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And so my recap of IMPULSE production continues. This will be a story about making an incredibly ambitious short, raising tens of thousands of dollars in a matter of weeks, locking down a notable actor, and encountering and averting dozens of difficult circumstances throughout production. Again, I may weave in and out of journal format and present day reflection, so please bear with me.

June 12, 2009
The script's still not there yet. Bryan & I have been tossing the script back and forth, each of us making revisions... we still can't unlock part of the story. It'll come eventually.

June 18, 2009
Worked on a very tentative shooting breakdown. Right now it looks like 5 days, with us shooting 2 1/2 pages per day. I feel funny saying this since its a short, but that STILL feels ambitious. Wish we could have a solid 10 days to do it, but that also sounds ridiculous.

June 19, 2009*
Met with a composer last night, Corey Wallace. Christy & I went to USC to hear a live performance of one of his pieces. Very impressive stuff. After the concert, we caught dinner - ended up at a very strange Denny's in South LA. Had to wait 20 minutes to get seated... really?... at a Denny's? We had a great meet-and-greet and fun to talk favorite scores/musicians.

*A PRESENT-DAY NOTE ON ABOVE:
Corey Wallace originally got in touch with me YEARS ago when he saw the trailer for University Heights and sent me some MIDI demo tracks. Once or twice a year, I'd receive an email from him with a new track. As the years went on, his demos became bigger and better. We were supposed to meet a few times and finally, in June of 2009, we met after five years of correspondence. Corey had just completed USC's Scoring for Motion Picture and Television program and has some very incredible musical work under his belt.

June 20, 2009
Christy & I met with Darren for brunch (Darren Brandl's a long-time friend and former international film sales agent/producer/director of development). I was hoping he'd want to be a part of the project and - indeed - he does. But... Bryan & I gave him a draft we were 90% satisfied with and... of course, Darren had his own notes. Looks like there's a couple more drafts before we're all happy. So Darren & Christy are now our two producers. We discussed how to move forward... we first need to lock down this script, then make a talent chase list, then go out to the agencies with the script and our reel. Hopefully we can nail down a reputable/recognizable actor and be shooting by September. I wish we could buy ourselves some more pre-production/financing time, but if we have any hope of shooting in Iowa while there's still good weather, we can't push, especially since it rains a LOT in October and begins to snow in November. So... I think we're all INCREDIBLY nervous since we're technically 3 months out from shooting. But... at least we're all on the same page and we're going to forge ahead as if the film will be shot by the end of the year. Let's move boldly and blindly ahead.

June 22, 2009
I came across a movie that sounded a little like IMPULSE on Netflix, called Miracle Mile. I'm not surprised there's something a tad bit like it, since we're working in the realm of post-apocalyptic films and there's about a million of them. So out of pure curiosity, I checked it out... WOW. The premise was great but the execution bordered on hilarity at times. I think this might be a good movie to watch when drunk. Maybe we'll save that for the wrap party. Regardless, glad I watched it. Sometimes watching a bad movie is waaay more informative and educational than watching a good one.

June 23, 2009
Hasn't been a good day. My brain has just been stuck on a million details, the biggest of which is: how are we going to raise our full budget and THEN prep the film before September?! In addition, Bryan & I had a conference call about a network project that is turning into something else entirely... and it's NOT good. Ugh. I'm worried IMPULSE might not happen and I'm worried our other project will just fizzle and then we'll be left with nothing to show for ourselves.

June 24, 2009
Went to a small birthday party for Darren last night. We tried not to talk much about movies. Sometimes I like that. Especially now.

June 25, 2009
So Michael Jackson died today. It's nuts. Helicopters have been flying over my apartment constantly. Regardless, my "funk" has passed. My confidence in getting IMPULSE made has been restored. Christy & I met with Andrew Davis for dinner tonight, a very talented cinematographer. I'd seen some of his work in some student shorts and really dug his aesthetic. Had a great conversation and got a good handle on his sensibilities. I think it'd be great to have him on board... just need to get him the script. He's also experienced with the RED Camera, which I think is our best bet for our workflow. Really hope this works out, especially since Bryan & I just want to concentrate on directing this picture instead of shooting it ourselves, like we've done on every other film. Ah.... how I would love to simply direct instead of worrying about focus-pulling.

June 27, 2009
Corey read the script, liked it, wants to be a part of it. We talked some very early musical ideas and we're all in sync. Very cool.

June 30, 2009
We have officially been working on the script for a month. Insane. Hope we crack it soon... we need to, especially if there's any hope of shooting in September.

Last movie Scott watched: The Lost World: Jurassic Park (Steven Spielberg)

Last Tuesday, Chris Masterson talked briefly about IMPULSE in a live video chat with the Malcolm in the Middle fansite. Head on over to check out the clip... it starts at about 48:30.

Also.... we're locking the cut this week.

So it's been a long journey making IMPULSE. And it's about time I recap the process -- both for you and, selfishly, for myself. This will be a story about making an incredibly ambitious short, raising tens of thousands of dollars in a matter of weeks, locking down a notable actor, and encountering and averting dozens of difficult circumstances throughout production. I plan on chronicling the process throughout several blog entires... thus, it's fitting to start from the beginning. I may weave in and out of journal format and present day reflection so, please bear with me.

May 26, 2009
Bryan and I've been out of college for two years. We've written a dozen more scripts, we've had multiple meetings with several agencies and producers, we've got a deal with MTV, but we haven't actually, physically, tangibly made a film since The Bride Wore Blood and that was in November 2006!... and "You're only as good as your last film." I'm itching to direct something new... and that itch only gets worse with time.

I came across this short Glory At Sea. Loved the emotion it packed into it's short running length. Such a strange, beautiful concept, well executed -- and for cheap. Between this and all of the productions that have popped up in Iowa, I'm sooo inspired to make something new. I know another feature is still a little ways off, but maybe we can do a short? But it's gotta be like the BMW short films... like Ticker, where it's fast, compelling and has a brain. Even a twist. It can't just be two guys sitting in a room. It needs to be a brilliant idea or else, it's not doing us justice.

May 27, 2009
Was driving home on Beverly Glen tonight and I got The Idea. Based it on a concept that never had the substance to warrant a feature-length script. It'll be better as a short anyway... more powerful and will pack a punch. Special thanks to James Newton Howard and his Lady in the Water score for providing some inspiring "thought" music.

May 28, 2009
Brainstormed more of the idea during my 30 minute commute. Then took 90 minutes this morning to outline the piece beat by beat. Spent the next 2 hours writing the first pass... it's done by noon. Let's keep up this pace.

May 29, 2009
Sent the script to Bryan. He read it, liked it... he thought it had the potential to be a great story and showcase us as directors. He thinks it's worthy to invest our time in it, so basically, we're on the same page. We talked loosely about some things to keep in mind during the process. Here's my summation...

1) When writing the script, throw in every idea you have, no matter how impossible it might be to pull off. We can always take things out later in the process.
2) Make it short, make it fast, make it high-concept. Always keep it entertaining. This film is for an audience.
3) Don't make a short that people will write off as "Oh, it was JUST a short film".
4) Have the film shot by the end of the year.
5) No matter how intimidating the project becomes, persist.
6) Be ambitious to the point where the risk is huge. You don't get anywhere by playing it safe.

All in all... let's have a new film under our belts by the end of the year.

Last movie Scott watched: Shutter Island (Martin Scorsese)

While we're deep in post-production for IMPULSE, I've asked some of our cast and crew for their thoughts on the production. Bryan & I plan on sharing our own experiences later, but we first wanted to highlight some of the great people who helped us out on this journey.

TRAVIS SHEPHERD, Location Manager
When reminiscing about Impulse, the one thing that stands out above all else is: The town of Perry.

While most of the crew and I have worked on several low budget productions before, we have never worked on one with stakes this high. The stress we should have been facing was eased immensely by the town and all of the citizens that helped us every step of the way.

Special shout-out to Mo Michaelsen who saved our butts on more than one occasion with his generosity as well as everyone else who contributed in any way; large or small.

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KRISTEN NORWOOD, "Ashley"
I think you’d be hard-pressed to find someone on the set of Impulse whose experience was better than mine. I say this because while everyone else was a professional director, producer, director of photography, camera operator, lighting specialist, actor, etc., I was just a lowly grad student trying really hard to play it cool!

Scott and Bryan, two of my favorite former students, gave me the chance to fulfill one of my most far-flung dreams – to be an actor. I still have no idea why they wanted me for the part – especially why they would want me to try to act alongside Chris Masterson (how intimidating is that?)! I still can’t believe I did that. I’m now surely within 6 degrees of Kevin Bacon…Me to Chris Masterson (Impulse), Chris Masterson to Julia Roberts (My Best Friend’s Wedding), Julia Roberts to Kevin Bacon (Flatliners) – ha! Less than six.

I think maybe my favorite moment on set was when I walked behind the monitor for the first time and saw how the scene that was taking place right in front of me translated to film. I mean, it looked like a movie! That’s probably really lame, but for someone who had never seen that before, it was a very cool sight. It is safe to say that while my acting career was short (I was only on set for 1 day), it was a day that I will never forget. And it is a day that I unabashedly recount for anyone who will listen.

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MOLLY KETCHUM, "Mrs. Evans"
It was a crisp fall day, the sky was blue, the sun was shining. It was a beautiful day, and it was the day I was going to die. Well, to be more precise, it was the day Mrs. Evans was going to die. I, as Mrs. Evans, was looking forward to my demise. I knew I would be bound, gagged and killed at my dining room table, along with Mr. Evans. I wasn’t sure if I would be shot, or beaten to death. I just knew I would soon be dead.

Making the film Impulse was a great experience! The weather was chilly, but the cast and crew were warm and friendly. I enjoyed the chance to sit in the make-up chair and become a walking corpse; my fatal head wound would be applied later. Watching the filming of other scenes, and being in my own is always interesting. During the movies I have been a part of, I have learned a lot about the process, and have decided that the actors are seldom the most important part. Without all the directors, camera operators, make-up folks, grips, gaffers, etc, etc, etc – the actors would merely be there looking handsome, beautiful, or just plain dead…

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PAUL STEFFENSEN, Special Effects Coordinator
I only spent a few days working on the film doing the blood effects, but I had a great time working on Impulse – I love making people bleed.

It was fast paced and hectic, but what film shoot isn’t!

It was nice working with all of you and especially with Mary-Kate, who is a great local make-up artist.

I can’t wait to see the finished film!

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BRANDY ROBERTS, Extra & mother of actor Harvey Roberts ("Skateboarder")
Memorable parts: I must say, watching my son lie in the road soaked with blood is pretty memorable. He thought that was the coolest thing ever. He still talks very fondly of that. I must admit, he's right.

For me, it was trying to hang on for dear life with one hand while trying to strategically place a guitar in the middle of the road. Darin's (or was he Wes on this one?) erratic driving and some serious guess work involved.

I am still fairly sure he was counting my life insurance money as he drove.

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RYLIE BEHR, "Terry"
It was great working on the show with all the crew, the directors (Scott Beck and Bryan Woods), and the actors in my scenes (Chris Masterson and James Serpento). I also loved the dog in my scene and have wanted to work with animals on films before but haven't ever been given that chance.

Like most films we became a little family, and it was sad when we wrapped. I think the project will turn out great because there were so many talented people doing each part.

I was glad to be part of it and can't wait to see it when it is edited.

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JAMES SERPENTO, "Business Man"
I’m really speaking only for myself, but I’m betting the following is true for anyone working in show business: That there’s always something conspiring against doing one’s best work: a “real job,” a child needing an owie attended to, natural laziness. When faced with a Major Work – a feature film, a full-length production in the theater – that can make “homework” tough going. String enough of those Major Projects in a row and – again, I don’t know about you, but I know it’s true of me – I go into survival mode and start cutting corners just so that something is ready on Test Day.

But I don’t like it, and I’m not fooling myself.

So – when a project like Impulse comes along, I’m thrilled not only because it’s a chance to work with filmmakers I much admire, but because I know that, since it’s a short piece, I can drill down into my preparation and cover more of my bases and thus bring a measure of confidence onto the set that I might not be able to otherwise.

Don’t get me wrong – there’s always nervousness, there’s always the chance that it’s all mistaken, that’s just the nature of the beast. But if I’m goin’ down, I’d rather go down knowing I’d investigated everything I knew how to.

I try not to be chatty on a set; not if I can help it. This is immensely difficult because I love show people – actors, directors, technicians – I’m endlessly curious about them and there’s almost nowhere I’d rather be than in their company. So, I don’t want to be rude. But ultimately, my devotion should be to an audience and what I’ve been charged with illuminating for it, and that requires more concentration than any other non-life-saving process I can think of, or have ever undertaken.

This, plus the fact that I'm just plain older than everyone.

Even given the above, I felt it was important not to ever get too close to Chris Masterson or Rylie Behr (co-stars). This was beyond just doing the work of the character himself – work that required visiting darker places than I could ever tell anyone about (which is as it should be all the time, if you ask me; much as I love actors I’ve never understood our tendency to want to explain our choices.) But, in relation to an ensemble, the script wants me to be forever “coming out of nowhere” – a creature with no history, no connections, a self-appointed avenging angel, but with precious little left to avenge. One can “act it,” or one can really do it. I tried to choose the latter. And Shame the Devil.

I’m grateful for the chance to work with the Bluebox crew. They’re a great bunch and they’re certainly Iowa’s best and brightest hope for filmmaking, if you ask me; there they were, sluggin' it out, gettin’ the shot, right in the middle of the state’s current episode of cultural self-destruction – the Tax Credit mess – and doing it with the diligence and meticulousness that go by the name of “breathing” for them. It may be a dark film but, in their hands and the hands of a terrific crew and cast-mates, it was a fine set. Many thanks.

Last movie Scott watched: Michael Clayton (Tony Gilroy)

Here is my mess of a list. It exists with no formula other than it looked good on the page. Top 10 are ranked, followed by the remaining 90 in alphabetical order. Excuse the overlap with Scott's list... we dig a lot of the same movies. If it's on the list, it's totally rentable.

TOP 100

1. Unbreakable
Are you unbreakable?

2. Artificial Intelligence
They made us too smart, too quick, and too many.

3. Memento
Otnemem is the intellectual's Rubik's Cube.

4. Punch Drunk Love
Method to Sandler’s madness.

5. Vanilla Sky
One helluva "it was all a dream".

6. The Royal Tenenbaums
The poetry of people.

7. Zodiac
Climactic anti-climax. Z is for Zaroff.

8. Inglourious Basterds
You know somethin’, Utivich? I think this just might be my masterpiece.

9. Eternal Sunshine of the Spotless Mind
Better to have loved and lost, than to have never loved at all.

10. 25th Hour
F*** this whole city and everyone in it.

11. A Beautiful Mind
12. A History of Violence
13. About Schmidt
14. Adaptation
15. Almost Famous
16. Apocalypto
17. Avatar
18. Batman Begins
19. Bubble
20. Bug
21. Cast Away
22. Catch Me If You Can
23. Children of Men
24. Closer
25. Collateral
26. Crash
27. Death Proof
28. Dogville
29. Elephant
30. Elizabethtown
31. Funny People
32. Gangs of New York
33. Gerry
34. Gladiator
35. Gran Torino
36. Hannibal
37. Hero
38. House of Flying Daggers
39. House of Sand and Fog
40. I Heart Huckabees
41. In Bruges
42. In the Mood for Love
43. Insomnia
44. Into the Wild
45. Jarhead
46. Kill Bill Vol. 1 & 2
47. Knocked Up
48. Lost in Translation
49. Marie Antoinette
50. Match Point
51. Matchstick Men
52. Meet the Parents
53. Million Dollar Baby
54. Minority Report
55. Mulholland Drive
56. Munich
57. Mystic River
58. No Country for Old Men
59. Ocean’s Eleven
60. Old School
61. Oldboy
62. Paranoid Park
63. Rachel Getting Married
64. Requiem for a Dream
65. Revolutionary Road
66. Road to Perdition
67. School of Rock
68. Sideways
69. Signs
70. Sin City
71. Solaris
72. Speed Racer
73. Star Trek
74. Star Wars Attack of the Clones
75. Superbad
76. Synecdoche, New York
77. The Assassination of Jesse James
78. The Aviator
79. The Company
80. The Curious Case of Benjamin Button
81. The Darjeeling Limited
82. The Dark Knight
83. The Departed
84. The Fall
85. The Fantastic Mr. Fox
86. The Fountain
87. The Hangover
88. The Host
89. The Life Aquatic
90. The New World
91. The Polar Express
92. The Village
93. The Wrestler
94. There Will Be Blood
95. Traffic
96. Transformers
97. Up in the Air
98. Watchmen
99. What Lies Beneath
100. Where the Wild Things Are

Last movie Bryan watched: The Straight Story (David Lynch)

It's almost 2010, which means a decade of films has passed us by. While many argue that the general quality of recent films has diminished, I'll dispute: this decade's been Pretty Damn Good. So here are my Top 30 films from 2000-2009...

30. The New World (2005)
A mesmorizing transformation of old America to the New World, encapsulated into the character of Pocahontas. A Disney film this is not.

29. Bubble (2005)
A required viewing for every actor on the face of this planet. Incredibly subtle performances (by brilliant non-actors) built into a murder plot.

28. A Prairie Home Companion (2006)
Robert Altman's ode to death which is hilarious, depressing, soulful, and touching -- so in a way, encompassing everything great about his career.

27. Match Point (2005)
A huge departure which reminded audiences that Woody Allen holds his weight against today's top contemporary directors .

26. Memento (2000)
Hello, Christopher Nolan! An assured career-started like few others. I saw this about 6 times in the Super Saver.

25. Death Proof (2007)
Any of Tarantino's works could sit on this list but I chose the underdog. Critics always spew out cliches like "breathtaking" and "edge of your seat", but seriously... the second half of this film actually accomplishes that.

24. Amores Perros (2000)
I accidentally discovered this on VHS way back when. A fast, engaging, explosive character piece that is so much better than its synopsis might sound.

23. Eternal Sunshine of the Spotless Mind (2004)
While the film is aesthetically whimsical, Michel Gondry & Charlie Kaufman tell a heartbreaking love story that tells it like it is.

22. Ocean’s Eleven (2001)
It's one of the "coolest" movies around and always fun, fun, fun to watch.

21. Star Wars Episode III: Revenge of the Sith (2005)
This chapter is fueled with great action but, at its core, unveils and connects the tremendously tragic saga of Anakin Skywalker. And yes, I dug other two prequels too.

20. Road to Perdition (2002)
A taut piece of classic cinema. And in his last narrative film before his death, cinematographer Conrad L. Hall shot one of the finest looking sequences (near the end of the film) at the lake house.

19. Munich (2005)
Yes, it's a moral lesson and an amazing one at that. But it's also damn entertaining too.

18. Apocalypto (2006)
Likewise, this picture is simply a blockbuster parading as a period-piece. The film also proves that even though a civilization lived hundreds of years before us, they'd have idle chatter just like us today -- the opening sequence is a brilliant touch.

17. Collateral (2004)
If the film simply had Vincent (Tom Cruise) and Max (Jamie Foxx) talking in a cab the entire time, I still would have been sold. But to add the action on top? Amazing. But I still think the last third could have been better.

16. The Curious Case of Benjamin Button (2008)
Even though it's a sweeping epic with dozens of characters, hundreds of locations, and a sprawling narrative that takes us around the world, the film feels so lonely... which is exactly the point. We exit the world alone, just as we entered it.

15. The Dark Knight (2005)
Yeah, yeah. It's great.

14. Gerry (2002)
One day, I'll have a separate HDTV on the wall playing this movie non-stop as a piece of art. It's just two guys walking in a desert for the entire film. So why do I love it?

13. The Prestige (2006)
Christopher Nolan makes his third appearance on my list in possibly his smartest and most haunting work yet. After all, he's more than just the "Batman" director.

12. Almost Famous (2000)
The road trip movie to defeat all others. This film reminds me what it was like to be a teenager on a tour bus in the 70s. Wait, that was me, right?

11. The Assassination of Jesse James by the Coward Robert Ford (2007)
Aside from Casey Affleck's performance, this film also called out a powerhouse storyteller in the form of Andrew Dominik. Too bad only ten people saw this.

10. Children of Men (2006)
This is how I like my post-apocalyptic movies; ambigious, vivacious, and can pull off one-take shots that aren't self-aware.

9. 25th Hour (2002)
A simple story of a man going to jail for seven years. With one of the best scores and end sequences of All Time.

8. The Royal Tenenbaums (2001)
Like Tarantino, I'd be happy to put any of Wes Anderson's films on this list. It just happens that this is (still) my favorite.

7. The Fountain (2006)
A film that is visual complex and might initially confuse viewers... but in the end, it's simply about death and conquering the understanding that yes, we all will die.

6. Vanilla Sky (2001)
Coming out of the theater that night in December 2001, I knew I witnessed one of the greatest film loves of my life. It's still true 8 years later.

5. Cast Away (2000)
One of the best adventure films I've ever seen, and that includes the sequences off the island too. Rare is a film that empowers new beginnings like this one.

4. The Village (2004)
One of the richest pieces of filmmaking, from it's score to production design to performances to incredible script and direction. I can't just say I love one aspect more than the other.

3. Punch-Drunk Love (2002)
Once again, like Tarantino and the other Anderson, I could rank either There Will Be Blood or this picture on my list. This movie is so dynamic in all respects and yet, it looks soooo simple. And my adrenaline always races when Barry Egan (Adam Sandler) upsides one of the Blonde Brothers with a crowbar to the head... it's such a nice love story.

2. About Schmidt (2002)
An ode to growing old. I didn't like this film so much when I first saw it in theaters. Once re-examined, I cried like a baby at the end and have embraced this film ever since.

1. Artificial Intelligence: AI (2001)
It encapsulates everything I love about movies: adventure, love, and visual storytelling. Moreover, I just can't help but keep my eyes tuned to the screen unlike any other film. This is not only Spielberg at his finest... but cinema.

Last movie Scott watched: True Romance (Tony Scott)

Grateful to be editing a new film (Impulse). Here are the minds we carry with us for inspiration:

Dody Dorn: Caught attention and an Oscar nomination for her work on Christopher Nolan’s Memento in which the story unfolds backwards and allows a hungry editor to show off her narrative chess skills. But she’s done credible work with Ridley Scott and Baz Lurhman as well. Master storyteller with a sharp instinct for pacing and left hooks that grab the audience by the throat.

Joe Hutshing: Comes from the Oliver Stone school of cutting which is impressive in and of itself - contributing frenetic work to The Doors and JFK; keeping up with Stone’s coked out ambitions. The fact that he was able to navigate the mind fuck of Vanilla Sky with such precision and grace, I will forever be a fan.

Thelma Schoonmaker: The rhythm of cutting and poetry of montage is as important to a Scorsese picture as the powerhouse performances. Thelma & Marty have been partners in crime since Woodstock. Scorsese actually introduced her to her eventual husband Michael Powell of Powell & Pressburger fame. Cool!

Joel Cox: Crucial ingredient to that intangible Clint Eastwood touch. I cannot define what makes Eastwood/Cox movies so powerful in their un-self conscious and humble way. I just know they work me over every time. Studying their movies is a thankless task that leaves me none the wiser and makes me seriously consider believing in magic.

Michael Kahn: Most people haven’t noticed that Spielberg and Kahn are two of the very last filmmakers in the world to cut their movies on film at a time when everyone else has turned to computers. Even though it’s a much more time consuming process, a case could be made that there’s wisdom in this archaic venture that can’t be found on a hard drive or monitor.

UNRELATED NOTE: You must check out the trailer for Christopher Masterson's new movie Made For Each Other! Chris was super cool to work with on Impulse and he looks phenomenal as usual in this upcoming indie: http://www.apple.com/trailers/independent/madeforeachother/.

Last movie Bryan watched: Snake Eyes (Brian De Palma)

Last movie Scott watched: I don't have time to watch movies right now... I'm shooting one.

It's been over a month since our last post -- so much for this becoming a "weekly" blog. Bryan & I have been tied up with a full-load of work. Regardless, we'll be able to make an official announcement soon about why we've been so busy.

Last movie Scott watched: The Last Detail (Hal Ashby)

It seems like every commercial break on TV is committed to airing the trailer for the upcoming Fame remake. And it's driving me crazy... not because I necessarily think the movie looks bad, but because of that incessant song "I'm Gonna Live Forever". With the understanding that I'm often a cynic, I'm continually bothered by this song's teenage-thumping naïveté. Why? Because my retort to that song's title is simply this: No You're Not.

So, in light of this charming topic, here are some wonderful films that deal with death:

About Schmidt: With possibly Jack Nicholson's biggest departure from his acting oeuvre, here he plays Warren Schmidt, a retired actuary insurance agent with the knowledge that his life will soon be over. It's a poignant - if not shockingly real - look at a man who knows he'll be leaving this earth with nothing more than an unsatisfying career. Favorite death moment: while seated at a funeral, Warren sadly regards a man spraying down a cattle trailer at a nearby warehouse... realizing that life goes on.

Elizabethtown: Drew Baylor single-handedly collapses a shoe company just before learning of his father's death. Sure, it borders on sugar-coated optimism at times - but Cameron Crowe grounds it so well. How so? When Drew visits the funeral home and touches the hand of his recently-deceased father. And it hits him like it'd hit any of us.

Man on the Moon: Another masterful biopic by Milos Forman, this time about love-him-or-hate-him comedian Andy Kaufman. As Andy's life wound down in the face of cancer, the public wrote off his impending demise as a publicity stunt. But a stunt it was not - Forman captures the truth beautifully when Andy travels to the Philippines for one of those "miracle surgeries" where a "doctor" removes your "infected organs" right before your eyes. In this moment, Andy realizes the fact in the fiction when he spots the doctor's slight of hand... and like Andy's stand-up, you don't know whether to laugh or to simply shake your head.

The Fountain: A film that, in its entirety, deals with death up front and possibly, to some, a little too personally. Every time I watch this movie, it's a wake-up call when Hugh Jackman's character admits point-blank to the camera "I am going to die." He's finally accepted the fact. Have we?

Harold and Maude: And lastly, we'll end on an enlightening note. Like the character of Maude, this film is more interested in the prospect of life than death. Possibly the best moment to highlight this theme is when Maude leaves a rainy-day funeral... she carries the brightest colored umbrella around. There's joy in everything. Even death.

Last movie Scott watched: Catch Me If You Can (Steven Spielberg)