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Welcome to Diane Patterson's eclectic blog about what strikes her fancy

Archives for March 2005

The Office: the review

Posted on March 23, 2005 Written by Diane

No, no, we’re not going to talk about the relentlessly overhyped American knock-off, which airs sometime this week—we’re pro-Steve Carell around here and we’re still not going to watch it. (It’s amazing—we don’t watch commercials, due to TiVo, and still we’re aware of how hyped this show is.) Do yourself a favor: just watch the original in order.

We’d heard over and over (and over and over) again about how good this series “The Office” from the BBC was. We never caught it on BBC America, but Darin, looking around for a birthday present/Christmas present/Hanukkah present for himself, decided to pick up the DVD sets of the first and second series, which included the lauded Christmas episode. He started watching it back in December, when his parents were here. I didn’t watch it with him then.

He came to bed after watching the first few episodes. He had a look of shell-shock on his face. “How is the show, honey?” I chirped merrily.

He shook his head. “It’s…painful. Brilliant, but painful.”

Hmmm. I wasn’t interested enough to start watching then, despite his growing raves about how un-fucking-believably hilarious and brilliant it was. But he kept after me to watch.

So a week or so ago we started watching it together. After the first two episodes I said, “This is the most annoying show ever. You sure I need to keep watching?” After four episodes, I was definitely interested but still cringing. After six episodes (the first series), I kept my hands near my face, but I was watching.

“The Office,” for those of you out there who are even slower on the uptake than I am, is a “documentary” about an office of a paper company in Slough, England. The boss is David Brent (writer-creator Ricky Gervais), a smarmy, incompetent boss who just wants “to have a laugh” with the team. Tim (Martin Freeman, soon to be Arthur Dent) is the competent salesman. Gareth (Mackenzie Crook), the very strange “team leader” who talks in dark and sinister ways about his army training, is quite possibly the least socially competent person ever committed to celluloid. The receptionist Dawn (Lucy Davis) and Tim have a strong attraction to one another, but Dawn has a boyfriend/fianc&eacute.

There are no “jokes.” (Except for the godawful ones David Brent tells. At one point I started shouting at the TV: “Shut up! Shut! Up! Stop it!”) The dialogue is pretty much how people actually talk. There are long, awkward pauses. There are excruciatingly embarrassing scenes. Seriously, I don’t know how Ricky Gervais wrote this stuff, considering he was going to do it.

We finished the second series last night. And it’s brilliant. It’s unbelievable. There are two scenes in the final episode that completely broke my heart, one of which prompted me to say to Darin, “They’ll never do that on American television.” The scene is done completely without any sound—speaking, music, ambient. And you can’t quite see the characters involved either.

I am really looking forward to the Christmas special now.

You must see this show on the DVD, for the “behind the scenes” documentary on the Series 1 disc. They play up the “Ricky Gervais IS David Brent” angle a little too much, but there are a couple of things in there that are so funny, all Darin has to do to make me laugh hysterically is repeat a few of the key phrases. I really want to know if Merchant and Gervais are completely improvising during their discussion of “Brain Jail,” their next project.

The most amazing thing about this show is that it’s reminded me, forcibly, of people I haven’t thought of in over a decade. People I worked with at Apple, most of whose names I’ve forgotten. The chumminess and obnoxiousness and general insanity of an office job, even a really cushy one like we had.

I told Darin about one guy I worked with. Right after I started working there, a group of us were sitting around and the conversation turned to cocaine. (It was Apple. It was the late Eighties. Let me put it this way, it wasn’t an unlikely topic of conversation.) And I said, in my snarkily smug way, “Cocaine is God’s way of telling you you haven’t put enough money in your 401K.”

And this guy says, “Of course not! You’ve spent it all on cocaine!”

The silence that ensued, the embarrassment of the other people standing around (who were, to be fair, a lot smarter than this guy), I remember to this day.

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Filed Under: TV

The quizzes happen when the day’s writing is done

Posted on March 22, 2005 Written by Diane

Goodness, I was a teensy bit worried how I was going to come out on this one, but no need…

GenreMystery
MYSTERY! – Who-dunnit? And How? And Why? Your
inquiring mind understands the secret workings
of the villainous murderer and thief. You feel
the need to build a puzzle so complex, and a
villain so unsuspected that you leave the
reader gasping in shock on the last page.
Dashiell Hammett and Sir Arthur Conan Doyle are
your guides.

What Kind of Novel Should I Write?
brought to you by Quizilla

(Via Shannon Stacey. And the blurb reads Darryl Hammett. Sigh.)

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Filed Under: Those Darned Links!

Music to write by

Posted on March 20, 2005 Written by Diane

It’s National Novel Editing Month and I have been dutifully putting in my 50 hours (or thereabouts). Originally my goal was to get the rewrite to the end of Act 2 by the end of March, but I’m not at all sure that’s going to happen now. Particularly as I’m, you know, writing entirely new chapters. (The story remains the same; the plot has changed somewhat.) But I write. I’m a much happier person when I’ve written. Somewhere I’ll put up a sign to remind myself of that.

Wherever I sit down to write, however, I need music. I ripped a couple hundred albums* in November in order to build up a backlog of music and promptly filled up my 15 gig iPod. However, I don’t use the iPod for writing; I use it in the car. When I write, I whip out a pair of headphones and listen to music off my iBook.

I need either instrumental music or music with lyrics I can tune out. For the past several months I’ve been listening to the New Age playlist—Enya, Vangelis, Mike Oldfield, Andreas Vollenweider. It’s a big playlist, and while I’ve heard many of the selections multiple times, I’m sure I haven’t heard all of them, because I keep hitting Shuffle. But I’ve gotten tired of that and have now created the Classical playlist, which has an eclectic mix of Beethoven, Philip Glass, Gregorian chants, and Soeur Marie Keyrouz. I have decided I am not as enamored of Philip Glass as Darin apparently is (since Darin has bought all of his CDs).

I think I’m going to start ripping more CDs and see if I can’t do all of the soundtracks Darin has bought over the years.

My friend Mary says she likes to write to salsa. (She also mentioned another type of music that had, I believe, a Portuguese name, but I can’t remember what it is now.) Maybe I should try that. God knows it’s certainly worked magic for her.

For other writers out there: do you like to write to music? Does it have to be a certain type of music? Or do you come up with music that has a flavor for the type of scene/story you’re writing?

And I am open to any suggestions for music to check out that is mostly instrumental or has singing that preferably is in another language. I have some French jazz that I listen to occasionally, but I keep trying to understand the French, so that doesn’t work as well.

————–
*All albums I own, for what it’s worth. Can’t believe I even feel compelled to say that.

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Filed Under: Writing

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