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Guess who appears in 13 REASONS WHY (2017)?

13 Reasons Why US Poster

Excitement abounds at Spellbound HQ today! I found out I appear in Netflix‘s new miniseries 13 REASONS WHY (2017). It’s an adaptation of author Jay Asher‘s young adult novel by the same name. When Netflix was filming it in Vallejo, I applied to be a background performer, how the entertainment industry refers to extras.

Here’s how it worked. The casting agency for the show, Glorioso Casting, was booking extras through a website called My Casting File. I created a profile, and I applied for listed extra spots I fit the description for on days I was available. I got more than one availability request, including some I hadn’t applied for, but I wasn’t available for all.

It turns out my one day on the set was my lucky day. In the first episode about eight minutes in I appear in a sequence! My character description was “Background Pedestrian,” but I perform a role quite familiar to me. I’ve posted screenshots below for you to see my scenes in context.

13 Reasons Why Still #1 Red Car Driving Down the Street

Downtown Vallejo’s vintage look makes it a perfect stand-in for the novel’s small town.

 

Characters Clay Jensen (Dylan Minnette) and Tony (Christian Navarro) are in the car.

 

Clay’s attention is drawn to a building they’re passing.

 

It’s the town’s movie theatre, where I’ve just bought a ticket!

 

Yep, this movie blogger plays a patron!

 

The closed caption lyrics on a previous screenshot were correct, Joy Division‘s LOVE WILL TEAR US APART plays over these scenes.

 

I’m almost in the movie theatre.

 

My entering the theatre is a prelude to viewers.

 

Clay’s about to have a flashback involving the interior of the theatre.

So there it is! My first non-credit for appearing in a TV show or movie. I hadn’t read the book, so I didn’t know the importance of the movie theatre to the story’s plot or how I lucked into a likely featured moment.

I’ll be watching more of the series and having fun spotting other locally shot scenes. I’ve already seen a lot of Vallejo and my former neighborhood Mare Island. This is a nice coda to my time living there.

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Quote: The Importance of Women Writing Their Own Stories

“I did this show called TRAILBLAZING WOMEN, and the biggest thing I’ve learned in two years of doing the show is that men write their history and that’s why they’re remembered more than women. Cecil B. DeMille made sure to write everything down, but all the other women that were working at the same time as Cecil B. DeMille and D.W. Griffith–there were women directors, they didn’t write their stories down, so they weren’t included in the history books. I think it’s really important for women to mention the things that they were a part of.”

–Illeana Douglas, co-host of the I BLAME DENNIS HOPPER podcast, episode 12/20/16

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Happy International Women’s Day 2016!

Anita Louise Autographed Picture

For International Women’s Day, let’s take a moment to remember a woman of words, Anita Loos.

She started screenwriting in the silent era, and she’s credited for elevating the intertitle beyond the functional into an art form. A wordsmith, wit, and satirist, her intertitles had zing. Yes, they had “It.” It’s likely her exposure to the family tabloid and her own newspaper writing made her value succinctness. Would it be even more of a stretch to suppose that this early education schooled her in the art of equivocal, particularly innuendo? She could write a line explaining a scene and poking fun at a star’s persona. When describing yet another one of Douglas Fairbanks‘ characters designed to show off his athletic prowess, she wrote he had “a vaulting ambition which is likely to o’erleap itself and fall on the other side.” She was getting meta before that became a thing!

She had an aversion to societal hypocrisy and the pitfalls of her sex, threads that run through her work, like in this line from Intolerance (1916): “When women cease to attract men they often turn to Reform as a second choice.” Instead she had a fondness for hustlers, loose women, and other characters usually viewed as disreputable undesirables. Exposure to San Francisco’s Barbary Coast and piers, when accompanying her father on drunken wanderings and fishing trips, gave her a glimpse of those types at a young age, and she never lost her fascination for them, and they populate her work.

The most famous example is Gentlemen Prefer Blondes‘ Lorelei Lee, a ditzy, gold digging flapper. Loos wrote the comic novel as an act of revenge. She was tired of seeing her male intellectual friends (and crushes like H.L. Mencken) fall for women with more “downstairs” than upstairs. Despite Loos’ upset over the inspirational situation, there’s an admiration for Lorelei’s wiles and ambition. Loos was a hard worker, and so was her creation, who through her kooky logic and machinations ultimately wins.

Despite a disastrous love life that included marriage to a controlling, abusive, narcissistic, spendthrift schizophrenic, she kept working and didn’t turn to drink or idleness unlike other contemporaries. She survived film’s transition into sound writing more screenplays and expanded her oeuvre to include additional novels, (likely fictionalized, but so much fun to read) memoirs, Hollywood biographies, and Broadway.

She even became a script doctor. My favorite example of this was her being called in to work on a property other male writers, like F. Scott Fitzgerald, couldn’t get right. They couldn’t relate to the source material. Fitzgerald thought it “a spiteful portrayal of femininity.” Loos loved the Clare Boothe Luce play. Loos was very familiar with its subject matter, an exposé of the cattiness, gossip, men-stealing, and gold digging of Park Avenues socialites and the wannabees. She delighted in dishing on what occurs behind the scenes in women’s spaces. She turned out a script in three weeks that remains a classic beloved for its zingers to this day–The Women (1937).

When she died in August of 1981, her drive resulted in a body of work spanning about 65 years. She remained a celebrity. The gamine, 4’11’ girl with the pixie cut had aged into a grande dame of the New York social scene, active and vibrant close to her end. She frequented the party, fashion, and arts circuits. She enjoyed being among the surviving few of the silent era able to share what ever stories she remembered or fabricated. Film historian and preservationist Kevin Brownlow interviewed her for his television documentary series Hollywood: A Celebration of the American Silent Film (1980), and he must have had a fun time sorting fact from embellishment. “At the memorial service, friends Helen Hayes, Ruth Gordon, and Lillian Gish, regaled the mourners with humorous anecdotes and Jule Styne played songs from Loos’ musicals, including “Diamonds Are a Girl’s Best Friend.” The storyteller would live on in others’ tales and through her work.

Anita Loos Reading

References

Anita Loos.” IMDb. IMDb.com, n.d. Web. 08 Mar. 2016.
Anita Loos.” Wikipedia. Wikimedia Foundation, n.d. Web. 08 Mar. 2016.
Anita Loos.” Women Film Pioneers Project. Women Film Pioneers Project, n.d. Web. 8 Mar. 2016.
Hutchinson, Pamela. “Anita Loos – Sharp, Shameless Humour of the ‘world’s Most Brilliant Woman‘” The Guardian. Guardian News and Media, 11 Jan. 2016. Web. 08 Mar. 2016.
Somerville, Kris, and Speer Morgan. “Anita Loos: The Soubrette of Satire.” TMR Content Archives. The Missouri Review, n.d. Web. 08 Mar. 2016.

Happy Fourth of July!

Joan Crawford on Rocket

Have a happy Fourth of July! Don’t be like Joan and get too close to fireworks.

After the holiday, expect posts on recent Niles Essanay Silent Film Museum events, Charlie Chaplin Days and the 16th Annual Broncho Billy Silent Film Festival, the upcoming San Francisco Silent Film Festival, and the PFA’s Raoul Walsh film series.

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