I’m not the only one…


Sometimes I feel like I’m the only person in the world that feels a particular way about a particular thing. Sometimes I can’t even tell you why I feel like i do. I just do.
But with regards to Star Wars, I am most certainly not alone. It has meant the world to me since I was a kid, from the first time I saw it until now. While I have suffered many disappointments in life, it was almost never in relation to the Star Wars universe.
As I’ve mentioned before, I’ve read in excess of 50 Star Wars books (probably closer to 100 or more) over the years, and I credit the existence of the Expanded Universe with keeping Star Wars alive between the original trilogy and the prequels.
While I don’t like that Disney effectively killed the Expanded Universe, as a writer I can understand why they did it: they have the opportunity to tell new stories without having to lug around the history and baggage of literally decades worth of history and attempting to build something consistent with it.
That said, there was so much history in the EU that Disney didn’t even have to bat an eye to have dozens of waiting films if they literally made each book or story into its own film. I didn’t expect The Force Awakens to be The New Jedi Order or Legacy of the Force, but as I’ve said before, there’s no reason it couldn’t have lived aside then.
In this, I’ve felt alone. Only a couple friends of mine have felt the same way. But,  today I’ve discovered that I’m not alone.
Give Us Legends” isn’t asking Disney to ignore the new direction of the franchise, but asking that they allow the old direction to live on. There were many storylines that began before the Disney purchase of LucasFilm that have simply died and gone unresolved since the purchase because no new Legends/EU books are being produced, only official canon material in the new direction.
I think it would be an absolute shame to never find out what happens to the Skywalker-Solo clan after Fate of the Jedi, and I’m now sure many others think the same.

So, I Didn’t Hate It…


Due to circumstances beyond my control, I was not a part of the Star Wars: The Force Awakens record breaking opening though I did see the film today. I liked it. Like, in fact, isn’t a strong enough word; I was impressed with it. Enough, in fact to see it twice today. This is the first time ever that I’ve paid to see the same movie twice in theaters on the same day. (Albeit, once was in IMAX and the other wasn’t, though both were in 3D.)
My summary is that it was a very enjoyable film and I found no major issues with it. A friend nitpicked a particular point where the Resistance didn’t attack some First Order ships, to which I countered the First Order was kind enough to not attack the Millennium Falcon despite the precedence they set earlier in the film. Nonetheless, that was the only item I think is really worth considering a possible flaw.
There is the presumed death of a major character that I think is worth discussing. Contrary to my normal spoiler laden attitude, I’m going to avoid specifics, but this particular character dies in a fashion that leaves room for debate as to whether he or she is actually dead. The thing is, even though we see the attack that leads to the presumption of death, we don’t see the final disposition of the body and there are two objects at the location that could be escape vehicles. In film, the presumption of death is but actual death; usually the body has to be seen laying dead with on screen to be actual death. Given the actor’s health and age, I think that the character may have actually died despite what I’m saying here, but there’s a chance, however slight the odds, that he or she might have lived. To quote Han Solo, “never tell me the odds”, usually because they can be beaten.
Now to the heart of this post… As much as I enjoyed the film, as good as I thought it was, there was no need it necessity to invalidate all of the expanded universe comics and novels. No need at all. With some relatively minor changes to the movie we got, the film could’ve been consistent with the novels leading up to and including the Fate of the Jedi series of novels without destroying the plot. You could make the argument that FotJ is built on 20+ actual years covering 30+ book years and thus too much baggage to carry into the new trilogy, but then The Force Awakens and its new trilogy is reinventing those fictional 30 years from scratch, and still has to explain what happened. It could be argued that it was too much work to research and properly place all that lore in context in order to write the script, but for the bulk of the Star Wars fans, that lore has been Star Wars since the original run of Jedi ended decades ago, and the effort to include and build on it would have been appreciated so much more than simply giving us a good film. Instead, there are a lot of rabid fans like myself that enjoyed this film, but are sitting on 30+ books that are now completely meaningless. I saw some Force Awakens books at Barnes and Noble, after the second time through, and I couldn’t even bear to read the synopsis because the new LucasFilm, the Disney LucasFilm, is willing to trample all over the memories, dreams and wallets of those that have helped this franchise not only live when there was no hope for new films, but thrive! I can’t abide that by purchasing books or merchandise that would give the impression that I find that forgivable. I just can’t.
Many, many years ago, I accepted that there would be no films beyond the original trilogy. Then Timothy Zahn wrote the Thrawn trilogy (as I call it; Heir to the Empire and its sequels) and I had hope that one day there would be more books and maybe a new film. Lucas then promised the prequels and made them; they weren’t perfect, but I mostly enjoyed them. The books were still there and the films were working in concert with the books; virtually nothing contradicted anything else in the films or the books. The books advanced over 30 years while expanding the events and scale of the characters and conflicts. They delighted and amazed, bringing joy and sorrow and we were thankful for them. Then in one fell swoop, it was all rendered obsolete in favor of the new regime. How can I support that?
I don’t blame J.J. Abrams for it; it probably wasn’t his call or even within the scope of his power or influence though he did build upon the new ground that paved over the Expanded Universe, its creators and writers, and its fans. But I sincerely feel that someone owes those creators, writers, and fans a sincere apology for the loss of both time and money by this abandonment. I think until there is such an apology, there will always be a rift between those of us that supported the Star Wars franchise in the years between the original trilogy and the prequels, between the prequels and the new era, and the new direction of the mythos. There’ll be an open wound that just won’t heal with time.

Or Is Disney Pulling Revisionist Tricks?


Just the other day I was commenting on how I was beginning to be cautiously optimistic about the new Star Wars, but I may have spoken too soon. On MoviePilot.com, there’s an article called Star Wars Episode 7: Kylo Ren and the New Empire in which the author discusses the 20 or so new novels, comic books, etc., that are scheduled to be released to fill in the 30 year gap between Jedi and The Force Awakens. Why does this sound as if all the novels and comics that already exist in this period are simply being swept away? This sounds an awful lot like what Lucas was doing for the Clone Wars cartoon, making the Mandalorians pacifists.
I’m suddenly no longer optimistic.
It could be argued that all the expanded universe work (which has now been rebranded as “legends”) was never canon, that all of this new work will be. I’d be fine with that if Lucas had licensed everything then was hands off with the outcome all these years. But that’s not the case. When Timothy Zahn was writing Heir to the Empire way back in the early 90s, he wanted to use Obiwan’s clone in the role he named Joruus C’Baoth, but he said in an interview that “Lucas had other plans for him.” Later, when R.A. Salvatore was writing the inaugural novel in The New Jedi Order series, Vector Prime, he was explicitly told to kill off a major character by Lucas. The sometimes silly, sometimes convoluted plots of the game The Force Unleashed also lend credence to the Lucas is overseeing everything argument I’m making here. 20+ years of creativity does not get spawned and set free without some specific guiding force (oddly, no pun intended). The expanded universe was even blessed by references to some of it in the films, such as the presence at the pod races of Aurra Sing in the Phantom Menace. Therefore I would say that the expanded universe was as canon as the films, because even Lucas is contradicting himself. (“Always two, there are, a master and an apprentice” yet Count Dooku, Darth Maul, and Darth Sidious/Palpatine running around more or less at the same time; yeah, I know, Yoda could’ve been wrong.)

I don’t know… I just have a very bad feeling about this.

A New Star Wars


It’s been several months since the release of the trailer for Star Wars: The Force Awakens and I’ve been relatively quiet about it. In fact, I’ve only talked it over with friends and family as I still wasn’t sure what to think of it, and I didn’t want to ramble on without having an opinion on it. It should be clear, by now, that I have a very emotional attachment to Star Wars; if not, take a bit of time to read my other posts:

Back? Great! By my rough estimate, I’ve read around 80 Star Wars books. My favorite author, for comparison’s sake, has written approximately 60 (including two Star Wars books), most of which I’ve read. So you might say, I am more fully invested in the Star Wars universe than any short of the one in which we live. I know its character very well, I know much of it’s legends and mythology, I have a feel for the ebb and flow of its stories despite the myriad authors that have taken turns at shaping it. Star Wars has always been very near and dear to my heart, and even as an adult, I wish I could stowaway on board the Falcon, or grab the controls of a X-Wing and make the jump to light speed to escape the realities of this world. I honestly think that if the opportunity to do so suddenly presented itself before I could finish writing this post, I’d be gone in an instant and never look back.

So ever since it was announced that Disney bought the Star Wars franchise and would be producing new films, I’ve been dreading the outcome. Yes, I also saw it as an opportunity for the reduced Lucas influenced (LucasLite™) films to potentially get back to what we originally loved, but it’s also a great opportunity for them to ruin everything we (“I” really) ever loved about them. Given that I’ve liked much of J. J. Abrams’ work, I was (and still am) cautiously optimistic about the new main storyline films. I think there’s much to be hopeful about them, yet I can’t help but be nervous about them as well; after all, not everything that Abrams’ has touched has turned to gold nor have I loved all of his work.

That said, the trailer for The Force Awakens was released several months ago, and it looks amazing. The sound of the X-Wings give me chills, and while the radar dish on the Falcon has changed shape, the ship as whole does appear to be amazingly detailed and accurate enough to pass muster.

You of course know all this, and, by my own admission, I’m late to the party on writing about it. So why write about it now? After I finished my shift at work this evening, I wandered into the den to find my sister watching the Star Wars: A New Hope (Special Edition) on VHS. (Long story short, lets just say that due to a cable dispute and on-going renovations, her options for cinematic entertainment this evening were rather limited; my original non-SE VHS copies are inaccessible as are my DVDs.) Still, watching the Falcon maneuver and the X-Wings fly in formation to the Death Star… It gives me chills as much as it did 30 years ago, and the sound of those engines drew me back to the The Force Awakened trailer which faithfully recreated them.

There is still much to be nervous about with regards to this new film, and it’s still 9 months away from release, but I have to admit that I’m growing cautiously optimistic and excited about it.

Jedi Ruined Star Wars? WTF?!?!


I’m writing this post in response to a few of my fellow Cinema Studies majors wrote about on Facebook, How “Return of the Jedi” Ruined “Star Wars” Forever; forgive me for ranting and responding as if I was continuing an already in-progress conversation, because I am. As always, this is my two cents.

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Something Wicked Yadda Yadda Yadda…


(Disclaimer: It’s late, I’m tired, and I’m hungry for success and a good Philly cheesesteak.)

April 28, 2012. That was the official date of my graduation from Oakland University. It was the date that I officially received my Bachelors of Arts in Cinema Studies (Criticism). It was and is a far cry from where I thought I’d be twenty three years ago. On this date precisely twenty two years ago, I was attending — flunking out of, really — Michigan State University, addicted to CNN’s coverage of the [first] Gulf War, eating Gumby’s Pizza, while trying to figure out how I could recover from the mess I was making of my life. I’d abandoned the Air Force R.O.T.C. as I felt the detachment never had its act together. I abandoned my major, because electrical engineering simply wasn’t what I wanted to do but there was no computer science program at MSU dedicated to churning out programmers, at least as far as I was able to discover at that time. In reality, while I was — and am — fascinated by programming, it ultimately wasn’t and isn’t what I really wanted to do with my life. As I told a friend recently, I only really got to be good with programming because when I was a kid with my Atari 800XL computer, I didn’t have a word processor nor did I know what one was for several years, and so I took to trying to create something that would just let me write.

Writing… In all honesty, it’s the only thing I’m truly good at. I personally don’t think that I have the vision of some of the greats; I don’t think I could write thirty or forty novels with the same characters like some authors have. I tend to think that my stories are simplistic and often immature, that there needs to be a moral that I’m failing to add.When I read my stories, I find them entertaining, but I often feel they’re missing something… Something to move them from good to great.

So when I finally gave up on the tech industry after it abandoned me yet again, I decided to shift gears and move from my logical, technical side to my more creative side, and hope to build a career in writing. When the film industry started picking up and all the stars aligned and the Cinema Studies program became available at Oakland University, to which my mother is an alumnus, I enrolled thinking about screenwriting as a potential career.

During my three years at Oakland University, I’ve had some truly great teachers, and I’m going to name names here for all of you out there. If you’re lucky, you’ll be fortunate enough to have one or all of them as your teacher one day. Dr. Kyle Edwards, head of the Cinema Studies program, accepted me in with open arms despite my technical background, and taught one hell of a class on Sound Era Films. Dr. Ross Melnick was only there for a single year, but I was fortunate enough to have him for three classes, and I’m astonished at how much film and theater history there is to learn courtesy of that man. I’ll never look at or think about a Roxy theater without thinking about the man behind the name now. Dr. Doris Plantus-Runey is an eccentric genius and I looked forward to every damned minute of her screenwriting and adaptations classes. Hunter Vaughan is not quite as eccentric but no less a genius, though I must confess that film theory beyond montage is not my forte. I must also thank him for exposing his students to Last Year at Marienbad and a few other esoteric films that really make you think, and don’t just entertain. Expect the unexpected! Dr. Heidi Kenaga is another slightly eccentric professor, but I don’t think there’s anyone that knows more about films. Name a film and she can discuss it in detail, and I was very fortunate to be taught by her in each of my three years at OU. There are others as well, including some outside the Cinema Studies program such as my Japanese teacher, Masae Yasuda — who moved on to the University of Michigan — that are more than worth noting. They’re worth thanking and appreciating. To all those I’ve left unmentioned, thank you!

I seem to have left the rails of my original train of thought… Or have I? Without these people, these classes I’ve taken, and the opportunity to sit and stew on all that I’ve learned, I don’t think that it would be remotely possible for me to embark upon a writing career, let alone do it successfully. Not that I’ve gotten there yet, mind you, but I needed to be shaped and honed. I certainly look at every television show and film with a more critical eye, identifying the things I like and dislike the most about them. I can now spot themes I never would’ve consciously noticed before, and I can question and appreciate the choices made in the writing phase more than I ever could before. I may have earned at BA of Cinema Studies, but what I really did is build a set of tools to help me achieve my goals. They can’t be given, they have to be developed. When combined with the skills I already possessed, I have no excuse for not succeeding. My stories may still lack something of a moral character, in my eyes, but that doesn’t mean they’re unacceptable. The point of many stories, like mine, is to entertain, and so that’s what I’ll do.

I have the tools, I just have to use them.

To that end, I’ll bore you for another few moments with a brief discussion of some of the things I’ve watched recently, and what drew me to them. First and foremost are the shows that I love because they simply make writers look cool, Castle and Californication. I watch both of these shows because of the writer connection, the fact that I’m living vicariously through each of the central writer characters which are wildly successful compared to myself, the humor, the writing, and the actors playing the writers in question: Nathan Fillion and David Duchovny. Perhaps I read too much into it when I draw a parallel between the two actors as both were on wildly popular if not successful sci-fi shows at some point before they took on these authorial personae, but given the “mundaneness” of their current characters’ career choices, I like to think there’s some hope for myself. Similarly, I watched Midnight in Paris earlier this evening, starring Owen Wilson as a screenwriter aspiring to be an author. Besides the obvious parallel to my own life, or desired life, this film was intriguing from many different points of view, even if you don’t like Owen. Frankly, it seems that Woody Allen might make me a fan if he keeps this up! Then there’s House of Lies starring Don Cheadle. There’s no good excuse for watching it other than I enjoy it, but there’s something that was done often in the first season that is so far largely missing from the second, and I hope it returns before they lose my viewership: breaking the fourth wall. Marty, Cheadle’s character, would regularly talk to the viewer, hold up cue cards, and do bizarre things that none of the other characters would notice during every episode, and I loved every single moment of it because he was an acknowledgment of the absurdity of his character’s situation. It’s been used sparingly so far this season, but I hope that’s because they’re saving it for something really good. The final thing I want to mention is House of Cards, a Netflix produced series available exclusively (for now at least) on their service. Like the other House I mentioned here, the main character — Francis Underwood played by Kevin Spacey (another one of my favorite actors, by the way) — frequently breaks the fourth wall, bringing a bit of levity and insight to the otherwise deep and heavy political angling and pressure of the show. I’m not saying I’m a fan after watching the first two episodes this evening, but I love what I see, and I have to admit that I am beyond fascinated with Underwood’s relationship with his wife. He may have the political power and ability to scheme like no one else, but he appears to be as deadly loyal to his wife as she is to him, though it is clear that she holds some measure of power over him. I think the thing that caught my attention in the first episode was when she said to him in no uncertain terms “My husband doesn’t apologize to anyone, not even me” which forced him to reevaluate his reactions to a political snub. There’s an oddness to their relationship that I can’t quite define yet, but it’s going to have me coming back episode after episode.

So I’ve rambled on for almost exactly fifteen hundred words. (Well, exactly that at “words.”) Why? Because I’m not where I thought I would be more than two decades ago. Because I have developed the tools to put me where I want to be two decades from now. Because I know what I like, what I want to capture, and what I’m going to give you. It’s time to stop delaying and panicking and start writing and crafting. I may not get there this year, but I will get there. I’m now putting forth the effort to get there, and if I fail, well, that’s fine too. But I’m not going out without trying. Clancy Brown, in his role as Kurgan in The Highlander, said “it’s better to burn out than to fade away.” I get that now. It’s better to give it my all and fail than to have never tried at all. Perhaps I’ll have a brief but brilliant career. Perhaps I’ll have a long and amazing career. Perhaps not. But if there’s no effort, I’ll never know. If I can’t put a moral in my stories, then I’m going to put sin in. Just know that something wicked this way comes!

Star Wars, Disney, George Lucas and the Future Yet to Come


By now you’ve undoubtedly heard that Disney is acquiring Lucas Films from George Lucas, including the legendary film franchise, Star Wars, for an estimated $4 billion. My first reaction and for many hours afterwards was one of absolute horror. But I’m not so sure I feel that way any more… Let me address my concerns with you to explore how I currently feel.

First and foremost, Disney has dedicated itself to being a family friendly and some what child-teenager oriented entertainment company. That’s who they are and have been for decades, and, honestly, there’s nothing wrong with that. They make hundreds of millions if not billions of dollars from it every year. My fear, here, is that Disney will continue the process of making the Star Wars franchise more child-teenager oriented, as it began with Lucas himself in the Phantom Menace and currently the Clone Wars “cartoon.” The original film, now known as Star Wars: A New Hope, wasn’t really intended for children, though it wasn’t exclusive of them either. It was just a straightforward film meant to entertain and tell a story. Both of its sequels were the same way. We watched as Luke evolved into a hero, and were in awe of Hollywood’s best anti-hero of the time, Han Solo! Han shot first. Period. There was no doubt about that, ever! Yet, when Mr. Lucas released it to DVD a few years ago, we were appalled to see that he edited the film so that Greedo shot first with Han tilting (badly!) his head to avoid the shot. That’s a revisionist change to the film, making Han look like an innocent victim that retaliated against Greedo. The idea was to make him purely heroic there, but it’s not who Han Solo was; it’s not how Han has been portrayed in the countless comics and books over the years, and that’s why it was so abhorrent to the fans. When we think of Disney’s involvement in Star Wars, the first thing that comes to mind is that kind of change to the universe we’ve grown up with. When the Clone Wars film headed to theaters, I was looking forward to seeing it, and thought it would be amazing, but it turned out to be meant for teenagers at most, and it felt really dumbed down to me. It felt like a Disney movie. Yes, characters died, but that was unavoidable, and is something that is easily tolerated in films and cartoons targeted towards teenagers. But it was lacking the depth and feel of the rest of the franchise; even the prequel trilogy had more depth to them.

But! Perhaps this move will change things… The problem with the Star Wars franchise has been that Mr. Lucas has been in control of it for nearly 40 years. That, in and of itself, isn’t a bad thing, but his tastes, styles, and vision for the franchise has changed over the years. The person he wanted Han Solo to be in 1977 is different from the person he wants Han Solo to be in 2012. His vision changed, but ours did not. I grew up admiring the hell out of those characters, learning who they were and what made them so beautiful to me. When I started reading the Thrawn trilogy in 1991-2, it wasn’t to see the Han that let Greedo shoot first, it was to see what happened to the scoundrel that would shoot in cold blood the person hunting him. I wanted to see the naive but growing Luke Skywalker and his twin sister, the beautiful but forceful Princess Leia Organa. It was to see the far too intelligent if occasionally silly R2-D2, not the apparently brain dead one that was running into walls in Revenge of the Sith. And I sure as hell didn’t want to have my vision of Anakin Skywalker go from the Jedi knight that became Darth Vader to a 10 year old child behind the controls of a fighter doing purely stupid moves.

Lucas’ vision changed, and that’s fine. But the problem is — or rather was — there was no one that could stand up to him and stop him from ruining our vision of who these characters were. I first realized this trend with Star Wars: The Force Unleashed. While Mr. Lucas didn’t have first hand involvement in the game, he did oversee it’s final stages, the story, and what was allowed in the game. There was no one that could simply tell him that the story doesn’t make a whole lot of sense or that the plot problems it creates aren’t logical. Then I thought back to something I read in an interview with Timothy Zahn regarding the original Thrawn trilogy, basically that Joruus C’baoth was originally intended to be a clone of Obiwan Kenobi, but Lucas had other plans for that clone. Mr. Lucas had absolute control over the Star Wars universe and it didn’t matter what anyone else thought or wanted because he always had final say. If he had chosen to do so, he could have edited out a major character from all of the films, simply because he wanted to do so. He did, in fact, edit out the original actor playing Anakin Skywalker from the closing Force-ghost vision of the character at the end of Return of the Jedi, replacing him with Hayden Christensen, a move that sparked a fair amount of controversy as is. Who was there to stop him? Who could have stopped him?

The simple answer is that no one could. You do the work, or he’ll replace you, as he was entitled to do. We fans tend to think of the Star Wars universe as a universal treasure, something that should not be messed with under any circumstances. We don’t look at it as a property owned by one man, one artist, who is entitled to change anything he wants. I noted this in one of my previous posts, Mr. Lucas, Stop Tearing Down That Empire!

What the new arrangement means is that there is now the hope that someone who is more sympathetic to our vision will be managing the franchise. Maybe we’ll see the return of the scoundrels and villainy that we so treasured in the original films, see the focus more on the general audience than being “family friendly” now that it’s no longer the boss’ vision that is the bottom line. Yes, Lucas will still be a creative consultant on the future films, but that in no way means he gets final say. Maybe this is the break we Star Wars fans have been hoping for. Maybe.

 

For the record, watching this video is what got me to really start changing my mind…

Ghaddammit, Ted!!


Tonight, courtesy of a very good friend with all the right connections, I managed to see a preview of the film Ted (Seth MacFarlane, 2012), which opens this Friday. The film, in case you’re unaware, is about a grown man John (Mark Wahlberg) and the teddy bear, Ted, which came to life when he was a lonely 8 year old kid. Obviously, the bear has been around the block after 27 years, and this film is really about them, and John’s relationship with Lori (Mila Kunis).

Before I go any further, let me emphasize this as best I can:

DON’T FUCKING TAKE YOUR KIDS TO SEE THIS MOVIE!!

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Luc Besson: You’re My Hero!


For the longest time, I’ve considered novelist Robert A. Salvatore to be my mentor. I can’t say that he’s my friend, though I’ve met him, met his wife, and I’ve written him and been written to by him. I’ve read nearly all his books, and I love his writing style.
However, as I slip more and more into the filmmaking world, I’m really becoming a follower of another man. I’ve loved the work of Luc Besson for a very long time. The first film of his that I know I watched and loved was Leon the Professional, which introduced the world to Natalie Portman and the United States learned of Jean Reno. I didn’t know Luc Besson at the time; I didn’t know who he was or what the hell a director was. I just knew I liked the movie a lot!

Later, he did the Fifth Element with Bruce Willis and Milla Jovovich, and again I was in awe. Although I nearly consider myself a devotee to the religion of Star Wars, when I’m asked what my favorite movie is, I state early and in no uncertain terms: The Fifth Element. Yes, it can be cheesy. Yes, there are some special effects flaws that bother me. Yes, the costumes are outrageous and Chris Tucker can be irritating as hell in it. But you know what? I love the hell out of that movie! There are lots of reasons why, but the story, the themes, the ironies, the mise-en-scene, the music, and far too many other things all just hit me in just the right fucking way. Would I give a kidney for the Fifth Element? No, but I willingly watch it every opportunity I have!

Over the last two weeks, I’ve come across two films that Besson wrote, though he didn’t direct them: Wasabi and Columbiana, and they have equally amazed me! Wasabi tickled me in all the right ways because it was decidedly French, which I found to be clever and cliche in a refreshing way, colliding with Japanese culture which I have a complete love for. Columbiana, on the other hand, tickles that part of my consciousness that loves strong female characters that just happen to be utter badasses…

In some ways, Wasabi and Columbiana are the Professional and Fifth Element draped in different clothes; there’s definitely a similarity between the films respectively. But I rather than say Besson is being lazy, I would actually declare him an auteur instead. The guy is quite rapidly becoming my hero as I get closer and closer to attempting to enter the film industry…

I’ll be frank… The way to get into the film industry is apparently by becoming an intern someplace and working your ass off for little pay for a long time, looking for just the right break while you put your dues in. I get that, and I’m not going to complain about it. It’s just the way things are. I don’t think I can handle that, mind you, and I’m hoping I can find a break via another path, and I’m looking to explore those meager options, but in all honesty, if I had an opportunity to just sit down with Luc Besson and work as an intern for him for a few months, I really think I’d strongly consider it. I’m liking his style, and I’m thinking that he’d really approve of a particular character I have in mind, perhaps a second as well.

Hell, even without the opportunity to work for the man, I think I’d like to sit down with him for a while and pick his brain on the Fifth Element and Columbiana, and see how I can apply his French perspectives to my own work! Mr. Besson, if by some miracle you read this, please drop me a line! I’d love to just talk with you for a while!