Okay, for today, let’s start at something we know and go somewhere we don’t and end up… who knows?
1. This man:
2. This is a picture of Sawyer reading a book:
That’s in “Eggtown.” How odd was it that Sawyer was the most prolific reader on the show? And Ben came in second place. We saw lots of glimpses of Ben’s and Jack’s bookshelves but Sawyer was the one we always saw actually reading (and Ben just occasionally). I wonder if Sawyer and Juliet (re)started a book club somewhere in their three years in the 1970s DHARMA Initiative… Hmm.
2 3/4. Like I said…
3. Anyway, that book that Sawyer happens to be reading there is this:
4. That particular cover above is based on the fact that the lead female role of the book, a character called Faustine, is based on silent film star Louise Brooks, whom is on the cover. This is another picture of her:
5. The plot, rather roughly, is: a man hiding from the authorities ends up on a mysterious island. Eventually a group of people come and the fugitive falls in love with one of the women with them. He keeps a diary, in which he talks about observing these people and their actions all the while trying to not be discovered by them, and how they seem to repeat some of the same conversations over and over, and then disappear. The fugitive tries to confront the woman, Faustine, and tell her how he feels about her but, as Wikipedia puts it, “an anomalous phenomenon keeps them apart.”
6. This is the original first edition cover of the book:
…which were designed by Norah Borges, the sister of Jorge Luis Borges, one of the author’s closest friends and a serious advocate of this novel. Borges even wrote a prologue for the book in which he said: “To classify it [the novel] as perfect is neither an imprecision nor a hyperbole.”
7. Supposedly the novel was inspired in part by earlier novels, such as 1934’s XYZ, by Clemente Palma, which I don’t know much about, but also the much more popular novel, The Island Of Dr. Moreau by H. G. Wells.
8. This is an image from the 1996 film version of the movie:
10. I only saw that 1996 version of The Island Of Dr. Moreau once, which was directed by John Frakenheimer, and it was incredibly long ago, probably not long after it came out, but I love hearing accounts of the considerably rocky production, which suffered all kinds of shake ups, script rewrites almost daily, the original director being fired just three days into shooting on location in the tropical wilderness of North Queesland, Australia and, of course, the perfect storm that is Val Kilmer and Marlon Brando.
Anyway, so just a day or two after they got to their tropical location shoot, Kilmer decided that he wanted his role (as the lead character who happens upon the unethical villainy of the mad Dr. Moreau) cut by 40%. Some of this was because, yes, Val Kilmer is insane, but it was also right around the time he was going through a painful divorce. And after quite a bit of examination, it was discovered that there was no way to cut down the role Kilmer had been hired for, so he’d have to trade roles with David Thewlis, who had been cast as one of Moreau’s creepy flunkies.
11. Only slightly related: “I’m Val Kilmer. Take me to the strip club!”
12. Val Kilmer, even at your greatest heights, you’re still no Charlie Sheen. That’s a fact to both be ashamed of and to take pride in.
13. Speaking of weird actor bullshit on the set of a movie, if you ever get a chance, and are bored enough, you should go read up on the crazy demands that Marlon Brando came up with on the set of 2001’s The Score starring Rober De Niro, Edward Norton, and Angela Bassett. It’s some great stuff like not wanting to wear pants (so therefore a majority of his scenes are shot from the waist up) or refusing to take direction from director Frank Oz, whom he would only refer to as “Miss Piggy,” which lead to Oz having to sit in a van outside the set with a monitor and relaying direction via walkie talkie to De Niro to give to Brando.
Honestly, it’s enough to make you want to get really huge (mostly in a fame and talent sort of way, but possibly also in physical size) and just go really splendidly crazy, you know?
14. Getting somewhat back to our original topic… The Invention Of Morel. Interestingly enough, it was adapted into film in 1974 and starred the lovely Anna Karina, famous from so many Jean-Luc Godard films, and who was also in the film adaptation of The Magus. But that shouldn’t be held against her, should it?
15. But more interesting than that is the theory that the novel was a serious influence on the classic and notorious Alain Resnais film Last Year At Marienbad.
Many a person hate the film, which has inspired so much satire and so very many attempts at deciphering it, at finding meaning in it’s voluptuous qualities, but that’s an almost impossible task to do definitively.
At a European château, a man approaches a woman. He claims to know her, but she doesn’t seem to know him. He tells her that they had met last year at Marienbad and that she had told him that she’d be waiting here for him now. He’s positive of this but again, she doesn’t remember. Her husband shows up. There’s a question of dominance at play, a power struggle, and the continuing effort to try and convince the woman of what the first man says is the truth. The characters have no names, but in the screenplay, the first man is X, the woman is A, and her husband’s name is M. Conversations happen again and again throughout the château, and reality seems to be a changing whim and there are many a haunting, cryptic voiceover hanging over lush, ambiguous tracking shots.
This is a very necessary film if you have any plans of calling yourself a pretentious film buff or a lover of the French New Wave.
17. The film is a thrill for guessing at, for surrendering yourself over to it’s masterful pace and tone, and then for pondering over with enlightened friends after a viewing.
18. Trust me, the film becomes a lot more fun and the guess work far more potent if you take on the assumption that it’s a science fiction story. Or a ghost story. Wander through that same mesmerizing landscape as the characters in the story and you’ll have a fun time.
19. Of course this all kind of ties into Lost, with certain echos of similar scenarios throughout the show and it’s mysterious island setting.
One example of that would be: Horace appearing to John and talking about Jacob’s cabin while chopping wood in a continuous loop. Of course, this was in a dream, but it’s an interesting visual representation of stone tape theory.
Remember back in the early, glory days of Lost theories, there was always stuff like “The Monster is nanotechnology,” which took a long time to fade after repeated denials from the producers, but that I always liked was holograms. Like “Jack’s dad is a hologram” or “Eko’s brother is a hologram,” meaning that they weren’t ghosts in the classic supernatural sense.
20. Last Year At Marienbad inspired the video for “To The End,” a 1994 single by Blur from their album Parklife…
Jesus, remember Blur? Fuck, I miss Britpop. Damon Albarn has held on pretty strongly musical, both with Gorillaz and more recently complaining somewhat unnecessarily about Glee. Anyway, in the lovely video, that’s Albarn as “X” and Graham Coxon as “M.”
22. A year after “To The End” Blur would use another film as fuel for pastiche in a music video with “The Universal” from The Great Escape. Viddy well:
The film this time being Stanley Kubrick’s A Clockwork Orange, interesting enough. And the single’s cover was reminiscent of Kubrick’s 2001: A Space Odyssey.
23. It should be pointed out that these both songs that I like quite a bit, as well as their videos. It was a smart move on Blur’s part, I think in doing these pastiches, not only because it makes them appear more stylistically interesting and intellectual (or as intellectually far as an homage can take one these days), but it really reinforced the strong roots that the 1960s held within the foundations of Britpop.
24. Going back to Last Year At Marienbad, another video:
This short film, called “The Arranged Time,” by a filmmaker named Scott Johnston, clearly owes a debt to the mysterious dream logic of Resnais’ classic, but is also it’s own intriguing thing. It’s well worth the viewing, but if you don’t want to favor the tip of the hat to Last Year At Marienbad, I can always offer you the hipster version of a reference: It’s remarkably David Lynch-ian.
25. I should probably loop this thing back around somewhat, back to where we started…
26. Here’s a nice fun fact for you: Matthew Fox has never seen a single episode of Lost.
Apparently he’s just really uncomfortable with watching himself “act.”
I can just imagine him watching the show and thinking, “Oh man, this Jack guy is just too fucking intense.”
27. This is a great picture I found today…
28A. It’s kind of like how I’d rather watch a Tony Stark movie than an Iron Man movie.
29. Staying mostly on target here… Don’t forget: They originally wanted Michael Keaton to be Jack on Lost. Granted, had that happened, they would’ve killed him off in the pilot (to shock you!) and Kate would’ve become the lead of the show, but had they kept him, I feel confident that he would’ve mustered up a decent quota of Jackface on a regular basis.
The problem with casting a seasoned film actor like Michael Keaton in the role of Jack would’ve been that he just wouldn’t have taken the chances that a seasoned and angry television actor like Matthew Fox (who always seemed to have something of a chip on his shoulder, a kind of unresolved anger residing within him after Party Of Five) would have and did end up taking. It’s shocking to think and say this in a way, but I just don’t think that Michael Keaton would’ve matched Matthew Fox’s intensity.
30. I made mention the other day, somewhat jokingly, that I kind of assumed that The Venture Bros. would end with the titular characters’ father, Rusty, putting himself out of his own misery (which is a much larger conversation, of course), but in thinking about that in the days since I typed those words, I couldn’t think of a moment in Lost where we saw Jack actually reading a book. Which makes sense for a lost of reasons, one being that Jack always had shit to do, was always on the move. He wasn’t a lounger like Sawyer or Ben or Locke. But, speaking of Locke, that was the only instance I could think of where Jack had a seat and read something rather significant…
31. This picture is funny:
I’d love to someday see a book from Damon Lindelof and Carlton Cuse talking about all the various things they had wanted to do on the show that didn’t work out. On one hand, obviously, it wouldn’t matter. The show is the final product and that’s all that really matters, but even still, from the perspective of creating and writing and running a big show, one as ambitious as the one they produced, I’d be dying to know tricks they had up their sleeves that didn’t work out (Nikki and Paulo), how things would’ve gone if certain tricks hadn’t worked out so well (the character that became Benjamin Linus was only supposed to be around for three episodes and wasn’t intended to be the leader of the Others but Michael Emerson was just too good), and how they got to where they did.
Just imagine all those creative ghosts that are alive and wandering around the Island of Ideas.
33. All of that said, right now I’d figure this would be the last time that we really talk about Lost on this blog, but I can’t commit to that notion, not fully. To me personally, the show was such a broad, interesting thing that I feel like something can always come along that has relevance with the show. Especially, if you’ve noticed so far, since I have a particular interest in the way things align and connect with each other.
Who knows, maybe we’ll never talk about Lost again here. Or maybe we’ll be talking about it again tomorrow. Memories and locations intertwine differently for all of us and we can only bring our own unique meaning to them. The past has an amazing power over us, a constant hold, but it’s different for everyone. I would love to have a new show come along that inspires and interests us and ignites our imagination just like Lost did, but right now I’m not holding my breath. Maybe we’ll never leave the place we made together.