I've always been open with my blog and welcomed comments which, when they come, are almost always good. I've had only 3 critical comments since this blog started in August 2009 and kept them in. All 3 were about one thing I said that might have upset them, and that's too bad. No apologies.
The latest critique not only criticized me but also suggested I could go to jail for throwing a phone book. It went on to attack me personally as to perceived failures in my career, none of which happened. It even suggested ageism.
After 35 years in the business, I really don't have anything I need to prove. Like me or hate me, I don't give a damn.
Years ago I learned one thing from the internet, there's a kind of equality issue that happens, a wannabe amateur can become a peer to a professional by challenging them. I have wasted a lot of time arguing with someone who has no film experience whatsoever, but feels that they have as much to say as me.
The truth is, these wannabes don't know as much as I do, and while I don't mind their criticism, I will not tolerate their anonymity anymore. There are a lot of pretentous posers out there these days, they attend some film seminars, read some magazines, know a friend in the business, watch Entertainment Tonight and think they know the business.
They know the words, but not the business.
Filmmaking is not a democracy. Directing is akin to being king. Ask any director.
But the most frustrating part is that I don't know who the anonymous comment poster is. I'm arguing with someone I don't know or can even see. Up to now I have kept the comment area open because I have nothing to hide, nor do I restrict access to the blog.
But that has changed.
From now on, I will restrict comments that have little value other than personally attacking me.
But here's the way in; if you want to attack me, then I need to know who you are. I think that's only fair. Tell me your name and show me your credits. Simple as that. I'm wide open to you, revealing my good and bad side honestly and without hubris. I expect the same in return.
I don't think this will affect 99% of you blog readers and thanks for the private emails on this subject.
We move on.
Wednesday, May 19, 2010
Sunday, May 16, 2010
Haute Spa Trends for 2010!
The dollar maybe weak, but the desire to be pampered is going strong. Although, the spa industry has seen its share of economic woes as a result of the battered economy, everybody wants a little me-time. This year consumers are looking for great customer service and value for their money.
Here are 5 spa trends for 2010:
-Spa sampling menus have become popular… with the shrinking dollar comes mini services at lower price points.
-Spas have embraced social media by tweeting and posting facebook messages about the deal of the day. You can even cancel or reschedule appointments online.
-Spa partnerships make great business sense… spas inside hotels, resorts, airports, and on cruise ships are ideal for travelers.
-No frills instead look for simplified spa menus as a sign of the times… spas are now focusing on core treatment options like massage to manage stress.
-Beauty rest has become a priority in this sleep-deprived society. You can actually book time to sleep at select spas around the world before or after your treatment.
Source: International SPA Association
Where is your favorite spa?
-Spa sampling menus have become popular… with the shrinking dollar comes mini services at lower price points.
-Spas have embraced social media by tweeting and posting facebook messages about the deal of the day. You can even cancel or reschedule appointments online.
-Spa partnerships make great business sense… spas inside hotels, resorts, airports, and on cruise ships are ideal for travelers.
-No frills instead look for simplified spa menus as a sign of the times… spas are now focusing on core treatment options like massage to manage stress.
-Beauty rest has become a priority in this sleep-deprived society. You can actually book time to sleep at select spas around the world before or after your treatment.
Source: International SPA Association
Where is your favorite spa?
Haute Reading List!
Sometimes a fashionista has to learn all about money the hard way… trial and error. But with every lesson learned comes an opportunity to grow, at least that’s what I learned reading Michelle McKinney Hammond’s new book, Divanomics.
After her five star lifestyle went south thanks to a bad economy, Hammond, a self proclaimed DIVA (Divine Inspiration for Victorious Attitude), confronted her worst nightmare, a life without designer clothes, expensive meals and high-end luxury goods that turns out were not that essential afterall. Now that the worst is over, Hammonds has responded by going from fabulous and fly to “Fabulously Frugal!”
Divanomics is honest, humorous and helpful for those on a similar course of self-destruction. Hammonds offers tips, practical advice and commonsense money management strategies on how to take control of your finances and your sanity! The book also offers money-saving tips when it comes to fashion, beauty, home décor, entertaining, real estate and so much more.
We can all learn from Hammond’s mistakes and a few of our own. Get your copy of Divanomics today for just $9.35 on Amazon.com.
http://www.amazon.com/Divanomics-Still-Fabulous-Youre-Broke/dp/141433382X
Other Haute Books:
You may remember Jeff Alt from CNN-Radio, ESPN, the Hallmark Channel and USA Radio Network. He’s also the award-winning author of A Walk For Sunshine. In his new book, he takes us along his 2,160 mile expedition for charity on the Appalachian Trail. His incredible journey is filled with humor, frightening and inspirational stories about his life in the woods for 147 days. Alt’s story has inspired an annual fundraiser, which has raised over $160,000 for Sunshine Home, where his younger brother Aaron, who has cerebral palsy, lives.
Alt’s story about his quest to hike the entire length of the Appalachian Trail is simply amazing. Get your copy of A Walk for Sunshine today for an inspirational journey about following your dreams!
A Walk For Sunshine is available nationwide in bookstores, libraries and online. A portion of the proceeds from the sale of the book are donated to Sunshine Home.
Retails: $15.95
To learn more visit http://www.jeffalt.com/
If you’re looking to reduce your consumption of meat for a diet rich in vegetables… pick up a copy of The Vegetarian Slow Cooker. You’ll find great recipes for food that nourishes the body and soul! I love this book because it allows me to prepare meals with very little attention to the process. When it’s all over… I get to enjoy the fruits or veggies of my labor!
Retails: $24.95
What's on your summer reading list?
10 Haute Summer Travel Tips!
Haute Travels Tips:
-Be flexible with travel consider leaving midweek to get the best fares
-Check airline fees after Midnight to capture discounted tickets
-Compare rates for airfare, hotel/resorts and cruise lines on their sites before you go to sites like Travelzoo (compare multiple travel sites at once), Travelocity, Cheap Caribbean.com or Hotwire
-Ask the properties for discounts and compare competitor’s rates… become a bargain shopper
-Travel to places where the dollar is strong
-When traveling to Europe in the summer consider renting an apartment to save money
-Travel with friends and share the costs or try house swaps… exchange homes with other travelers
-Cut out airfare and drive to a coastal or mountain area near your home
-When booking high-end properties like the Four Seasons, Park Hyatt or Ritz Carlton compare the value-added extras… spa and meal credits, airport transfers and arrival gifts
-Look for properties offering FREE nights with paid nights to stretch your travel dollar and your length of stay
Will you travel this summer?
Friday, May 14, 2010
H&H Part 22: Mahon & Me
"It is difficult to make changes for two untalented son-of-a-bitches"
- Dan Curtis, creator of Dark Shadows
The day begins with rain. The crew scrambles to get any shots they can as we have no cover set to go to or a studio, due to the fact that there are no such spaces in this small town. Another tactical error by the producers.
And according to my sources, another Kaplan error in judgment is making the show run over budget. Evan Mahon has publicly expressed her anger at Kaplan's ineptitude, no doubt fueled by the frustration that he has more power than she does.
Mahon continues to behave like she's on meds during production meetings, mostly playing those computer games on her laptop. Then, out of nowhere, she stops and interrupts the meeting by saying we can't shoot in some particular location. We remind her that we're not talking about that scene and she goes back to her computer game.
I write a joke line into a scene where a female ranger is preparing for a date and asks another ranger where she can find a curling iron. He answers "in the barn". It's a Monty Python-type joke, no real punchline, just the question why a curling iron would be in a barn.
Mahon hates it and Kaplan vetoes it even though the others like it.
Later I work in the writer's office trying to fit in Mahon's and Kaplan's notes which are usually meaningless. They don't understand that changing one line on Page 3 can affect the entire script later.
And what makes it harder is that the actors and director like the script, as did the Assistant Director, Jorn the cameraman -- and the network.
One problem came from Mahon's inability to grasp the fact that a scene we had written for an airstrip was to be included into a scene at the base of a mountain. This would eliminate the need for a crew to move to another location, a savings of time and money. The Director, the AD and I had discussed this at a previous meeting at which Mahon had attended. Yet she didn't seem to remember.
So now she entered and asked when the script would be ready. I said when it is ready. She kept returning, interrupting my writing. The director was also lurking around but had the smarts to let me write. Not Mahon.
On about the 6th time, I finally lost it. She was saying I had screwed up by including the airport scene. (the one we discussed and agreed on).
As much as I can remember, it went like this:
THE F...KING AIRSTRIP IS OUT! EVERYBODY KNOWS THAT BUT YOU, IT'S OUT!!
YOU WERE AT THE F...KING MEETING WHERE EVERYBODY AGREED INCLUDING YOU AND IF YOU DON'T REMEMBER THEN IT'S YOU WHO'S THE PROBLEM.
IF YOU WANT THE GODDAM SCRIPT, LEAVE ME ALONE!!
And that was it. Mahon was stunned. For someone who constantly yelled and humiliated others, she didn't expect anyone would do that to her. She had no answer and turned around and went to the door.
But I wasn't finished.
I grabbed the huge phonebook from the city and heaved it at the door. It slammed just inches away from her head as she ran out.
Needless to say the entire production team had heard this and nobody wanted to find out what it was about. Two people later said that it was time someone stood up to her.
I finished the script, handed a copy to the director who smiled, and to the production team.
And that was that.
It takes a lot to get me going, but after a long walk in the mountains I was just looking at getting out in a few weeks when the show would be over.
(Next blog will be Wednesday as I'm traveling)
- Dan Curtis, creator of Dark Shadows
The day begins with rain. The crew scrambles to get any shots they can as we have no cover set to go to or a studio, due to the fact that there are no such spaces in this small town. Another tactical error by the producers.
And according to my sources, another Kaplan error in judgment is making the show run over budget. Evan Mahon has publicly expressed her anger at Kaplan's ineptitude, no doubt fueled by the frustration that he has more power than she does.
Mahon continues to behave like she's on meds during production meetings, mostly playing those computer games on her laptop. Then, out of nowhere, she stops and interrupts the meeting by saying we can't shoot in some particular location. We remind her that we're not talking about that scene and she goes back to her computer game.
I write a joke line into a scene where a female ranger is preparing for a date and asks another ranger where she can find a curling iron. He answers "in the barn". It's a Monty Python-type joke, no real punchline, just the question why a curling iron would be in a barn.
Mahon hates it and Kaplan vetoes it even though the others like it.
Later I work in the writer's office trying to fit in Mahon's and Kaplan's notes which are usually meaningless. They don't understand that changing one line on Page 3 can affect the entire script later.
And what makes it harder is that the actors and director like the script, as did the Assistant Director, Jorn the cameraman -- and the network.
One problem came from Mahon's inability to grasp the fact that a scene we had written for an airstrip was to be included into a scene at the base of a mountain. This would eliminate the need for a crew to move to another location, a savings of time and money. The Director, the AD and I had discussed this at a previous meeting at which Mahon had attended. Yet she didn't seem to remember.
So now she entered and asked when the script would be ready. I said when it is ready. She kept returning, interrupting my writing. The director was also lurking around but had the smarts to let me write. Not Mahon.
On about the 6th time, I finally lost it. She was saying I had screwed up by including the airport scene. (the one we discussed and agreed on).
As much as I can remember, it went like this:
THE F...KING AIRSTRIP IS OUT! EVERYBODY KNOWS THAT BUT YOU, IT'S OUT!!
YOU WERE AT THE F...KING MEETING WHERE EVERYBODY AGREED INCLUDING YOU AND IF YOU DON'T REMEMBER THEN IT'S YOU WHO'S THE PROBLEM.
IF YOU WANT THE GODDAM SCRIPT, LEAVE ME ALONE!!
And that was it. Mahon was stunned. For someone who constantly yelled and humiliated others, she didn't expect anyone would do that to her. She had no answer and turned around and went to the door.
But I wasn't finished.
I grabbed the huge phonebook from the city and heaved it at the door. It slammed just inches away from her head as she ran out.
Needless to say the entire production team had heard this and nobody wanted to find out what it was about. Two people later said that it was time someone stood up to her.
I finished the script, handed a copy to the director who smiled, and to the production team.
And that was that.
It takes a lot to get me going, but after a long walk in the mountains I was just looking at getting out in a few weeks when the show would be over.
(Next blog will be Wednesday as I'm traveling)
Wednesday, May 12, 2010
Heaven & Hell Part 21 - My Show
The time has finally come when my first episode will be shot. It's one of the two scripts I was given to write besides all the rewrite work on other people's scripts. The second of my scripts will be written later.
Kaplan offers some notes of which some are good. After he leaves, the director of this episode drops by to discuss his notes. He has several comments, all of which are not difficult to make. Many directors, especially TV directors don't like to have writers around as the old joke suggests "because we're the only ones who know they're faking it."
At the very basic level, every script belongs to the writer. In fact European countries only accept the writer as the owner of the story and script. Sure, the director brings it to life, but a script can stand on it's own as reading material, regardless if it's made or not.
But this director is very generous and ready to work with me. He has read the first draft and asks why a new scene was added, a "drug deal" with the dying man and his partner. He asks why I changed it to something stereotypical and not as good as my original script.
I tell him in two words: Kaplan and Mahon, the producers. They thought it would add some edge to the story, I said it made no sense. Why did I change it?
You have a lot to take into consideration when making changes; a responsibility to the show and the actors. On the other hand, if you cross the producers (in this case, Kaplan and Mahon), you can get a bad rap for being "difficult to work with" throughout the industry.
And there's usually two reasons why someone can't get work in this business; either they're not very good or they're hard to work with.
And after a week of them keeping after me to make the changes, I did. But I also knew that the director, if he was good, would notice the changes and I know the actors would immediately.
This director said he would try to get the original script back. But I doubted it would happen.
Next came the actors.
They dropped by separately, as is the custom, nobody wants to share the script with another actor. Gunther, who was saved with me by Erica at the bar, complains about the "drug deal" scene in the new script. I tell him why I changed it and he shakes his head and says "they don't know shit."
After him, Franz, the actor playing opposite him comes in and says "I noticed some changes". I tell him about Kaplan and Mahon's dumb ideas and he sides with me, the director and Gunther. So far 4 against 2.
Finally Erica comes into the office, grabs me by the hand and takes me out onto the little ground-level balcony our office has. She says her character should have some faults and not be so perfect. Exactly the opposite of what her German producer wanted, which was having characters with no problems and riding horses in the mountains.
By now you must be getting an idea of the frustration of working with not very smart producers. Neither Kaplan or Mahon were "smarties" as Mel Brooks would say, instead they did more to harm the writing on the show than help it
Actors, especially star actors, like "the big speech". This is where they get to show how dramatic they can be. Think of Al Pacino in Scene of a Lady, or Denzel Washington in Training Day. Those scenes that win awards for actors.
I had written a scene like that for an episode, but it wasn't for Erica, it was for the supporting actor. The scene was about a wife's reaction to her husband's death was not sorrow but anger at him for betraying her. It was a good scene because it did the opposite of what the audience expected. Writers love to write this kind of scene but don't always have the right story.
Erica wanted a scene like that.
And since she wasn't in the new "drug scene", she really didn't care about it. This was all about her. It wasn't a hard thing to change so I said I would do it.
That evening the film crew had a baseball game with the rangers and local police and they beat us by ten runs. It was a relaxing moment, even with Kaplan there. Everyone was enjoying themselves, Lauren was adapting well to her new position as Art Director, Jorn the cameraman was looking forward to returning to his family after the show wrapped. And I attempted again to talk to Marilyn but stumbled on every sentence.
As I drive a police officer home he suggests we "buzz" a fellow officer who's on radar patrol but I decline, not wanting to get a speeding ticket as well as the impact of a few beers I had at the bbq after the game.
The next day they began filming my episode and I come to the set and meet the director, who's decided to shoot my original version " F..k them", he adds.
I can't really disagree.
(Fri: Mahon & I face off)
Kaplan offers some notes of which some are good. After he leaves, the director of this episode drops by to discuss his notes. He has several comments, all of which are not difficult to make. Many directors, especially TV directors don't like to have writers around as the old joke suggests "because we're the only ones who know they're faking it."
At the very basic level, every script belongs to the writer. In fact European countries only accept the writer as the owner of the story and script. Sure, the director brings it to life, but a script can stand on it's own as reading material, regardless if it's made or not.
But this director is very generous and ready to work with me. He has read the first draft and asks why a new scene was added, a "drug deal" with the dying man and his partner. He asks why I changed it to something stereotypical and not as good as my original script.
I tell him in two words: Kaplan and Mahon, the producers. They thought it would add some edge to the story, I said it made no sense. Why did I change it?
You have a lot to take into consideration when making changes; a responsibility to the show and the actors. On the other hand, if you cross the producers (in this case, Kaplan and Mahon), you can get a bad rap for being "difficult to work with" throughout the industry.
And there's usually two reasons why someone can't get work in this business; either they're not very good or they're hard to work with.
And after a week of them keeping after me to make the changes, I did. But I also knew that the director, if he was good, would notice the changes and I know the actors would immediately.
This director said he would try to get the original script back. But I doubted it would happen.
Next came the actors.
They dropped by separately, as is the custom, nobody wants to share the script with another actor. Gunther, who was saved with me by Erica at the bar, complains about the "drug deal" scene in the new script. I tell him why I changed it and he shakes his head and says "they don't know shit."
After him, Franz, the actor playing opposite him comes in and says "I noticed some changes". I tell him about Kaplan and Mahon's dumb ideas and he sides with me, the director and Gunther. So far 4 against 2.
Finally Erica comes into the office, grabs me by the hand and takes me out onto the little ground-level balcony our office has. She says her character should have some faults and not be so perfect. Exactly the opposite of what her German producer wanted, which was having characters with no problems and riding horses in the mountains.
By now you must be getting an idea of the frustration of working with not very smart producers. Neither Kaplan or Mahon were "smarties" as Mel Brooks would say, instead they did more to harm the writing on the show than help it
Actors, especially star actors, like "the big speech". This is where they get to show how dramatic they can be. Think of Al Pacino in Scene of a Lady, or Denzel Washington in Training Day. Those scenes that win awards for actors.
I had written a scene like that for an episode, but it wasn't for Erica, it was for the supporting actor. The scene was about a wife's reaction to her husband's death was not sorrow but anger at him for betraying her. It was a good scene because it did the opposite of what the audience expected. Writers love to write this kind of scene but don't always have the right story.
Erica wanted a scene like that.
And since she wasn't in the new "drug scene", she really didn't care about it. This was all about her. It wasn't a hard thing to change so I said I would do it.
That evening the film crew had a baseball game with the rangers and local police and they beat us by ten runs. It was a relaxing moment, even with Kaplan there. Everyone was enjoying themselves, Lauren was adapting well to her new position as Art Director, Jorn the cameraman was looking forward to returning to his family after the show wrapped. And I attempted again to talk to Marilyn but stumbled on every sentence.
As I drive a police officer home he suggests we "buzz" a fellow officer who's on radar patrol but I decline, not wanting to get a speeding ticket as well as the impact of a few beers I had at the bbq after the game.
The next day they began filming my episode and I come to the set and meet the director, who's decided to shoot my original version " F..k them", he adds.
I can't really disagree.
(Fri: Mahon & I face off)
Haute Cashmere Blankets for the Luxury Traveler!
But one French resort in the South of France is handing out cashmere blankets for those booking three nights at The French Riviera’s La Villa Mauresque in St. Raphael, France. That’s right you could be wrapped in luxurious cashmere as you jet off to the French Riviera also known as the Côte d'Azur.
Vacationers staying at the 19th century Mediterranean seafront luxury hotel will receive a sumptuous cashmere and wool blanket, shipped directly to their home doorstep before they leave. The complimentary offer is available for guests booking a minimum stay of three nights, prepaying for one night in advance, for arrivals now through October, 2010. To allow time for blanket delivery, prepayment is required three weeks before arrival. Keep in mind the blankets are shipped only to US addresses.
About La Villa Mauresque
In the charming village of Boulouris, between Cannes and St. Tropez, on a private seafront, this luxury boutique hotel offers peace and serenity with an infinity pool. La Villa Mauresque features 17 luxurious bedrooms housed in two Moorish villas dating from 1860, most with stunning sea views, others with garden views. Ideally located for exploring the French Riviera, La Villa Mauresque is 30 minutes from Cannes, 30 minutes by boat from St. Tropez, 50 minutes from Nice airport and one hour from the port of Monaco.
For reservations, contact your travel agent, call +33 (0) 4 94 83 02 42, email contact@villa-mauresque.com or visit the website http://www.hotelsfrench-riviera.com/.
Would you like a cashmere blanket?
Subscribe to:
Posts (Atom)