I need to get some work done.

I need to work on my rough draft film analysis essay for composition class, but I just don't have the drive. (Of course when DO I have the drive...I'm without motivation most times - is there a self-help book for that?) But forgive my rambling and allow me to ignore the pull of LIMEWIRE paired with my new cable modem's speed...let me ignore Nacho's advances to more playtime (a.k.a. "let-me-gnaw-any-exposed-skin-with-my-sharp-teeth-time")...and let me turn off this music so so I can get some work done. Here goes.

The assignment is to "construct a critical examination of a film using secondary sources." (I guess this means I have to do some research, find some critiques?) According to our handout, a critical film essay writer "presumes that his or her reader has seen or is at least familiar with the film under discussion...[and] therefore reminds the reader of key themes and elements of the plot, but a lengthy retelling of the story of the film is neither needed nor acceptable....the writer hopes to reveal subtleties or complexities that may have escaped viewers on the first or even the second viewing. Thus, the essay might focus on a short sequence at the beginning of the film, or on a camera angle that becomes associated with a specific character."

Hard-pressed to arrive at a focus for my analysis, I told my professor that I planned on providing my own explanation of the movie's title ("Magnolia") by comparing the characters experiences to the magnolia itself. He okayed the idea; however, I'm doubting that I can make this into what this handout is looking for.

>>GOD, I WISH NACHO WOULD STOP BITING ME!<<

But since he okayed it, I guess I'll just bring in the rough draft and see from there.

Now, an outline:

I. Introduction:
+ "Magnolia" - directed by Paul Thomas Anderson - 1999 Best Supporting Actor -

II. Focus (forgive the intentional run-on):
+ Characters in "Magnolia" mimic the life cycle of the flower which titles their story - closed up as a bud on a branch, petals unfurling to expose their center when finally inspired or forced to do so, petals of their old selves falling and scattering, their old identities dying to become something new.


III. Frank T.J. Mackey

IV. Claudia Gator

V. Earl Partridge

...I'm checking on secondary sources; we'll see where that leads me.

VI.