Guise! Guise! I made neato planters! …
…though the wooden ones (boats) are rather unstable.
In the first scene with Danny and Wendy at their Denver, Colorado apartment, a toy laser pistol can be seen lying on the table. This prop is the last remnant of an early idea director Stanley Kubrick had for The Shining.
These pages from a recently uncovered draft of the screenplay from 1978 offer a glimpse into this abandoned idea.
The first page, dated 3/20/78, contains an unused beginning of the lunchtime scene — it was either never filmed, or removed during editing. Kubrick’s hand-written note reads “We see on the table alongside him his space laser gun which will always be with him”.
On the second page, dated 2/4/78, Kubrick describes the final showdown in the maze. The action had yet to be fully worked out, although he does have Jack getting trapped in the maze and freezing to death. Danny, however, does not walk backwards in his own footsteps to cunningly elude Jack. Instead, he uses an implement to systematically smash all the lights in the maze, plunging it into darkness as he follows his own tracks back out of the maze.
In a subsequent draft, Kubrick has Danny using the above mentioned toy laser gun, which is shown to have a flashlight built into it, to light his way out of the dark maze.
The second page also offers a glimpse into an earlier version of the ending, where Dick Hallorann is not killed by Jack, but instead shows up to save Danny and Wendy — an ending which is more closely aligned with Stephen King’s novel. Earlier treatments had Wendy killing Jack with a knife, and when Hallorann shows up at the hotel, it’s revealed that he’s been called to the Overlook to do the hotel’s bidding; he’s intent on finishing the job of killing Wendy and Danny.
Interestingly, Danny is referred to as “Tony” in the screenplay for the last third of the story, after he becomes catatonic following his encounter with the woman in Room 237.
(Many thanks to David Winter for sharing this screenplay. His grandfather, Derek Winter, was a manager at Stansted Airport, which was used as the location for Dick Hallorann’s phone call to Larry Durkin. The screenplay was given to him by Kubrick so he could read the story and approve the use of the airport as a location.)
Scott Maddix: Well, personally, I have already written one, have a manuscript for another, and strong beginnings for a third. When I am not in depression, writing is a great joy to me, and often a way to put myself in a good mood. Something I look forward to.
For me: I’d take some creative writing courses, if you don’t feel confident about your skill, sure, but READ a lot, and WRITE a lot. As three-edged-sword says above, the key is to find what it takes to JUST DO IT.
For me, the sort of breakthrough moment was the year I did NaNoWriMo, determined to simply make as many words as needed. I wrote thousands of short scraps of stories. Out of those, a few fully-developed short stories arose. I collected the best of them into Chunnel Surfer II.
With the confidence of a few short stories, I then felt like I could tackle a larger story, and wrote Patchworld (that’s the manuscript), a more traditional novel. Still needs a significant edit, and that’s a whole other set of skills. That’s what the classes are going to be good for. But for the writing, Just Do It is actually, yes, the best advice. Give yourself permission to write crap, put words on the page, even if you’re writing laundry lists or copying out books, it’ll get your brain and your fingers used to the task. Write things in the “wrong” format: poetry, screenplay, interoffice memo, video game script. Practice writing in the style of your favorite authors, as well as writers you don’t like so much. Then as it gets comfortable, start to segue into writing complete stories.
For every completed/published work, I’d say most writers have thousands of false starts, scraps, scribbled ideas on the back of napkins.
I also like to keep an “ideas” file, where I keep those napkins, pictures from magazines, news articles, etc. So if there’s a lull in my creative outflow, I can sort of browse through and get ideas, maybe pick two or three unrelated things and try to imagine a story that includes all of them.
Ask yourself “what if…” a lot.
Read a lot.
Have lots of experiences. Watch movies. Go to the mall and eavesdrop. Spend a day at the park watching people, imagining backstories based on their clothes and how they walk.
Have friends willing to read your stuff in its raw form and give you feedback — but be sure to allow yourself to ignore it! But still, it is useful and important to LISTEN to your first readers. If you find one that is really good at analysis and feedback, who won’t just say, “it’s great, honey!” — hang onto them. They are precious.
Read some more.
In a few weeks, or months, I’ll be able to get back on that horse, but for now I can only want to want it, and wait.
sharkprivilege asked: could you talk more about the male disney villains being queer coded with stereotypes?
Pink hair bows.
Many male Disney villains are what we would call “camp.” Effeminate, vain, “wimpy” and portrayed as laughable and unlikable. Calling upon common negative stereotypes about gay men, these villains are characterized as villainous by embodying these tropes and traits.
Think about it: Often Thin/un-muscled figure, heavily inked and shadowed eyes (giving the impression of eyeliner and eye shadow?), stereotypically “sassy” and/or manipulative, often ends up being cowardly once on the defensive, many have comedic male sidekicks (such as Wiggins, Smee, Iago, the…snake that isn’t Kaa)
since i was talking about one of the disney man villains who doesn’t fit this stereotype yesterday…
my bf was listening to that song about him yesterday
and i mentioned that he is literally the most terrifying disney villain
because his type of evil is banal and commonplace
there are white men walking around who are exactly like him
men who think that women are prizes they deserve
men who will not listen or pay attention to a rejection
men who will go out of their way, if rejected, to ruin a woman’s life
ppl often seem to miss this when discussion beauty and the beast since the stockholm syndrom ‘romance’ is also a giant icky thing
the terrifying thing about gaston is that he is supposed to be (as all disney villains) a hyperbolic cartoon
but he is the absolutely truest and most real villain
because he exists in the real world
we all know men like him
Also, if we’re talking about queer coded characters the MOST important of all the characters is Ursula who was bad off of a drag Queen (Divine) and has a whole host of negative stereotypes.
She’s also my favorite.
This post is sorely missing some seriously important historical context. The term for this as film history goes is the sissy, and as a stock character the sissy is probably one of the oldest archetypes in Hollywood, going back to the silent film era. Some of the most enduring stereotypes of male queerness—the limp wrist, swishing, etc—can actually be traced to the exaggerated movements of cinematic sissies in silent films. And it’s important to note sissies were portrayed in a range of ways, though they were generally used to comedic effect; queerness was considered a joke, and the modern notion of the “sassy gay friend” in films can probably be traced back to this bullshit too. It wasn’t until the Hays Code was adopted in the ’30s that sissies almost uniformly started being portrayed as villains. Homosexuality was specifically targeted under the euphemism of “sexual perversion”, and the only way it could fly under the radar in films under the strict censorship of the code was by coding villains that way in contrast to the morally upright hetero heroes. Peter Lorre’s character in The Maltese Falcon is one off the top of my head, but there are a slew of them from the ’30s onward, and this trope didn’t go away after the Code ended either. More modern examples in live action films are Prince Edward in Braveheart, Buffalo Bill in Silence of the Lambs, and Xerxes in 300.
So Disney just provides some of the most egregious modern examples of the sissy villain, but this is a really old and really gross trope that goes back years and years in Western film. There’s a fantastic book and accompanying documentary about the history of homosexuality in film by Vito Russo called The Celluloid Closet that gets into a lot of this.
It’s incredibly refreshing to see a response to a post like this that starts with “This post is sorely missing some seriously important historical context.” and then goes on to provide important historical context that adds information to the point being made. I was seriously wincing and bracing myself for “You guys, you don’t understand. It was different back then.”
(Of course, I wouldn’t have been worried if the name of the last poster hadn’t scrolled off the top of my screen by the time I got to it.)
Since you mentioned Peter Lorre’s character in Maltese Falcon, I think you might be interested in this: While Lorre was permed and scented of gardenias, their other companion was Wilmer, who is often referred to as a “Gunsel.” Most people assume this is a word that means something like “hired gun” — but no. It was a Hays Code dodge — it is an obscure Yiddish word meaning “kept boy.” And he was the somewhat camp Gutman’s gunsel.
Marlow is decidedly mean to Wilmer.
Sorry to be taking a break in the middle of a movie (I have one more Chinatown entry queued, it’ll show up in about 12 hours) — need some time off for mental health stuff.
Should be right as rain in a couple-few weeks.
My more all-over-the-place sideblog, slack-of-all-trades, will continue as it has about 10 days of content queued and has a co-curator (the sparkling three-edged-sword). It focuses on pretty things, fannish things and queer and social justice-y things, mostly. Mostly reblogs, though, not as much original content as this one.
And if you discover my two secret side-blogs, well, hey, you get a prize (but it’ll probably just be a picture of a naked clown).
When I return, we will either continue Chinatown, and/or do some sort of revamp. Consistent content should be more the norm. Might ask for some assistance.