"Time Takes in a Movie" was written as I pursued my MFA in Creative Writing, and is influenced by the metaphysical and infinity-spanning micro-works of Jorge Luis Borges and by Lord Dunsany's authorial convention of personifying forces cosmic and immutable. There's also likely some Italo Calvino (or, rather, Calvino's translators) here, too, in the language. This is a story about the paradoxical ephemerality and permanence of joy, and how the celestial powers that govern us are envious of us also.
"The Ascendant Flight of Christopher Strong" was inspired by a John Cheever short story called "The Country Husband," which dealt, too, with airplanes and matrimony; it is also the therapeutic expression of my fear of flying. (The therapy didn't work.) With this story I challenged myself to hew a closely as possible to classical short story structure--punchy and immediate introduction which defines characters and sets stakes, accumulating escalation and release of the tension built around thematic polarities throughout, an epiphanous ending that is both inevitable and surprising--although stories written in that mode interest me the least. I wrote this, too, while earning my MFA.
This is the first half of a short film I was writing with the intention to also direct, but the project had to be abandoned when I was accepted to Carnegie Mellon and had to quickly reconfigure and relocate my existence in mid-2012. Directorially and cinematographically, it would have been in the vein of an Andrei Tarkovsky or Yasujiro Ozu film, with long, unbroken takes and a premium placed on stillness; authorially, it's a screenplay written in the style of Paddy Chayefsky or Terrence Malick, in that it's more literary and descriptive than, say, the script for A Good Day to Die Hard. The story is based members of my best friend's family, both here and gone. I hope we can make it, yet.
SKY BEAST PRE-PRODUCTION CONCEPT SCRIPT:
This was the original story concept script for Sky Beast, my Round 5 submission in Carnegie Mellon University's Entertainment Technology Center's Building Virtual Worlds Class (pardon the hilariously long and convoluted context, please). The melancholic and ambivalent tone present here, and much of the dialogue, was jettisoned in the final game, for reasons of scope and mood: ultimately, we wanted something more Hayao Miyazaki than Werner Herzog, but after numerous rewrites we wound up with a script more unintentionally Rob Reiner (specifically Spinal Tap) than anything else. Structurally, interestingly, in spite of the tonal mutations, many of the action beats present here migrated unscathed to the final game.
Two of my favorite artists, irrespective of medium, are Bob Dylan and Barry Hannah: this academic paper, written during my MFA tenure, compares the mythical, horrific, celestial South present in both of their work. All taste is indeed subjective, but, for posterity, I received an A on the paper. How far can you venture below before either falling soundly asleep or falling full into a 20-year coma?