A Christmas Story, brought to life through animatronics and a lot of love

On a recent trip to Indiana, I spent some time in Hammond, the hometown of Jean Shepherd, the writer and narrator of A Christmas Story. The person most responsible for planning my trip is a big fan of the movie.

Perhaps the biggest fan ever. This woman likes the movie a lot. 

She took me to the Lake Country Visitor’s Center in Hammond, where there is an elaborate, animatronic display of the most famous scenes from the film, complete with a real life Santa Claus and a pile of fake snow for the kids.

The scenes are exceptionally well done. Incredibly detailed. Slightly surreal. A tiny bit creepy.

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Jean Shepherd died in 1999 at the age of 78. He led an exceptionally successful life in radio, print, television, and on the stage.

Still, I’m saddened that he didn’t live long enough to see this annual homage to his movie.

Death is the worst.

As a writer and performer, I can only hope that one of my stories becomes beloved enough to live on in some small way like the people of Indiana have done for Shepherd’s film.

Either that or a Matthew Dicks action figure. That would be fine, too. 

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Interstellar should be a TV show

For the record, someone should adapt Interstellar for television. There was about 49 hours of content squeezed into a little less than three hours.

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It would be an amazing TV show. Perfect for HBO. A&E. Netflix.

Also, I’m more than willing to be the one to adapt it, in the event that you’re a show runner looking for a writer.

I went to the movies and met an amazing young woman and a loud-mouthed racist.

I went to a late showing of Interstellar last night. I’m in Indiana and alone, so I figured, “Why not?”

It was a good movie

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The cashier who handed me a Diet Coke and a box of Junior Mints was a young, black woman. As she poured the soda, I asked her if she had seen the movie yet, hoping for an informed opinion.

“No, not yet,” she said.

“But you get to see the movies for free,” I said. “Right?”

“Yeah,” she said. “But I have four jobs, and I’m a fulltime student at Purdue. So when I come here, I do my job, and get back to my homework or one of my other jobs. No time for movies. Or anything else other than work and school. At least not yet.”

I told her that if I lived in the area and owned a business, I would hire her on the spot. As someone who worked 50-60 hours a week while double majoring at Trinity College and Saint Joseph’s University, I know the amount of effort, tenacity, and determination required to put yourself through college all too well.

I wished her luck with her studies and headed to my movie with a bounce in my step. I felt like I had spoken to someone special. Someone who would do great things with her life.  

I sat down in front and to the left of two middle aged, white couples. The trailers for upcoming movies came on. We watched the trailer for Selma, a Martin Luther King, Jr. docudrama about the civil right’s marches in Alabama.

One of the men to my left scoffed and said, “Another damn nigger movie.”

“Jim!” the woman (presumably his wife) sitting beside him whisper-yelled.  “Don’t talk like that in public.”

I wanted to tell Jim and his wife that if I owned a business where they worked, I would fire them immediately.

Frankly, I wanted to drag Jim out of the theater by the scruff of his red neck and introduce him to the cashier who was working four jobs and attending school fulltime. Tell him that she was already more than he would ever be.

I didn’t say anything. I wanted to so badly, but the voice of my wife spoke to me, reminding me that my repeated confrontations with strangers will one day land me in a lot of trouble.

If I’m going to end up in trouble, at least let it be in my home state.

But my respect and admiration for the cashier whose name I wish I knew grew tenfold. While she and I both fought our way through college by working like dogs, I didn’t also have to deal with the Jims of the world.

Racism was not an obstacle for me.

The five years that I spent in college, two at Manchester Community College and three at Trinity College and Saint Joseph’s University, were hard enough without racists and bigots blocking my path and clouding my world.

I can’t begin to imagine how hard that must be on someone like that cashier.

I can only hope that when that young woman graduates from college and is ready to shed her four low paying jobs for one good one, there are fewer Jims in the world than there are today.

And for the Jims who are still standing when that day comes, I hope that they at least listen to their racist wives and keep their hateful remarks at home where they belong.

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Office space turned dance hall, yoga studio, lunch room hell. I bet they’re all organic, gluten-free, transcendentalist vegans, too.

We’ve come a long way since Mike Judge’s Office Space highlighted the drudgery and monotony of cubicle life.

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Some offices may have gone a little too far.

This German office may seem brilliant in terms of its use of space, but it strikes me as a little unrealistic and smug. A little cultish, even. No? 

One of the greatest sources of disagreement in my marriage centers on Kevin Bacon and a questionable dance number.

My wife and I don’t fight, and we disagree on very few things.

One of the sources of our greatest disagreements centers on a moment in the movie Footloose.

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My contention is that the ending of the movie, with its choreographed dance number and strategically-timed glitter bomb (which looks ridiculous), is also  ridiculous. It’s a scene written for a bad musical and inserted into a non-musical.

Elysha, on the other hand, loves the ending of the film. She loves the whole movie, in fact.

I don’t think the movie holds up, but that’s beside the point. I also didn’t see the film when it was released, which can often kill a movie for me,

Regardless, it’s not the true source of our disagreement. It’s the ending that is the issue.

And it’s terrible. Right?

Boyhood made all the difference for me.

My friend came over last week and installed a faucet under my sink. This is not the first time I have asked him to help me with a repair. He once spent four long hours on a Friday night unclogging the same sink with me.

He has also repaired two lamps for my daughter, though both times, the repair required the replacing of a light bulb.

My friends can repair things. Build things. Diagnose problems. They can use tools. Identify tools. Repair tools. 

I cannot. It often leaves me feeling like a fool.

I saw the movie Boyhood last night. It was an extraordinary film that brought back many memories from my boyhood. Not many good ones.

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Part of my inability to fix and repair things is a result of an innate lack of visual-spatial acuity. A school psychologist once administered a new cognitive test on me in order to practice and became irate with me for “screwing around” and not trying my best.

I was trying my best. I was completing a section that required me to rotate, reverse, flip and otherwise manipulate shapes.

I had no idea what I was doing. I barely understood what she was asking me to do. I finished the subtest with the score equivalent to an average seven year-old child.

I was not surprised.

But it occurs to me after watching the film that an even greater reason for my inability to work with my hands was simply the way that I grew up. My father and mother divorced when I was a little boy, and my father quickly drifted out of my life entirely. My mother remarried, but my stepfather had little interest in raising me. He didn’t teach me to play sports. Didn’t teach me to fish or pitch a tent or even mow a lawn. Didn’t teach me to use tools.

I didn’t have a father putting a hammer into my hand and teaching me how to bang in a nail. I didn’t have someone explaining to me how things works. I spent most of my childhood on my own, figuring out things for myself.

Then I graduated from high school and began a decade of turmoil and struggle. I moved in with a friend attending college and worked 50-60 hours a week in order to survive. My parents never visited me or even called. Unless I went home to visit, I never heard from them.

Two years later, my stepfather divorced my mother.

When my friend graduated from college and moved to Connecticut, I was homeless. I lived in my car. Eventually, I was taken in by a family of Jehovah Witnesses, working 80-90 hours a week while awaiting trial for a crime I did not commit.

When I was finally found not guilty after almost two years, I moved to Connecticut, chasing my friend and a girl, and I quickly found my way to college. I attended school fulltime while working 40-50 hours a week managing restaurants and tutoring in order to make ends meet.

When I finally graduated from college with degrees in English and elementary education, I was 29 years old. I was starting my teaching career. For the first time in my life, I was not struggling to keep my head above water. Barely keeping food on the table.

I wasn’t until I was almost 30 years old that I had genuine stability in my life.

When was there time for me to learn to fix a car? Who was there to teach me? I grew up without an Internet. Without tools. Without an innate ability to see how things fit together.  

I saw that boy in Boyhood, and in many ways, I saw myself. I watched a boy whose life was filled with transition, trauma, uncertainty, and solitude. 

My friends make fun of me for not knowing how to make simple repairs. They tease me for requiring help with the most basic things. And when I ask a friend to repair a lamp that only requires a bulb change (twice), I deserve every one of their insults.

But I also know that I spent the first 30 years of my life just trying to keep my head above water. While most of my friends were off at college after high school, I was struggling at times to feed myself. There was a winter when my roommate and didn’t turn on the heat because we couldn’t afford it. I lived in my car. In a pantry. I spent a summer sleeping in a closet. There were many, many days spent cold, hungry, frightened, and alone.

The idea that I could’ve learned how to tune up my car or take apart kitchen sink is crazy.

For the past 15 years, there has been greater stability in my life. I have a home. A career. A family to support me. I haven’t had to work 80 hours a week or work full time while completing two college degree programs.

There has been time to learn the things I never learned.

But imagine being a 30 year-old man who has never used a socket wrench in this life. Never drilled a hole in plaster. Never built a single thing with his hands.

Yes, I could start learning, and to a degree, I have. There are things that I can do with my hands today that would’ve been unimaginable to me just ten years ago. Last week I repaired a door and a toilet seat in my house and was unreasonably proud of myself for my efforts. 

But a person also reaches a deficit in learning that can seem insurmountable. The multitude of lessons missed over the years begin to pile up. They begin to create exponential deficits. Eventually the things that you can’t do become just as much a part of your identity as the things you can do. When you spent the first 30 years of your life as one person, it’s hard to envision yourself as another.

I listen to my friends talk about their childhoods with their fathers. I hear stories about how they followed their dads into basements to repair furnaces and plumbing. Crawled under cars to inspect exhaust systems. Built tree houses in the backyard. When I listen to them talk, it’s almost as if they are speaking a foreign language.

When they come to my house to help me, I try to watch. I ask questions. I want to learn. But I also know that I am attempting to mitigate decades of learning that was missed.

When my friend came over to install the new faucet, I was able to turn off the water in my house. I held the faucet steady while my friend worked underneath the sink. I handed him tools. I asked questions. I watched him solder a corroded pipe. I tried hard to learn while trying harder to stay out of his way and not waste his time.

In the end, I didn’t help very much. I learned a little. This is how it has always been for me. Ask a friend for help. Assist in any way I can. Avoid getting in the way. Try to learn as much as I can. Express my appreciation.

This is not the same as a father showing his son how to swing a golf club or change the oil in a car or build a tree house. It never will be.

I’ll keep asking for help. My friends will continue to tease me, and oftentimes, justifiably so. It’s okay. It’s who I am.

And I will continue to listen to them  talk about fathers who taught them to dribble a basketball and coached their Little League teams and helped them buy their first car or showed them how to install a dishwasher. Sometimes I meet these men. These fathers who did their jobs. Stood by their sons. Taught them what they needed to know.

I shakes the hands of these fathers and stand in awe at the very idea of fathers and sons whose lives are connected and intertwined.

It’s something I have never known.

I hope my friends know how lucky they are.

Five ways I’ll know that I’ve finally made it as a screenwriter.

  1. I write a movie wherein the male lead is wearing glasses and researching something and his female romantic interest reminds him about the importance of eating. 
  2. I write a movie wherein the male lead has been treated for serious injuries and attempts to get out of bed in order to save the day, only to be pushed back by his female romantic interest, who reminds him that he is still recovering from that thing that would’ve killed any normal person. 
  3. I write a movie wherein alcoholism is a disease limited only to men and can be cured by the need to save the world.
  4. I write a movie wherein mechanical failures can be instantly repaired with punches, kicks, and head butts to parts of the machine that have nothing to do with the failure. 
  5. I write a movie wherein the intelligence of law enforcement officials is in inverse proportion to their rank.

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I wrote about a dream I had last night. Three dreams, actually. But hearing about dreams usually sucks, so feel free to ignore.

I had a dream last night that I needed to be at a wedding in four hours but was more than four hours away.

I started driving like a maniac, but I knew I’d never make it. Traffic. Rain. A billion stops signs. The world was conspiring against me. Somehow I suddenly realized that I was in the midst of a dream (probably the unrealistic number of stop signs) and decided to change the parameters of the dream.

“I need to be there in six hours instead of four.”

Just like that, the time of the wedding was pushed ahead by two hours, giving me plenty of time to make the drive. The dream proceeded. I couldn’t believe it. I had consciously changed my dream and slipped right back into it’s reality.

I was so pleased that when I awoke in the morning, I told Elysha all about it. She was understandably underwhelmed. Stories about dreams always suck, as I’m sure you are thinking right now.

But then something strange happened. I realized that I was still dreaming. Elysha was still sleeping beside me. I was still sleeping. I was dreaming about telling her about my dream.

A dream within a dream.

For a guy whose dreams are almost always terrifying replays of real life events, this kind of complex, inventive dream was astounding.

Perhaps normal people dream like this all the time, but for me, it was a first. I’m usually engaged in a constant struggle to avoid being killed every night. 

I decided that when I awoke, I would write about my dream within a dream, which I would normally never do. As I said, listening to someone recount their dream almost always sucks.

So that’s what I did, except then something else happened. I realized that I wasn’t writing about my dream within a dream. I was dreaming about writing about my dream within a dream. 

A dream within a dream within a dream.

I watched The Thirteenth Floor last night (a good movie in serious need of a reboot) and the reboot of Total Recall (which was done well). I suspect that the combination of two films, which both coincidentally address the nature of reality, were the source of my own complex dream.

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I’m also terrified of death and believe that there’s at least a good chance that we do not exist and only live within a computer simulation, so these two films spoke to me in a way that most others do not.

They did some serious poking at my existential terror.

Hence the dream within a dream within a dream.

Which turned out to be slightly more terrifying on a cognitive level than my typical night of trying to stay alive while the people in my dreams attempt to kill me over and over again.

The best clause in any contract ever

Samuel L. Jackson has a clause in all his movie contracts stating that he gets two days off a week to play golf and the producers must pay for it.

I have always respected Jackson. His acting skills are superb. He’s been an ardent civil right’s and political activist for his entire life. His work with charitable foundations, including his own, is admirable. His attempts to raise awareness of testicular cancer may have saved lives. He’s been married to his wife for 35 years, and together. He attends each of his movies in theaters as a paying customer.

But this golfing clause in his film contracts impresses me more than anything else. 

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What are the odds that I can get a similar clause written into my next teaching contract?

So this happened for about 30 minutes yesterday. Should I be worried?

Should be concerned with my son’s ability to relentlessly repeat the same series of actions again and again for such a long period of time?

It was like being trapped in a Groundhog Day situation, except that my son isn’t nearly as funny as Bill Murray, and while I enjoyed his kisses, it wasn’t quite the same as being kissed by Andie McaDowell.

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Someone stole my idea for professional best man and made a movie out of it.

Back in April of 2011, I proposed a new job: Professional best man.

I defined the position, listed my many qualifications, and offered myself out for hire.

Since then, three potential clients have attempted to hire me, only to be stymied by physical distance. Two lived outside the United States and the third lives on the west coast.

But all three were serious about hiring me. 

Last year, I was contacted by a British man who was attempting to launch a similar service in his country and wanted to know if I had managed to land any clients.

This week a friend pointed me to The Wedding Ringer, a Kevin Hart-Josh Gad film about a professional best man.

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I’m so annoyed.

The premise for Kevin Hart’s fictional business is a little different than mine. His character offers services to men without friends.

I am offering myself as a second best man. The professional one. The best man that allows your real best man to relax, drink, and act irresponsibly. The best man who understands weddings better than most and will do the work necessary to ensure the success of your big day.

But still, Kevin Hart’s version is close enough. You just watch. People are going to see this as a legitimate business opportunity and steal my idea.

Professional best man services are going to pop up everywhere.

Even worse, why didn’t I think of writing this film? I had this idea long before anyone involved in this movie did.

Maybe I should look at my other proposed jobs and write movies about them before it’s too late.

Grave site visitor and double date companion are just two on my list.

Or maybe professional cuddler?

Great job ideas, but maybe better movie ideas?

Small boy. Big words. Enormous inspiration.

There have been many inspirational speeches throughout history.

Knute Rockne’s “One for the Gipper” speech.

The Saint Crispin’s Day speech from Shakespeare’s Henry V (which sounds surprisingly like the speech that the President gives before the final battle against the aliens in Independence Day).

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Winston Churchill’s address to the House of Commons following the evacuation at Dunkirk.

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Martin Luther King’s “I Have a Dream.”

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And now this.  Unnamed boy’s speech upon learning to ride a bicycle:

The best use of cell phone jamming technology is not being utilized, and I don’t understand why.

In an attempt to ensure safe driving conditions during his commute to work, a Florida man used a cell phone jammer in his car to keep nearby motorists off their phones. 

After two years, Metro PCS reported to the FCC that every day for two years their cell towers had experienced unexplained interference near a stretch of I-4 between Seffner and Tampa during the morning and evening commutes.

The FCC investigated and detected wideband emissions coming from a blue Toyota Highlander SUV belonging to cellphone vigilante Jason R. Humphreys. Humphreys admitted that he was using the jammer, and this week the feds slapped him with a $48,000 fine.

I understand why motorists should not be allowed to use a cell phone jammers. Not only can these jammers interfere with 911 and law enforcement communications, but passengers are free to use cell phones in automobile, and some motorists use their cell phones as GPS devices.

What I don’t understand is why we aren’t deploying jamming technology in movie theaters. Why can’t each individual theater include a cell phone jammer to keep the idiots off their phones during the film? I know many people who no longer go to the movies because of the idiots who text and sometimes even place phone calls during movies. Eliminating the ability to use these devices inside the theater seems like the best use of a cell phone jammer ever.
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If you need the phone, go to the lobby. Go to the restroom. There was a time, not so long ago, when going to the movies meant disconnecting from our friends, family and babysitters completely during the duration of the film.

Is it unreasonable to ask that we maintain this same level of disconnection within the actual theater?

Would any rationale person object to the jamming of cell phones inside the theater?

Can someone please make this happen? Or at least create an app that identifies movie theaters where cell service is spotty or nonexistent?

If you haven’t seen White House Down yet, don’t. You’ve probably seen it already and just don’t realize it.

I watched White House Down last night.

I wish someone would’ve told me not to.

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If you haven’t seen the film, I strongly suggest that you avoid it. Don’t be fooled by the presence of Oscar Award winners.

They were clearly fooled, too.

And you’ve probably seen the movie already, since it is nothing but an amalgamation of other movies, mostly from the mid-late 1990s.

The number of stolen scenes and tropes is astounding. 

The pitch for the movie, I’m fairly certain, went something like this:

It’s Die Hard in the White House. Actually, it’s Die Hard and Die Hard with a Vengeance in the White House, but get this: We’re also going to throw in a little Armageddon and a little Air Force One, too. Actually, a lot of Air Force One. Then we’re going to steal the ends of the movies Mission Impossible and The Rock (and I’m talking the exact endings of these movies) and insert both of them onto the movie, too, except not at the end. We’re going to use these movies’ super memorable ending moments in the middle of this movie. There’s even going to be a moment from Battleship, too, but that movie sucked, so we won’t talk about it. We’ll just steal it.

I’m sure there were stolen moments from other films, too, but I stopped paying attention when the movie got really stupid, which happened a lot.

Wes Anderson loves yellow, orange and brown. I do not.

I am not a fan of Wes Anderson’s films.

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I suspect that it’s because I’m an auditory learner who remembers almost everything he hears but almost nothing he sees.

My wife says that if she were placed in a lineup with other brunettes, I might have a difficult time picking her out. Not true, but she illustrates the point well. Oftentimes, I can’t tell you what clothing I am wearing unless I look down.

My visual receptive skills are lacking, and Anderson’s films are visual masterpieces. Though I know this empirically, his skill and expertise are often lost on me.

Either that or I am not a fan or yellow, orange and brown, which are essentially the only colors that Anderson uses in his films.

If you think I’m exaggerating, watch this video on the themes in Anderson’s films. It’s actually quite interesting, but it fails to note his obsessive use of these three colors, which are on full display in the video itself.

Brilliant writing can be found anywhere.

I read a review of M. Night Shyamalan’s 2004 film The Village the late, great Roger Ebert’s last night.

It’s an absolute brilliant piece of writing.

Here’s an excerpt from it:

"The Village is a colossal miscalculation, a movie based on a premise that cannot support it, a premise so transparent it would be laughable were the movie not so deadly solemn…

Solemn violin dirges permeate the sound track. It is autumn, overcast and chilly. Girls find a red flower and bury it. Everyone speaks in the passive voice. The vitality has been drained from the characters; these are the Stepford Pilgrims. The elders have meetings from which the young are excluded. Someone finds something under the floorboards. Wouldn't you just know it would be there, exactly where it was needed, in order for someone to do something he couldn't do without it.

To call the ending an anticlimax would be an insult not only to climaxes but to prefixes. It's a crummy secret, about one step up the ladder of narrative originality from It was all a dream. It's so witless, in fact, that when we do discover the secret, we want to rewind the film so we don't know the secret anymore."

It’s a good reminder that brilliant writers are not only writing novels, poems, short stories and the like. Roger Ebert’s opinions of films were spot-on, but it was the way in which he expressed those opinions that made him timeless.

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Tim Burton apparently agrees: Spite is the best reason to do anything

From the Wikipedia entry on Jack Nicholson (and confirmed on IMDB and several other independent sources):

In 1996, Nicholson collaborated with Batman director Tim Burton on Mars Attacks!, pulling double duty as two contrasting characters, President James Dale and Las Vegas property developer Art Land.

At first studio executives at Warner Bros. disliked the idea of killing off Nicholson's character, so Burton created two characters for Nicholson instead and killed them both off.

I suspect that Tim Burton and I would get along rather well.

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