Post by tjaman on Mar 13, 2006 16:56:52 GMT -5
Thanks for the initial response, dez. It's absolutely a stretch -- part of the fun of the character, perhaps, and maybe a bridge too far in other respects.
Most of my plays grow out of other plays. I'll be writing something and I'll think -- hey, that's a good idea for a story. "Feng Shui" emerged fully formed from "What's Your Sign?" which itself was inspired by problems we at the paper were having with our syndicated horoscope writer.
In this case, there was a reference to a movie Willow went to with Kyle in "117 in Stripper Years" where Charlize Theron was playing a dizzy '30s detective opposite David Boreanaz and I thought -- hold on ... gotta explore that.
So I did. "The Case of the Summer Fur" was basically the result of an offhand comment from a character in a different play.
And I figured there could've maybe been one. After all, Kinsey Millhone had to come out of some tradition -- Tuppence, perhaps, from the Agatha Christie plays, or Nora from "The Thin Man."
But you're not wrong -- I took some serious anachronistic liberities with these people to let the story roll. And I can't get over the idea that I lifted the chanteuzees whole cloth from "L.A. Confidential," but once I had the idea for the stalker, it proved too difficult to let it go.
But I do appreciate the effort. Some stuff might be easier to forgive on a stage and some stuff really might not. Better to know before the draft ships than after.
Most of my plays grow out of other plays. I'll be writing something and I'll think -- hey, that's a good idea for a story. "Feng Shui" emerged fully formed from "What's Your Sign?" which itself was inspired by problems we at the paper were having with our syndicated horoscope writer.
In this case, there was a reference to a movie Willow went to with Kyle in "117 in Stripper Years" where Charlize Theron was playing a dizzy '30s detective opposite David Boreanaz and I thought -- hold on ... gotta explore that.
So I did. "The Case of the Summer Fur" was basically the result of an offhand comment from a character in a different play.
And I figured there could've maybe been one. After all, Kinsey Millhone had to come out of some tradition -- Tuppence, perhaps, from the Agatha Christie plays, or Nora from "The Thin Man."
But you're not wrong -- I took some serious anachronistic liberities with these people to let the story roll. And I can't get over the idea that I lifted the chanteuzees whole cloth from "L.A. Confidential," but once I had the idea for the stalker, it proved too difficult to let it go.
But I do appreciate the effort. Some stuff might be easier to forgive on a stage and some stuff really might not. Better to know before the draft ships than after.
