R.I.P. Johnny Boscow
I thought I'd take a little nostalgia trip tonight and glance over Last Rights with Johnny Boscow, technically the first screenplay I ever wrote from start to finish.
As I dug through my computer though, I couldn't locate it. The search continues, but I think it's gone. All of my character notes and research info for that is gone as well. All I really have left to remember it by is this scene on Leonard Hughes.
Wow...
Sad tidings...for me anyway. Here's to you Last Rights. In retrospect, not a brilliant screenplay, not even a good one, and I may very well have been the only person who ever read it...but it was mine.
2004 - 2006
4 comments:
Man, it's a sad day. Are you sure you don't have a paper copy lying around? Was it turned in to the school?
You can't be too hard on JB. It's all a progression of improvement that led to Wildlifeless, Everlast, Filmic, and more to come. Best to just celebrate it for what it was.
Honestly, I don't remember much about it, but if I have the premise correct (late night host on his way out goes out with a band of craziness), it's a great premise, and something I'd honestly be interested in seeing. I'm not sure what you had in mind, but I'm sure if you had it to do over again now, it would be much edgier and wildly over the top.
This also brings to light what I have long suspected, that your resume on moc.com is terrible incomplete. You have to send me some details to flesh it out some more.
What happened? Did your computer crash, or did you get over zealous in deleting files?? That's too bad!
As having read a good chunk of it a long time ago, you really have come a long way. I'm thinking I may have copy, although an earlier version, on my computer.
Well, I went in to the auto-recovery archive of my computer and found a copy of 56 pages of the rewritten screenplay. I was very happy to find it. I haven't looked through all of auto-recovery yet...a lot of files...but I can probably find the rest.
Josh:
Yeah, I shouldn't rail on it too much. It was the starting point for all of that other stuff.
You got the premise correct. And I'm glad you'd be interested in it. After glancing over the auto-recovery file, I found it to be very 8 1/2ish...maybe something that would be really surreal if touched up.
Actually, the moc resume is pretty accurate. It has all the important stuff that we all worked on anyway. There are definately a few things I would add, but you got just about everything.
Gabe:
I think originally, I may have gotten over-zealous in my deleltion and neglected to make sure I had extra copies of the file on hand. By the same token, Last Rights kind of became a throw-away script. After Madcap it was kind of like, "yeah, well, this one is really my first script".
But, I found the latest update, so no need to go searching for your copy.
And after glancing the script over, I do agree that generally I've come a long way...and have a long way to go. But it is interesting to go back and look at old work. It's kind of like your comments over e-mail on The Glove Box. We all love that film, but from your perspective, you see how much things have improved since then.
Anyway, I'm now gonna just drop a few lines from the script:
"My first guest can be seen in the
brand new movie remake of the popular
70’s television series -- "
"Not all whores sell sex."
"I am a writer for Last Rights! I
really am! I’m also a writer for
a prime time, award winning sitcom.
Maybe you’ve heard of it, ‘My Father
the Queer’? "
"Let me ask you guys a question. Has
anyone here ever been to Scotland? Or
the Great Barrier Reef for that matter."
"Oh yeah! Let me tell you about our
guests. We’ve got the lovely and
talented Alicia Greenwood on the
show. Good thing she’s pretty cause she
ain’t talented."
"And then we have a musical guest,
“The Shoremen”, who will play a song
for us. I’m sure it’s gonna be trendy
cause they sound just like the Strokes."
"I can’t hear him in between all the
bleeps. Can we turn the censor off?"
I think it's pretty much the same for every film we make. First, your glad to have it done. Next, you regret all the flaws. Later, after enough time has passed to get some distance, you can just appreciate it as a film, almost like you get your suspension of dibelief back that you never had because you made the film in the first place. Eventually you get in a cycle of hating it, loving it, and just loving the memories of making it.
That's life as a filmmaker, I guess.
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