It's mid July in the early hours of the morning, the time of day when the hot hot temperatures cool and crime simmers on the back burner.
A mousy brunette is dragged through the double doors, her heels swishing back and forth across the tile like a figure skater who knows she's on thin ice.
SARG
What's she done, Joe?
JOE THE FILM SCHOOL POLICE OFFICER
It's another one of them classic film lovers, sir. Caught her watching Dark Passage.
SARG
Book her.
When I write my personal statement for film school, I have been advised to focus on the work I've produced, what I hope to accomplish creatively, rather than my more prevalent film studies background.
This makes sense.
What doesn't make sense to me, and what never will, is the undercurrent, this bitter rivalry that exists between those who do, and those who talk about what others do, and why there is such caustic, Joan Fontaine and Olivia De Havilland style rivalry between two of the same blood.
And because I hope to never understand this and would rather be stupid and naive about something I believe in so passionately, I've made a decision. Certainly I will focus on those things, but should it be applicable (say, if I'm asked to name influences) I refuse to hide this love of film, all film, young and old, and the fact that I want to play a part in the creation of new work and help to protect and promote what's past if it is in my capacity to do so.
I would love to get accepted into a great school but refuse to be ashamed of this. No matter what the keepers at the gates would like me to say, however accomplished and respectable they might be. I have some big guns to fight with. Scorsese, Truffaut, Woody Allen, The Coen Brothers, Thelma Schoonmaker and many others.
So to borrow from Farragut and The More The Merrier, damn the torpedoes, full steam ahead.
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