past the shattered door

If you're unlucky enough to have an event that can engender PTSD - in my case the events surrounding my brain tumor diagnosis in 2005 - then I am so sorry. You'll work for years - running, meditating, therapy - to modify, mollify, blunt, ignore all subsequent manifestations but the event has such force and power that all your improvements and updates will just be blown into the wind, plywood to a hurricane, bandages to an amputation. Rising in different forms: depression, anxiety, panic attack. Sometimes a combination. Beware triggers they say. For me trigger is not being able to get in touch w/ M, who in more than one way is my lifeline and conduit to outside world. Due to recent iphone update which rendered cellular function kaput M's phone was working intermittently and so we jerry-rigged a fix for but the fix kept not holding. Sunday night she went to reading and was out late and I couldn't get in touch w/ her b/c of this issue with phone. She couldn't receive calls/texts or make them. N was running fever and suddenly out of medicine so my original impetus was innocent enough: ask her to pick up medicine on way home. But it just so happens that sick kids is another sort of ptsd trigger for me (something or other about the betrayal of the body, of the inability of us to rely on anything b/c we're just one event away from a shitstorm) and lo and behold, after trying several times to call and text her, it began:  slow implosions, getting faster, getting closer with each passing minute. An interior dialog of panic/don't panic, while a series of dark looping images whirled by. The don't panic voice was akin to a stewardess telling everyone to stay calm when we can all just look out the window to clearly see imminent fire, explosion, oblivion b/c this plane is going down.  I absolutely right-now had to get in touch with her. I knew she was at after-party at some place so I tried getting a hold of the people she might be with. No dice. I texted a couple individuals. Nothing. It began rising up from the floor, this blackness, encircling my stomach, my heart and lungs. I looked up our car insurance so I'd have the license plate and VIN number to tell the police when they came. Headlights flashed by on the trash can on the street. Just the passing bus. I began checking alerts on my phone, seeing if there was anything horrific-fireball-on-the-interstate wise. I began thinking when/how to tell the kids. When/how to tell her mother. Text from a friend dinged in: they saw her leave an hour ago w/ K.The clouds parted and Oh sweet Jesus, thank fucking god. I called K, no answer. Texted K, no answer. FB messaged K, nothing. And just like that all the light quickly vanished. Breathe. Deep Breath. Breathe. Deep Breath. Somewhere inside I knew I was overreacting. We'll laugh about this in a couple days. How ridiculous I was that night. Ha ha! I tried to keep coming back to Occam's Razor: she and K probably went for drinks and got to talking. But then the alternate timelines came roaring in and they were equally plausible razors: she gave K a ride home and perished on the way/perished on the way back/lost control of the car in the industrial part of town w/ no one around but skeevy meth-heads and her phone isn't working, oh god. it's fucking midnight. Red alert. urgent. I couldn't just stand there waiting in my pajamas. I put on pants. I went out into the front yard, looking up and down the street, looking for light, listening for engines, heart pounding, throat constricting. Text from friend dinged in: have you heard from M yet? let us know when she's home. Great, now they're worried too dumbass. I went back inside and, feeling at absolute loss and b/c I couldn't just stand in the kitchen hyperventilating or picturing the next morning when I'd tell the kids, went down to my office, sat down at the keyboard and started writing an email to her with trembly fingers, partly to document what I was feeling and give form to it, and partly to say goodbye. We had just had our first solo night together in 7 years the night previous and had an amazing time (drinks/movie/live music/pinball/no kids/laying in bed reading the sunday ny times!) and the screenwriter in me couldn't help but see that narratively this would be them moment in the movie that it would all end due to unseen, dark forces. Element of surprise. Let your characters think they're safe. Of course, this is it. This is how it ends.

Is it possible that this whole time that I've held the brain tumor and all that surrounded it in the rearview mirror, as something in the past that I was done with, not knowing that it still enveloped me? That it gave me just enough wiggle room to allow me to think I was free? Does the attendant insecurity, negative self-feelings and corollary emotions which I've just long presumed lay within me actually have their sources at the point of impact? And isn't this a freeing thought in some regard? That the reasons I still feel myself wrestling with these forces across the years owes nothing to my own limitations and everything to the sheer force of the event. The running, the breathing, the meditating, the therapy, the too-many-beers - all just shape-shifting bandages for my amputated limb. Should I just let go entirely, submitting in whole to these forces? So much effort would be instantly alleviated if I'd just accept that: You don't have the upper hand here. 

I was on the third sentence of the goodbye email when lights came through the window. A car in the driveway. I stood to look out the window. It was M. locking the car and beeping the alarm and striding across the grass oblivious, like a normal person home after a night out. It was getting close to 1 AM. I walked upstairs and cracked a beer to help me calm down before catching her up on the events of the last couple hours.

memorial day trip

driving down the winding road alongside the Smith River on the 199, tiny towns subject to change and decay, unlike the rising landscape

maybe aging means existing alongside your former selves, not transcending them. the complication is in keeping the timelines in order, the thread of the narrative bloats with each year, bleeding into the watery present.

there's the theater in eureka where I was a projectionist 20 plus yrs ago, moving heavy film canisters to the projectionist table, threading films into projectors, watching the ends of movies over and over, checking focus and frame out the small window that overlooked each auditorium, aching as I looked forward to life in LA, toward becoming a filmmaker. all that aspiration and ambition pulsing with the knowledge that it was going to happen. no matter what.

there's the theater in Arcata where I watched rivers of double features starting 25 years ago, where I worked for a time, where M did too, where one early morning she and I sat out front on the raised corner of the loggia and she looked at me and said we both know last night didn't mean anything and a possible door closed before re-opening a short time later, arguably beyond my agency or hers.

In Ferndale (where I was an extra in a film 23 yrs ago and where another film was shot 16 yrs ago produced by the company I worked in the mailroom at in LA) here's a house where we stay with old friends - some not seen in decades - all of us older, greyer. All fundamentally the same and unmistakably altered.

and there's the trees, standing for ages before my great-grandparents were conceived laughing at my insights (oooh 20 years, come back and see us in 500 bud), standing through fog and wet, through sun and ache. still t/here.

my filmic trajectory has not lined up with what that projectionist anticipated but that is not a unique story I suppose. still my next film project stirs, slowly gathering form and heft.

and this is a thing borne of many unconnected things, of where I find myself, of reading some D Lynch interviews, of recalling M Haneke directed The Last Continent at 47, of rewatching Man on Wire, of my 45th birthday just days away, of the trip to past corridors where my old iterations stand on every corner : I have always found myself waiting for things - mentors, money, approval - needing those things to grant me the power to move forward. This new film is the embodiment of that, which is to say a character wrestles with all these competing strands of history and desire of time and oblivion - and by the simple act of continuing to step forward, she transcends it. And so for me the act of making this next film is the renunciation of that need, that reliance on approval. I'm tired of wanting to be liked, this grade-school ache to fit in that I've toted around for decades like a fat cement albatross. Time to cut that loose and to finally get busy.

And 100 years from now when this next movie and the next and the next have been born and lived and been long forgotten this tree in the fog will still stand, not really giving a crap about anyone's aches or iterations.

Barbara Turner

Barbara Turner died in April. I've been in deep denial, dreading/avoiding writing anything at all about it, as if the act of writing will be a horrible homework assignment which will end with me facing the cold fact that she is not here any longer. Alternately kind and caustic, hilarious and serious she was a formative presence in my life.

I had just been accepted to AFI in Screenwriting and needed a summer job before the semester began (and student loan $ rolled in). I went up to AFI and looked on the job board (this is in 1997, internet just a baby) and saw an announcement for screenwriter Barbara Turner needing a research assistant. I knew just who she was from seeing Georgia (and from reading her corresponding interview in Scenario magazine.) My heart pounded when I called the number. A real screenwriter. I was given an address and told to come by to meet Barbara the next day.

"The pay is shit". These are among the first words Barbara said to me as I sat at her kitchen table. Though early afternoon she was drinking prosecco. By good fortune she had two scripts back-to-back that had to be written & researched in short order, one based on a historical account of 2 possessed girls in early 19th century Illinois, and the other an adaptation of a novel set on Majorca in the 1500's. Each would require a high volume of research.  She had already hired another AFI Screenwriting student named Guy Davis and would I like to join them? I muttered "sounds good" and tried to play cool but inside my heart was doing flips. I could see a framed award from the NY Film Critics Circle on a nearby shelf. This is inner circle shit. I've made it! I didn't mention that I hated doing research or talking to people lest that sway her decision to hire me.

Guy and I started in earnest the next day. First up was the Illinois project. Barbara as writer had the same degree of commitment as a hardcore method actor. Which is to say, it wasn't enough to know the names of artifacts and customs and principles of 19th century Illinois, she had to fully comprehend them at the molecular level. Each day found her sitting at her desk or in a chair in her office reading for 7, 8, 9 hours while myself and Guy were sent out into the corners of Los Angeles tracking down books, maps, folios, daguerreotypes, poems, farmer's almanacs. I spent a week chasing a period song down, finally finding sheet music at the UCLA Music Library. We got it to a pianist and had him record himself playing/singing on cassette tape so she could hear it. (The net result in the screenplay was a line of description: They enter the house and  hear "Period Song" being played on a piano in the next room). After 6 weeks or so of dedicated research Barbara begin writing.

screenplay drafts on legal pads

The process in short: She sat in her chair next to her sharpened pencils and wrote the script out in longhand on legal pads, starting at page 1 and going page by page to the end. Guy and I (and her research coordinator Chris) were all a room or two away in case we were needed.
"Brian?" I'd be summoned suddenly after an hour of silence.
"Yes?"
"Which book had the picture of the dray-wright reattaching the wheel?"
"I'll look"
"Thank you. And I need all the notes on that parade.  And the spiritualists"
Moments later I'd return with a stack of things. She'd check what she needed and return to writing.

At the end of each day she'd phone her friend and former assistant Pam in NYC and read what she'd written over the phone, Pam would type along and then fax the pages back to Barbara (again, pre-internet really). The next day would repeat until the script was finished. And by finished I don't mean a draft was finished, I mean the script was complete after one pass owing to the depth of Barbara's commitment and research and her deep talent. The screenplay was invariably also awesome and lyrical and pitch-perfect. (note: get your hands on her work.)

a million yrs ago in nyc

Barbara was always a real-world counter-point to the screenwriting dogma I was absorbing at AFI. You should not do X in a screenplay or Award-winning scripts do this by page X. Her screenplays transcended these. They talked about how the camera was moving, about if it was a medium or tight shot; they had expository paragraphs just for the reader; they talked about the rhythm of the cutting. All standarized verboten in a million screenplay seminars and a million hastily-assembled how-to screenwriting books. Years later Barbara learned that her one of her screenplays was used in a film school class as an example of WHAT TO NEVER DO IN A SCREENPLAY and she, true to her nature, took this as great honor, as proof positive that her work was landing correctly in the world.

One of the most vital things to Barbara was how a screenplay sounded. When I would nervously pass her my specs a frequent note after she read it was: I think you need to hear it. (Another common note: You should direct this.) How the words flowed on the page and in the reader's eye and ear was the aim, how the writer's voice presented itself and landed, in lilt and command.

My tenure working directly for Barbara ended in the fall with the start of film school but since Barbara still needed help (and Margaret - my girlfriend at the time, now wife - needed a job,) Barbara hired Margaret as research assistant.  They worked together for several years and across time Barbara became a dear friend and ally.

To put it cleanly: I learned more about being a writer watching Barbara work than from any book, any class, any interaction in Hollywood. She was a true artist (an overused phrase to be sure, but one that contains how commitment to art/form can yield returns, sometimes at a cost). A true sui generis writer in a town bloated with self-announced unique snowflakes, one whose slender but respectable body of produced work betrays the volume and scope of her true abilities and genius. Many of the best things she wrote are as yet unproduced.

Barbara's desk

There is so much else that can be said but it will just veer into uncollected ramble. The ache of loss and love I feel for Barbara, along with my unwillingness to accept that she is dead are intertwined. Mostly I miss talking with her, getting her opinion on my screenplays, seeing movies with her, deconstructing the latest celebrated indie film, drinking prosecco with her at her kitchen table in the early afternoon, watching shadows slowly extend across the backyard.  I miss the feeling of sitting down to read her latest screenplay and marveling at the movie to be made from the words on the page, the feel of those words - her words - and the lilt and command of her voice.

Barbara is amazing. I say it in the present tense because I feel her in the present tense. Here and not here at once.  I imagine her now, sitting next to me in a dark theater watching current cinema and whispering "I can't believe what I'm seeing" at terrible acting or dialogue. More than anything I have memories of her in tiny moments like this.

from the thank you page of  Margaret's book People Like You

Here/Not Here

I chipped my tooth again. Last night. I was in the hallway bending down to look at mud on the floor as my son Nicholas was crouched below. He sprung up, froglike, unaware of my head nearby. He knocked me so hard on the side of cheek that my front tooth came out.  Or rather, part of my front tooth. Part is real, part isn't.

21 years ago (Feb 26, 1995 to be precise) the same tooth was chipped by my then friend Margaret. We had all just been at Westhaven Beach near Trindad CA. (Margaret and I didn't become a couple until later in the summer of the following year, 1996) We had been shooting a scene for my super-8 film (with the unfortunate title "One Wacky Mornin'"). George was in the film so he was there, me, Marsha, Margaret, Matt. Marsha drove us all back in her Volvo to the house on Beverly Drive in the Sunnybrae neighborhood of Arcata, (where I was finally officially finally transferred to HSU, after 2 semesters at CR, taking film classes like Cinematography I with John Heckel, for which I was making the Super 8 film). Margaret slid out of the back seat, headed up toward the house. I leaned out the open door to say something smart-ass like hurry up or lets go (she was running in to get something. wallet? Red? ) unaware that she was in the act of pushing the car door shut behind her. The window was half-down and met me right across the teeth.

Last night after verifying my jaw/cheekbone wasn't damaged - N hit it very hard - I went downstairs and found my journal from then Winter/Spring 1995. I was an avid journal-writer in those days. My journal writing taking the place of making anything. I was taking film classes yes and had fierce burning urge to make movies but with deficit of facility and things-to-say. The journal was interim life-raft that I mistook for something meaningful. It has different meaning now as document/snapshot so in one sense it's always contained meaning but the meaning has transformed across the years. I read several consecutive passages: I was 23. Finally feeling somewhere I belonged (or at least could grow to belong) and yet contending w/ some extreme alienation, alone-ness, probable depression. As I read I was struck by how much time has passed and how I am yet in the vice grip of that trio. One passage in particular had me in a piano practice room - I wouldn't take Intro to Piano with Deborah Clasquin until the fall but I would always sneak into the rooms to mess around - staring into a mirror and wondering who the fuck was staring back. Later in the journal contains a embarrassing passage about my imminent world-domination as a filmmaker. Based on zero evidence just gut feeling but i really know that feeling was me vs the world, me delaying, me deferring, me saying just you motherfuckers wait.

I kept reading, hoping to find a great narrative document of what happened when I chipped my tooth but nothing of note. Just a a single sentence at the bottom of the page in a rambling passage of early 20s spew (sample: The heart is split like a harness, a canvas for the finger, the hand, the soul before the solitary painter who mirrors, who reflects.) There it was, a single sentence, no context: I chipped my tooth again.

I have no idea what the 1995 'again' refers to (I chipped my tooth in 3rd grade. Am I referring to that?) but the 2016 'again' refers to 1995.

2 days ago I was at a memorial service. Seeing photos flip by, projected onto the screen - infant one second, parent the next, in the throes of debilitation in the next - crushed me. Vital, then not. Here, not here. There's a Kubrick quote that best gets at what fucks me up about it all: The most terrifying fact about the universe is not that it is hostile but that it is indifferent. The scope, breadth, joys/fears of entire existence reduced to a tiny room, an open bar, a speech, then nothing. Just the programmed hum of the HVAC, clicking on/off whether you are present or not.

In Fall of 1995 I was taking Intro to Piano with Deborah Clasquin. [By coincidence Margaret was in the class too. But she wasn't there that often since it was early in the AM and since she and Red were actively splitting. Margaret dropped the class eventually.] Deborah was a great instructor, patient, deliberate, kind. At the very back of the journal I found a ticket stub from a public performance she gave. Feb 4, 1995. It was the kind of artifact one shares on social media these days so I did a quick search for her with aim to send it her way.

Only to discover she died almost 7 years ago, March 10, 2009. I had no connection to her beyond the class, had no contact with her in 20 years but it still hit me sideways, not unlike my son springing up, uncertain my head was just over him. Vital then not. Here, not here.

I am prone to look for meaning in things where maybe there is none. Maybe that makes me no different than anyone. Maybe the answer is always nothing, coincidence, indifference. Maybe the older you get the more numbers, lives/deaths, coincidences you contend with and sift through.
But all that said:
what does it mean that the woman who became my wife broke my tooth in the exact same place 21 years before our son would? What does it mean that the same forces I felt aligning against me in my 20s are still present? What does it mean that my journal is filled with arrogant puffery about the filmmaker I hoped I would become? What does it mean that the night I saw Deborah Clasquin's performance was 22 days away from when my tooth would get chipped, was 21 years and 5 weeks from when it would get chipped again, was 10 years and 1 day away from my 1st brain surgery, was 2 months after Nicholas K - our son's namesake -  died in his van outside Trinidad CA driving back from Portland, was 14 years and 5 weeks from her existing any longer? 

I am writing this at my day job and the HVAC just clicked on here.

63 eye-blinks

I have been surprisingly flattened by the news of Robin Williams' death. The particulars yes are horrible and dark but the mere fact of him not existing any longer is what caught me off guard. I did not revere him per se or track or follow him or hold him in some high celebrity esteem. But what I've learned in 24 hours or so after I discovered he died is that he occupied a bigger place than I knew. I ache with his passing and I cannot figure out why or better put, I cannot articulate why. There is something in here about a collective mourning, something about my (our) own mortality reflected back to me, something about my memory of seeing DPS at Perimeter Mall in Summer 89 - 25 yrs - with Carmen and Amy and Will (who was visiting from Charlotte) and me absolutely losing it in the "O Captain My Captain' scene, something about cinema when it functions as intended on a deeper, molecular plane where things - ideas, emotions, people - are fixed and inviolable like air, planets, stars, and lastly something about how all this - good, bad and in-between, has a shelf-life. Sixty-three eyeblinks. Not so different or far from my forty-two eyblinks. Not so far from the twenty-five eyeblinks ago where I am sitting in the dark in Atlanta with my friends, watching Robin W on screen. I don't know what it means or how to source this sadness. All I can say definitively is that I am unspeakably sad and that I and we are the poorer for his absence.

oblivion tour

flew to SF last week to attend memorial service for M's uncle. Marin sun and sky were warm and blue, a counterpoint to the dark finality of everything surrounding us. Travelling with 2 small children amplified all stress and discord but also small, breathing reminder of the ephemeral nature of this whole ride. a gut-punch coming and going. i didn't know him well but i knew him. enough to feel something large stir as i sat staring at his broad grin frozen on poster-board at the front of the venue, joyous to the end. later in sausalito, boats on the water and tourists with peace sign poses in front of a parkside fountain. I am in a wool suit pushing a stroller, hoping an infant will sleep, the heel of my dress shoe extracting skin and blood. Later that night, watching alcohol shake loose obscured sadness, the true fear and effect of  the ultimate pulsing right there under all our manufactured forms, tiny truth pellets falling into a dispenser one at a time.

 the next day w/ M's dad, back in Marin again warm and blue, his person and form showing signs of decline, the same but different. we go to a park she went to as a girl; we go to her elementary school pulsing with one-upon-a-time Ms; we drive through rolling hills, find the house where M was a girl 36 eye-blinks ago, the hill she rode her big wheel down. ten seeming minutes from now will i/we tour similar terrain? the morning becomes afternoon and have to leave, to cross the bridge back.

 the next day we are w/ dear friend and her son, watching him drive in a run on an elementary school field, feeling the prickled absence of his father, an absence that continues to shadow me, forcing me to confront unanswerable questions. later at their house, the last place i saw him, hugged him, told him 'hang in'. more large things stirring, more gut-punching, continuing as we board the plane, as we return, as we unpack, as we sleep, as we rise, as we go through the motions of daily routine, leading me to a conversation w/ M at the kitchen sink the next night. Why am i perpetually fucked up, why am i 9 parts dark black to 1 part graciousness and blessings instead of the inverse? why does what i dodged continue to extract skin and blood? more unanswerable inquiry. I am exceedingly lucky and I know it but I don't always feel it. I feel the potential result more than the actual. I feel the passing form of the shark that missed me instead of the relative calm blue water i laze in now. when and how will it end?