted by a family out of town (Kentucky?, NYC?, Chicago?) concerned about their missing daughter, a wannabe film starlet who came to LA to “make it big”, which is eventually connected to some recent murders around the district. The PI an his friend decide to investigate, and slowly uncover more than they asked for.
Occasionally, the instinct is right, but not always…
I have no room to talk. I wrote a so-called Spaghetti-Western named ‘ANOTHER DAY, ANOTHER DOLLAR’, when I was aged 16, or perhaps 17. I was still at a British Grammar School, and had just seen ‘The Good, Bad, Ugly’, on T.V.
The 129 page tribute (as I saw it) to the ‘GBU’ film, will never be remembered.
Farmer J.
If you have an instinct, then follow it, right or wrong.
Wow. that made that scene more intense than usual. With my book, I considered many places for music, but never thought of how to crowbar it in. When I wrote about the location, I had mainly decided on the location from Death Wish 2, THAT part of LA, the dark, grungy, nightmare, and especially the track “Shadow in The City” by Jimmy Page kept popping up. Toscano, you should give that a listen, its a really great track.
Of course, some minor action will occur, and according to those notes from 2011 includes:
A chase through the dingy streets, through buildings and other places, ala Busting from 1974.
The various murders taking place throughout the book as well (lighting, intensity of the danger)
And some stuff I’m planning at the moment
As for the ending, I’m not spoiling everything, but I had the killer already sorted, his motive, and reasoning all write down.
Woah, after reading through my old notes I realised something. Younger Joe was more on the ball than Older Joe
I found these pictures while doing some recon for painting references. Anybody know the reasons why Anthony Steffan and Leone were talking together? Possibly for a film role that never became realized?
No idea but they are interesting shots and get the imagination racing as to how they might have collaborated. Possibly a project with the working title “For a Few Roll and Shoots More”?
Perhaps Sergio needed his ballbags shaved and he asked for someone to give him a good “Brazilian”, and they thought he asked for a WOOD Brazilian instead…?
Coming along nicely. It’s almost like my notes from years ago had planned for me to come back to them, which would make a great horror film.
Or book (MY IDEA! MINE!)
Anyhow, I’m 6 chapters in, still got a lot to go, but I have those moments where your brain just stops thinking about the book and wonders if it will ever get seen by anyone other than myself. It hasn’t stopped my from writing, but slows me down every now and again. I felt like this because my Great, Great Uncle who fought in the worst of D Day, and on into France wrote a book about his time there. I have it at home, and its a good read, but very sad. It never got published and it was a damn shame.
Mulholland drive is a neo noir crime film, with a sharp scenes of Hollywood California, plenty of mobsters and hitmen, and a fantastic scene featuring a nude Laura Harring. Naomi Watts plays a good lead, and Laura Harring is delivers her best performance, quite possibly the most attractive actress to grace the cinema screen of the last fifty years. Plot wise, I couldn’t have been more impressed with its nonlinear storyline, nightmarish hallucinations, and but the very last scene is one of the best of Lynch’s career and one of the best endings to any crime film. Ever. Has to be one of the best films of the last fifty years, and is easily the best neo noir crime film ever made. Easily.
I saw The Punisher. Can’t remember much of it. I think Harring was chosen for Mullholand Dr. especially because there is certain soapiness (as in ‘soap opera’) about her, which functions excellent in the movie.
And I agree with everything you said about Watts. Mullholand is probably her best role. She pulls off the twist that is the core of the movie on her own, with camera in close-up on her face.
Haha, I went and rewatched that scene and it appears dark and a bit blurry, but it could also be the lighting in my room, or could be from the fact It isn’t a real bright scene to begin with, so I’m not 100% sure. The version of the film I have is the criterion collection disc.
Blue velvet is something I’ll probably get soon. I had a number of Italian giallo’s to watch, then a friend came in from out of town, and the conversation lead to a discussion on Mulholland Drive, of which I had only known of its status as a crime film, set on the west coast, and that it elements of romance and jealously. I still have to see Bullet for the general, as well as the Italian cut of face to face. But today dedicated to the Violent Shit collection ( at least the first film.) Haha.
