collisionwork: (philip guston)
Well, Portland again, and as nice as usual.

Missed any other updates on Friday. It was a tiring drive up from NYC, and I just felt like relaxing, and then got into working on the George Bataille's Bathrobe script and good things were happening, and next thing I knew it was bedtime.

Much the same on Saturday. And I'm hoping for the same later today. Along with some movie-watching research.

For those who don't know, when doing one of Richard Foreman's plays - generally, there are exceptions - Richard prefers that you start with the text as he writes it, that is, just dialogue and occasional stage directions that he has written in one-page fragments, and then scrambled up and reordered and played with until he's decided that it's "a play," and then you create your own characters, settings, plot or action, etc. So I had a copy of Richard's typescript for George Bataille's Bathrobe (it's never been published in one of his book collections) and I transcribed the pages into the computer, along with some of the fascinating mung in Richard's notes around the typewritten text -- there were lots of handwritten corrections and alternative lines in the margins, and I've included everything I possibly could in my production draft as I could.

Reading over just the dialogue, elements of characters and story emerged, and gradually I had a list of characters (and actors I wanted to play them), a definite setting, a sense of how the feel and movement of the show would work, and the overall structure. However, I still don't know WHO it is saying WHICH line a good deal of the way through the script, so I'm now going through and figuring out all the details, assigning the dialogue to the correct characters, and writing in the stage directions so the actors will know what they're supposed to be doing.

On the other shows, A Little Piece of the Sun has 13 out of 14 actors cast, and I'm waiting for some promised recommendations to be emailed to me on the last actor (I got no one I know right for the part). I'm setting up a first reading for later this month on that one. The Fassbinder play, Blood on the Cat's Neck, has had it's production draft typed up and finished and has been sent to the proposed cast -- 7 of the 10 actors contacted are in; I'm waiting to hear from the other three (though two of them told me in person not long ago it sounded good to them).

So I just need to finish Bathrobe and Spacemen from Space, which I have to write from scratch, a main reason for coming up here to Maine, as I write better away from home.

I was also hoping the great big videostore in town, Videoport, would still have some of the tons of old movie serials they used to, so I could rewatch them as research for Spacemen, which is structured as a cliffhanger serial in six chapters. I had rented them all from the store about 10 years ago. But now? No dice - they were on VHS, and no one ever rented them, so they're long gone. The only serial they have now is the 1949 Batman & Robin, so I got that. I'll have to watch more of the serials I need to see online, which I find annoying and difficult to focus on.

So later, serial. Right now, a Random Ten from the 26,125 tracks on the iPod:

1. "Kidnapping" - Karl Heinz Shäffer - Stereo Ultra
2. "Ain't No Cure For Love" - Leonard Cohen - I'm Your Man
3. "Heavy Water" - Ray Davies, His Funky Trumpet & Button Down Brass - The Sound Spectrum
4. "To Win Your Love" - Laurie Wade's Cavaliers - Ugly Things #2: Australia's Indiginous Garage Dwellers
5. "So What!!" - The Lyrics - Nuggets: Original Artyfacts From The First Psychedelic Era, Vol. 3
6. "The Curse Of Millhaven" - Nick Cave & The Bad Seeds - Murder Ballads
7. "Berlin (live 1978)" - Lou Reed - Take No Prisoners
8. "Ultra Twist" - The Cramps - Flamejob
9. "Jailhouse Rock " - The End - Pebbles Volume 6 - Chicago 1
10. "Somebody Somewhere (Solo)" - Andy Prieboy - online single download

Looking for a sharable version of that last song, instead I found Edwin Vacek's excellent homemade/found footage videos for three other recent online song releases by Andy Prieboy, the second frontman for one of my favorite bands, Wall of Voodoo. He hasn't put out an album, unfortunately, since 1995's amazing Sins of Our Fathers (one of my very favorite records), but he's recently released 6 new songs (plus three variant versions) on his website, including the above song, and these three below (one of the songs not here, "Shine," to my pleasant surprise turned out to feature the other WOV frontman, Stan Ridgway, on harmonica!).

If you like 'em, think about picking them up from Prieboy's site.

"Pricks Up Front":


"Bands":


"Hearty Drinking Men":


The one bad thing about coming up here is that, despite having loaner cat Bappers and loaner dog Sasha here to enjoy, we still miss our own little monsters, even if we know they're being well looked after by Tante Christiaan and Unca Bryan:
H&M Pose, Look Away

I do have something like 10 videos saved up that I haven't shared as yet, so in lieu of new stuff the next week of so, I'll dole those out bit-by-bit. Back with those soon enough . . .

collisionwork: (lost highway)
Back in Portland, ME for a few days, and the last of my dentistry work, I hope.

My bottom wisdom teeth were pulled four hours ago. One went easily and there is no real pain on that side at this point. One didn't want to go, required some unpleasant struggle ("Ooh, had a little hook there on the root, that was the problem" said the very skilled Dr. Killian D. MacCarthy), and, now that the novocaine has worn off, the empty socket on that side hurts like a sonovabitch. The lovely lovely vicodin I took earlier isn't having its normal excellent effects (or maybe it is, and without it I'd be screaming or something).

I went and had the work done - about 35 minutes in the chair, 25 minutes of which were filling out forms or waiting - got my prescription opiate and foodstuffs (soup, pudding, ice cream) at the Rite Aid and now I'm sitting back, waiting for a time when I can eat something and take more painkiller, and watching a rerun of the C.S.I. episode "Fur and Loathing" - the one about the furries . . . which has one of the single best music cues I've ever heard composed for episodic television - the only reason I'm watching this again is get to hear this cue - the rumpy-pumpy, sleazy-but-comic, circusy music that accompanies the "yiff pile" sequence is magnificent (okay, the scene just went by and the music isn't at all like I remembered . . . has it been altered in syndication from what's on the DVDs?).

So I'll be up here a couple more days recovering, watching the TV stuff I don't have at home, retweezing the rehearsal schedules for all my shows (many more conflicts have come in), and trying to write some substantial pieces of Spell and Everything Must Go, which I somewhat need to at this point to move those shows forward, though it'll be easier with EMG, as I've had three rehearsal/creation meetings for that one, and only one first meeting/inspiration session for Spell - which will also be a harder show to write, as I had thought it would originally just need a working knowledge of psychotic mental states (which I know something about) but has wound up requiring substantial research into the revolutions or conflicts of China, Cuba, Palestine, France, and pretty much any country that has gone through such an upheaval; the history of Pacifism; Kabbalah and Numerology; Feminism and The Male Gaze; and god knows what else will come up in creating this piece.

I'll post first draft pieces of the scripts as they appear.

I watched Cloverfield last night, which I expected to mostly like, and really loved it. I also watched Romance & Cigarettes, which I expected to really like, and didn't like it at all - fine actors doing excellent work in a badly-conceived and indifferently-executed . . . thing. Ugh.

Oh, and, courtesy of Bryan Enk, here's a picture of me as George Westinghouse in the season finale of Penny Dreadful:

PENNY DREADFUL - IWH as Westinghouse 2

It's now hours later from when I started this post - the painkillers are working, mostly. Time for ice cream . . .

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