Police kindly request people stop calling 911 over this decapitated body

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Apparently it’s a little too early for Halloween decorations. 

The sheriff’s department in Greene County, Tennessee, posted an informative PSA to its Facebook page Wednesday, informing residents that the headless body located under the bloody garage on Chuckey Pike is not actually a dead body.

«THIS IS A HALLOWEEN DECORATION!» the post reads. «Do NOT call 911 reporting a dead body. Instead, congratulate the homeowner on a great display.»

It’s just someone getting into the spirit of Halloween, not a terrible garage accident.  Read more…

More about Funny, Halloween, Police, Culture, and Web Culture
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Scene Description Spotlight: “The Deer Hunter”

During the Vietnam War, two American prisoners are forced to play Russian roulette.

I can still remember seeing The Deer Hunter for the first time. I was living in Aspen, Colorado. Had a rare night off from playing music. Came out of the theater just gutted by the movie — and in particular the two Russian roulette scenes. Michael (Robert DeNiro), Steven (John Savage), and Nick (Christopher Walken) are three long-time buddies and factory workers from Pennsylvania. They enlist in the Army and find themselves fighting in Vietnam. Captured by the Viet Cong, they have been abused and beaten. Steven (named Sal in the script) is in bad shape. Michael (named Merle in the script) has to convince Nick to do something seemingly insane, as you will see as the scene unfolds:

EXT. CLEARING IN THE JUNGLE — THE “PITS” — DAY

SAL has absolutely no comprehension of what is about to
happen to him. His eyes are dreamy, far away, as if he had
mentally transported himself to some distant place. There are
great gashes in his head from the blows he has received and
as he stands waiting in the pouring rain he looks exactly
like a very small child who has experienced some terrible
confusion.

Suddenly the GUARD standing beside SAL wrenches him around.

We see the pit now, CLOSE UP. There are four bloated CORPSES
floating in the muck.

We SAL’S FACE, CLOSE UP. He gives a CRY and tries to turn
away.

We see the GUARDS pick SAL up, SCREAMING. We see the SPLASH
as SAL hits the water and then we see him surface between the
bloated CORPSES, STILL SCREAMING, paddling desperately and
trying to find something solid to hod him up.
EXT. CLEARING IN THE JUNGLE — WAITING PRISONERS — DAY

NICK stands motionless, stunned, listening to SAL’S SCREAMS.
MERLE has his attention focused on the GUARD IN CHARGE and
when he glances in their direction MERLE slugs NICK in the
stomach and begins beating him furiously to the ground. NICK
struggles to his feet. MERLE attacks him again and now, as
the GUARD IN CHARGE comes over to see what’s going on, MERLE
begins hopping up and down, pointing at NICK, pointing at the
revolver in the GUARD’S hand and screaming.

MERLE
Him and me!!! Him and me!!!

The GUARDS look at each other, interested.

MERLE (CONT’D)
Him and me, goddamn it! Him and me!

INT. THATCHED HUT — HEAVY RAIN — DAY

MERLE and NICK sit facing one another across the rose
patterned kitchen table. The GUARDS are all grinning and even
the SOUTH VIETNAMESE are watching with grim fascination. NICK
has the revolver. He is trembling visibly. Already MERLE has
managed to draw the GUARDS in closer and as NICK spins the
cylinder and cocks the hammer MERLE jumps up and begins
pounding on the table.

MERLE
This is it, motherfuckers! Now he’s
going to do it! Watch! You watch!

NICK almost loses what little control is left and his hand
begins shaking violently.

MERLE (CONT’D)
Look at him! See! This is it and he
knows it!

Side bets begin changing hands.

MERLE (CONT’D)
Last chance to lose your money
there, guys. Goodbye money! Hurry,
hurry. Here he goes!

NICK puts the revolver against his temple and pulls the
trigger. There is a dull CLICK.

NICK puts the revolver back on the table. His hand is shaking
so badly it falls with a clunk. MERLE grabs it, spins it,
sticks it to his temple and CLICKS OUT, talking all the time:

MERLE (CONT’D)
This is stupid! You understand
stupid? On and on! At this rate
we’ll still be here tomorrow!
(throws the revolver on
the table)
Wait a minute. I know! Hey, I got
it. More! Put in more! You
understand more? More! More
bullets!
(he mimes with his
fingers)
Three bullets! You understand
three? That way BLAM! BOOM!

MERLE hops up and down, laughing maniacally.

MERLE (CONT’D)
KA-POWIE!!! BA-ROOM!!!… ’Cause I
want that bastard! Him I want boom!
Him or me!!!

The GUARD IN CHARGE looks at his COMPANIONS. They all begin
shouting for him to go ahead. The GUARD IN CHARGE purses his
lips, as if imitating a general coming to a decision, and
then nods his assent. The GUARDS all howl. MERLE joins right
in.

MERLE (CONT’D)
He’s terrific! Great fucking guy!

The GUARD IN CHARGE takes the revolver, opens the cylinder
and begins sticking in two more cartridges.

MERLE (CONT’D)
KA-POW!!! BA-ROOMIE!!!

MERLE hops up and down again, then screams at NICK, jabbing
his finger at him, as if in fury.

MERLE (CONT’D)
Both of us may have to pull on
this, so get your shit in fuckin’
shape!!!
(to the GUARDS)
Him or me!!! Now we got it, him or
me!!!
(he rubs his hands and
sits back down)
Place your bets, motherfuckers! Now
we’re going! Now we got a game!

The GUARD IN CHARGE places the revolver on the table, spins
it.

MERLE (CONT’D)
Watch! Now watch! He’s going to get
it. And then KA-POW! BA-ROOMIE!!!

The muzzle stops pointing at MERLE. MERLE scowls, looks over
at the GUARD IN CHARGE. The GUARD IN CHARGE has lifted the
barrel of his AK 47 and is watching him with caution. The
OTHER GUARDS, who are totally caught up in the game, are
yelling and shouting.

MERLE
You guys think I’m in trouble,
right?

MERLE picks up the revolver, spins the cylinder, cocks it…

MERLE (CONT’D)
No way! Never!!!
(he begins to chant)
MERLE IS MIGHTY! — HA!
MERLE IS STRONG! — HA!
MERLE IS MAGIC! — HA!
MERLE LIVES LONG!
Lemme hear it. Come on,
motherfuckers, lemme hear it!

MERLE starts it again. The GUARDS who are bett ing on him
JOIN IN:

MERLE (CONT’D)
(with GUARDS)
MERLE IS MIGHTY! — HA!
MERLE IS STRONG! — HA!
MERLE IS MAGIC! — HA!
MERLE LIVES LONG!

MERLE takes a glance at the GUARD IN CHARGE again. The GUARD
IN CHARGE is still eyeing him with caution.

MERLE places the revolver to his temple… and CLICKS into an
empty chamber.

MERLE (CONT’D)
See! Nothing to it.

He pushes the gun across to NICK. Then he stabs his finger at
him, screaming again, as if in a fit of rage.

MERLE (CONT’D)
You got an empty chamber and it’s
in your mind! Just put that empty
chamber in the gun!

NICK looks down at the revolver and picks it up. He stares at
MERLE for a moment. Then he spins the cylinder, cocks the
hammer, Puts it to his head… and CLICKS into an empty
chamber.

The GUARDS let out expressions of disbelief. Those betting on
NICK begin taunting those betting on MERLE.

MERLE sits motionless, as if stunned, as if utterly defeated,
his brow furrowed in a mighty frown.

NICK pushes the revolver across the table. His face is
twitching but he gives the gesture a certain flair, as if
throwing back a challenge.

MERLE stares at the revolver — stares at it with an
expression of utter gloom. Then he reaches out, takes the
revolver in his hand and pulls it toward him, as if he no
longer possessed the strength to pick it up.

MERLE (CONT’D)
(gloom)
Who’s for Merle?
(he thumps his fist on the
table)
Is anyone for Merle???

MERLE roams a glowering eve over the watching GUARDS, as if
suddenly discovering himself among traitors. Slowly, he
pushes himself to his feet. The gun is still on the table,
still in his right hand, and as he gets up he lets his body
sag over it.

MERLE (CONT’D)
Who here is for Merle…?

There is absolute silence now except for the drumming of the
rain. It is as if the war had disappeared, vanished. The
GUARDS stand motionless, hardly breathing, so captivated by
MERLE’S performance that they suddenly resemble little
children.

MERLE (CONT’D)
Who… here… is for Merle…?

MERLE begins his chant again. His voice is low, very
dramatic, and the GUARD IN CHARGE joins right in.

MERLE (CONT’D)
(with GUARDS)
MERLE IS MIGHTY! — HA!
MERLE IS STRONG! — HA!
MERLE IS MAGIC — HA!

MERLE snaps the revolver level in his hand and BLASTS the
GUARD IN CHARGE, hitting him full in the face. At the same
time NICK throws himself into the GUARD who is standing
behind him, spins and slams the GUARD’S AK 47 into his chin.
TWO MORE SHOTS BLAST OUT FROM MERLE’S .45 and we see TWO
GUARDS crash over the kitchen table. NICK now opens up with
AK 47, and as MERLE backs off beside him, also with an AK 47,
they GUN the remaining GUARDS to the floor.

It is over in an instant. The BODIES lie in a bloody, tangled
mess under a pathetic paper lantern. The rain drones on — 
uninterrupted, undiminished, eternal…

Notice how the sequence begins in crisis, describing Sal (Steven’s) deteriorating condition:

SAL has absolutely no comprehension of what is about to
happen to him. His eyes are dreamy, far away, as if he had
mentally transported himself to some distant place. There are
great gashes in his head from the blows he has received and
as he stands waiting in the pouring rain he looks exactly
like a very small child who has experienced some terrible
confusion.

This description drives home the reality to Nick — that in order to have any
chance to save Steven and themselves, they have to act now: First step is to get the captors to allow Nick and Michael to face each other, not an American and Vietnamese prisoner as before. Crazy move, but necessary for what Michael has in store.

With both Americans participating, the odds of one of them dying increase
exponentially. And see how the scene description infuses the moment with that threat:

NICK almost loses what little control is left and his hand
begins shaking violently.

NICK puts the revolver against his temple and pulls the
trigger. There is a dull CLICK.

NICK puts the revolver back on the table. His hand is shaking
so badly it falls with a clunk.

The shaking of his hand reflecting the tension, even insanity of the moment. But then the second part of Michael’s plan: Coax their captors to put three bullets in the pistol, thereby almost ensuring somebody’s death in the first go-round. Worried that the Viet Cong will catch on, Michael does his best to distract them by acting crazy:

MERLE hops up and down again, then screams at NICK, jabbing
his finger at him, as if in fury.

Then amazingly, two rounds of roulette — no gunshot. Which means that it’s virtually certain there’s a live round loaded and ready to go — and it’s Michael’s turn. Then this description:

MERLE stares at the revolver — stares at it with an
expression of utter gloom. Then he reaches out, takes the
revolver in his hand and pulls it toward him, as if he no
longer possessed the strength to pick it up.

MERLE (CONT’D)
(gloom)
Who’s for Merle?
(he thumps his fist on the
table)
Is anyone for Merle???

MERLE roams a glowering eve over the watching GUARDS, as if
suddenly discovering himself among traitors. Slowly, he
pushes himself to his feet. The gun is still on the table,
still in his right hand, and as he gets up he lets his body
sag over it.

MERLE (CONT’D)
Who here is for Merle…?

There is absolute silence now except for the drumming of the
rain. It is as if the war had disappeared, vanished. The
GUARDS stand motionless, hardly breathing, so captivated by
MERLE’S performance that they suddenly resemble little
children.

MERLE (CONT’D)
Who… here… is for Merle…?

MERLE begins his chant again. His voice is low, very
dramatic, and the GUARD IN CHARGE joins right in.

Michael’s performance “captivated” the men, an ironic choice of words because these are the captors. Then the pay-off:

MERLE snaps the revolver level in his hand and BLASTS the
GUARD IN CHARGE, hitting him full in the face. At the same
time NICK throws himself into the GUARD who is standing
behind him, spins and slams the GUARD’S AK 47 into his chin.
TWO MORE SHOTS BLAST OUT FROM MERLE’S .45 and we see TWO
GUARDS crash over the kitchen table. NICK now opens up with
AK 47, and as MERLE backs off beside him, also with an AK 47,
they GUN the remaining GUARDS to the floor.

It is over in an instant. The BODIES lie in a bloody, tangled
mess under a pathetic paper lantern. The rain drones on — 
uninterrupted, undiminished, eternal…

What a scene. What an ending. And its own denouement: “…BODIES lie in a bloody, tangled mess… rain drones on — uninterrupted, undiminished, eternal…”

It’s almost as if in this incredible twist pulled off by Michael and Nick — including somehow willing away two bullets which by all rights should have been loaded to go — they have taken this ‘profane’ moment and transformed it into a ‘sacred’ event through the blood sacrifice they make by slaughtering their captors.

This is a terrific example of using scene description to help build the tension in a scene to a powerful climax.

Here is the movie version of the scene:

For more Scene Description Spotlight posts, go here.

Comment Archive


Scene Description Spotlight: “The Deer Hunter” was originally published in Go Into The Story on Medium, where people are continuing the conversation by highlighting and responding to this story.

Go Into The Story — Medium

BoJack Horseman Season 5 Given the Green Light by Netflix

BoJack Horseman Season 5 Given the Green Light by Netflix

BoJack Horseman Season 5 given the green light by Netflix

Netflix announced today they have given the green light to BoJack Horseman Season 5! You can view a short video, in which one of their “clingy execs” texted the pickup news to BoJack, using the player below.

Season 4 of BoJack Horseman launched globally on Netflix on September 8, 2017. Will Arnett voices BoJack, the failed legendary ‘90s sitcom star from the favorite family sitcom Horsin’ Around, who has been trying to find his way through a muddle of self-loathing, whisky and failed relationships. Now, in the presence of his human sidekick Todd (Aaron Paul) and his feline agent and ex-paramour Princess Carolyn (Amy Sedaris), BoJack is primed for his comeback.

BoJack Horseman was created by Raphael Bob-Waksberg. The series is executive produced by Raphael Bob-Waksberg, Steven A. Cohen and Noel Bright. Will Arnett (Flaked, Arrested Development) and Aaron Paul (Breaking Bad) also serve as executive producers. BoJack was designed by graphic artist Lisa Hanawalt and animated by LA-based ShadowMachine. The show is a Tornante Production, brought to life by Michael Eisner’s The Tornante Company.

Are you looking forward to BoJack Horseman Season 5? What do you think of the fourth season?

The post BoJack Horseman Season 5 Given the Green Light by Netflix appeared first on ComingSoon.net.

ComingSoon.net

I’m joining the WGA board

On Monday, I was elected to the board of directors for the Writers Guild of America, West. I’ll be serving a two-year term.

Huge thanks to everyone who voted, and the folks who encouraged me to run.

At one of the campaign mixers, I had the chance to speak with some writers who had only been in the guild for a few weeks. It got me thinking back to the first time I voted, about 20 years ago. I remember going through the campaign booklet, reading every statement, and marking each one on a scale of one to ten. Then I’d go back through and pick the six or eight candidates I was going to vote for.

I took it really seriously, and I still do.

What’s funny to realize is that most of those candidate statements from 20 years ago could have been written today. They were talking about many of the same issues: late payments, improving diversity, free rewrites, protecting our health plan. And it’s easy to see why: these are some of the fundamental objectives of the guild. The WGA exists to make sure our members get paid and protected.

We’re always going to be fighting these fights, whether it’s through negotiation or enforcement. It’s always been the same.

That’s not to say nothing has changed in 20 years. Things are changing quickly. And that’s why I decided to run this year.

Through this site and Scriptnotes, I get the chance to talk to a lot of writers, both in features and TV. Established writers, aspiring writers, everyone in between.

And the consistent thing I’m hearing is, huh. Nothing is working the way it used to, or “supposed to.” There’s a ton of TV being made, but the seasons are short. Features are being figured out in writers rooms, and no one’s quite sure when the “writing” begins, or how we should figure out credit.

We’re in the middle of a disruption. The industry is shifting to some new form, and none of us know what it’s going to become. No one in the guild, no one on the studio lots in Burbank. We’re all flying blind.

Maybe it will be great for writers — like the start of home video, or cable, with new opportunities and new revenue streams. We’ll all be getting fat paychecks to write VR experiences unlike anything we’ve seen before.

But maybe we won’t.

What keeps me up at night is that second possibility, that we’re facing a future where it becomes almost impossible to make a living as a professional writer in Hollywood. I worry that those new WGA members I talked to at the mixer won’t be working 20 years from now because the industry will become unrecognizable.

For me, these next two years are not about a negotiation, but an investigation of where we’re at and what our priorities should be. We elect the board to be trustees of the guild. And part of that is making sure there is still such a thing as a professional writer.

But while we keep an eye out for future dangers, we have to make sure we’re doing everything we can for writers today.

From late pay to unpaid rewrites to exclusivity clauses, there are many areas where members are looking to the WGA to take action.

Some issues can only be addressed through negotiation. But I believe better enforcement is key to improving the day-to-day life of writers — and screenwriters in particular. I talk with feature writers trapped in an endless fog of development, hostage to a paycheck that never comes.

We need to make sure the WGA represents writers not just collectively at the negotiating table, but also individually when employers abuse their power.

I want to believe I’m approaching the work ahead with an appropriate blend of idealism and realism. As I said in my campaign statement, many of the issues we face are structural, historical and/or intractable. But the progress we’ve made in recent negotiations points to our ability to address new problems with new solutions. That’s what I’m looking forward to doing along with the new board and officers.

johnaugust.com

5 Basic Camera Moves That Will Help You Get the Most Out of Your Handheld Gimbal

Are you using your gimbal to its full potential?

In the last four years, much of the hype from the release of the first handheld gimbal stabilizer, the MōVI, has died down and with it a lot of the crazy and often unnecessarily complicated camera moves. Nowadays, new gimbal operators are just looking for the basics—the meat and potatoes that will help them build a sturdy cinematic foundation (on which they can build if they so choose). In this video from PremiumBeat, filmmaker Zach Ramelan provides a bunch of great beginner tips for working with a gimbal, including essential camera moves that you’ll want to put into practice on your next project. Check it out below:

Let’s get real—these camera moves aren’t rocket science but they will come in handy on virtually every one of your film shoots. In the video, Ramelan mentions:

Read More

No Film School

Thursday, September 21 Filming Locations for Arrow, X-Men: New Mutants, NCIS: LA, You, & more!

Here’s a look at various filming locations for September 21:  Filming in British Columbia TV Series: Arrow Stars: Stephen Amell Location: Canada Post Building, Vancouver  Credit: @WhatsFilming, @oilers_diva! Filming in California TV Series: Bosch  Stars: Titus Welliver Location: 600 S McCadden Pl, Los Angeles (7:00 AM — 10:00 PM) TV Series: NCIS: LA Stars: LL Cool J Location: 145 N Rossmore Ave, Los Angeles (7:00 AM — 12:00 PM) Filming in Georgia Movie: Night School Stars: Kevin Hart Location: 805 Peachtree, Atlanta TV Series: Gifted Stars: Stephen Moyer Location: 200 Peachtree, Atlanta Filming in Illinois TV Series: Chicago PD Stars: Jason Beghe Location: 1534 S Western, Chicago   Filming in Massachusetts Movie: X-Men: The New Mutants  Stars: Maisie Williams Location: former Naval Air Station South Weymouth Filming in New York‏ TV Series: You Stars: Penn Badgley Location: 18th St and Park Ave S, NYC Credit: @wheresmabelt TV Series: Elementary Stars: Jonny Lee Miller Location: 50th Ave and 44th St, Woodside Credit: @NicolePochat17 TV Series: Maniac Stars: Emma Stone Location: Silvercup Studios, Ling Island City TV Series: Gotham Stars: Ben McKenzie Location: Steiner Studios, Brooklyn TV Series: Instinct Stars: Alan Cumming Location: Broadway Stages, Brooklyn TV Series: Law and Order: SVU Stars: Mariska Hargitay Location: Chelsea Piers, NYC TV Series: The Irishman..

The post Thursday, September 21 Filming Locations for Arrow, X-Men: New Mutants, NCIS: LA, You, & more! appeared first on On Location Vacations.


On Location Vacations

Noob Mistakes You’ll Want to Avoid as an Editor

Being a noob doesn’t mean you have to make noob mistakes.

Learning the craft of editing is a real challenge with so many opportunities to look like a complete and utter noob. For those of us who have ever worked professionally as an editor, we can all collectively wince as we think back unfondly at the countless mistakes we made in our early days, but for those of you who are new to editing, well, you just get to learn from our green-eyed blunders.

In this video, Vee from Aputure lists five common mistakes new editors make that you should definitely try to avoid, especially if the project you’re working on is for a paying client.

Before we get into it, let me clear some things up first. Yes, the host of the video is named Vee. Yes, Vee and I have the same name. Yes, I love f**king love that.

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No Film School

Zero Draft Thirty 2017 September Challenge: Day 20

One month. FADE IN to FADE OUT. Creativity meets Productivity.

Zero Draft Thirty: Day 20.

Write an entire draft of a script in September — FADE IN. FADE OUT. Or any sort of creative goal you have in front of you.

Feature length movie screenplay. Original TV pilot. Rewrite a current project. Break a story in prep. Generate a month’s worth of story concepts.

Whatever you feel will ratchet your creative ambitions into overdrive…

DO THAT!

To download your very own Zero Draft Thirty calendar — created by Trish Curtin — and track your daily progress, click here.

On Twitter, use this hashtag: #ZD30SCRIPT.

Facebook: Here. 2,400+ members strong.

Today’s Writing Quote

“That’s our job, to spark curiosity and emotion from an audience, for them to discover what’s going on in their own heads.”

— Seth Lochhead

Today’s Inspirational Video

The Zero Draft approach exists for people who are caught up in the self-perception they are Procrastinators and/or Perfectionists. If you commit to one goal with a first draft — Get the damn thing done! — you can changer your mindset into one of Productivity.

Zero Draft Thirty: Day 1
Zero Draft Thirty: Day 2
Zero Draft Thirty: Day 3
Zero Draft Thirty: Day 4
Zero Draft Thirty: Day 5
Zero Draft Thirty: Day 6
Zero Draft Thirty: Day 7
Zero Draft Thirty: Day 8
Zero Draft Thirty: Day 9
Zero Draft Thirty: Day 10
Zero Draft Thirty: Day 11
Zero Draft Thirty: Day 12
Zero Draft Thirty: Day 13
Zero Draft Thirty: Day 14
Zero Draft Thirty: Day 15
Zero Draft Thirty: Day 16
Zero Draft Thirty: Day 17
Zero Draft Thirty: Day 18
Zero Draft Thirty: Day 19

Come back later to find out who is today’s Trumbo Award winner.

For background on how the Zero Draft Challenge came into being and what it is, go here, here, and here.

Now Zeronauts, Scamperers, Word Warriors, and Outlaws…

GO WRITE!


Zero Draft Thirty 2017 September Challenge: Day 20 was originally published in Go Into The Story on Medium, where people are continuing the conversation by highlighting and responding to this story.

Go Into The Story — Medium

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