Oil of Dog

X-Ray Rider | Winter 2010

2009-06-15T06:06:00.001-07:00

The Science-fiction, Fantasy & Horror Writer's Workshop at Corbin Art Center

2008-05-18T18:55:00.000-07:00

CLICK IMAGE FOR LARGER (MUCH LARGER!) VIEW

...a workshop for the rest of us.

Start: 10/01/2008 - 6:30pm

End: 11/05/2008 - 9:00pm

Offers a serious, supportive environment for writers in the imaginative arena, a place Ray Bradbury called the October Country, "where the hills are fog and the rivers are mist, and the people passing at night on the empty walks sound like rain…"

6 weeks $60 / $5 supply fee included
Ages 14 Yrs and over
Spots Available: 12

Instructor: Wayne Spitzer

Registration Date: 04-01-08 6:00AM
Registration End Date: 09-29-08

Meets:

Wednesdays 6:30PM - 9:00PM
10-01-08
10-08-08
10-15-08
10-22-08
10-29-08
11-05-08

Web Link:

Corbin Art Center

Spokane, Washington

United States

"The Willows" Scriptment and New Movie Site

2008-02-18T23:22:00.000-08:00

To mark the occasion of The Willows having moved beyond scriptment and first draft into a second draft (likely with a co-writer), here's the original "scriptment" or "prosy initial blueprint" of the film as envisioned. It's essentially a raw document that seeks to unify the core ideas under one umbrella and is not intended as a properly formatted treatment, screenplay, or scriptment, for that matter. The final draft will have scenes not included here and its language will be economical; it will be meticulously formatted; it will have three brads. Note: While the "scriptment" is relatively tame in some aspects (blood and gore), it is not so tame in others (sexuality and minor language). So, consider this the blueprint for an R-rated film, and approach it accordingly.

Read Wayne's Scriptment:
http://waynespitzer.wordpress.com/

Blackwood's "The Willows" Screenplay Excerpts (Wayne Spitzer)

2008-02-11T21:04:00.001-08:00

Here's a sequence which occurs shortly before the protagonists arrive at
the willow island. For those who read closely and are familiar with the
story, there are here...implications. Blackwood scholars will recognize--
approvingly, I hope!--the influence of AB's nonfiction ("Down the Danube
in a Canadian Canoe") on these scenes. CLICK ON IMAGE TO READ

WGA-West Registration no# 1247825

"We've Strayed Out of a Safe Line Somewhere..." Wayne Spitzer's Adaptation of "The Willows" by Algernon Blackwood Steps Into A Larger World

2007-12-23T02:09:00.000-08:00

Wayne's scriptment for a feature-length film based upon Algernon Blackwood's The Willows has, at last, moved to the next level. Wayne's vision of the material includes elements of Blackwood's The Centaur as well as The Man Whom the Trees Loved, The Temptation of the Clay, and The Glamour of the Snow. Stay tuned for future updates as the project continues to transcend its micro-budget origins! ABOVE: Wayne's "Proof of Concept" poster design, conceived before Al Gore climbed into the cherry-picker!

Two Favorites Get Adapted, One For the First Time, One For the Third, With Mixed Results

2007-12-07T11:08:00.000-08:00

Something is fueling the apocalyptic impulse in our popular culture--is it the end of the world, the end of empire, or both?

Frank Darabont has some B-movie fun before finding the existential crisis for us all in a shattering version of King's Mist; new I Am Legend finally captures the essential loneliness of Richard Matheson's classic novel...before failing even more spectacularly than the previous versions.

"Our Thoughts Make Spirals in Their World..."

2007-07-25T19:35:00.000-07:00

Further Discussion on Film
Adaptation and “The Willows”
with Blackwood’s Biographer,
Mike Ashley
by WAYNE SPITZER

I recently had the privilege of discussing my planned adaptation of Algernon Blackwood’s “The Willows” with the legendary Mike Ashley, author of some sixty SF, horror and fantasy genre related books including Starlight Man: The Extraordinary Life of Algernon Blackwood. As in the first part of this article, the following are excerpted from correspondences with Mike regarding my plans to shoot the movie.

Wayne:
Extremely interesting comments, Mike (see Letters for Algernon). And helpful, indeed -- especially this notion that the protagonists might be as bewildered and unhinged by what is going on as the filmmakers!

As for the story itself, the fulcrum of my initial approach has centered on the character of the Swede. I have tried to establish a scenario in which some of the more inexplicable events (such as the missing steering paddle) might almost, and I stress almost -- be his doing. There is something missing in his stolid, pragmatic nature, perhaps, which has allowed something else to get in: The voice of the place --a whisper of the forces at play in this "frontier" region. I have tried to suggest that he is in fact experiencing a "death by substitution", just as he fears. He is not fully conscious of this substitution, yet it is working on him, calling him.

He is unwittingly channeling them, I suppose. But this approach may only be the result of an unconscious effort on my part to explain things, which you've suggested, rightly, I think, may work against the piece.

I think what I am trying to do is to give contemporary viewers something they can hang on to in the face of the unfathomable. An optional interpretation for those who want it, or need it. As for the willows themselves, my current approach suggests that they are the manifestations of these beings in our dimension. That isn't really what I mean, but words seem to abandon me when it comes to this material, which, I suppose, is why it works so well.

Frankly, what interests me here is the seeing of nature in a new and terrifying way. What interests me is that constant wind, that gurgling water, that otter which isn't quite an otter. We've done a number of experiments like shooting cutaways of rustling willow stems and then reversing the action, which tends to make them look, well -- off, somehow. Alien. The idea isn't so much to show the viewer something new as it is to show them something mundane through a new lens, which isn't so different from what fine artists like Edward Weston and Yvonne Jacquette have been doing for years. It's the dancing plastic bag moment from American Beauty, but in this case that "entire life behind things" isn't necessarily beautiful -- it's bloody terrifying. And it sure as hell isn't benevolent. The men in my version of "The Willows" have an epiphany for the worst, I'm afraid.

At any rate, do let me know if any of this sounds close to the mark.

Mike Ashley:
I like the idea of using the Swede as a "channel". That certainly wouldn't clash with some of the intimations in the story, though he is entirely innocent or unaware of him being the cause for this.

Also running willows rustling backwards sounds excellent. I reckon that would work well.

The question seems to be; just how much of an explanation is needed? I think Blackwood says enough about this being a "doorway" between dimensions and that kind of discussion can easily go on in the tent during the second night, but that doesn't mean they need to come to a solution.

Blackwood was always of a view that where environments change -- such as from pasture to woodland or from woodland to rock or rock to sea -- those points of change are also points where nature is at its most turbulent and where barriers between dimensions are thinnest. He would never camp at any such divide because it was dangerous. You could always inject that viewpoint into one of the characters.

Wayne:
Found your comments regarding the division between environments electrifying, and will certainly work that in. I have already been toying with the notion of divisions in the river's currents -- in terms of various cutaways which would show racing water directly alongside becalmed waters, flowing together but apart, and thus supporting the theme. This idea of not wanting to camp at the threshold of environmental changes gives us a stunning peek into how AB's mind worked, at least with regard to nature, or un-nature.

As for those "explanations", I agree, too much of that will only bleed the work of its power. Again, I think what I am trying to do is explain it to myself, so that what seems mysterious to the viewer will nonetheless follow its own internal logic.

Those tent/campfire scenes, by the way, are the kinds of things that give filmmakers headaches. Too much of the story's latter half, it seems, consists of the two men talking. That works fine in a textual work, or in a play, but in a film it can be stifling. My aim is to split this section in two, so that in the part where the Swede warns, "Our thoughts make spirals in their world," and that "they are searching around for us," -- the men are actually fishing, casting their lines into the current, making little ripples. Trying, desperately, to appear casual, even as their questing hooks perpetuate the metaphor.

As I don't want to spend the next few months completing the screenplay only to find I've misunderstood the source material in some fundamental way, expect more emails.

Mike Ashley:
Glad my few comments are helping. Your idea of splitting the tent discussion with one of them fishing is a good one. I know what you mean by too much talking in one place and not enough action. Presumably, though, you're also starting with them journeying down the Danube and though this is before all the problems begin perhaps some of the basic ideas can be suggested then -- woven into their idle thoughts.

By all means. I'd happily cast an eye through anything you're able to send me. I'll try and respond quickly, though I'm up to me eyes in four different projects at the moment including a huge book on King Arthur which is already two months behind schedule. But that's never stopped me before!
-- Mike

I encourage anyone with a passion for SF/Fantasy & Horror to seek out Mike's books, as well as to explore the literary legacy left us by Algernon Blackwood. Finding his (Blackwood's) books -- in physical form, at least -- can be like herding cats; he's fallen through the cracks of time while lesser talents, many of whom were directly inspired by his work, have flourished. With enough interest, we may yet see a Blackwood revival. One thing's for certain: you'll never look at the world quite the same after reading him.

Would that the contemporary horror film could achieve the same.

Letters For Algernon

2007-07-25T16:53:00.001-07:00

Talking Film Adaptation and
“The Willows” with Blackwood’s
Biographer, Mike Ashley
by WAYNE SPITZER

I recently had the privilege of discussing my planned adaptation of Algernon Blackwood’s “The Willows” with the legendary Mike Ashley, author of some sixty SF, horror and fantasy genre related books including Starlight Man: The Extraordinary Life of Algernon Blackwood. The following is excerpted from correspondences with Mike regarding my plans to shoot the movie -- used, of course, with his permission (it should be noted that Mike took the time to respond to my queries even though he was racing to meet a deadline for his latest book). I hope others will find the conversation as intriguing as I did!

Wayne:
Hi, Mike. I am an independent filmmaker who is currently preparing an adaptation of Algernon Blackwood’s “The Willows”. I have already contacted several Blackwood devotees, including Amy Sterling (who wrote the introduction to the Wildside Press edition) and Nick Freeman, a scholar, both of whom were keen to see Blackwood adapted (the only previous AB adaptation I am aware of is Rod Serling’s “The Doll”, from Night Gallery). I am only in the beginning stages of my understanding of this subtle and chilling story (“The Willows”). Unfortunately, there is scant scholarship to be found on either it or anything else by Blackwood. Can you help? Any insights or leads would be appreciated. My intent is to update the material and place it in a contemporary setting; do you see any major conflicts with this? Part of my reasoning is strictly practical; doing a period piece simply isn’t in our means. More to the point, I don’t feel that period has anything to do with the essence of the material, beyond that certain pervasive gloom common to most turn of the century literature. Still, “The Willows” is a difficult work, and I am dreadfully afraid of misinterpreting it to the point that I do Blackwood and his fans an injustice. Any comments would be greatly appreciated.

Mike Ashley:
Delighted to know someone’s going to attempt to film “The Willows”. It won’t be easy as it’ll need some good atmospheric special effects, but if it works it will be a real cracker.

“The Willows” is one of Blackwood’s stories that has received some critical assessment, though, as you say, generally he’s received little. I shall have to dig out chapter and verse and let you know the details.

As for “The Willows” being present day or period, I’m not sure that matters much. One thing crucial, though, will be the language. The modern tendency to include swearing and foul language in films will not work in Blackwood and would put devotees off. Even if you change the period, keep to the language! Since most of the story is set on the river and the island, I wouldn’t think there would be much concern about period or present day issues. One problem will be you can’t have them using mobile phones or talking about planes or cars. My advice is to keep it basic and simple and stick to the atmosphere of the plot and no one will worry about the period setting. It shouldn’t intrude at all.

Wayne:
I agree with you about period versus non-period, but am struggling with the contemporary profanity issue as I attempt to adapt dialogue – though I agree with you on that also. As for Blackwood’s language, I’m aiming to reproduce it in spirit if not letter. Early on I experimented with using voice-over, envisioning a kind of Phase IV (1974) vibe. That didn’t work out so well, so I’m currently focusing on the cadence of the dialogue itself. Above all, my Willows will, indeed, be a study in atmosphere, and the psychology of the two men, and of place.

My biggest questions regarding the work are in the bread and butter details. What’s that strange pattering all about, for example? And how are we to take this idea of the missing objects; i.e., the steering paddle, the bread, and so on? I’ve tried to cozy up to some of AB’s occult influences to sort all this out, as well as thoughts from various physicists regarding the fourth dimension (especially Schrodinger, whose comment, “The world of physics is a world of shadows”, will begin the film). Now, I have no intention of destroying the mystery and wonder – the terror – for the audience. But I would like to be satisfied that I myself understand what is going on here, or at least that I have a consistent interpretation – however faulty – of the story’s interior logic. Finding the edges of this type of thing can be mentally exhausting. It’s “shivery work”, as Algernon might say.

I’ve commissioned some cover art which utilizes the image of an outdoors man in a Gore-Tex coat and fur-lined hood, a man whose face has been replaced from the top of the mouth up with a large, “beautifully formed spiral”. This seems to me the perfect symbol for a psychical invasion; the “awful substitution” referred to in The Willows, as well as that dreadful and compelling call of nature so intrinsic to AB’s work.

Would value beyond my words to express any further insights you may have as to the nature of the Willows….

Mike Ashley:
Good to hear from you again. As for getting inside the story and into Blackwood’s head, I can give you some further thoughts, but “The Willows” is indeed a very complicated story – or at least the thinking behind it is.

Primarily Blackwood believed in a greater consciousness that pervaded the universe. This was multi-dimensional, so went way beyond the conceptions of our world. This greater consciousness is so different to human beings that there really wasn’t any link between them, but occasionally humans could stray into their awareness. This tends to happen at the borders between things. In this case Blackwood suggested that the Willows served as a boundary and that the island was a thin point between the dimensions and that these greater beings could sense the presence of humans at that point. Like border guards, these greater beings seek to eliminate the humans like we might a gnat or a mosquito that’s irritating us. Because they have such greater forces than we can imagine it takes on a strange alien form. The presence of the strange marks in the sand and so on are really just a three-dimensional effect arising from these multi-dimensional beings. An impression that passes through the dimensions. The vortex likewise is the turbulence between those dimensions. Leastways, that’s how I tend to interpret it on a very superficial level.

I’m sure we could talk a lot more about various individual elements of the story, but I think the key to it is not to explain everything. Humans can’t be expected to understand something so alien and beyond our ken, and what makes the story so successful is the sheer helplessness against such forces and the utter bewilderment. Too much philosophizing by the characters will spoil it. Let the unknown remain unknown and it’ll be all the more frightening.

Wayne’s conversation with Mike Ashley will continue in the next OIL OF DOG….