Showing posts with label humor. Show all posts
Showing posts with label humor. Show all posts

Tuesday, December 20, 2022

Post 505 - "Dual-Duel" - Draft for an Unproduced Evening of Relationship Vignettes - Pre-Cellphone

 DUAL/DUEL - A distraction in three scenes
Draft by Jim Middleton
For a series of short views on relationships for a local college theatre (1980, project abandoned)

available in "You Didn't Hear It From Me!" at Amazon - https://www.amazon.com/You-Didnt-Hear-Performance-Perpetrations/dp/B0CZ7J4Y1G


Minimal props and two 20-ish characters

Lights up

A Phone is ringing.

SHE:  (answering the phone): Hello.  Just a second.  I think he's in the shower.
She turns on the cold water tap at the sink
A yell comes from the distance.

 
SHE: Yeah.  He'll be right down.  
HE: Hey, I was in the shower!  
SHE: Telephone.
HE: Oh. Hello.  Fine and what's the matter?  Let's make it eleven, ok? Sure. Bye.
SHE: You let that guy walk all over you.  
HE: Naah – he wanted me in at nine.
SHE: Oh you toughie.  
HE:  A will of iron.
SHE: (looking at the wet floor) You spring a leak?
HE: I like the wet look.  
SHE: Not on my floor,  
HE: Mine too; share and share-
SHE: I clean it, it's mine; cleanliness is nine-tenths of the law.
HE: I love it when you're forceful.  Come here and wrinkle my towel.  
SHE: No perversion in the kitchen.
HE: I need an appetite for breakfast, which you weren't supposed to make.  
SHE:  I got tired of french toast.  
HE: I could have made omelets.
SHE:  With that cheese and god knows what all running out of the center?  
HE: So I like mine with a little life in it.  
SHE: To the showers, knave.
HE: Just trying to help.  I mean, it's my day off.
SHE: In ten seconds I'm going to put on Disco Duck and start dancing.  
HE: I'm gone.

He leaves.  She pulls out a newspaper.  The shower starts, she continues reading.  HE starts singing an off—key opera.  SHE casually turns to the sink and hits the cold water again.  HE screams.

Scene fade out and in.



The phone is ringing.  HE answers it.
HE:   Hi.  This is John. (changing voice now) And this is Marsha. (back to  original voice) We're in the shower right now and can't come to the phone.  If you'd like to leave a message and don't mind talking to a machine that's probably much smarter than you are, you can do so after the tone.  If you're  calling long distance, you've just been charged for one minute by listening  to this.  Beep!  
SHE (over the phone):  Smart stuff, raisin brain.  What if my mom should call  and get that crap?
HE: Oh she did already.  
SHE: What?!
HE: She said she was in a hurry for a hair arrointment, that your Cosmopolitan  is still going to the old address, and remember to wash behind your ears.  
SHE: She didn't.
HE: Do you mind if I have her forward the  Cosmo?  I love those covers.  
SHE: I don't believe this.  She hasn't even met you.
HE: Let's ask her over for pizza and beer.  She doesn't like anchovies, does  she?
SHE:  You are such a jerk.  Wait until I get home, young man...
HE: (reverts to answering machine voice)  Hi. This is John.  And this is Marsha.  We're in the shower right  now and can't come to the phone.  If you'd like to leave a message...  
SHE: Oooh.
SHE hangs up.
HE:  (smiling)...you have thirty seconds.  He hangs up.  
HE: Beep!

Fade out and in.
 
Dark.  In the bedroom.  Soft sounds of nature outside.



SHE:  That was a nice dinner.  Thanks.  
HE: My pleasure.
SHE:  Sorry I was late.  One of the salesmen screwed up a contract...
HE: Don't worry about it. I know you're hot stuff.  I was held up at the  store,  anyway.  
SHE: What for?
HE:  Some little kid was throwing grapes and shorted out the terminal.  
SHE:  Little kid?
HE: You know, that dangerous age – between one and forty.  Good aim,  though.
SHE:  Beaned you, huh?
HE:  Right between the eyes.  You know, whenever I get a little weak brained  and think I'd like a kid,  I  just go to the market and that takes care of  me for a good six months.  
SHE:  You were a kid once.
HE:  Yeah, but I outgrew it.  
SHE:  Sure.  
HE:  Sure.
SHE: By the way,  can we keep the stuffed penguin out of bed tonight?  
HE: Sparkie sleeps where I sleep.
SHE:  Just don't hold him that way.  It looks so gross.  
HE: What way?
SHE: That  way.  You look pregnant.  
(rustling sounds)  

HE:  How's that?  
SHE:  Better.
 (pause)  

HE:  Do you want to get married?
SHE:  I thought you just said you didn't want to have any kids.  
HE:  I didn't say I wanted kids.  I said I wanted you.  
(pause)  

SHE:  You'd have to meet Mom.  


HE:  You'd  have to meet Dad.  
SHE:  I can handle any man.  
HE:  Oh yeah?
(more rustling)
 
SHE:  Yeah.
(more rustling)

HE:  Good night Sparkie.
(The stuffed penguin sails across the room.)  

(various rustles and "mmmf s”)
The phone rings.
 
HE: Oh cripes.  
SHE: Shush.

It rings again.  The answering machine takes over.  

MACHINE:  Hi,  this is Marsha.  You are getting drowsy, very drowsy.
Shortly you will be sound asleep but still able to hear my  voice.  When you hear the beep you will leave your name and  message and then forget ever having made this call.  Peep.
VOICE:  Hi, Marsha?  This is Dave calling. again.  Say,  if you're not doing anything this Thursday, how about seeing that new film over in Ridgeway?
(voice fades)
 
Program fades
Sound and picture out.





Wednesday, March 24, 2021

Parlor, Bedroom and Bath - 1931 - A Visual Study of Camera Speeds

Early sound films were concentrated on just that - sound - with the visuals often suffering as a result.  Keaton was able to insert little bits of silent business in them, but when compared to his silent work, they frequently seem slower paced.  This is because - they were.  Sound film is filmed and projected at 24 frames per second, based on the projection speeds in place in the late 1920s, speeds set to increase the number of daily projections of the features of the time.  

Silent film began at being shot at 16 frames per second (to squeeze in the most action within a limited film budget, Griffith had his Battle at Edlerbrush Gulch shot at 14fps!).  So, filmmakers caught onto the increased projection rate by increasing their camera speed to about 20fps by 1920, and more like 22fps by the mid to late 1920s.  Actors, editors, and directors became used to that rhythm and performed accordingly.  

When 24fps became the standard from 1928 onward, it took a while for the pacing to accommodate the change, and especially visual humor.  Keaton's early MGM work is a case study in this.  First of all, MGM didn't understand humor, shooting and lighting their comedies in the same manner as a courtroom drama (just look at the dreary sets of Speak Easily).  

For a visual comparison, here is a silent sequence (with ambient sound, no dialogue) from the frustratingly staged Parlor, Bedroom and Bath from 1931.  This is how it looks, shot at 24fps, the standard sound camera speed.  The gag is a variation from the house-demolition climax of his 1920 One Week:


Now, if it had been shot at 22fps (about 10% "quicker" during projection), the standard for the mid-1920s, it would have appeared as this:


And if it had been at 20fps (20% quicker during projection), the general speed of around 1920, it would have appeared this way:


The differences are subtle and work on a subconscious level - the eye can absorb the information faster, so what we are left with is the pacing.  At 20-22fps you can see how the performers of the silent era were thinking things would appear during the early sound era.  

When The Artist was produced in 2011, it used the 22fps camera speed - and it worked very well on many levels that the Brooks film, Silent Movie, failed to achieve in 1976.  

Keaton's work at MGM showed many production blunders besides misunderstanding visual humor - my film production students were able to shave 10 minutes off of Speak Easily by following basic editing techniques - avoiding redundancy, punching a joke by proper cutting, creating inserts to direct the audience attention - and were working on Doughboys to experiment with varying film speeds during the silent sections.  "We can fix it in post," may have been a phrase used then, but rarely employed.  

(The use of varying camera speeds is still employed today and not only for comedic effect - Raiders of the Lost Ark used 20-22fps for some of the action sequences.  When blended with music, sound effects, and editing, nobody really notices that things are moving 10-20% faster than might be humanly possible.  Movie magic!)

Timing can work both ways.  Here is the original gag from Keaton's One Week in 1920, projected at 24fps, followed by a projection at 20fps (both clips are silent):


24fps projection


20fps projection

And, regarding the 1920 film, it is interesting (to me, anyway) even how carefully the For Sale sign is positioned, how it stays rigidly in place with its gentle posing, and how the instructions envelope sits at the right spot - nothing wobbles, nothing moves, with all that surrounding destruction.  


Wednesday, December 12, 2018

Phun Pharmacy Phacts for December #2


Benedict Arnold, a New Haven Connecticut pharmacist, became the first ultraconservative by switching loyalties to the British crown during the American Revolution.  On his deathbed, in 1801, his last words were, "At least I didn't have to deal with prescription insurances."





Saturday, June 20, 2015

Remembering Phil Austin (1941-2015)

A founding member of The Firesign Theater, Phil Austin passed away this week.  I had the good fortune to work with another member of the group, David Ossman, directly in the 1980s, and this particular radio production, "Down Under Danger," gave me the rare opportunity to work with Phil, albeit in the background and in post-production.  The 30 minute program was intended as a pilot series for his long-established character, Nick Danger, but sadly never made it much beyond this particular episode.   If you listen in to The Prairie Home Companion's "Guy Noir" you're getting as close as it can get these days, in heavy gentleness, to this astonishing collection of patter, one-liners, and surreal plot lines.

It runs 30 minutes and is connected with random images of the group and their many amazing recorded productions.  The world seems less humorous at his passing, but his work still brings a smile.  Enjoy.

The youtube link is:  https://youtu.be/8ObHj1o_TtI

Wednesday, December 14, 2011

About movies....

So often I watch a movie and find that it just hits me in unexpected ways. Then I wonder if anyone else could be equally affected. Occasionally I force stray family members to partake, but usually the result is the same–a wandering sets in, usually a wandering from the TV. So I’m posting these in case others may want to peer into my passion for films that I do not tire of revisiting.

Silence, Please:
OK, so silent films and the expressive use of pantomime aren’t to everyone’s taste, but when they are done well, and when they are shown correctly, they distill mood to its essence and create a universal, visual language:

Asphalt (1929) - Joe May in Germany tells the story of criminals and law enforcement and how human interaction can blur the distinction.  https://www.youtube.com/watch?v=_pu4sZtecxI

City Lights (1931) - Chaplin’s next-to-last silent feature, with the most heartbreaking final scene ever filmed.  https://www.youtube.com/watch?v=oaMdZl0Y8LM

The Crowd (1928) - King Vidor created this astonishingly downbeat story of a promising young man who has his entire life crushed by circumstance and missteps.  https://www.youtube.com/watch?v=UKsF1cJmNU4

The Kid Brother (1928) - Harold Lloyd is wonderful in this sentimental rural story, beautifully photographed, with a realistic climatic fight on a derelict ship  https://www.youtube.com/watch?v=awDvA-UnRp8

The Last Laugh (1924) - Emil Jannings as a demoted hotel doorman must cover his shame, but does so without a single intertitle in this completely visual tour-de-force. https://www.youtube.com/watch?v=W7yiZM-SlwI

Laugh, Clown, Laugh! (1928) Lon Chaney cannot love Loretta Young, but does...  https://www.youtube.com/watch?v=skq5bkOueAs

Lilac Time (1928) - a WWI love story for which a great song was written, and an equally fine ending where Gary Cooper and Colleen Moore find each other at a hospital - here's a clip from my youtube channel: https://www.youtube.com/watch?v=Ko1jmvP5IxE


The Man Who Laughs (1928) - Conrad Veidt is disfigured as a child into a grotesque whose face has been carved into a permanent smile. His girlfriend, of course, must be blind. Paul Leni directed this atmospheric classic with an early recorded Movietone soundtrack. https://www.youtube.com/watch?v=90WCUZq6pAY

Pandora’s Box (1929) - Louise Brooks creates Lulu in this astonishingly modern tale, a woman who floats freely through life, seemingly playing and being played by everyone, until she seems to get away with murder... https://www.youtube.com/watch?v=QGHZczuu2Sc

Picadilly (1929) - one of Britain’s few great non-Hitchcock silent classics, this one by E. A. Dupont, features Anna May Wong and the seamier side of exotic theatre.  https://www.youtube.com/watch?v=BzpcgLPIBFI

Sunrise (1927) - Visual poetry, with another Movietone soundtrack, about a rural couple’s life disrupted by temptation from the city and the ultimate triumph of love. Ahhhhh.  https://www.youtube.com/watch?v=6NayFytQeBE

The Wind (1928) - Lillian Gish, who defined acting in every one of her films, goes out west and somehow survives the constant onslaught of maddening wind and dust storms  https://www.youtube.com/watch?v=PHipr_iPNbA


Classics
Casablanca – Ingrid Bergman’s perfect complexion. Bogart’s incredible delivery. Claude Rain’s wry amusement. Damn! I’m putting this tape in right now!

Children of Paradise (1945) – I’ve actually watched this French 2-parter six times, in addition to the commentary track, and I keep pulling more from it each time.

It’s A Wonderful Life - I’m so conditioned by this I start choking up at the opening credits. Honest. People time me. I’m choking up now.

The Palm Beach Story (1942) - Preston Sturge’s loving and screwy comedy, and how can you ever listen to Rudy Vallee’s singing the same way after this (when he starts his signature song “Goodnight Sweetheart” by screwing it up...I’m off my chair)

The Umbrellas of Cherbourg - It’s French! It’s sung! It’s beautiful! It’s referenced in an episode of Futurama! What’s not to love? Multiplying time by experience can yield adventure!

Wizard of Oz (1939) - The film that defined my existence on this planet from ages 5 to 13.

More recently:
Allegro Non Troppo - the animated parody of Fantasia, in particular the part with Valse Triste...sniff   Might one generation reach to enfold another, and with renewed appreciation, embrace life’s discovery and joy.....

Chaplin - Robert Downey Jr becomes the master.
Hair - forget “The Deer Hunter” from the same year–this is how I remember the 60s!
The Lathe of Heaven - the first PBS feature, rescued from shredding and flaking magnetic tape, is an incredible dream, or is it....NOT the remake from 20 years later...so many of the lines in this film still involuntarily pop out of my mouth
The Mask - Amid the special effects animation, there’s actually a plot twist!
Monkeybone - Rose McGowan as a kitty? Can a coma get any better than that?
Paper Moon - This film was the first time I realized how beautiful a movie could look without being made before 1939
They All Laughed - gorgeous women and John Ritter in a wonderful film where everyone keeps their clothes on except Audrey Hepburn!
What Dreams May Come - another beautiful and heartbreaking film where people just try to find each other, not realizing how the universe can actually be in your corner, cheering you on...
What’s Up, Doc? - I watch this and keep saying Cripes! It’s Madeline! Cripes! It’s the guy from Blazing Saddles! Cripes! It’s how I survived high school!
Young Frankenstein - still laugh til I cry

This is just a few of a zillion movies that come to mind, under the category, “Is it just me, or is this a pretty amazing movie?”
http://www.youtube.com/watch?v=Ko1jmvP5IxE&feature=plcp&context=C21157UDOEgsToPDskL32aNdYlf2HTqXBUXLUIlZ