Back To The Book

I've been a little lax lately on all things that are my book and rock'n'roll. Which doesn't mean it hasn't been on my mind.

I've been mulling layout ideas in my head and am now ready to take a crack at actually putting these ideas to paper. Get them out of my head. Of course, this requires a modicum of effort...something I've been adverse to of late. But that is all going to change. Now. Right this minute. No more thinking...just doing. As some long lost relative used to say, "It's time to shit, or get off the pot."

Up to now, I've been using a traditional book proposal to show around. It consists of a Synopsis, About the Author, Market and Promotion, Competition, Sample Writing and four or five Sample Photographs. It's thirteen typed pages plus the photos, and fits neatly into a three-hole report folder. Ugh! Not exactly what I want for this book. It's a bunch of words on white bond paper and a few glossy pictures. It doesn't speak to what's special about the book.

And that just reminds me to go back to my roots. When I came up with the concept of Starart (my coffee table book of artwork by six rock stars), I put together mock-ups. Fortunately, I met George "Commander Cody" Frayne who agreed to be my guinea pig. I took photographs of all his work, did an audio interview and took photos of him. Then I put his whole chapter together - typing the text and pasting up prints from the photos - so he could see my vision.

This is a spread from the interview portion of the mock-up.

This is a spread from the art portion of the mock-up.

This is from the actual book.

And this is how that above art spread looks in the book.

I also used Commander Cody's chapter mock-up to attract other artists. First, John Mayall and then Klaus Voormann. I used those three to get Cat Stevens. Then, Ron Wood.

This was an interview spread in Ron Wood's chapter mock-up.

This is an art spread from Ronnie's chapter mock-up.
And that's his hand-written comment that he added
for his John Baldry album cover.

And here's how the mock-up spreads look in the finished book.

Finally, after Ron Wood, I met Joni Mitchell. She immediately agreed to be in the book. I did the same with her -- took photos of her art, did interviews and then put together her mock-up. But for Joni I did something completely different. I didn't use the photographs of her art. I did color-pencil drawings of her work. Either I was nuts or out of money to get all the prints made. Maybe a little bit of both. Here's what I did:

Yup. These are my drawings of Joni Mitchell's drawings.

As are these.

Here are the finished spreads of the above mock-ups.
Joni's drawings, not mine.

I remember when I showed her the mock-up. I was nervous. Considering the gall I had to reproduce her work with my own hand. At first, with the pen & inks, she didn't realize they were frauds. When she finished looking at it, she complimented my work and said I should reprint my drawings in the book...they were better.

Anyway, the point is, I need to do the same thing with Everybody I Shot Is Dead. I need to excite people with my vision. So, it's time to put together mock-ups of a couple of my dead rock stars. I'm thinking Michael Bloomfield and John Bonham.

I Love This Time Of Year

It's Fall. In Los Angeles that means all the big potential-to-get-nominated-for-awards movies come out. For me, that means lots of free screenings. I am getting several emails a week inviting me to this or that movie. I can't make all of them, but with the price of movies at the theaters, I'm seeing as many as possible. Most of the screenings are for people who work in the film industry (through Below-the-Line or Women In Film, etc.) or for writers (Creative Screenwriting has lots of screenings this time of year). And generally the screenings have pretty interesting Q&As after the show.

Recently, I received this email:

WOMEN IN FILM AND UNIVERSAL PICTURES INVITES WIF MEMBERS AND A GUEST TO A SCREENING OF:

CHILDREN OF MEN
Q&A follows with Director Alfonso Cuaron and star, Actor Clive Owen.
Thursday, November 16th
7:30 PM (you must be at theatre at 7pm)
The Village Theatre
961 Broxton Ave.
Los Angeles, CA

RSVP: ONLY 50 SEATS AVAILABLE. You MUST call the WIF RSVP line, 310.362.xxxx, and state that you're reserving for the Children of Men Screening. Please be sure to leave your name and phone number.
At the screening, if asked, let them know you are with Women In Film.
CHILDREN OF MEN
Children of Men envisages a world one generation from now that has fallen into anarchy on the heels of an infertility defect in the population. The world's youngest citizen has just died at 18, and humankind is facing the likelihood of its own extinction. Set against a backdrop of London torn apart by violence and warring nationalistic sects, Children of Men follows disillusioned bureaucrat Theo (Clive Owen) as he becomes an unlikely champion of Earth's survival. When the planet's last remaining hope - a lone pregnant woman named Kee - is threatened, this reluctant activist is forced to face his own demons and protect her from certain peril.
Directed and co-written by acclaimed filmmaker Alfonso Cuaron, Children of Men also stars Julianne Moore as Julian, the leader of an underground opposition group, and Michael Caine as Jasper.

PLEASE ARRIVE EARLY. Limited seats available. THIS TICKET DOES NOT GUARANTEE YOU A SEAT. THEATRE IS OVERBOOKED TO ENSURE A FULL HOUSE. THEATRE IS NOT RESPONSIBLE FOR OVERBOOKING. NO ADMITTANCE ONCE SCREENING HAS BEGUN. We reserve the right to admit or refuse access to the theatre at the discretion of an authorized representative.
NO RECORDING This screening will be monitored for unauthorized recording. By attending, you agree not to bring any recording device into the theatre and you consent to physical search of your belongings and person for recording devices. If you attempt to enter with a recording device, you will be denied admission. If you attempt to use a recording device, you consent to your immediate removal from the theatre and forfeiture of the device and its contents. Unauthorized recording will be reported to law enforcement and may subject you to criminal and civil liability.

Clive Owen? Who could say no to that?

I called the RSVP number and later received an email confirming I had two seats for the screening. Cool. So, after a hard day's work, I hop in the car with a screenwriter friend and make the drive over the hill to deal with the potential parking nightmare known as Westwood. No time to change. I'm wearing a pair of faded (because they're old) black jeans with ragged fraying cuffs and a white pull-over hoody sweatshirt. My friend is dressed similarly. We arrive at the closet parking lot and the usual $5 parking fee has been jacked up to $10. Crap. Oh well, the movie's free.

We trek down the street toward the theater and the sidewalk is blocked. Huh? It's just a friggin' screening. What's the big deal?

Then I see it. Aack! The Red Carpet. And the Lights. A premiere? Can't be for Children of Men. Could it? Thanks for the heads up, WIF. (See above for what I was wearing.)

I walked up to Mr. Security and said, "I'm on the list for the screening." He told us we had to cross the street to get around to the other side of the theater and half-way down was the will-call. Okay. I'm not good with being told what to do. I tried to save six steps by walking down the middle of the street. I was quickly yelled at by another security and warned that there were police present.

We get to the will-call table set up on the sidewalk half a block down and I am presented with this (+ one for my friend):

I look back toward the theater and see the Bright Lights and the Red Carpet flanked with tons of photographers. Then noticed a line of regular-type people wrapping around the the corner. Okay, that's where we're going...into the regular people line and we'll be let in after all the Red Carpet stuff is done. Phew.



We walk across the street and show our tickets to another security guy. Expecting him to direct us to the back of the line. He doesn't. He waves us onto the Red Carpet. To be honest, at this point, I was cracking up. I knew I looked like crap. But I figured that was better than looking mediocre. At least if you look like total crap, and you're on the Red Carpet, it looks like you dressed down intentionally. As if to say, "Fuck you, Hollywood. I'm too cool for you."

So, my friend and I walked the carpet like we owned it. Sadly, we didn't pull one over on the paparrazzi. Maybe one flash went off. Maybe.

We hit the lobby and were immediately offered free popcorn and sodas. Perks. And then found our front and center (heavy on the 'front') seats. After a really long wait, the film was introduced by director, Alfonso Cuaron. The movie was great. And so was Clive.

There was no Q&A with Clive Owen. Duh. It was a studio premiere. My friend saw Clive in the lobby. I only saw him in the movie. But we breathed the same air. Aaaahh.

Tonight, I'm going to see Notes on a Scandal, starring Judi Dench and Cate Blanchett. It's on the Paramount lot. I'm not dressing up.

Tomorrow night, it's Stranger Than Fiction on the Sony lot. I'm not dressing up for that one either.

Awestin - The Final Chapter

Yes, it was a film festival...with a screenwriter's conference, but it felt a little bit like rock'n'roll to me. Like a tour, where you get very close to people very fast. A family is formed, memories are shared, and parting is such sweet sorrow.

And somewhere in there is THE PARTY. Not the party after the show that takes place at a club - although Austin had plenty of those...two per night, all open bars hosted by Bombay Sapphire and Dos Equis. Not the party in the hotel bar - although that was rocking every night 'til 2AM...um, including one night when a pack of clowns passed through. Clowns? Is she kidding? No, there were clowns...and not just the ones I was already hanging out with. Here's the proof:



What is THE PARTY? It's not the party after the show, not the club party and not the hotel bar party. THE PARTY doesn't start until around 2:30AM. After the last call drinks are consumed. Think about it...anybody can go to a show - you just have to buy a ticket...it's a little more difficult to get backstage but not much - you just have to look good or know how to sneak in...it's more difficult to get into the club party - you have to be on the list or know somebody on the list...it's even more difficult to go to the hotel bar party - there's security at the hotels so you have to know somebody with the band or already a guest at the hotel.

But even more difficult to get into is THE PARTY. If you don't know somebody in the band you better be ready to sleep (no sleeping involved) with somebody in the band because THE PARTY is the one that takes place in the hotel room, with a bathtub full of ice and beer. It's by invitation only. Just because you know about THE PARTY and know what room THE PARTY is in, doesn't guarantee entry. You gotta be somebody to be at THE PARTY.

And, yes, I've been to more than my share of THE PARTY parties. Probably more than I remember...aah, oops, not going there...okay, where was I?

THE PARTY in Austin...it took place at the Stephen F. Austin Hotel and these were the hosts:

Brett and Murray aka Drunk and Drunker

And since a picture's worth a thousand words, I'll shut up:

Julie, Jamie, Reece (only time without a hat) and Me in the middle.

Caroline came all the way from England to put her foot behind her head.

Ann and Jill (winner of the Teleplay Drama Award).

Jamie and Shawna...Reece and Julie
Can someone explain where Julie's left hand is and why Reece has that 'look' on his face?

THE PARTY always has a room service call.

Mr. Room Service breaks out in song & dance.

"Why the fuck do you keep taking pictures of me eating?"

After dinner...dessert.

Jill and the very married Murray.

I was looking for a Barry Pepper pose from Reece.

Shawna sings Etta James. Reece's foot as her microphone.

Much time was spent discussing Jamie's claim of an extra bone in his foot.

Julie's version of 'bust'a cap'.

Jamie and Reece partake in a little man-love.

"It was good for me. Was it good for you?"

The real Brett we know and love.

Jamie gives tongue. Ann licks it.

Shawna has a point.

"It's 6:30 in the Goddamn morning. Get out of our room!"

There was one other major rock'n'roll incident that happened at THE PARTY. And I have pictures. But I promised not to post them. And I promised not to tell. There's always a secret that comes out of THE PARTY. A secret only those on the inside know. And so it shall remain.

See y'all next year.

Austin, Texas - Part 1

aka
The Fight

Friday night, check that...Saturday morning, after the Driskill Bar closes. The Gang heads a couple of blocks down 6th Street. In search of pizza.

Shawna and Murray posing. Reece on the left and Jamie in the back.

Reece and Jamie and a close-up of Shawna's slice.

Had to step away from the stand to get this shot of Ann and Brett.

Can't leave Murray by himself for even a minute. I hear a noise, turn around to see this:

That's Murray on the right. The other three are not part of the Gang. At least ours.

It was the guy in the white shirt and the black guy behind him that got into a disagreement and the white shirt guy (correct me if I'm wrong, Murray) threw a punch at the black guy over Murray's shoulder. The guy in the grey shirt and Murray were trying to pull them apart. Murray, the self-professed peacemaker, did not think he touched the guy...until he saw the photo.

Murray tries to calm white shirt guy down...
...white shirt guy responds by beating himself in the head.

Then yellow sleeves shows up out of nowhere and tackles
black guy to the pavement and pummels him.
That's when white shirt guy turns around and decides
he can now kick the shit out of black guy.

Then, the cops - who were already in the streets in droves on foot, bike, horseback and automobile - finally show up. Suddenly, white shirt guy is in the fetal position against the building screaming like a baby and my eyes are burning and I can't breathe. I turn and take off toward Ann and Brett, then realized it was mace.

By the time I get back to the scene of the crime...

...yellow sleeves is being cuffed.

After every good street fight, you have to find some peeps that weren't there and give them the play-by-play:

Jamie gets a shoulder rub from Shawna as he orates his version to Julie O
and screenwriter/panelist Joe Conway. Murray reconsiders his involvement.

Reece tells his version. Murray must have liked it.

More hi-jinx from Awestin to come...in Part 3.

Pimping

I've just done six twenty-hour days in a row (after five days of all-out partying and little sleep in Austin) to bring the world (well, at least the American Film Market) tasty artwork for the likes of Storm Cell, While She Was Out, Not My Life and Baberellas, to name a few. Don't look for these movies any time soon in a theater near you.

Anyway, I'm spent. And I always feel like I've taken a karma ding after doing these runs. Advertising. Creating a lie.

Now, I want to get back to the book (it's honest and hopefully of value) and my screenplays (ditto the previous parenthetical) and the other two Austin posts (honest, but probably of little value). But before I can do that I thought I'd try and balance out the karma scales with some pimpage. I'm not pimping crap here, folks. This stuff is of value. No lie.

First, a project done by my most excellent friend, John Miller (with a little help from someone close to me). John is a producer, mostly of reality TV shows. This is a pitch for a new show that will hopefully sell to a network near you. The subject matter is not easy to watch, but definitely deserves our attention. And for my writer friends, it's especially interesting to get a glimpse inside these real-life characters facing difficult times.

Marc Klaas Project

And lastly, I want to pimp my teenage son,
Tyler, who is obviously a far better photographer than I. Do you think it's odd that the cemetery shot is my favorite?

Austin, Texas - Part 2

I spent the past six days at the Austin Film Festival but since I don't want to turn this into a screenwriting blog I'm not going to talk about it. Unless, of course, it relates to Everybody I Shot is Dead, rock'n'roll, photography or any combination of the three.

That being said, I came up with three posts so far that fit the bill. This is the second in a series of three. I would start with the first but it's more involved than this one and I'm under the gun to get a bunch of movie poster art done and printed by the end of the month. If you could see what I have left to do, you'd say "Good luck with that," then roll on the floor in laughter. But, really, I could use a little sympathy about now.

This Austin Film Festival post falls under the photography category because it's a photograph...duh. Just a quick snapshot - actually the only snapshot - I took at one of the panels. I really like it...the positioning of the panelists, the muted color and even the excessive grain. I like it all. This photograph also belongs under rock'n'roll but I'm not going to tell you why. Sorry. You had to be there.

Me and My Big Mouth - Part Deux

The document I copied the page from yesterday had only 42 pages written in screenplay form. I stopped writing it and picked it up again a year later (November 1998) and did more outling. Then nothing until August, 2001 with another 42 page stab. By November, 2001 I had 119 pages of drek, followed by a rewrite dated mid-December, 2001. At some point in there I sent it to a few people. One being the guy who produced There's Something About Mary. What was I thinking? He read it - I definitely owe him for putting him through that - then called me and gave me encouragement. Something like, "great premise but we don't need ten pages of a Little League game...be brief, you don't have to spell it out. We know what happens at a Little League game." Ouch. Stupid me. I should have known better.

Finally, by February, 2002 I had a draft labeled #3. I think that's the one I sent in to the Nicholl because that was the year that I somehow, miraculously, made it to the quarterfinals. And in the Fall of 2002, I optioned the script to an Australian producer (not because of my Nicholl placement, btw) who had just finished making Ned Kelly. So, wow, I really thought I'd made it. I was going to have a movie up on the screen. No doubt. I spent the next ten or so months rewriting with the producer and the director he had attached. Great experience on every grueling level. Then the producer re-optioned for a second year. And then...nothing happened. He couldn't find anyone that wanted to come in with financing.

So, two years ago, I got it back. And then I read it. Oh my God...it sucked. But I still loved the premise and swore to myself that I'd get back to it. Fast forward to a couple of months ago. I was working on my third script of this year when I got that call about somebody looking for a suspense thriller. I blogged about it in my "Time Crunch" series Aug/Sept. Yup. This is that same script. And what I didn't report - I did get an option offer from said producer (I still don't know who it was) but turned it down.

Anyway, since it's been rewritten (and will be polished one more time at least...soon as I'm done with the artwork thing), I thought I'd post the current first page of the latest rewrite so you can judge whether I've managed to improve it from the first page of the first draft of my first script written so long ago.

(click to enlarge)

Me and My Big Mouth

My apologies to my rock'n'roll readers for putting up another screenwriting related post. I promise to rectify that soon.

I shouldn't even be doing this post right now. I should be working on one of the ten or so movie poster jobs I just got in. They all have to be finished and printed by the end of the month. Shit, I'm in trouble. I could have a chance at making that deadline if I work all day, every day between now and then but I can't. I'm going to the Austin Film Festival next week. That will take six days out of the twenty-one days I have left.

And now I'm doing this insane post. And it's all because of my big mouth. Suggesting it would be more challenging for screenwriters to put up the first page of the first script they ever wrote. I wasn't being serious, folks. As usual, I expected to be ignored.

Then Spanish Prisoner put something up, but I ignored the challenge becuase his doesn't really count since it's a first page of a new first draft, not the first draft of his first script.

But then Cynthia picked up on it and threw her real first page down. Danm you, Cynthia. And of course, after that, Miss Pooks called me out on the carpet here. Fine, Pooks, I'll bite. Even though you only gave a lovely novelistic summary of your first page, pretending you can't actually find it. Nudge, nudge.

My first page was done in 1997. I had not intention of being a screenwriter. I just had a really great premise I couldn't get out of my head. After writing the first bunch of pages, I stopped. Writing is hard. It was easier to stop. But then the damn thing kept nagging me and on top of that I had told a couple of people I was writing a screenplay. Big mistake. Another me and my big mouth. So, here it is in all it's glory - a little longer than a page because I wanted to include a line or two of my stellar dialogue. And since it was written in Word, I did a copy and paste so please excuse the lack of formatting.

BLACK SCREEN

Abstracted voices on top of each other simultaneously shouting comments and enthusiastically cheering.

TITLE SEQUENCE intercuts on black screen with the following shots.

EXT. SOCCER FIELD - EARLY EVENING

The source of the voices - parents cheering, coaches yelling at their players, referee whistles blowing. A light rain is falling. Extreme C.U. of a soccer cleat making contact on the ball with a strong THUD.

BLACK SCREEN

The thud on the soccer ball becomes the sound that precedes the roar of a big rig semi engine starting up.

EXT. GAS STATION - EARLY EVENING

Extreme C.U. of the front grill of the vibrating semi. The same light rain is falling.

BLACK SCREEN

Truck noise transforms back to the noise of the soccer game.

ON THE SOCCER GAME

Two kids collide as they both charge the soccer ball.

BLACK SCREEN

The noise of the soccer game transform back to the noise of the truck.

ON THE SEMI

The driver is checking the gears and brakes etc. on the rig.

BLACK SCREEN

Noise transforms again.

ON THE SOCCER GAME

The rain is heavier now but the action continues, the crowd noise seemingly amplified by the rain. A player makes a pass through two defenders to his teammate, who fires the ball through the goalies legs for a goal. As the players, parents and coaches cheer the ref blows his whistle three times in succession, indicating the end of the game.

BLACK SCREEN

The refs whistle becomes the screeching sound of the semi’s brakes being engaged.

END TITLES

ON THE SEMI

The headlights illuminate the pouring rain as the trucker pulls out of the gas station.

DISSOLVE TO:

EXT. SOCCER FIELD

The soccer floodlights similarly illuminate the field. The teams finish their customary hand shakes. As the winning team runs to their sideline, the players are high-fiving CHARLY, the kid who scored the winning goal.

The kids are oblivious to the pouring rain. This weather is typical for Chicago in the late autumn and the kids are used to playing in it. Charly rushes over to two women standing on the sidelines.

SARA, Charly’s mom, has spent many seasons at the field so she is dressed weather-ready and holding an oversized umbrella which also covers her best friend, ANNE.

Anne is obviously not a mom. She wearing a professional outfit suitable for showing her client’s real estate. Despite the weather both women are smiling and giving Charly a thumbs up from under the umbrella. Sara has a dry towel ready for Charly when he comes off the field.

SARA
Let’s get out of this rain.

(Add in more dialogue and character development here...Charly takes off to talk to best friend... more chance to develop Sara and Anne’s diffs and/or Charly’s goodness)

The three of them squeeze under the umbrella and run for the cars. They stop at Anne’s car.

ANNE
Great game Charly, thanks for inviting me.

CHARLY
Thanks for coming out in this crappy weather.

ANNE
I wouldn’t have missed it.
(to Sara)
Lunch tomorrow, right?

SARA
(hugging Anne)
See you tomorrow. Drive carefully.

Sara and Charly head for their car.

CUT TO:

And guess what, there's more to the story of my first effort. So, stay tuned...the saga continues...

Page 92

Since my compadre, Pooks, decided that putting up a Page 1 wasn't in the spirit of challenge, she decided to post another page of a different script...this time a page 9.

I also posted a Page 1, and maybe that isn't fair since the idea is that it's a random page with no explanation. Obviously, the first page of anything requires no explanation.

So, here it is, Page 92. I'm not even going to tell you title.



I'm off to see The Departed...kind of fits with the theme of this blog, doesn't it?

Have a nice weekend.

My First Kiss

No, I'm not going to tell you about mine. That would be way too embarrassing. My First Kiss is the title of one of my screenplays. A couple of my screenwriting friends have thrown down the gauntlet. Post a page from a script we've written. I got it from Pooks and The Unknown Screenwriter, who got it from Michael.

So, I guess for the screenwriters who stop by here and don't already know about...I am now throwing the gauntlet at you. Post one random page of any screenplay you've written over the past year. And don't ask me why. I have no idea. It's not a competition. There's no prizes. Maybe just an opportunity to size up the competition.

For my rock 'n' roll readers, feel free to peruse my page and let me know what you think. And if you feel so inspired, why not take a shot and write a page yourself. You might discover you have talent. Then you just need to add another 100-110 pages and you'll have a completed screenplay. After that's done, send it to somebody in Hollywood (everybody's looking for the next great screenplay) and they'll give you a million dollars. Too bad My First Kiss isn't for sale...I'm producing this one myself...well, not exactly by myself. Film is a collaborative process, after all.

(click image to enlarge)

As usual, comments are welcome.

26 Years Gone

Pull out your Led Zeppelin II CD and crank up Moby Dick.

May 31, 1948 - September 25, 1980

A Promise is a Promise...Tom Waits

Update
The Tom Waits poster and limited edition photographs
are available...run, don't walk to my website.

Update - 4/11/07
The Tom Waits prints will be for sale by the end of next week.
Check out what's available HERE.

A few weeks ago the Tom Waits For No Man blog heard that I had some old TomWaits pictures up. Suddenly, I had hundreds of TW fans linking to my Self Deprecation post. The point of the post was to show that I was capable of taking not-so-great photographs, using all five shots of TW from when he opened a Frank Zappa concert in Vancouver. I balanced the bad pics out with one decent photo I took at the Troubadour the following year. Still, the TW fans were kind. They even commented that they liked the photos. So after bunches of people had stopped by, I edited the post promising to put up a few more.

Here they are - never-before-seen photographs - shot at the Troubadour the second week of August, 1975.

Please chime in in the comments if you can identify the sax player
and the guy on the upright bass. I like this photo - it really gives
the feel of his show...the stack of papers he's clutching
and all the cigarette butts on the floor.

He had a lot of hair topple out when he took off the hat.

I love this photograph. Putting it in my Top Five along
with the Led Zeppelin pic (second post down).

And now for a pre-announcement announcement. Since the inception of my book, I had always planned to have gallery openings to kick off the book drop (can I use drop for publishing or is that just for CDs?), with Limited Editions of the photographs available for sale. And I thought I would follow that with Limited Editions of some of my other photographs not in the book.

Recently, I've been encouraged to release the Limited Edition prints of photographs that won't be in the book before the publication...as in soon. I am currently researching all the logistics of this endeavor. Such as, finding a lab I want to work with, finding a framer, deciding on how many prints per Edition (I'm thinking 50-100, possibly in three different sizes), how much they will cost, and how I'm going to set up a retail site.

The one thing I have decided on...I'll be launching with a Tom Waits photograph. Please email me (deborah@cheshercat.com) if you want to be notified before the Tom Waits Edition hits the streets. And, if you have an opinion on which photo I should launch with.

Please let me know in the comments who else you might want to see in future Limited Editions. If I haven't shot them, I'll guide you to someone who has.

Title Poll

This is my first attempt at running a poll on my blog. If it works this will be your chance to weigh in on the title of my book.

Why would I do that? I put a notice up on a Led Zeppelin message board (check it out - it's a cool site) to let other fans know about my book and the never-before-seen photo of Plant and Page. And I got a lot of nice responses on the board put also a few that said my book title was "off-putting" "not very sensitive" and "rather cold."

This question was raised in a more general form in one of my previous posts, Do Ya' Think I'm Morbid? and received a few comments. But the great thing about this poll, if it works, is you can vote anonymously. No need to show your face. No names taken. You just need to have an opinion.

So, I really want to know what you all think. New visitors and regulars alike. Click your answer below.



If you have more to say than "yes" or "no" please make a comment. Feel free to rail away on me...I can take it.

And thanks to all the Led Zeppelin fans and recent congregation of Tom Waits fans for stopping by!

Led Zeppelin

It feels so good to be back with my pictures. So much writing in the past month, where the only pictures were conjured up scenes in my head. Scanning some Led Zeppelin was the perfect remedy for my rewrite burnout.

If you've been reading this blog since its inception, or have taken the time to peruse the archives, you know I love Led Zeppelin.

From the day I purchased Led Zeppelin II, I have loved Led Zeppelin. And, thankfully, I never get tired of them. I never skip over their songs when my iPod is on shuffle. And when I write and am having trouble igniting my creative juices, it's Led Zeppelin that I turn on to turn me on.

No surprise that I listened to a lot of Led Zeppelin over the past several weeks. They really helped me cross the finish line with my latest rewrite. Thanks, boys.

Since I promised to post a rock'n'roll picture, I decided it had to be Led Zeppelin. Can't give you any John Bonham - saving him for the book. I am, however, showing you one of my favorites. Actually, if I had to pick my favorite photograph from everything I've shot, this could be it. Definitely in my top five. I don't know why. It doesn't even show their faces. But for me, it has a lot of "feel." I hope you agree.


I still want to put this one in the book, even though in my less than scientific poll, everyone said "dead guys only, unless they're in the picture with the live guys." I might just have to composite Bonzo in here somewhere. Maybe a close-up of his face ghosted in the background, as if he's watching them from heaven. (I'm really, really good with phtoshop.)

***This and all other photos posted on this site fall under my copyright. Please do not download them or reproduce them in any form without my written consent. Thank you!***

Hallelujah...

...I finished!

Heard the producer dude is itching to read it.

My printer is spitting out two double-sided copies of said finished script as I type this.

Turning them over to my person in less than an hour.

Then I'm going out to celebrate.

I'll be back here tomorrow and post some rock'n'roll photos. If you want to see anyone in particular throw me a comment and I'll see what I can do.

Rats

I have decided that being a screenwriter is the same as being a lab rat. You get inside a story/maze and run around bashing your furry little head into one wall after another. Every once in a while you find an opening and charge forward. Then you hit another wall. And then you have to go back and find another path.

Why do we keep going?

Because we can smell the cheese.

I am not done with my rewrite. And my furry little head hurts.

Time Crunch - Part Trois

So my prayer was answered. They took a long time to read Act 1. Twelve days, to be exact. Too bad I didn't take advantage of it. (If you have no idea what I'm talking about, scroll down and read Time Crunch and Time Crunch - Part Deux)

Today's email from my person relating the message from their person (the one who requested the first act) (I'm wondering if that person only works on weekends):

Subject - Hey, Deep End Babe... (That's from my person and there is no way I can explain that subject, so we'll just have to go with 'inside joke')

Guess what?

>>"I read your first act. It is interesting. Please send a hard copy of your screenplay."

I think this means you'll be writing faster.

I'll be glad to take a cat-o-nine-tails to your ass. And after that I'll do something to get you to write faster. (Pleasure before business, I always say.)

Hondele Pronto Godammit

-- Zorro

(OK, just so you know...that last part was in jest...no sexual harrassment lawsuits will be filed) (...and my person is not really Zorro - he just played one on TV (also a joke))

So, like I said...too bad I didn't take full advantage of those twelve days. I still have 9 new scenes to write and 22 scenes to rewrite. Then, of course, there's the read-through for all my fuck-ups and another pass to polish.

I will be calling on a couple of my friends - you know who you are - for quick reads. If you don't want to hear from me, let me know. If you want to hear from me, let me know. I won't be calling on Zorro to take his cat-o-nine-tails to my ass.

I'm in a heap o' trouble here...........HELP!!!!

Oh yeah, I also wish to keep this anti-jinx thing going. (figure I have to mention it to keep it going)

And Happy Labor Day to those of you who are in labor.