The musings of Sean Paul Murphy: Editor, Producer, Screenwriter, Author. Or, Hollywood -- and beyond -- as seen from an odd little corner of northeast Baltimore, Maryland.
In this episode of the Yippee-Ki-Yay Mother Podcast, an inter-generational look at the movies, Al brings in Oliver Stone's 1994 film Natural Born Killers, featuring a script by pre-glory Quentin Tarantino. I remember ranking this film as the third worst one of 1994, after the deathly unfunny Cops and Robbersons and anti-erotic Exit To Eden. Needless to say, we have a heated and entertaining discussion. Check it out.
By the way, be sure to check out this bonus episode with Ralph, Hassan and Al taking a trip to buy some LaserDiscs on President's Day. Revelations are made!
My novel Chapel Street is now available! You can currently buy the Kindle and paperback at Amazon and the Nook, paperback and hardcover at Barnes & Noble.
In my last blog, I listed my 20 favorite Beatles songs. Obviously, not all of their songs reached that same high level. Where there are mountains, there are also valleys. While I enjoy almost their entire catalog, there are a few songs I can live without.
I have only considered songs in the official Beatles canon for this list. I did not consider anything from the Star Club, or the Decca Auditions, or the BBC or the Anthology series. I only chose from the songs they themselves deemed worthy of official release when they were still an operational band.
Here they are (in no particular order):
A TASTE OF HONEY, 1963, Please Please Me. The Beatles, particularly Paul McCartney, certainly had a taste for pre-rock pop, music hall and Broadway show tunes. This song, written by Bobby Scott and Ric Marlow, originally served as the instrumental theme of a Broadway play of the same name. Billy Dee Williams recorded the first vocal version (works every time). Don't get me wrong, the Beatles can certainly make numbers like this one work. I really enjoy their version of Till There Was You, from the show The Music Man on their second album. They made that song their own, mainly because George Harrison supplied a nifty guitar solo. This song, however, doesn't float my boat. It sounds old and out-of-date to me. Always did.
MR. MOONLIGHT, 1964, Beatles For Sale. This obscure R&B song, written by Roy Lee Johnson and originally performed by Dr. Feelgood and the Interns, is often cited as a least favorite Beatles track on many such lists. According to Beatles historian Mark Lewisohn, the song was a quite a show stopper during their club days. The place would grow quiet as John Lennon belted out the acappela opening, and there was considerable tension as to whether he would be in the right key when the band starting playing. Oh well. Whatever drama their live performances of this song generated did not translate to the recording. The backing vocals sound flat and bored and the cheesy organ ruins the instrumentation.
RUN FOR YOUR LIFE, 1965, Rubber Soul. Don't get me wrong. This isn't a terrible song. I've been known to play it myself. (The attitude of this song certainly fit my band The Atomic Enema, which was formed by three out of four guys who had just left significant relationships. Here's what kind of songs we played: When You're Dead.) That said, the misogynistic lyrics of this song seem totally out of place on the album Rubber Soul. It would have felt more at home on earlier Please Please Me or With The Beatles albums. The song also gets an additional demerit for cribbing a line from the Elvis Presley song Baby, Let's Play House.
GOOD NIGHT, 1968, The Beatles. I know what you're thinking: The obvious choice from The White Album would be Revolution 9. However, the older I get the more I appreciate that experimental sound collage. Additionally, this song, written by John Lennon but sung by Ringo Starr, does indeed work in the context of a closer to the sprawling, somewhat chaotic, double album. That said, I have little patience for the song outside of the album. It is too maudlin for my taste. Lennon apparently requested a "cheesy" orchestration from producer George Martin, who faithfully followed his instructions. I do not necessarily skip this track when I listen to The White Album, but I have never hit that little button on my phone and said, "Siri, play Good Night by The Beatles."
Now, that said, an earlier take of this song was included on remastered The White Album. This take was guitar driven and featured harmony vocals by the entire band. I wish they would have pursued that approach! It sounded great and it would have been a perfect way to end that wildly disparate album on a united note!
WHEN I GET HOME, 1964, A Hard Day's Night. I once made a set of CDs that played through the Beatles' catalog with all of the singles in proper context. I used to love playing them on long road trips. But I noticed something over time. I always hit skip after this song started and that is a rarity for me and The Beatles. In his last major interview, John Lennon was dismissive of many of his songs as either filler or work songs. That's the category where this one belongs. Aside from the drumming, the overall performance is lackluster. Lennon tries to inject some excitement into the vocals, but the song merely plays on some of their familiar musical tropes. There is a certain been there done that feeling. If you really want to hear a real song about a guy who is anxious to get to his girl, check out the title song of the album.
My novel Chapel Street is now available! You can currently buy the Kindle and paperback at Amazon and the Nook, paperback and hardcover at Barnes & Noble.
Anyone who knows me knows I am a huge Beatles fan. I believe John Lennon, Paul McCartney, George Harrison and Ringo Starr recreated popular music in their own image and pushed the self-contained rock and roll instrumental line-up of drums, bass and guitars to its limit. In addition to their innovative music, they also changed the music business itself, and how rock and roll was perceived by the culture at large. The band's greatest strength was the songwriting. John Lennon and Paul McCartney were among the best composers of the 20th century, and their junior partner, George Harrison, also managed to come up with some classics on his own. The Beatles as songwriters were also well served by the Beatles as singers.
I suppose I never grow tired of the band because of their profoundly different "periods." Sometimes I focus predominately on their psychedelic period, only to surrender to more raucous rock and roll on The White Album. Then I return to the harmony singing of their earliest days, only to yield to the studio perfection of Abbey Road. I can always find a perfect place to match my mood in their recordings. Additionally, with each musical instrument I have learned to play, I have gained a new level of appreciation for their work.
If my list is a little heavy, proportionally, on George Harrison numbers, it might be because those songs remain fresher to me today. In my foolish youth, I gave them little regard. Now I appreciate them.
Here's the list (which, on another day, could be entirely different!):
(20). FREE AS A BIRD - 1995
A sentimental favorite that edged out a number of more worthy songs. However, I will never forget the excitement surrounding the release of this song along with Anthology television series and albums. I waited in line at a record store in Towson at 12:01am to buy the album. I do like the song, too. Ringo is a bit restrained because of the nature of the recording, but, overall, it succeeds better than it should. Still waiting for Paul to release the third song....
(19). OLD BROWN SHOE - 1968
I first remember really hearing this song, originally the flip side to The Ballad of John and Yoko single, on The Beatles 1967-1970 compilation (aka The Blue Album.) My first thoughts were: Why is this song on the album? If it were on a CD instead an album, I probably would have hit skip every time it started. It wasn't until I started playing the bass that I really started appreciating this nifty number. The vocals might be mixed back a little too far for my taste, but, instrumentally, the song is a little wonder.
(18). I'VE GOT A FEELING - 1970
I bet you this is the only Top 20 Beatles song list featuring this song. Most people would place this track in the throwaway category. Lyrically, it isn't much, but the song has tremendous energy. The band really seems to enjoy playing it on the roof top concert. More than any track, this song captures the spirit of their original concept for their Let It Be album and film. (Too bad that version isn't available on YouTube.)
(17). I WANT TO TELL YOU - 1966
The lyrics express George Harrison's frustrating inability to describe the insights he received while taking acid. But you don't need to be on drugs to enjoy with complex, dissonant composition that opens with a pretty cool, descending guitar riff. George apparently even invented the E7b9 chord while writing the song. This was his best song to date, and one of my favorites on the album Revolver.
(16). REVOLUTION - 1968
When he recorded the original slower version for The Beatles (aka The White Album,) John hadn't decided whether people could count him in or out when it came to destruction. When they recorded the faster version, which was the flip side to Hey Jude, he decided that you could count him out, an attitude that angered the radicals of the time. Politics aside, this is one of the Beatles' best rockers and they are ably aided by the fabulous Nicky Hopkins on the piano.
(15). DEAR PRUDENCE - 1968
This gentle ballad was written by John while the Beatles were in Rishikesh, India, as a plea to Mia Farrow's sister Prudence to join them rather than spend all day in her cottage meditating. I love the intricate layered guitars and bass. Paul played the drums because the song was recorded after Ringo had quit the band. Fortunately, he soon returned (and fans have long debated whether he overdubbed the drums on the coda.)
(14). I SAW HER STANDING THERE - 1963
This energetic Chuck Berry pastiche would prove to be one of Paul's best rockers ever. I'm surprised they dropped it from their live set list as early as they did. Tellingly, it was the song John chose to play live with Elton John at Madison Square Garden.
(13). I AM THE WALRUS - 1967
The nonsense wordplay was reportedly written by John to befuddle English professors who were treating Beatles lyrics as literature. But was it nonsense? Or a piercing but oblique protest song? I'll let you decide. Musically, it is a masterpiece. One of their best productions.
(12). HERE COMES THE SUN - 1969
George Harrison wrote this classic track in Eric Clapton's backyard on a respite from the chaos of the late-period Beatles. A truly lovely and uplifting song, even if I have a hard time clapping along with it.
(11). TICKET TO RIDE - 1965
This is a really tasty mid-period Beatles single. Great instrumentation, particularly Ringo on the drums, and singing. Tried playing this one with my band The Atomic Enema. We sucked, but I always liked singing the middle eight.
(10). HERE, THERE AND EVERYWHERE - 1966
Paul was the Beatle ballad king and I believe this song was his best ballad recorded with the band. His partner John, who was notoriously stingy with his praise, called it one of Paul's best compositions. Thoughtful lyrics, perfect instrumentation and wonderful harmonies lift this song to the top tier of Beatle compositions. (9). NOWHERE MAN - 1966
The lyrics of this song really resonated with me upon my first hearing of the song. I also liked that John introspectively pointed the finger at himself and not society in general, as he was wont to do later. The song features fantastic three part harmony and a great, trebly guitar sound. Really loved the simple but effective guitar solo played in unison by George and John on their dual Fender Stratocasters.
(8). ELEANOR RIGBY - 1966 Yesterday didn't make this list because, although it is a great song, it just never felt like a Beatles song to me. The track always felt out of place regardless of what album it was placed on. I do not feel the same way about Eleanor Rigby. Although none of the Beatles plays on the track, it has the right attitude. A great lyric with a sad but satisfying conclusion and scored to perfection by producer George Martin.
(7). SOMETHING - 1969
George lifted the title of a James Taylor song for the first line of this song. James didn't seem to mind. Neither did the world. John said it was the best song on the album Abbey Road, and Paul said it was the best song George ever wrote. After Yesterday, it is the second most covered Beatles. A beautiful song and performance.
(6). IN MY LIFE - 1965
This is one of the rare songs that John and Paul disagree about. John says he wrote it entirely. Paul says he wrote the melody. It's easy to see why they both want to claim it. It is a fully-realized, thoughtful song. It was one of John Lennon's first true forays into personal songwriting. What surprises me is the depth of nostalgia he felt at the tender age of twenty-six.
(5). HELP! - 1965
John described this song as a genuine cry for help. Quick and to the point, this song features no middle eight and no guitar solo. Instead, George provides a number tasty little hooks. Also, rather than employing their normal stacked vocals, Paul and George provide an amazing counterpoint backing track. It is one of my favorites.
(4). SHE LOVES YOU - 1963
Although I Want To Hold Your Hand was the song that finally broke the Beatles in America, this song always epitomized the Beatlemania period to me. Starting on Ringo's toms, the song is manic energy from start to finish with their trademarked the stacked vocals piled on top. There was nothing like this song on the Top 40 charts in the United States when this single was released. No wonder they took the country by storm.
(3). HEY JUDE - 1968
I am old enough to remember when the Beatles released this single. It was all over the radio and I didn't like it. Not at all. Although the song expresses a hopeful message, I always gloomed on the "sad song" aspect of the opening. (I seemed unusually susceptible to melancholy songs in my youth.) It wasn't until I was much older and had experienced some serous loss that I came to appreciate the therapeutic nature of the song. This is Paul's masterpiece, but, unlike some later singles such as Let It Be and The Long and Winding Road, it feels like a true band song.
(2). STRAWBERRY FIELDS FOREVER - 1967
This dreamy ode to childhood is one of John's most personal songs, but expressed in a universal enough manner to speak to a kid in Baltimore. This is a great composition and vocal married to great production and imaginative instrumentation. Plus, it was scary as hell, too. I remember listening to this song late at night with my head between the speakers listening for the "I buried Paul." It was quite an experience. And the flip side was Penny Lane.... What an amazing single that showed the abundance of riches within the band.
(1). A DAY IN THE LIFE - 1967
The song, part matter-of-fact recounting of the news/part rock and roll apocalypse, is perhaps the high water mark of rock and roll music in general. From the gentle acoustic guitar open to the chaotic orchestral swirl and the final, resounding piano chord, this track presents the band and producer George Martin at their best. Great teamwork with John and Paul as songwriters, with Paul's woke up bridge melding perfectly with John's song. Anyone dismissive of Ringo as a drummer should pay attention to his playing here. A masterpiece.
My novel Chapel Street is now available! You can currently buy the Kindle and paperback at Amazon and the Nook, paperback and hardcover at Barnes & Noble.
Progress continues on Life Like, a graphic novel I am working on with Jim Proimos, based on my screenplay Life-Like. Jim is a very well-known illustrator and the author of children and young adult books. He even did a book, Year of the Jungle, with best-selling Hunger Games author Suzanne Collins. He is very optimistic we will be able to develop the book into a movie or television series.
I am equally optimistic.
Here is a taste of the responses I got when I first sent the script around Hollywood: "What the script has going for it most is its genuinely unique, high-concept premise -- as opposed to most other comedies, the material does not seem the least bit derivative." "A wonderful premise and unique to boot." "The material should be applauded for its quality characterizations." "Realistic and sharp dialogue." "The dialogue is endearing." "Strong character development." "It's entire third act stands out as the most invigorating part of the script." "A pretty funny and surprisingly emotional story about closure." "It's a fun and exciting read with a captivating plot and a happy ending!" "This project's prospects are rather bright." "Sure to get industry attention." While you are waiting for Life Like (and Chapel Street), feel free to check out my memoir, The Promise, or the Pros and Cons of Talking with God, published by Touchpoint Press.
In this episode of the Yippee-Ki-Yay Mother Podcast, an inter-generational look at the movies, our special guest writer/comedienne Michele Wojceichowski brings us David Mamet's 1997 classic film The Spanish Prisoner. The crew loved the film and enjoyed exploring the intricacies of this cinematic con game, which features a surprising dramatic turn from Steve Martin.
My novel Chapel Street is now available! You can currently buy the Kindle and paperback at Amazon and the Nook, paperback and hardcover at Barnes & Noble.
As you progress in your writing career, you will discover that people whom you expect to look out for your best interests aren't necessarily doing so. You should always take into account the motives and interests of the people on your team when you make decisions.
Consider agents. On the face of it, what could be more straightforward than the relationship between a writer and an agent. It is built on mutual benefit. The more money the agent gets for your script, the more money he will make as a percentage. What could be simpler? Of course, your agent will act in your best interests.
Well, maybe not. A writer who produces sell-able work is indeed a valuable commodity to an agent, but their ongoing relationship with studios and production companies is even more valuable to them. You may only write one screenplay a year. The agent, on the other hand, has to represent scripts by dozens of writers each year and there are only so many A-list buyers. Except in rare circumstances, like a bidding war for an extremely hot script, your agent is not going to alienate a studio or production by pushing them too hard for your interests. This is especially true if you are represented by a major agency that plans to package the film. The commission they receive on the sale of your script will be peanuts compared to the overall package. You and your concerns will not be their chief concern.
Here's an example from the book world. A friend of mine wrote a children's book. He got an agent that normally didn't deal with children's books. The agent got him a nice advance from a publisher. As his career progressed, he discovered that his first advance was larger than the advances normally offered by the publisher. He found out why. His agent didn't have or need an ongoing relationship with the publishers of children's book. She knew she wouldn't have to be sitting across the table from them again in a week. Therefore, she didn't have to accept the status quo. Her only interest was in getting her client the best possible deal and she did so.
I never had a manager so I have no personal experience on that front. However, I have heard about the concerns of other people. Managers often like to position themselves as producers on the projects they shepherd. This can be good for you, but it can also be bad. Suppose a production company likes your script, but doesn't want another producer..... Also, suppose two companies are interested in your script. One of them doesn't want your manager as a producer, but the other one does and they are willing to pay him a fee to act as such....
Lawyers have well-defined rules concerning conflicts of interests, but that doesn't necessarily mean they always act in your best interest. Let me give you an example. Once upon a time we needed a producers' representative, many of whom happen to be lawyers. We picked one who had handled some well-known movies in the glory days of independent film. He would receive a certain percentage of the final negotiated deal. That would make you think he would be interested in getting us the best possible deal, but that's not the whole picture. Since he was a lawyer, we were also required to pay him a retainer of $5000. His work on our behalf was desultory at best. Why? Because any sale was irrelevant to him. He repped a ton of films. He was making a living on the retainers alone. The money he made from percentages was just gravy.
Sometimes you can even get in trouble with a co-writer. Suppose your partner is also a director. Will he be willing to sell the script to a production company that doesn't want him to direct it? These are the kind of questions you have to ask before you start a project.
Okay, okay. You sold your script and you were very happy with the deal. Everything is okay now, right?
Don't count on it. Things get even crazier in pre-production and on the shoot. This is when most scripts get yanked and pulled out of shape. Why? Because everybody above the line wants to twist the script into what suits their career needs best. Sometimes this can be a good thing, sometimes not so much.
I saw this in the commercial world before I even wrote my first screenplay. Directors would bid on a three spot campaign because they saw one script they thought would be good for their reel. Then they would pour all of their resources into that single spot and do a desultory job on the remaining ones. The same is true of feature films. Most aspiring directors will jump on any project just to work even if they don't have a feel or heart for the material, and then try to bend the film into something more to their personal liking. I know directors who took projects simply with the hope of getting a sequence or two for their demo reel. You don't want that kind of director on your project. You want someone who believes in the script.
You can also have the same problem with actors. It is not uncommon for an actor to see a role differently than the writer or the producer or the director. And if they're a big enough star, they'll get it their way even if it destroys the original conception of your story.
Let me give you an example how a story can change due to unexpected cross purposes.
I co-wrote a film called The Encounterwith Timothy Ratajczak for PureFlix. It was a faith-based film about a group of strangers who end up in a diner with a man who claims to be Jesus. The extremely low budget film was directed by, but not starring, PureFlix co-founder David A.R. White. At the time, the film was definitely the redheaded stepchild on the production slate. PureFlix poured most of its limited resources into the higher budget end times film Jerusalem Countdown, which starred David A.R. White. More than anything, David wanted to be an action star and Jerusalem Countdown was a chance to achieve that goal. (He only had a small cameo at the end of The Encounter.) However, upon release Jerusalem Countdown was met with indifference while The Encounter found an enthusiastic audience and became the company's most profitable film until the God's Not Dead series.
Obviously, a sequel was needed for The Encounter. Tim was on a temporary hiatus from PureFlix and left me to work on the sequel alone. What the audience loved about The Encounter was that it gave characters they could relate to a chance to ask Jesus real world questions. It proved to a tremendous evangelical tool. Everyone agreed that the second film should answer the questions that trouble young people. Since most PureFlix films at the time were rip-offs of successful secular films, we decided to do a Breakfast Club style film, except this time the delinquent high school students would find themselves stuck in a classroom after hours with Jesus. Time to cue Simple Minds....
But not so fast!
Since the first film was so successful, David A.R. White chose to star in the second film and, because he owned the company, no one could say no. The only sizable adult role in the original concept was that of Jesus and, sadly, that role was already taken. Therefore, it was time to say bye-bye to The Breakfast Club. New orders were issued. David wanted to be an action star, so The Encounter had to become an action film. He wanted to play a criminal or corrupt cop.
A new plot was quickly developed. David became the head of a gang that robbed a company. His younger brother is wounded in the robbery. David takes him to the home office of a rural doctor and holds the staff and other patients hostage while his brother is treated. And guess what! One of the other patients happens to be Jesus. Okay, okay. If that's what the producer/star wants, that's what he gets. Granted, the storyline didn't seem to have the same everyman appeal as the original film but David would be able to shoot and punch people.
But not so fast!
I was already writing that version when a new directive came down from on high. Now the film had to be shot in Thailand. Why? Because some PureFlix folks (not David!) had met girls in Thailand during another production and now they wanted to shoot another film there so that they could visit them again on the investor's dime. Who was I to stand in the way of love? And that's how a little film about people talking to Jesus in a diner got a sequel about a morally corrupt cop chasing a drug smuggler in Southeast Asia. The Encounter Paradise Lost worked better than it should have mainly because of some fine direction and heartfelt performances, but it definitely was not the sequel the original audience wanted or expected, despite having the distinction of being the first film where someone points a gun at Jesus. (Tim later wrote the script for a second sequel based on the Breakfast Club concept. However, that film was not shot because PureFlix chose to make an Encounter web series instead.)
The journey between The Encounter and The Encounter Paradise Lost is a perfect example of what happens when different people work at unexpected cross purposes on a project. Does that mean that you, the humble screenwriter, should not trust agents, managers, lawyers, directors, producers or stars? No, of course not. Film is a collaborative business, and sometimes your collaborators will discover possibilities you missed and enhance your vision. However, you must always be aware that everyone involved in your project will be looking after their own interests. Hopefully, you will be able to juggle them more successfully than me!
