FUNCTION #5. SCRIPT/UNDO: Director’s Cut

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Note

There are only so many undo levels.  If you do not pre-configure more undo levels you will not be able to undo everything you want.

“Here, silently fuming at what’s unfolding before him, a commanding figure sits in a dark projection room. The brooding figure is Fritz Mandl, munitions manufacturer and head of Hirstenberger Patronen-Fabrick Industries in 1930’s Germany.” (Ecstasy)

At the moment, Mandl is watching Ecstasy, starring you, Hedwig Kiesler, a sixteen-year-old neophyte actress in your now infamous ten-minute nude romp through the Czech forest. Unfortunately for you, you are now his wife. In your biography, you write of his possessiveness:

“And this, then, was the film that Fritz Mandl was becoming maniacal about, in his turn. He would sit in the projection room and watch the nude scenes again and again.  I need not add that my career stood still throughout the marriage to Mandl. I dared not go near a camera, or even accept any offers for the future.”(Ecstasy)

Warning
Be aware…you cannot pick and choose the actions that you want to undo; they must be done in order.
Run a script, then go to Edit > Undo

In an ominous foreshadowing of Julio Cortázar’s short story “We Love Glenda So Much,” Mandl barks out orders to his trusted lieutenants:
“Buy up every print in existence.  Get that negative, I don’t care how much you have to pay” (Ecstasy 27).

You could very well have met the fate of Cortazar’s actress.   When the retired actress makes a comeback and begins to give less-than-stellar performances, her fans try to edit out the unflattering parts.

They soon realize the impossibility of their task, especially since she is continuing to act in more movies, making it increasingly difficult to buy up and alter all the copies. Following their own twisted logic, they “loved Glenda so much” they offered her “one last inviolable perfection”:

At the moment, Mandl is watching Ecstasy, starring you, Hedwig Kiesler, a sixteen-year-old neophyte actress in your now infamous ten-minute nude romp through the Czech forest. Unfortunately for you, you are now his wife. In your biography, you write of his possessiveness:

“And this, then, was the film that Fritz Mandl was becoming maniacal about, in his turn. He would sit in the projection room and watch the nude scenes again and again.  I need not add that my career stood still throughout the marriage to Mandl. I dared not go near a camera, or even accept any offers for the future.”

Howard Tavel, the scriptwriter for Warhol’s mash-up film about you had a similar experience of being taken over and manipulated. He did, however, come to admire Warhol’s Frankensteinian alteration of his script;

 

“This was the second moving camera film… and I hated it when I first saw it because it came very close to destroying my script, the way he moved the camera, but I loved it for what he did. Because I’d never seen that sort of thing before… 

Well, I was just wiped out. I said ‘this is just like something else. Beautiful. Horrible in terms of the script…’”
(Tavel).

COREL KIT FUNCTIONS

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