BRUISECAM, days one and two

Blinded by smoke machine and a row of bright floor lights, I stepped off a stage. I could have sworn there was floor there.

DAY ONE. It tingled for like three hours. I was all, Whatever, I don't need to ice it, and kept on working. Then suddenly, deep bone ache with every step.

It swelled to the size of a small mango. I mean, you could see the bulge in my jeans. I should have taken a profile shot.

DAY TWO

Here we see a more expressive palette emerging.

The trailer moment

Joss Whedon interview on The Onion. Love it. So long. This is sometimes the bane, but in this case the blessing, of the internet: no word count limit.

AVC: What do you mean when you say you write trailers before you write projects?

JW: I'll have an idea, and then I'll start to think about what's behind that, and what would be the big emotional moment, what would be the catch, what would be the thing I'd love to see. ....

The most obvious example, and I've used it before, is Buffy in the alley. I really thought about it: [Trailer narration voice.] "It's a bad town to be in, especially at night." There's the girl in the alley. "Especially if you're alone." And then the monster attacks her and she kills it. "And especially if you're a vampire." It was that turnaround, which I hadn't seen, and which has obviously been seen a million times now, but this was 20 years ago. I wrote that, and it's in the actual movie. They didn't use it for the trailer, and the scene isn't shot exactly how I imagined it. But when I'm thinking of a trailer moment, I'm not just thinking of how I can grab people. That's my whole philosophy. My entire career is in that trailer moment: The emotional highs of the movie, and the thing you haven't seen, and the thing you're longing for. They should all be connected.

That's just one of those things where I read it and I instantly want to go write.