Yes, the composer of https://t.co/avc7kt8RtZ teaser video really did win a Grammy – Alex Wand seated lower left pic.twitter.com/Dzy96oJNsV
— Julius Galacki (@JuliusGalacki) November 12, 2015
Limping Towards Babylon "Birth of Tragedy" excerpt https://t.co/NmfG2nzPcY via @YouTube with Josh Breslow and TW Leshner
— Julius Galacki (@JuliusGalacki) November 10, 2015
So, I just read the coverage for my script LIMPING TOWARDS BABYLON. I had applied to Film Independent’s Screenwriter Lab. 
I was not accepted and coverage was mixed, but overall was slightly more positive than negative.
I am going to make the supposition that I at least was strongly considered if not on the cusp. Here’s an example of push me-pull you critique (and let me say, he/she seemed to have given the script a close, careful read even if I don’t always agree with the conclusions): “The dialogue can be very smart in places, and the long conversations between characters — while often unnecessary — certainly have verve and a feel to them that holds our attention.”
Now, when I finished the script it was literally the day before the FIND deadline. I’ve made the script even stronger since then… still it’s a disappointment and only further convinces me, I just have to make it myself because I believe in this script.
And it’s not just that I consider the best thing I’ve ever written, I believe in its universality… of what it means to love in the wrong direction and also the zig zag steps toward maturity and becoming one’s own person.
If you were to Google my name, you might come across a couple of obscure law journals which name me as the Tea Party activist in a lawsuit against a particular California election law. This would seem particularly odd, since anyone who knows me, knows I am a die-hard liberal.
In fact, some of them only half-jokingly call me a socialist. That’s utterly untrue as I accept capitalism as a necessary evil. After all, it is the best system for creating wealth. However, as capitalism also tends to concentrate wealth, and wealth entwines into politics, unregulated capitalism leads to plutocracy, oligarchy and even fascism.
So yes, I particularly believe in strong regulation of capitalism, a graduated income tax and re-distribution of wealth and certain, yes, socialist institutions like a national health care system. Very not, Tea Party positions.
But I joined a lawsuit against a California election law that I think is bad for a number of reasons – one being that it doesn’t allow write-in votes, or rather the law allows them but specifically says that they will not be counted. So I proved useful to this suit because I live in a district that was having a special election. At the behest of the lawyer bringing this case forward, I registered as a Tea Party member and then tried to vote for myself in order to show that I was harmed by this law. To repeat, it was his idea that I register as a Tea Party member because it is not one of the parties officially recognized by the state of California, as well as for other strategic reasons legally and politically which are not for me to discuss.
However, why would somebody with my leftist political views make this profound sacrifice of identification??? Below is the partial explanation, made in an online comment to the writer of one of these obscure law journals. (Note – at the lawyer’s request, I ended up deleting one clause below, the one about the Tea Party being a re-brand of the Republican base… so my comment letter was published without it. I re-insert it here on my own website.)
An Activist Yes, But Not a “Tea Party Activist”
Dear Mr. Eris,
As I am the subject of the headline of your July 20, 2011 story (“Top-Two open primary faces legal challenge from Democrat-turned-Tea Party activist”), I would have hoped that you would have contacted me directly to understand the nuance of my actions, for now it absolutely behooves me to make a correction and clarification of that headline: while I am certainly an activist, in no sense could I accurately be labeled a “Tea Party activist”, as that term is popularly understood today.
In the first place, I do not adhere at all to the current policy positions of what the media typically labels as Tea Party issues, since such have become nothing more than the issues of a re-branded right-wing Republican base.
Then you may be wondering why I tried to register as a Tea Party member, an action that could so easily be misconstrued as making me a supporter of anti-unionism and the like, which I absolutely am not.
I agreed to this action of trying to become a “Tea Party” registered voter and potential candidate, not only because it would be an efficacious means to legally challenge what I consider to be an unconstitutional and unfair law, but also because it has a moral justification, as I do agree with the original Boston Tea Party impulse.
For it is important to remember that there is another, original aspect of the amorphous modern Tea Party movement that spiritually harkens back to that revolutionary protest in the Boston Harbor.
After all, this modern protest was partially born, at least amongst some of its initial adherents, of an inchoate rage that something with wrong with the System itself. This failure of the System was exemplified by the bailout of the banks and big brokerage houses while score upon score of ordinary Americans were losing their jobs, their pensions and their homes.
The Top-Two Open Primary law was deceptively sold to the public, and moreover disenfranchises Independents and the small parties – both in the “No Party Preference” label for such candidates and even more importantly, precluding a write-in candidate (thus a version of Lisa Murkowski’s write-in Senate victory could never happen in California).
The colonial Tea Party was not a protest against taxation per se, but a protest against taxation without representation. It was the lack of representation that was the motivation and rationale for the American defiance against the Crown. It is that original Boston Tea Party ideal for true democratic representation for which I am an activist and why I became a party to this law suit.
Thus a potential correction of your original headline would be “…challenge from Democrat-turned-original ‘Tea Party’ activist” but only if an explanation of my motivations were also included within the body of the article, that I am re-appropriating a piece of American history. Right wing conservatives do not own an exclusive trademark on patriotic American symbols after all.
Sincerely,
Julius Galacki
Unlike my previous posts which have had more personal content, this is just a pragmatic, public service post … of interest only to other writers, but if it helps one person, then I’ve done a mitzvah: I was relatively recently at a Dramatists Guild all day seminar on various business aspects of writing. I was rather surprised to hear a question – echoed by a friend of mine sitting next to me – asking which was better, registering a work with the U.S. Registrar of Copyrights or the Writers’ Guild.
I hadn’t realized that the WGA was now registering non-screenplays as well. I like the WGA, and even more, the Writers Guild Foundation. BUT Writers Guild registration is NOT a substitute for registering one’s work with the U.S. Registrar of Copyrights. The latter’s website is fairly easy to use now.
I know this not only from taking Law and the Arts taught by an attorney at Yale, but I’ve had day jobs working for and with lawyers, including intellectual property rights ones, for over 10 years. Finally, I’ve worked for 20th Century Fox Film Corp. in the legal and business affairs departments where dealing with screenwriters’ credits is a common issue – so I have direct and theoretical experience here.
Copyright exists the moment expression (not ideas, but the expression of that idea… likewise titles of a work are not copyrightable) is put into a fixed form, i.e. typically ink on paper. However, to enforce one’s copyright, i.e. bring suit for infringement, one has to have registered that work first with the Copyright Office.
Registering with the WGA is only necessary for screenplays, particularly in terms of determining film credit in WGA arbitrations, and otherwise should only be seen as a supplement to Copyright registration for both screenplays or anything else. It could be useful for instance as supporting what specifically is the date of creation in a more official way than mailing a script to oneself. But if you want to save money, yet do what’s absolutely necessary, just register with the U.S. Copyright Office.
Never submit a work until you’ve done that first.
Also, film companies typically require a clear chain of title, which includes U.S. Copyright Registration.
As far as re-registering after substantial changes have been made, that’s more of a gray zone decision. The
suggestion I’ve heard is to so again upon publication or that first production. There is a section on the form where you can specify that this is a previously registered work, and what changes have occurred since then.
By the way, the Dramatists Guild business affairs person was even more dismissive of a non-screenwriter doing anything other than registering with the Copyright Office, but I thought that was being too black and white myself.
I work on the Fox Lot and the way to my office in the Old Executive Building takes me past the sound stage where the TV show “How I Met Your Mother” is shot.
I’ve only seen one of the leads once, but I often see the extras. Typically these people are young men in suits and/or hot women in short dresses or evening attire. Particularly lots of these attractive women.
But this morning was different. A coffee station had been set up, which I’ve never seen, and all of the extras were clearly over 65, all in evening attire, i.e. except for 3 young men who clearly were cast as waiters. It’s the first time on the Lot I’ve ever seen so many older actors in one place being called in for a shoot… at least a dozen of them.
It’s hard to say if these older people did background work as a hobby in their retirement, or were actually working actors who had had a long career. I imagine the latter only because of the grimness or sadness on the faces of so many of them… as if their expressions said, “I was once a leading lady and now I’m being relegated to a background visual punchline.”
I had such an overwhelming sense of sadness… seeing them sitting out in their chairs throughout the day, as I passed the Commissary Lawn… just waiting to be called in. Perhaps of course, this is purely my own anxiety about my own tumbling years. Thus I could be imagining their angst and frustration, and they were just having a grand old time on those folding chairs. After all, at least the grips had put up fabric to give them shade.
I saw the premiere of “Rhino Resurrected” on Saturday Aug.20… as the movie’s producers don’t have a distribution deal, I can only urge you, if you see another screening listed, to GO if you’re a music geek especially, and secondarily if you’re interested in LA cultural history.
The story of a record store and it’s off shoot record label (before Warner Brothers ate it) would seem to be a super obscure subject but think a real life version of “High Fidelity” and obnoxious record store employee Jack Black. The two hours fly by and it’s mostly like being in the company of a funny, smart, sometimes annoying bunch of music fanatics.
From a purely filmmaking standpoint, the movie is well-edited with very few dead spots. It is a mix of archival footage (stills, band performances, a few interviews) with more extensive present day interviews. The organizing device was the “resurrection” of Rhino with a temporary pop-up store last year. Overall this device works well structurally, but there a few too many shots of getting the temporary store ready for the public which slows down the movie. In general all tech. elements are solid. But this is a movie where content is everything, not how good or not good the cinematography is. And the content, as I said, was surprisingly interesting and often amusing.
As I’m originally an East Coaster, my first exposure to Rhino was through its superlative compilations of garage rock and soul.
But backing up, I was, and am, a huge Patti Smith fan. Indirectly because of her I discovered 1960’s garage rock. (It should be noted that because of my brothers’ record collections, I was already a fan of Dylan, the Beatles, the Stones, the Airplane, Hendrix, Cream and all of the other well known 60’s greats etc.) Patti’s long time collaborator and guitarist, Lenny Kaye, had selected and produced the ground breaking Nuggets compilation of forgotten garage rock and psychedelic rock hits, semi-hits and rarities back in 1972 and then re-issued in 1976 on Sire. I would discover it in 1980 or so. Wanting to go deeper, and using those songs on Kaye’s compilation as the jumping off point, I was led, more often than not, to Rhino Records.
Rhino’s compilations would usually have the best sound quality, the best selection for the money and the most interesting liner notes. My visceral history of rock music was profoundly, though not in any sense exclusively, influenced by the tastes and quirks behind Rhino. My favorite Christmas CD to this day is Cool Yule with an incredible bunch of up tempo soul, r&b, rockabilly and rock X-mas originals or vastly altered traditional songs (e.g. a bouncy, danceable, truly joyous “Silent Night”).
So, when I came out to LA in 2000, I was a little surprised to realize that there were two brick and mortar Rhino Records stores: one in the Westwood section near UCLA and another on the LA county border in the college town of Claremont. The former, original store, had already lost the ethos that is so wonderfully chronicled in the documentary but I can still say I bought a few CD’s there.
I actually bought far more in the Claremont store because my first LA girlfriend (and more than that, eventually) lived in that town. I didn’t know then that the original owner Richard Foos had sold that store a long time ago – a fact I learned only at the Q&A after the documentary. Nonetheless that Claremont store still carried some of that vibe of community and quirkiness.
(Another tangential fact about me – over my life, the majority of my disposable income has gone into books and record/cd’s with movies a close third after that. Fancy cars, clothes, etc. have never held much appeal to me for while in a sense I could easily be accused of being a collector, it is only of things that produce an experience that truly matter to me; I am decidedly NOT a materialist.)
But what the documentary really captures that is so universal is the experience of going into your neighborhood record store, pawing through the record jackets… that sense of tactility of holding a record album in one’s hand… seeing the art work… reading the liner notes…chatting a little or maybe even a lot with the record store clerk… it was place where geeks could feel cool and sometimes even a community could exist.
The original Rhino Records seems to have been a particular special, maddening, annoying, enlightening. entertaining version of the above. But having been to many a record store first in my home town and then in the East and West Villages in NYC, I still recognized my own variants. I’m sure music geeks in Cleveland, Chicago, Boston, etc. etc. will too.
So, there was sadness and poignancy of something lost (both an era and a community). After all, we now more than likely sit at our computers listening to sound samples on Amazon, etc. or i-tunes and either download the music immediately or have a CD delivered to our door. In Los Angeles, there remains only one last Nessie – Amoeba Records… a hybrid of the old neighborhood indie record store and the Tower Records / Virgin Records corporate type store. You can still get recommendations there from fairly knowledgeable clerks and discover tons of obscure music. Not quite an intimate experience but still one I have to limit or otherwise I spend far too much money there. But once again, it’s the last of its kind. Fortunately, we still have live music so community is in no danger of completely disappearing.
Furthermore, all of the participants in the Rhino comedy drama have survived and found someway to keep doing something of value, so it’s not a depressing documentary but a poignant celebration.
… well in continuation with yesterday’s post, now that I’ve actually
seen “Much Ado About Nothing” at the Santa Monica tennis courts last night – I can say it was the usual mix of good, bad and okay performances but as many of the good included the leads: Bennedick and Beatrice (Bridget Flanery, perf. again on Sunday), the Prince, Antonio and especially the father Leonato (particularly after his daughter is accused of sexual perfidy…quite moving). I don’t have the program with me so unfortunately, I can’t credit all of these actors properly. So, it’s worth seeing just because of them, and of course, it’s pay what you can so the price is right for everybody.
The director’s concept was a grab bag of contemporary anachronisms – the women wear tennis outfits, the men fatigues… at one point Benedick comes out in roller skates… the show stops often for choreographed movements to a soundtrack ranging from techno to classical to big band jazz. There are clever, even inspired aspects to all of this, but it’s also very unevenly executed (both technically and performatively), so there are painful, bizarre pr boring moments alternating with very entertaining ones.
In other words, I liked the energy and the idea of the production more than the totality of the production. Too many of the ideas felt so arbitrary. In fairness, this morning I had a more positive feeling about the production as a whole.
After all, the play itself is far more problematic and not the summer lark that it is often ascribed to be. There are wild variations of tone that don’t jibe with well with our modern sensibility. In a way, the “problem plays” (Measure for Measure, Pericles, etc.) are most easily solved by treating them essentially as dramas not comedies. But what of “Much Ado”? This production just added even more wild tonal swings and arbitrary actions in a shotgun attempt at creating comedy when the play itself isn’t being very funny at all, or perhaps is just being more quietly witty than knockabout farcical.
So, the flaws of that approach actually inspired me to want to try to tackle this play and direct a production… I’ve already come up with staging and scenic ideas… and alternate ways the scenes should have been interpreted. I don’t recoil from the arrogance of the word “should” since some scenes really have one way that they can be played if they are to work within the play as a whole.
That’s not to say there can’t be multiple wiggles within that “one way” but sometimes certain things just have to be accomplished so the final arc for the particular character or even the entire play makes sense.
This is a second test blog… to add some content, I’m seeing “Much Ado About Nothing” in a park in Santa Monica tonight. This is notable, at the moment, solely because Bridget Flanery is playing Beatrice tonight. Bridget is one of my very favorite stage actresses in Los Angeles… a real gift… worth seeing in a very good productions like “The Rainmaker” a couple of years ago at A Noise Within and even in a painful to watch exercise of ego (not her’s, but rather that of the lead actor who was also the director who was also the artistic director) in the worst production of “The Taming of the Shrew” that I have ever seen. Back to the play tonight, I can only hope she is surrounded by actors commensurate with her talent and that all are directed competently. There may be more theatre in LA than most other cities in this country, but the quality is wildly hit or miss.