Scott Pilgrim Vs. The World was unleashed last weekend. The $60 million, Edgar Wright directed video game romp is a strange foray into nostalgia, contemporary manga style fiction and stylistic filmmaking, so, when I went to see Pilgrim at the Arclight opening night, I had only an expectation: the film would be fun. Why then, did this collision of my beloved interests: manga, anime and video games feel slightly off mark?

It’s weird to see the very things I cherished in my youth being synthesized into a major studio releases. I was born in 1980′s and now my generation is now a prime target for 80′s nostalgia. From “pre-worn” graphic t-shirts to the resurgence of 2D side-scrolling platform games and 80′s action and ski flicks, us 20-something guys (and gals!) are getting it from every side.

Pilgrim shines with every  lovingly hand-crafted sound effect and video game call-out. It’s as though Edgar Wright kidnapped video game designers Shigeru Miyamoto and Hironobu Sakaguchi and forced them to work in a bunker deep under Los Angeles for Xbox Live points. Elements of every genre are present, just take a look at “Every Video Game Reference in Scott Pilgrim Vs The World” Pilgrim takes all my fun quirky, formerly niche interests and synthesizes them, and surprisingly for me, the sum is not as great as its parts.

Story with Character?

Scott Pilgrim Vs The World, adapted from an award-winning comic by Bryan Lee O’Malley, takes some tenants of video gaming to heart. But perhaps not the right ones. In seeking to emulate a video game style, many of the characters seemed flat, literally one-note “non-player characters” (NPC’s) in a light-on-story fighting game. It felt more like I had been playing an hour or 2 of Tekken than watching a proper story.

What happens between the awesome over-the-top fighting? Sadly, it’s where things really fall apart. Many geeky movie goers may be willing to forgo the flicks apparent lack of motivation or depth (more on that in a second.) For what it’s worth, this is a beat-em-up style movie, it has a story as deep and transparent as beat-em-up games like Streets of Rage II.

In fighting games, the story serves the gameplay, it (often clumsily) sets up the next chance encounter and then you fight!  That’s a tough trick to pull off seven times in a 112 minute feature. But as exciting as each battle was, the fun was ephemeral, the enjoyment fleeting. Like a ride at a theme park, we’re “on rails” until it’s over.

The love story between Scott Pilgrim and Romona Flowers runs on auto pilot. Love stories have to be authentic, to keep me invested, even in silly or fun movies. The “on-to-the-next-one” mentality of Scott, where his friends and loved ones are concerned, makes it difficult to reconcile his apparent infatuation with Romona. The Romona character never does anything worthy of being fought for. Yeah she’s cute, aloof, totally-hip but really she’s kind of a dick. And as a result, I never once cheered for Romona and Scott to be together.

It’s disappointing to see the story machinations so clearly in play. Can you recall the names of seven of the evil exes? How about their back story or motivation? I wasn’t looking for gold, but I just don’t know enough about any character to truly care about why they needed to be vanquished. This coupled with the anemic relationship between Scott and Romona left so much to be desired.

Visual / Sound

Edgar Wright has always been good with the visual details (check out my Shaun of the Dead breakdown) and he mixes it up with a clever visual vocabulary. I was initially drawn to the energy and visual execution of Pilgrim. Despite this, it’s hard for me to peg why this familiar synthesis isn’t a home run.

In a recent Popular Mechanics article, VFX Supervisor Frazer Churchill explains how they distilled the video game juice:

The film is informed by video-game style, but it’s not like we looked at games and thought, ‘We’ve got to put that in there,” – Frazer Churchill

And there’s plenty of video game mythos and fanboy gems to go around. Observant listeners may perk up when they hear the theme for Nintendo’s Zelda, ring chimes from Sonic the Hedgehog,  the explosion of coins out of a defeated enemy, or literally the hundreds of other small handcrafted audio cues that, no doubt, took time to design and execute.

The onomatopoeic manga-style typography adds some whimsy. By the second hour, I’ve seen as many “action words” as I’m willing to to bear. And perhaps that’s part of the problem. Pilgrim is filled with visual flourishes that are delightful, in small doses.  If Pilgrim was 15 minute YouTube video it would likely have 80 million views. There are constant split screens, over-layed text, power-ups, all with fast paced quick cuts interspersed with cheeky visual jokes. A.D.D. theatre at its best. But how do you do long-form A.D.D.theatre?

Insert Coin to Continue

I’d put the performances in Scott Pilgrim Vs The World into the same category as movies like Final Fantasy VII: Advent Children or Resident Evil: Degeneration. With goofy delivery of lines like “I’m a little bi-furious!” the movie misfires with a quirky, strange Japanese-esque smile.

Pilgrim’s strength is with style and flash. Its depth will be a matter of much debate. Still, I like the universe in which Scott Pilgrim lives. In fact, I look forward to the Scott Pilgrim Vs. The World video game. The nostalgia crowd is already eating it up. And why not? After all, as I left the movie theater I thought to myself, “I wish I could have played that game instead of watching it.”

Hey folks, a quickie, I’ll be here in San Diego all weekend at Comic-Con. Don’t be a stranger.

Back in May, I had the opportunity to meet with comedian Tom Green at his home / studio and talk about his web TV show  Tom Green’s House Tonight.

The article, for a pro-audio/video industry mag, talks about the unique production considerations for running a broadcast style talk show on the web. (Article copy below / High Quality PDF )

Imagine if you will, you’re at the helm of a live internet TV show with high production values that bucks
the precise ratings driven format of television. The show is streamed in real time on the web, celebrity guests chat on a couch, a band performs and most certainly hundreds of callers Skype video chat with you. Oh, and it happens at a flip of the switch, all from the comfort of your living room.

If you’re Tom Green, that’s a reality. Quietly (and not so quietly) over the last five years, Tom Green has amassed an impressive internet following with Tom Green’s House Tonight one of the first, and longest running internet-call-in shows. One only needs to Google “Tom Green and Xzibit Freestyle Rap battle” and take a look at the nearly 3.4 million YouTube hits to see his reality is well watched.

Armed with the mantra “content over form,” Green makes a show on his terms. He calls it Guerrilla TV. But that doesn’t mean sound or production become afterthoughts. Guests are mic’d with Lectrosonics wireless lavalieres and surrounded by nine HD cameras, all set to various shot lengths and placed everywhere from the living room, front door, bookcase and even the refrigerator.

The before air set-up for Tom Green’s House Tonight resembles a pre-flight check. The control system of such an advantageous set-up looks a bit like the cockpit of a Boeing 747. At the center, a Yamaha 01V 96 VCM mixing console. Unique, are three Apple Mac computers each running a separate instance of Skype, and each running audio out through M-Audio Fast Track boxes into the board. In real time, director and web producer, Tony Corella, uses a Panasonic AG-MX70 video switcher to swap from various sources, and cues on-screen text from yet another computer, this one running Newtek VT[5].

When a band visits the studio, Green’s team rolls out a second Yamaha 01V 96 VCM and a second engineer. Just take a look at the previous show guests.  And no, that isn’t a laugh track you hear, the studio is equipped with bleachers to house twenty-some people to see the show in action.

That’s part of the fun of Tom Green’s House Tonight; two way interaction. Green wants to give unprecedented access and his viewers respond in kind. This attitude is reflected in just about everything he does. “I’m looking for good people to come out, have a little fun, and help run the show,” says Green. Feel like you have what it takes to run the rig at Tom Green’s house? If you’d like to get involved, post to the forum at TomGreen.com.

When the show comes together, the result is impressive. A live band jams, then switch on-the-fly to a Skype call, cut to the front door as guests arrive, then back to the couch. All seamless, all with the great care all direct to your computer in a show that could last twenty minutes of 4 hours.

But the action isn’t limited to inside of Tom Green’s teched and decked-out home. For high quality audio on the go, he uses a DXA-SLR active DSLR Adapter along with a MixPre Field Mixer and with two Sennheiser wireless lavs, turning his Canon EOS 5D Mark II into a formidable mobile sound package.

Ultimately, Tom Green’s House Tonight has built something unheard of in the world of internet entertainment; consistent, well-produced content that doesn’t sacrifice quality. So, when are you making a house call?

Tom Green is currently on tour, and will be performing  at the DC Improv on July 30th/August 1st. Stay tuned for more articles from me on screenwriting, filmmaking, editing, and more. They’re just around the corner, as soon as the dust from good ol’ Comicon settles!

Over the weekend at The Great American Pitchfest I hosted Screenwriter Karaoke. Debra Eckerling of Write On! Online of wrangled me for a couple of moments during the Screenwriter Karaoke set-up and posted this video.

http://writeononline.com/2010/06/28/speaking-with-merrel-davis-creator-screenwriter-karaoke/

June is a very exciting month! Screenwriter Karaoke marks its birthday with a bang at The Great American PitchFest.

Screenwriter Karaoke is proudly sponsored by  CoverMyScript.com, Final Draft, Inc, Script Magazine, The Writers Store, L.A. Sings Karaoke, Sardo’s Bar, Coffey Sound, and our friends at #ScriptChat.

More details here.

Unlike novels, a script has implications far beyond the imagination of the reader. It is the document blue-print for an ultimately collaborative endeavor. In order to be an effective screenwriter, you need to be hyper aware of the production process and post-production process. I say aware, since you don’t have to do those tasks, you just need to know what is required of someone who does.

A couple of months ago at Screenwriter Karaoke, I was chatting with a writer about script dialogue. He was insistent that “real authentic dialogue is exactly like conversation.”  I responded that dialogue wasn’t actual conversation, but only gave the impression of conversation for the the sake of story. It is condensed and streamlined. After all, not everything we say in real life is interesting or even poignant. As we shared the exchange about a what dialogue needed to be,  he pulled the “well where did you learn how to write?” line. He’d gone to USC, was extolling the virtues of McKee or someone.  I simply said: “post-production.”

Pull the needle from the record! What, does the (mostly) solitary act of writing have to do with, say, cutting together a film? Quite a bit actually. Time and time again, I read scripts by writers who are woefully unaware that production and post process even takes place. For example: I often see scenes begin awkwardly with somebody walking into the room, simply to begin small talk, when the meat of the scene is a 30 second dialogue exchange on the couch later, where Jimmy tells Jane he’s joined a Poison cover band to avenge the death of his gerbil “Mikey.”

In a quest to mimic actual conversation, writers actually create the kind of stilted and obvious dialogue that makes most people groan. Film editing taught me to get in late and get out quick. Through my work, I’d spent so much time editing other people’s (bad!) dialogue, I began to gain a sense of what “good” dialogue sounded like to me. Part of a film editor’s job is to further finesse the dialogue, cut it so it sounds and feels natural, while maintaining the essence of the scene.  In many ways, the last cut of a film is the final draft of the script, or as Oscar nominated Director/Actor Peter Riegert said last year at the Southampton Screenwriting Conference: “Your script isn’t finished until opening night.”

As an editor, I was reverse engineering how to write a good scene.  I am able to recognize good dialogue when I read it in a script because I can see the semblance and pacing of “real” conversation, without all the boring parts. I am able to write good funny visual jokes that pop at the right moment, because I have an idea of when to get in and get out.

I put a call out to several writing and screenwriting communities for some comments on how their editing backgrounds have impacted their ability to write:

Xiaoniu (via reddit)

… I think it’s all part of what makes my film sense together, so it might have subconsciously influenced my writing.

Merrill Barr (Another Merrel?!)

You learn the idea of pacing early… when you bring that knowledge to writing, you end up pacing it the way you would edit something… It’s also helped the way I write movie/tv reviews. Reviews are written like a trailer almost. Short(ish), sweet, and to the point. I hate reviews that spend 4 paragraphs on nothing important. Most of my reviews never pass 700 words. You really shouldn’t need more than that.

Millstone99 (via Reddit)

I’ve spent a lot of time watching editors cut my extraneous dialogue (and sometimes entire scenes). So, I’m always thinking about the editor as I write. Is he just going to cut this bit anyway? Why do I think it’s so important, anyway?

So, the next time you write excruciatingly slow small talk, or have characters inexplicably enter the room at the beginning of the scene, think about how that scene will play visually, and how there would  be no way in hell, it would ever make it out of the editing room.

I encourage every writer to learn how to cut. I learned to cut on an AVID, and in recent years have moved to Final Cut Pro. There are many options out there. But, once you get a sense of how to assemble a scene visually, you’ll notice your writing will become more succinct. And even if you never work professionally as an editor, it is a skill and knowledge set which in no way can do harm to your ability to tell a story effectively. Get out there and be aware. Your story will be thankful for it.

Hey folks, a quick note. I have some excellent articles to share in the near future. In the mean time check out Xandy Sussan’s Six Deadly Script Sins Part 2 – Writing Edition.

Now, some great news the new Screenwriter Karaoke website is up! We’ve landed some awesome sponsors for next month’s appearance at The Great American Pitch Fest. (Final Draft and Script Mag to name a few.)

Just in time for tomorrow night! And don’t forget to follow the Screenwriter Karaoke Twitter account @SWKaraoke.

Thursday May 20th, 2010 at 8:30 PM
Sardo’s Grill and Lounge
259 N. PASS AVE.
BURBANK, CA 91505

Driving directions: Here NOTE: THE DETOUR!

So many exciting things are on the horizon.

Let’s start with the big news! I am very happy to announce that Screenwriter Karaoke will be making an appearance at the Great American Pitch Fest & Screenwriting Conference on Saturday, June 26th at the Marriott Burbank Hotel & Convention Center. More details as they come! Check out the sponsors.

In other news, partner Xandy Sussan and I, were recently interviewed for a web publication about the new DOUBLE FEATURE story analysis services we are providing through CoverMyScript.com. Big shout out to Jenn over at Allfreelancewriting.com. For those who are unfamiliar with the Double Feature service it is a set story analysis and development packages that leverage two professional story analysts simultaneously, complete with video conference calls for notes.

And lastly, an article I wrote for my site two years ago, has seen new life in syndication via the website The Film Crusade. Check out the newly retitled “Reveling in the Reveal” is now live. Full with video examples of different types of reveal shots in cinema.

And don’t forget the next Screenwriter Karaoke in 1 week!

Thursday March, 22th, 2010 at 8:30 PM
Sardo’s Grill and Lounge
259 N. PASS AVE.
BURBANK, CA 91505

This weekend I was glad to be a part of the ongoing and ever-growing Script Chat as a guest for their professional reader panel. In the past year, I’ve watched this small twitter chat go from real life colleagues and friends, and then sky rocket into six degrees of Twitter.

Twitter chats aren’t new, just take a look at the long list of Twitter chats about writing compiled by @inkyelbows and you’ll see what I mean. I entered the Twitter chat pool as a participant of #WriteChat but found the discourse was specific to fiction novel writing. I even lazily maintain my own chat #ScreenwritingSaturday. It’s an informal hash tag for causal weekend discussion. (Stop by!)

I have many peers that scoff at the idea of using Twitter. They complain they don’t care what I eat for breakfast.  But to be clear, I’ve staffed projects, met people, and received work through the magic of Twitter. I just smile when someone is excessively pessimistic about such things.

Community is important. I started Screenwriter Karaoke for this very reason. We, collectively, as a new era of filmmakers are carving out the attitudes and business models of tomorrow. It starts in the ground floor of dedicated professionals who are striving to make their work shine. It starts in communities like Script Chat.

My appearance as a panelist on Script Chat culminated with a special announcement — Double Feature: a new joint venture with CoverMyScript.com owner Xandy Sussan. We have harnessed our years of experience to provide simultaneous coverage and development services at a value to our clients. It is only with the support community can we try such enterprising things. So, thanks!

Some fun stuff on the horizon.

Screenwriter Karaoke Thursday March, 25th, 2010 8:30 PM

Sardo’s Grill and Lounge
259 N. PASS AVE.
BURBANK, CA 91505

CoverMyScript Inc. Will be giving away free script coverage at the event.

Script Chat: Professional Script Reader Panel – March 28, 2010

I love Twitter, it has been a great vehicle for me to connect with other filmmakers. So, I’m excited to announce I’ll be a guest of Twitter chat Script Chat for a script reader panel. You can read more about my work as a script reader and story analysis here, and be sure to check out Script Chat which takes place 5 p.m. PST every Sunday on Twitter. (You can follow me @UncompletedWork and look for the #scriptchat hash-tag.)

Last year, I spent a good portion of my time doing production work on CIA Confidential for National Geographic. I’ve since moved onto other documentary work for television and film in addition to my screenwriting and development duties elsewhere.

Doc work experience was a great for me. In fact, every screenwriter should work on at least one documentary. Documentary film structure and other requirements for non-fiction are integral to building accurate, succinct, compelling and entertaining stories. And my screenwriting is better for it.

This Saturday I’ll be at WGAw in Los Angeles for another “The Best Short Film Workshop Ever” hosted by filmmaker, author and former Sundance programmer Roberta Munroe.

I’ve been both an attendee and speaker at previous workshops, and have met a great slew of filmmakers and industry folk.

Saturday February 27th, 2010
Los Angeles
The Writers Guild Of America
7000 W. Third Street Los Angeles, CA 90048

RSVP and join in!

Thanks to everyone who came out to sing and network last week at Screenwriter Karaoke. Check out some pictures below. (Thanks Angie!)

In other news, New York Screenwriter Karaoke is next week! Tell your east coast friends. You can RSVP at meetup.com

January 28th 2010,  7:30 PM at
Baby Grand
161 Lafeyette St.
New York, NY 10013

photo credit: leinadsimpson

Screenwriter Karaoke is a monthly filmmaking network event organized by yours truly in two cities (NYC and LA.) It’s been a great vehicle to meet some wonderful, creative people. I encourage you to come out and mingle, sing or drink!

LA:
Thursday, January 14th, 2010 at 8:30 PM
Sardo’s Grill and Lounge
259 N. PASS AVE.
BURBANK, CA 91505

Driving directions: Here

NYC:
Since I am now in LA, I’m working with others to help co-organize NYC Screenwriter Karaoke. I anticipate the 3rd week of January for New York Screenwriter Karaoke. Stop by as the date nears for more information.

January TBD 2010 at 8:30 PM
Baby Grand
161 Lafeyette St.
New York, NY 10013

Back in 2002 I was studying to be an audio engineer at The Sheffield Institute for the Recording Arts. I reasoned that since I fancied myself a musician, it was an important step to learn how to produce my own music.

I further studied and later re-directed my focus on production and post-production for film. It was an excellent choice which gave me an important educational foundation to move onto and pursue rewarding work.

So, it is very exciting to share that nearly eight years after I graduated from Sheffield that I’ve been featured in their Alumni online magazine. Check it out!