Ending Turbulent Poetry

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In the Style of a Bed Ridden Horror Movie Like Misery

In a World…where some appreciate art, there are others who appreciate it just a little too much. This is the story of Raymond, a poet, who has the unfortunate experience of meeting his number one fan…
This episode features the improv games Movie Trailer in a Minute, Ding, He Said She Said, Emotional Lists, and Cutting Room.

About this Episode

In this episode, we pay homage to “bed-ridden horror movies, most specifically Stephen King’s Misery. In fact, this episode is basically a straight-up parody of that movie/book. If you are a fan of Stephen King, Annie Wilkes, and Paul Sheldon, this is the episode for you!

Links

Misery on Wikipedia: https://en.wikipedia.org/wiki/Misery_(film)

Time Codes

Segment 1 - Discussion the Genre Tropes: 03:56

Segment 2 - Creating the Movie Outline: 10:17

Segment 3 - Picking the Improv Comedy Games: 17:35

Start of show: 24:05

Improv Game - Movie Trailer in a Minute: 25:55

Improv Game - Ding: 27:39

Improv Game - He Said She Said: 34:16

Improv Game - Emotional Lists: 42:00

Improv Game - Cutting Room:  50:18

End of show, into announcements: 1:01:53

More Information About the Show, Mike, and Avish

Subscribe to the podcast: http://avishandmike.com/subscribe/

Our Website: www.AvishAndMike.com

Our Facebook Group: https://www.facebook.com/groups/143183833647812

Avish’s site: www.AvishParashar.com 

Mike’s site: www.MikeWorthMusic.com/

 

Transcription of the “Discussing the Genre Tropes” Segment (Unedited and Un-Cleaned up)

Avish Parashar: segment one discussing the tropes so now we're going to spend five minutes discussing the tropes of this type of movie so i'm gonna set my timer for five minutes.

Avish Parashar: And Mike why don't you start off since you're the one who initially mentioned the genre when you think of misery rear window carol's game.

Mike Worth: Joking yeah yeah yeah.

Avish Parashar: That one at the rear window knock off with Charlotte both like whatever.

Mike Worth: yeah or the phone booth one, whatever that one is.

Avish Parashar: yeah phone booth you mean phone booth.

Mike Worth: what's that when we live photo booth and that's called Feral.

Mike Worth: Apparently, I had a lot of wine last night um so you know here's the overarching thing that I think is actually big for all of Stephen king's things, but I think really applies to this, which is Stephen King loves to show true evil.

Mike Worth: When a small person in a small slice of America gain some element of power he's not about having a huge distractible.

Mike Worth: You know, like overlord who's like built an army of robots he's about the small town sheriff who could just let his bigotry run rampant and that turns into something horrible.

Mike Worth: And so that's very much what happens in misery you've got this small town small obsessive person she's I mean she's a nurse, you know, so what I mean is.

Mike Worth: A central tenet should be this person should feel completely normal as a person, and then, when this obsessive psychosis manifests it makes it that much more terrifying and money.

Avish Parashar: yeah yes terrible.

Avish Parashar: yeah and and along the lines you basically you got two main characters your protagonist and antagonist.

Avish Parashar: And then maybe a couple of small you know, like the COP who ends up dying, or like the the assistant or girlfriend who kind of helps because the person depending on exactly the setup so, but it really is like it's really like a two person story yeah.

Mike Worth: yeah totally and and not only that it's a 2% story the protagonist.

Mike Worth: has something the antagonist wants and the whole point of the story is that it's a giant kind of like psychological torture porn where.

Mike Worth: The antagonist is trying to get the protagonist to exceed to his or her wishes in the case of misery it's you know finishing the book but, but this is not.

Mike Worth: she's not just being he or whatever is not being cruel, for the sake of being cruel in his own twisted world the antagonist wants to help the protagonist by exceeding.

Avish Parashar: yeah I mean, especially if you're going down the misery route yeah It is like.

Avish Parashar: The villain is.

Avish Parashar: You know it's not like saw or hostile where the villain just wants to kill and torture and name there's like they have some code or some justification in their in their mind they're not the villain right they I think they're yeah yeah they're like they almost think that being helpful.

Mike Worth: Exactly exactly that's that's part of what makes it so horrific like you know in misery, where she smashed his legs and stuff I gotta be really careful I don't want to like beat for beat turns into misery, because because there's other things we can do, but there's that's that now.

Avish Parashar: But that doesn't always make for a fun day when we've done that, so when we just had to do like a parody that ends up being pretty fun.

Mike Worth: let's do we when we've done quite well so okay that's good now the other, the other trips or this it's almost always in a.

Mike Worth: Small kind of picture picture is kind of Well he can be.

Mike Worth: I was gonna say misery takes place kind of like a little Colorado.

Mike Worth: lodge and Stephen King likes that whole New England thing so that's part of the trope um the protagonist is almost always ill equipped for this he's not like an army ranger who's been like crippled it's like an author or a painter or you know just maybe just.

Avish Parashar: yeah he's not like a combat veteran.

Mike Worth: Know uh he has to it is heavy on the psychological at winning and and there is an the.

Mike Worth: protagonist defeats the antagonist by using.

Mike Worth: her own goals or his own goals against him it's not like the antagonist suddenly regains the ability to escape and just fleas he finds a way to like turn the tables.

Avish Parashar: yeah he actually defeats the except in phone booth but that's all of the thing but yeah he finds a way to defeat the the antagonist and along the way, though there's usually at least one if not two like tense sequences of like them, trying to escape.

Avish Parashar: You know, maybe they're healthier the other person knows.

Avish Parashar: or they break in where they're not supposed to and but the other person is coming back and so there's not like that that kind of tense the future tense sequence or some nature.

Mike Worth: yeah there's always going to be, it is Stephen king, so it could be a couple of deaths and the deaths are going to be, I mean I hate to say it, but usually the set one of the second tier character bites it, you know.

Avish Parashar: Oh yeah.

Mike Worth: And not only that it it the deaths are not gruesome and they're not graphic, but they are terrifying because it's kind of like the the idea.

Mike Worth: Of this.

Is the person is showing.

Avish Parashar: terrifying in the movie in the movie and misery, she shoots the Sheriff in the.

Avish Parashar: Books funds over him with a lawn mower I think.

Mike Worth: Oh, you serious oh.

Mike Worth: yeah about that never got the books, the Stephen King books is good.

Avish Parashar: Oh yeah and in the movie she hobbled them with a hammer, in the book she cuts off megaman X yeah.

Avish Parashar: yeah.

Mike Worth: So that's pretty much it, I mean, is it are the tropes that simple well you know what look a Stephen King look at the book cujo what does cujo about a Feral dog they're trapped in a car and a House like his stuff can be really.

Avish Parashar: yeah yeah he really digs into like I mean that's The other thing I didn't mean to say as much the the protagonist usually has some kind of.

Avish Parashar: flaw or issue that kind of gets explored through the through the trauma.

Mike Worth: Right like an issue would be like what like his inability to like commit to his family or or the fact that he's.

Avish Parashar: yeah he's never lost his misery, but I think in misery like he kind of you know his like creative burnout and like he was not gonna do any more misery stories right, you know he's like creatively burnt out from it, I think he has an alcohol issues and his past and i'm.

Avish Parashar: Good man yeah that Stephen King oh yeah.

Avish Parashar: You know yeah.

Avish Parashar: Gerald game, which is another one or something, but that one like the woman had her whole life, she was abused as a kid and repressed it never dealt with in you know, the fact that it's such a small story lends itself more to like internal.

Transcription of the “Creating the Outline” Segment (Unedited and Un-Cleaned up)

Avish Parashar: kind of reflection yeah right so that are as a bunch of controls, so now we get to.

Avish Parashar: Creating the outline so now we're gonna spend about five minutes just generating a high level outline for this movie we will.

Avish Parashar: We use a four X structure.

Avish Parashar: And then each one will have an improv game we'll get to that later and then this is a starting point, because it's in probably May.

Avish Parashar: stick to this, we may veer off of it a little bit or we may completely abandoned it halfway through, but this gives us a sort of starting point.

Avish Parashar: Through outline.

Avish Parashar: We always start with either a prologue or a trailer yeah.

Mike Worth: This is gonna be probably a.

Mike Worth: trailer but now i'm not sure.

Avish Parashar: All right, well let's let's see what i'm doing that in our and I was.

Mike Worth: Like reading a piece of music, you always leave the intro till the end because because that you know.

yeah.

Mike Worth: X one X one.

Avish Parashar: X two X over X one um I mean that you gotta these stories get started pretty quickly, so we need to establish the hero, and the villain and whatever situation, whatever reason he gets trapped needs to happen in aqua.

Mike Worth: yep that's that's pretty much what it is you establish the hero what his career slash jobs niches that makes him valuable to the antagonist and you set them up to get trapped right.

Mike Worth: i've got a really interesting idea to be floating around that event but i'm trying not to like to improv push it but i've got a really interesting idea at the end of act one i'm probably the oh hold on just one second let's do a quick little clap.

Mike Worth: Yes, Sir i'm on the podcast what's up.

Great to please Thank you.

Mike Worth: So in act one um we hear the protagonist and we hear and the antagonist I think in act one we we get to the point where the protagonist is now in the hands of the antagonist.

Mike Worth: And I think at the end of the Act one we figure out the the antagonist a is not all there and B is determined to correct the protagonists.

Avish Parashar: yeah I think that I think in some stories, you might say, oh at the end of act one is when the hero.

Avish Parashar: gets injured and can kind of take it in, but I think in most of these stories that actually happens near the beginning, and then the end of act one yeah because in the beginning, I think it's also not clear that.

Avish Parashar: The antagonist is bad or crazy they might just seem a little odd right, but then it's like the end of act one is when you realize oh there's something's not quite right about this person.

Mike Worth: Right right into the REP and it directly manifest with some decisions, the protagonist is making in their life or career, that the antagonist is what's.

Mike Worth: yeah so okay so that's pretty good at one right that's.

Avish Parashar: yeah that's pretty straightforward so then act two is where um.

Avish Parashar: But I think he still he or she the hero is still sort of recovering from whatever reason they're there.

Avish Parashar: That are trying to like.

Avish Parashar: I think there's still sort of treating it normally like I just got to convince this person i'm okay I got to convince them to go get me help it take me to a hospital.

Avish Parashar: they're not desperate yet they're just like trying to play this person and and populate them in a way to kind of get them out of there, yes.

Mike Worth: At the end of Act two is when the protagonist realizes that the antagonist is too far gone in terms of like.

Mike Worth: You know she's not going or he you know, whatever we want to do is not going to let me go, it could be something like.

Mike Worth: The police officer shows up and he's in the other room and he sees the antagonists like completely just like lie to say i've never seen him and he's like oh wow she really won't let me go, you know kind of thing.

Mike Worth: Because that's and and she might even physically restrain him or you know hammered of the ankle because I think that's kicks in act three, which is what he begins to formulate a plan.

Mike Worth: and go reactive to We always say is you said it perfectly are active at three is always reactive to proactive.

Avish Parashar: reactive reactive he's like just trying to play the situation figure this person.

Mike Worth: asking me she'll figure it out she'll she'll she'll let me go.

Avish Parashar: A little odd or he lot and crazy, but I think you know if I can just kind of.

Avish Parashar: See I think yeah then that revelation comes in an actor, he is when he goes proactive, I think this is where if there's gonna be a 10 sequence where he's like trying to explore the House or get out or get to the phone escape.

Mike Worth: plan yeah exactly.

Avish Parashar: Because proactive tries to do something tries to.

Avish Parashar: But I think I think I think the big thing here is certainly we're looking at misery in act three he's proactive but he's trying to escape or get help, yes I think act for is when it's proactive.

Avish Parashar: Timing to defeat the villain yep.

Mike Worth: Bingo.

Avish Parashar: that's perfectly actor, he is he's gonna try to escape.

Mike Worth: yeah he is but he's also going to find out her some of her Achilles heels, but he's gonna find out that stuff in that three if it all works out well you know so man.

Mike Worth: The plots easy, but the beats for a Stephen King novel are pretty tightly you can't you can't walk around with this you gotta like.

Avish Parashar: Oh yeah I mean that's one reason I like reading I read allows even kidding cuz.

Mike Worth: yeah i've.

Avish Parashar: got some of it is like it's always a.

Avish Parashar: Good story things move.

Avish Parashar: me he might take 200 pages to make the story move like per chapter, but you know, maybe 1000 pages, but it's always like.

Avish Parashar: Oh yeah it's progressing I like it.

Mike Worth: yeah and.

Avish Parashar: then act for is the confrontation, the.

Avish Parashar: hero yep.

Mike Worth: And, and we really want to reincorporate everything that we've learned, we want to reincorporate here again the the hero turns the tables on the antagonist.

Mike Worth: Through combination of twisting what she wants out of him and exploiting her vulnerabilities and kind of like flaws, incidentally that's it that's that's pretty much it we're ahead of the curve.

Avish Parashar: What are we doing we're doing a prologue or a trailer for this.

Avish Parashar: trailer right I don't think we need.

Mike Worth: To a trailer let's do a trailer because that could have a chance to do more, Stephen King he kind of.

Mike Worth: Music yeah, by the way this is random and for dear listeners curious go on a little tangent for a second Dean koontz versus Stephen King they both tend to get lumped together and i've read both of them multiple books.

Mike Worth: I love them both are they are they really that simple, though, I feel it includes has a different pacing with Stephen king.

Avish Parashar: hey do I mean, I think.

Avish Parashar: I think, Stephen king is a better writer I think Dean koontz is a little bit more like.

Avish Parashar: I don't know what the word is, but like poppy or you know, Paul be your.

Mike Worth: yeah a little more.

Avish Parashar: I guess the includes is more like a between or guy versus Stephen king's books, you know, while not like literature, are a little bit more in depth, and I think Stephen king's about writer, but I read a lot of Dean koontz which I got very into him for a while, so his books are entertaining.

Mike Worth: Well yeah that's a lesson for our third section is Dean, I remember that what you do is you read the first 14 cookbooks and whatever first four books you choose whatever they are.

Mike Worth: Especially in the 90s you love them and then you start reading the rest of your life oh this actually the same for books that it keeps on music over and over so so like for me, the first word that.

Mike Worth: we're like watchers and phantoms and midnight and like one other I love them and then they were like the children of twilight does like oh that was just this one rescan now you're like okay.

Avish Parashar: Oh yeah.

Mike Worth: Good ideas and he's kind of keeps it.

Avish Parashar: kind of like our podcast.

Mike Worth: Alright, so we're in.

Avish Parashar: good shape, I would remind me, though, i'm going to add Dean koontz to our list of future potential.

Mike Worth: yeah yeah.

 


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