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For the happy man! - Collected writings DEPRESSION: Ed Atkins

For the happy man! - Collected writings DEPRESSION: Ed Atkins

For the happy man! - Collected writings DEPRESSION: Ed Atkins

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[...]<br />

Something else is quicksand (apparently a myth,<br />

someone told me). The prospect of drowning in <strong>the</strong> earth, like<br />

being buried at sea: absurd. The scene from one of <strong>the</strong> Tarzan<br />

films where Sean Connory plays a baddie. He steals a locket from<br />

ano<strong>the</strong>r one of <strong>the</strong> baddies. A chase through <strong>the</strong> jungle ensues,<br />

with Sean smirking and cat-calling to <strong>the</strong> ropier, angrier baddie<br />

who thrashes through <strong>the</strong> foliage after him, threatening ALL<br />

MANNER [...] (Dramatic music: <strong>the</strong> music of 1950’s America:<br />

Timpani, snare, brass – a militarised orchestra) At <strong>the</strong> height<br />

of <strong>the</strong> pursuit, <strong>the</strong> o<strong>the</strong>r baddie – flailing wildly – surprises a<br />

jaguar, which snarls and leaps and claws at his face (some sharp<br />

editing here: <strong>the</strong> kind of editing required to get around <strong>the</strong><br />

absence of a jaguar – to smooth over <strong>the</strong> seam between stock<br />

and original footage. The sequence of shots is something like<br />

this: thrashing baddie, face on – perhaps wielding a machete<br />

(sweaty, stubbly, murky tan, wild eyes, a loose, stained vest?)<br />

– diagonal gesture across <strong>the</strong> shot and <strong>the</strong> vines blocking <strong>the</strong><br />

way (top right to bottom left); cut to stock footage of hissing<br />

jaguar, hackles raised; cut back to baddie, surprised, a yelp; a<br />

whip-pan to incorporate <strong>the</strong> leaping jaguar (a shadow against<br />

shadows); a prop jaguar paw raking across <strong>the</strong> baddie’s face<br />

quickly but not quite quick enough to convince; <strong>the</strong> baddie<br />

clutching at his face). The baddie stumbles back <strong>the</strong>n lurches<br />

diagonally forward, away from <strong>the</strong> jaguar, groping blindly at a<br />

wall of vine which promptly gives way. He collapses forwards,<br />

straight into a [...] of quicksand. He sinks as he screams,<br />

devoured by <strong>the</strong> sand; only his right forearm and hand remain<br />

protruding, seemingly stuck. A shot of <strong>the</strong> hand: rigidified into<br />

an agonised claw. Sean standing off some distance, shaking his<br />

head, thinking ‘Poor schmuck’, or somesuch. He toys with <strong>the</strong><br />

stolen locket in his hand. He opens it; a close-up of <strong>the</strong> open<br />

locket – a wo<strong>man</strong> (mo<strong>the</strong>r, sister, lover, wife). He closes it with

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