Worlds of Film and Television


A place exploring the many facets of film and tv, from possible unspoken effects upon humans to re-discovered lost treasures that reveal new insights.

One of these other facets, we will also explore concerns the little known nature of Hollywood Folklore, an interesting area that covers strange&wonderfully odd rumours and stories surrounding the film world and its peoples, and a area best experienced for yourself to make your own mind up about them and their origins.


So Far, we are looking at:


1.  Coronation Street

2.  BladeRunner

3.  The Wicker Man

4.  Goonies ( a letter from the 80's)

5.  Yul Brynner & Toshiro Mifune (Do you Remember?)

6.  Hollywood Folklore and the Story of Jack Nicholson

7.  Point Break

8.  Kojak

9.  Fantastic Four

10.  Dexter



Enjoy.


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Coronation Street.


A curious find, an allegedly authentic sung version of the program's traditionally wordless opening.  And even better, the lyrics are about Queen Elizabeth's Coronation! And it gets quite heated,  and a real sense of social unrest comes through.

The lyrics point to a charged questioning of the events surrounding the Coronation itself, the quietly rumoured late arrival of the Queen To Be and what this could mean for the future for us all.

The song has gone viral and proven to be quite a surprise to followers of the show, who have reacted strongly to the rumour circulating that it is to replace the current theme.   Many share the sentiments of Super Fan Snoop Dogg, who when asked about his feelings on a sung theme, said:
"For me, I just wants a little 'street', and a little 'cat', that's all'".
There are lots of theories online and elsewhere that question its origins, from it being a jealous hoax from a rival company and program, to Barlow's secret singing voice kept hushed for years by execs.  I'll list a number of these theories as I find them, it'll be fun seeing how they stack up against each other.

I've put the track to the current opening credits to get an idea of how it would fit.













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BLADE-RUNNER


lovely early script snippet.



After mindful rumaging, I found these following script notes for BladeRunner, disclosed, approved and just hanging there, making them an interesting insight into what could have been.

This is an alternate focus for Batty's final speech, and I recommend watching it again to remind yourself of the little pained 'gag' Rutger Hauer's character does right before he says the iconic line of the film.






...Roy follows, holding a white pigeon.]

Roy: Quite an experience to live in fear, isn't it? That's what it is to be a slave.

[Deckard spits at Roy as he falls; Roy catches him with one hand.]


Roy:  I've eaten things you people wouldn't believe. (laughs)  Attack pigs on fire, lightly toasted off the shoulders of Orion.  I nibbled C beams, glittering in the dark near the Tannhauser Gate.  All those tastes will be lost in time, like (swallows a bit of pigeon, gets stuck a bit, gags) tears, in rain.  Time to die.

[Ford to act with face, to show Deckard getting a taste of something wet, [a food. Tell Ford, 'sandwich', to get him going, but one fantastical,something lunar?], and with it, a bloom of understanding. 
NOTE - Ford can do this, don't let him wriggle out of it.





It's good isn't it.  Quite different though, and the food thing is unusual when you first read it.  There are further scribbles on some versions, toying with replacements of themes, so on some you get things like 'shards' and 'dreams', but then we go back to things like 'snacks' and 'cosmic crackling' {an idea that stuck it through the rewrites and into the above version at least}. Whoever it was, really got into the food/drink metaphor for a while.

And it's especially wonderful seeing the basis for Roy's little swallow after he says "like", and it getting left in.   Always wondered about it, and all this time it was a bit of pigeon, that gave way for the mystery, pain and passion of the scene.

For fans it's interesting seeing the connections of themes, though they are expressed in variant ways.  So here, food perhaps represents the continuation of life, and the taking of life to do this.


  After a while, I could see these elements a little more clearly, being in the film and it working, differently, but leading to the same place. 








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The Wicker Man.



Really wanting to stop what's about to happen in The Wicker Man.



 Spoiler alert - but no more than what the cover of the film, if you go for it, reveals.


The ending of this film stuck with me as a young un.  I kept thinking something will happen to save the main character. But it doesn't, and there is no hope or sense of justice alluded to either. 

This may only be relatable if you have seen it, but you might have had a similar feeling, if you've found yourself desperately wanting the events in a film to not unfold as they are, followed by a willful poking around in a little heightened fear, as though any of it was real and the feeling that 'something' needed to be done had any weight whatsoever. 

And when watching The Wicker Man for the first time, realising no-one is coming to help, I really felt (physically, in the guts and the shoulders) that I wanted to do something to help and get in there somehow.  

So I quickly thought about a plan and the threats posed to me, (now toying with a little extra fear and the 'reality’ of this fictional problem in the process)


“I had to get there immediately”.


I was in my ‘jamas’ (I was on my own), and there was unfortunately a large mob of ‘baddies’ in the film, hanging about. 

A weapon would help, but it had to be near in the house to grab, so a frying pan, and a kitchen knife to double up for extra oomph had to do (to batter, to poke). 

Swayin bastards!I began to mutter, as I started to get ready and the mob begin to dance? happy for this man to die.


…and the plan formed like so:



1. Summerisle’s (the tiny eyed big haired one) getting it first.
     

Run full pelt at him, don’t focus on my feet and “Clonk!”

Keep moving.


2. Then, head straight for the biggest fella there, ‘Oak’.

puff up, get hot 
Scream,  (maybe tearing off bits of pyjama? – confuse, disorientate) capable of anything


Pan to the back of the head, knife to the back of the legs (no time to dilly dally in morality)  



3.  and then I’m making a beeline for that smug fucker at 1.37.48 (the grave tender smugging it all the way to 1.37.51), “Thwack”, just to make sure I get the mob to scatter, maybe whimper. 


4.  Rescue man, animals, from giant Wicker Man.


These are the sort of things that run through as thoughts when you throw your lot in with someone, and believe a film and the feelings it intends to provoke.  You get stoked and irrational.



And this self induced play with the terror of fighting all these people with only what I had to hand, produced a dabble with real / totally fabricated tension.


And so, to the right of the picture, we see someone running towards the event, in pyjama shorts, holding a knife and a frying pan. To save a man from this madness.











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A Letter From the 80s.

This is a letter that was written probably over 25 years ago by someone following the release of the 80's film Goonies, and contains a scathing attack on the film's messages and effects.  I have included it in its original wording.


Dear Goonies,

Goonies has altered the collective consciousness's view of preteen obese children.  Goonie say it is fine to abuse a child over his weight, and he be accepted as a member of the gang ('it is his dowry' they murmur).  'The aim to be a part of something', as though this is the natural order, for the fat child's actual excess flesh, existing to soak up the frustrations and negativity of others, so that the group can move forth emotionally.  A thought and feeling punch sack with comedy, natural tits.  For shame Mr Goonie  (and your primitive family).

Anon.


I do feel that this letter though odd (the assertion of 'Mr' Goonie?) in some regards does have a point regarding the treatment of others and of commonly accepted social dynamics, which could be questioned and improved for all.








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Questions...













and Toshiro Mifune's Wings






















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Hollywood Folklore

 
and the story of...

Jack Nicholson


Whilst resting upon the ground of a cedar hut during filming, Jack wonders why his own brain pushes against the boundaries of his own skull.


"Why so Full?
It makes me want to throw up, right here on this beautiful floor."


Jack had a particular gift (another of the Hollywood secret magics) that allowed him to transport himself inside a body, any body, for a short period.

Jack had seen the inside of his own head whilst floating between brain and boundary, pushing off of each with one hand then the next to steady his glide in this new world.  He nearly had panic the 1st time he did it, and we say nearly because it was only a worry over the sensation of his belly being full whilst inside his own skull.

Shrunken down - he crumples up like a Brilliant Baby, and shifts to the part he has willed.

And there he witnesses the workings and inner deep of our inside spaces.

He returns always drenched naked with whatever fluid resides in the area he has gandered in, atop the just dry clothes he left behind.




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Point Break..

something's not right



The following takes place whilst the 2 main characters are skydiving for the 1st time together.

These pictures show an impulsive representation of what I would have liked to have happened in Point break, so I have not altered and redone it to look neater, and left it as it is, adding only a little colour just today because someone gave me some pastel colours and they looked nice and inviting (and an opportune time to differentiate Swayze's beach hair).

In the 1st picture, the first line of dialogue is by Reeves' character, the next by Bodhi's, and they alternate in the same way.  I've transcribed the dialogue below the picture for max clarity.





I know its you.

And I know you are a police officer.

This is Tough man.

I'm through with it all.  We never hurt anyone.  And its done.

Man. You finish this, and it's history.  The Ex-Presidents disappear

And we can be friends happily ever after right!? (reluctantly sarcastic in the falling wind, and his hair is everywhere)

Man. Yes We Can.  You have opened my eyes!

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This is all about the ending and how it upsets and lingers, (well I can pinpoint it actually starting from when the surfiest dude of Bodhi's gang has been shot and is dying in his arms, the crying death and Swayze's mix of emotions he pulls off, is where the feeling sorry for Swayze begins, and a proper fibrous band of something it is, again, somewhere in the chest and gut area.). 

Like the Wickerman, this is another where I have not been sure if this is a more common reaction to the film, unlike others e.g Bambi (not seen but know people talk of its upset) or  Shawshank where you feel that people generally feel for the main characters, because people talk about it.  

The simplicity here is nice and what I like, with a care for how they could and would have to resolve things from the dynamics already set up.  Just changing the ending did not feel right.

The 1st picture is when they do the first parachute jump, and it's at this point it felt right to have the resolve, to leave the Bigelow and get these two to sort it out themselves. They confess to each other and it's all done before anyone is killed, to ease the forgivings and to see if they can salvage a bond.  And in the second one, they are on the beach together hanging out with their lives ahead of them.  Lovely.

While i'm here, (as I may return to this notion) I'm dabbling in the idea of my instincts being right about this as a truer interpretation of story path.  That some stories may have been told with misguided shadings, like digging up story fossils but putting them together just with your head and not the whole package.   One sign of this,(look out for it) is a feeling of something not feeling right in a film, and when you change it with your imagination, it does feel like it fits, rather than it feeling like you are desperately trying to change it, but knowing that what happened in the film is the 'reality'.

This may also lead to objective evidence and clarity concerning a running theme of feeling sorry for Swayze through his films, which began in the 80s and continued throughout time. I have discovered one other person who has shared this pull to Swayze.  An upstanding specimen of a man he may be, with credentials to rock the concrete of our cities, but in my books he shall remain nameless until more investigations have been done.

I'll paddle more later.









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Kojak



                                
Kojak Smelling The Webbing Between His Fingers.
(Click on the pic for more detail)



This is a faded recording of the moment that t.v's  Kojak smelt, and then discovered the sudden webbing between his fingers.

He had thought he was simply checking if a doughnut he had found was edible.  But instead, he was surprised to be smelling something he had until now been unaware of.  

A very hushed and intrigued "Hello baby?" has been corroborated and was reported just seconds after this first sniff. 

Shortly afterwards he was quoted as saying :

"It's not the first thing I'd wish for. But hey, I got skin moving in and a world of people who aint.

  So I keep smiling, for every eventuality"


The event has not been widely known, the webbing was temporary, and everyone carried on with their 'busy lives', as though they wanted to forget 'skinny' [the name Mr Savalas had favourably
 offered in private]. 

And because of this, combined with the story been largely rumour led, the webbing question has been often speculated on by a small number of groups in the past, generally asking who actually was webbed? Was it Kojak or Telly?  

There was a rumoured Kojak Kolchak (a 70s tv series concerning a journalist investigating vampires, and the strange) cross over project, and one rumour ponders that this was all part of the storyline, the skin dough being Kojak's 1st "supernatural" discovery for the program that never aired.  Rumoured filming has even been passed around, talks and taglines like Kojack "punching the paranormal", aided in strength by the power of the thing between his fingers after Telly's enthusiasm for a more physical and textured action slant to a detective/horror program, which I think sounds brilliant  but no evidence has surfaced.

I'm personally drawn to the warmth and an open-mind he demonstrated, and in a later reaction, where he expanded on the discovery saying "maybe it ain't too happy about been here".  A reaction of ease and empathy.








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Fantastic Four





A Print, of a Rare Self Portrait From The Fantastic Four's Ben Grimm, Doing His Kojak "Thing".



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DEXTER


Wonderful news just in, as Dexter and Miguel from T.V series "Dexter" revealed they are working things out.

At a press conference recently, which both attended, Miguel stated clearly:

"It's Fantastic.  We are straightening out our differences, no stone left unturned and no nook, of this fragile, human psyche we all possess left alone or hidden.  We are brothers again, and right after this beautiful gathering has finished, we're going fishing"

A journalist asked at this point what made him so sure that this was a new beginning after their last words together on the roof had been so inflammatory and pointed clearly to threats of harm and more. The following exchange took place:

 "He will never Fa'hurr, me. And I will never Fa'hurb him back in ways he can never imagine.
  And you know I mean it, cos I changed the word fuck to fa'hurrb on purpose"

"Why did you do that Mr Miguel"

"To show you all, that though there is a long long way for us all to go. Things can change."

This last cryptic message from T.v Miguel signalled the start of the end of the event and did actually seem to spark something in the people who attended, attested to by 2 things, the people's concluding reports, covering topics on self development and change, and also by the end of the day, their big smiling faces.


Miguel was positively beaming throughout, whilst Dexter himself was in a more subtle mood, generally nudging and chuckling his co-star.


Glad things are getting sorted.


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6 comments:

  1. Enjoying the intricate weave of the wicker, the explosion of hand of Lee. I imagine a bloody wound and the rest to run like cowards in masks.

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  2. Liking you putting yourself into the film like that, how involved you must have been when you saw it that first time to want to storm in with your frying pan and kitchen knife.

    And your letter to the Goonies is magic - I join you in your call fo' shame! (Mr Goonie)

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  3. Thank you anonymous commenter, come forth and share your you. Glad you noticed the hand at play in this saga, and your support in my actions being able to turn the tide against them. One on one at least, should have been offered to Woodward, and he gets choice of order, and also fair breaks.

    Thanks Teresa, yes I did get caught up in the moment and lost any sense of priority, but it was a genuine emotional pull into sorting out how to help. And glad you agree on the masked bullying antics (i'm talking to you, truffle shuffle, which surely offers nothing positive to any of the living creatures) pointed out in the letter.

    I would be interested to know if any of you have had any similar experiences with a film or a book, and if you would like to share them.

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  4. This comment has been removed by a blog administrator.

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  5. Would like to see visuals for the Jack Nicholson story- would lend itself to a beautiful little comic strip. Particularly like the sense of stillness whilst Jack is inside his own head and the filmic vision of his re-entry into full size. Full bodied and condensed writing with nice sense of stream and inner coherency.

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  6. Haha, just had a revisit of that Miguel and Dexter press conference report, love it, can see it very clearly, also like your language, feels authentic.

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