Tag Archives: MIles Davis When I Fall In Love

Me, As Usual — Getting My Ducks In A Row!

I’ll tell you, it is really starting to feel like Spring, gang!

The starlings arrived, en masse, this morning. They are out there flying about, everywhere. The cats are very excited! I’m not sure how long it will take the birds to move in under the soffit outside my backdoor and start building nests again and then really making my cats crazy, but I tell you — they are everywhere this morning!

I love that they have arrived. But it also makes me feel a little anxious, because Spring means I need to get to NYC to begin the table reads for Tell My Bones at the Dramatist Guild. And even though I know that is going to go great — I just know it; I feel it in my own bones. It also means that then Summer will be right around the corner and you know that summers are so tricky for me.

I don’t want to set myself up to fail, or anything. But once Summer arrives, it is so emotionally hard for me to let it go. Once Summer leaves, it means I am one summer farther from the man who died. And even though I know for certain that life is meant to be that way — the cycles of the seasons, of life/love/death — it’s still a heartbreaking specter, always in the background for me. I’m never 100% sure how I’m going to handle that kind of stuff until it’s upon me, you know?

I try not to use all this as a reason to throw myself into my work. However, I’m doing it anyway.

Well, yesterdays’ script-writing session with Peitor was actually incredibly productive. We completed Scene 5, the scene of primary importance in the whole (very short) film. I was impressed with us, because we achieved this 2-page scene in 3 sessions, instead of our usual 20 and a half.

And when I re-read what we had managed to capture in the script (4 lines of very brief dialogue and then the shots, the blocking, camera angles, and lenses), I was really pleased with it.

That said, though, wow. Yesterday. I had a wee bit of a bad attitude. And I guarantee you, I was trying really really really hard to keep a lid on it.  First, he showed up late for the call. Not something I actually mind, because I can usually just lie around on my bed, and scroll through an unending cavalcade of Nick Cave photos on Instagram. Not the worst torture ever.

ME (scrolling on Instagram): like, like, like, save, like, save, save, ooh — really like, save, oh my god— like like like [ad infinitum].

Still, it was getting kind of really late and then I remembered that I had yet to figure out how to edit the video that he had sent me on Saturday — a thing we need for the web site. So I got off the bed and sat down at my desk and proceeded to drive myself completely insane because I couldn’t get the program on my desk top to do what I needed it to do.

When he finally called, I was really pissed off at my computer and trying not to transfer my pissed-off-ness to his now being really late for the call. But when I’m in that state , I really need to use the “f” word a lot.  The “f” word is my escape valve and helps me get back to normal. However, Peitor is not really keen on my use of the “f” word — at all. He has this weird reasoning that I have developed an impressive and wide-ranging vocabulary for a reason and that I should use it as a way of communicating without the “f” word.

So I tried to just sort of not be pissed-off and not use the “f” word and not have a bad attitude but I was struggling miserably with all 3.

And as we worked on the script — both of us on speaker, and me getting monosyllabic because I was perched so  precariously on needing to bleat out a long and sputtering “f” word stream — I suddenly hear him moving around his apartment, doing a ton of stuff while we were working. It was distracting, but I was trying to let everything go because I really hate having a bad attitude. I really do.

But then I finally said, “Peitor, what are you doing? It sounds like you’re outside.”

HIM: “I’m driving. I need to get to a lunch engagement.”

Oh my god. A lunch engagement. Tootling around West Hollywood  in his vintage convertible coupe, heading out to lunch. And I’m stuck at my mini-desk, typing away.  I’m not sure yet what I will say in my acceptance speech when I get my Academy Award but I know I’m going to get one because I managed to sound like a reasonable human being for the remainder of that call.

It was not easy. At all.

Because what I really, really wanted to say were things like: “Glad you could fit me in, between the Tibetan singing bowls and a lunch date,” and “So what am I now — the typist?” or get really churlish with: “Does it really matter what my opinion is on this shot? We’re just going to do what you want anyway. We always do” (which is not true, btw).  And then a whole lot of  FUCKS thrown in, too.

I did none of that. Thank god. Because he is one of my best friend’s, and now a business partner, and I seriously do not want to fuck that up. But, wow. Did I struggle with that.

Luckily, directly after that call, I spoke for over an hour with Val in Brooklyn. And we laughed a lot and got caught up on stuff and I got over the Abstract Absurdity Productions call.

And then when I re-read Scene 5 in the script, as I was readying it to send over to Peitor, I saw that we had done a really good job, regardless. The scene was amazing. And I was able to text him during his lunch engagement to say: “Scene 5 is AMAZING.” And he texted back: “Great!!”

So that was yesterday. And I am hoping that today is all about Thug Luckless: Welcome to P-Town. Because I really, really want to just get lost in my work. We shall see.

Well, late last evening, while sitting at my desk and staring, I made the mistake of listening to Amy Winehouse’s “Back to Black,” a song I really, really love — I love the whole album, actually. But I have always just loved that song. And because I identify perhaps too much with that song — meaning, that if I’d been able to sustain any sort of meaningful relationship with anyone ever, I wouldn’t be the gal that I am.

Anyway, I began to get super depressed. Real quick.

So I closed up shop, went downstairs and watched a little more of the final episode of Ken Burns’ Jazz documentary. (This final episode is primarily covering Sonny Rollins and Miles Davis.) And I actually learned stuff about Miles Davis’s music from the mid-1950s, post-heroin addiction, that I never knew before.  And it was really beautiful. Very romantic — in that big city/cocktails/cigarettes/little-black-dress-on-and-then-off kind of way. Just lovely stuff.

So I managed to survive yesterday. And I am back at it today.

I am going to get started with Thug now. I hope you have a really good Wednesday, wherever you are in the world. Thanks for visiting, gang. I’ll leave you with both my breakfast-listening music from this morning — “When I Fall in Love,” by Miles Davis, which brought more than a couple of wistful tears to eyes, as I sat at the kitchen table and watched the cats and drank my coffee — and Amy’s “Back to Black” because it really is just a great song. Enjoy — or just think about life if “enjoy” is asking too much of you right now. I love you guys. See ya.

“Back To Black”

He left no time to regret
Kept his dick wet
With his same old safe bet
Me and my head high
And my tears dry
Get on without my guy

You went back to what you knew
So far removed from all that we went through
And I tread a troubled track
My odds are stacked
I’ll go back to black

We only said goodbye with words
I died a hundred times
You go back to her
And I go back to…

I go back to us

I love you much
It’s not enough
You love blow and I love puff
And life is like a pipe
And I’m a tiny penny rolling up the walls inside

We only said goodbye with words
I died a hundred times
You go back to her
And I go back to…

We only said goodbye with words
I died a hundred times
You go back to her
And I go back to…

Black, black, black, black, black, black, black
I go back to…
I go back to…

We only said goodbye with words
I died a hundred times
You go back to her
And I go back to…

We only said goodbye with words
I died a hundred times
You go back to her
And I go back to black

c – 2007 Amy Winehouse, Mark Ronson