Tonight was the most ridiculous night of work at my temp job. I've decided, finally, that there's gotta be a story in there somewhere. There has to be.
I've solved a dilemma that arose from watching the customers at my temp job. Children like hover around their parents at the register and when said parent is not looking, slip a brightly colored little item into the huge pile their parents are not watching. I can never really tell whether or not parents didn't see it or if they're just letting it slide, so I've started asking. I have yet to see a kid, though, whose eyes do not bulge when they come near the register, so I've started to figure out ways to not let my kids get that irritating that they are constantly pulling on my clothes to buy them something that will just make them even more energetic and disruptive. I think the clear solution is - never let them know what's inside those bright wrappers. Never eat candy in front of my kids, never give it to them straight from the package, keep it secret from them for until they can read the darn labels themselves. As long as they don't know what's in those little red and orange packages, they can't want them, right?
Wrote another thousand words today for Script Frenzy. I feel like I'm writing in circles, slowly building, but still rehashing the same themes, the same scenes. It's time to bump it up a notch. I'm going to give them a few more pages to let them play nice before I tear it all down. There needs to be more CONFLICT, gosh darn it.
I saw Four Weddings and a Funeral the other night. This movie is supposed to be like one of the classic Romantic Comedies, a gem in the genre.
I really didn't like it.
Billy Mernit criticizes Elizabethtown for the fact that in a romantic comedy, you should be able to see the attraction between the two people, why they should be together, and he never understood why Kirsten Dunst fell for and chased after Orlando Bloom. Um, hello, gorgeous, need I say more? But anyway, I felt this was the very same problem in Four Weddings, even more so. Andie and Hugh don't have a real conversation on screen until after they've slept together for the second time. What? And can we talk about what a commitment-phobe Andie was? I may spend time dancing the line, but you can believe that the next time I commit, you won't find me flirting with an old fling at his wedding ceremony after separating from my husband of less than a year. This just disturbs me. Sure, there were a few cute quotes, and the friendship dynamics in the story were interesting, but the main romantic plot? Not interested. Did not find that relationship engaging or, well, sympathetic, really, at all! Still have Say Anything to watch, by the same writer/director so criticized by the honorable and wise Mr. Mernit (whose book I looked for and failed to find today), another gem of the genre, and one I would be watching now if it wasn't already pretty late...