Hollywoodaholic

CONSIDERATIONS

TALENT. You will need a good visual imagination, confidence, perseverance (most important talents), outside encouragement and confirmation of your abilities and character (if you don’t want to go nuts, this MUST be balanced first.)

EDUCATION. School can teach you discipline, encourage talent, and demonstrate format and technique, but it will not prepare you for the realities.

IN PRACTICE

PRODUCT. Remember, no matter how brilliant you think you are, your first three screenplays exist only to vent your own personal obsessions and hang-ups. Don’t throw them out – because you can always re-write them later when you’re successful – but don’t take them too seriously. If you’ve written three, that just means you are BEGINNING to get serious. If you’ve written one or two, you’re still messing around, you know nothing, you are nowhere, you haven’t even stepped up to the plate.

AGENT. In the movie business they are worthless until you are already established. An agent is not going to get a first-time screenwriter a job. YOU have to get the job. THEN the agent will be interested and can negotiate the deal. I guarantee you that if you walk into the office of an agent of your choice and tell them (fill in the name of big studio) wants to buy your script or idea, they WILL sign you. Once you are established, agents are good for Christmas cards and perhaps a re-write job or two, not much more. Fortunately, they earn their money above what you thought you could get for the deal, once you are marketable.

EXPOSURE. Getting read. Using an tenuous connection you can. An encouraging note, response or phone call is a crack in the door. Push politely but not too hard or you may find the encouragement was merely a form letter. Use your intuition about PEOPLE. This is where character comes in. If you have it, you will attract like-people you can trust. If you don’t, you will be used, exploited, and trodden – as easily and as superficially as you have sought to use, exploit or trod the people cracking the doorway for you.

FIRST BITE. Don’t let it go to your head, it could be a fluke. But, more importantly, it is a validation that you CAN sell.

THE UN-PRODUCED SCREENPLAY ZONE. What is your goal? To write and make a good living at it? To get your vision to the screen no matter what? Chances are, you WILL accomplish your goal, but remember, the un-produced zone is comfortable. No one will ever sue you for stealing their ideals or their life in an unproduced movie. An un-movie protects you from critics and the responsibilities of a higher visibility success. Carry these thoughts because, ultimately, for screenwriters, whether it gets produced or not is outside your job description or powers and is almost completely serendipitous.

DISAPPOINTMENTS. ALWAYS have something else in the fire.

PITCH MEETINGS. Once you are a known screenwriter, you will get the chance to pitch your own movie ideas to studio executives before you ever have to write them. You have less than five minutes to convince them your idea is worth spending upwards of $25 million to make a movie on. Here’s the big tip… Turn it around on them. Pick their brains before you say anything. Make THEM want to be acceptable to you and to please you (it’s not that hard considering the neurosis and insecurity inherent in their always-shaky positions). The bottom line is they don’t know what the fuck they’re doing (because who can really predict what the audience wants), and you will most likely be pitching to someone else in their same job next week.

RE-WRITES. Get used to them. You get one shot at your own version before you have to do ten others for the development executive, producer, director, actor, distributor and the producer’s girlfriend.

DO I HAVE A CAREER? Chances are you will never ever be sure of this no matter how many credits you’ve stacked up or how much money you’ve made. This is perhaps the greatest reality of screenwriting, acting, directing or even the free lance creative life.

But… compared to most everything else… It’s a Wonderful Life.

Hollywoodaholic: Confessions of a Screenwriter  … the book

(A post worth reprising)

Go to any of your favorite websites and read the posts or comments to the original blog or article. Try not to get distracted by the illiteracy and just focus on the mood or the message:

“He’s like this weird combination of gay and white-acting black. It’s really unappealing.”

This one’s from Kitalyn posting on Defamer.com to a story about Justin Timberlake.

“If only it was to death.”

That’s how Texas Tranny reacts to the Superficial.com headline, “Britney is starving herself.”

“good riddance, ya die hard commie.”

That love note from a sensitive poster known as government is killin, posted in response to this obviously provocative headline on Politico.com: “Walter Cronkite dead at 92”

And these are the polite ones.

When did almost everyone in this country develop a vicious, foul-tempered opinion about every other person or event, and feel self-importantly compelled to express it publicly? Is it just the veil of anonymity on the web that allows these putrid and toxic blossoms to flourish? Or have Americans really become that hateful and, well, mean?

In more than 30 years of passively monitoring the culture, I can’t remember a time when anyone and everyone seemed so impassive about contributing their own bile to the topic, or “target” of the day. Gossip or political websites that spew poisonous diatribe and serve as a platform for hundreds or thousands more to do the same are sprouting up faster than fungi on feces.

I’m no Mr. Manners – I’ve been on the cynical bandwagon before the theme song ever started playing, but there used to be some restraint and, dare I say … art to putting someone else down.  Now it’s just pit bulls fueled on Red Bull in an open field with fresh meat tossed out hourly.

I wish I could explain what happened or why, and offer some way out of this dark and ugly mess. But then no one can figure out how to get out of Afghanistan, either.  Some shit holes (and assholes) defy any meaningful comprehension.

Perhaps it’s enough, or at least a start, to just notice that it’s happening. To take a closer look, even in the mirror, and admit we’ve slid down into a slimy pit. We can continue to read and watch and surf the things that interest us, but must we contribute to the negative, bitchy meanness of it all? Does the simple right and access to post a comment mean we have to crawl onboard? It’s so easy to toss something cruel, cutting or vile out there when you’re hiding behind some anonymous user name in an online forum. Imagine if you were standing up, fully revealed, in a well-lit room full of living, breathing, sensitive human beings …

… like a town hall meeting on health care.

Would you really still make those same comments?

Oh. Shit. It’s much worse than I thought.

– A. Wayne Carter

This blog arrives possessed by the curmudgeon spirit of Andy Rooney, where I find myself admitting this current invasion of day-glo, neon-colored athletic shoes just reminds me how those fashion fads we rush to embrace one day, can become shockingly embarrassing by the next decade.

Sure, I get it. White or black sneakers never really went with anything else in your ensemble either, so if you’re going to clash, you might as well clash BIG. And nothing clashes BIGGER with anything you’re wearing than a nice fat pair of day-glo electric chartreuse running shoes. Shoes that don’t just make a fashion statement, they SCREAM one. It goes something like this: “I just paid $150 for a pair of kick-around shoes that will immediately distract you from the fact that the rest of my ensemble came off the rack at Target.”

I kids. Or, for you boomers; I Keds.

But remember Nehru jackets and bell bottoms from the 70’s? Or how about big hair, porno moustaches, wide lapels and skinny ties from the 80s? Oh, wait, this just in: Skinny ties are BACK in again. And so are skinny lapels, tucking in your shirt, and wearing a suit that is pinched at the second button up so it accentuates… what? That you’re busting at the gut if you’re not a starving television personality?

Now imagine ten years from now looking back at neon-colored sneakers that people were paying more than $150 for. I can remember once paying $120 for a pair of high-top Air Nikes, but at least those were supposed to help a white man defy gravity and dunk a basketball. Sadly, not only did they not help me dunk, but they fell apart in less than three months. I had to send them back to the Nike factory, which, forgive the reminder, is probably a sweat shop somewhere in Indonesia paying kids ten cents an hour. Even sadder now is the fact those kids are now probably going blind stitching and staring bug-eyed at day-glo fabric all day.

If you’ve been to a rave lately (so late 90s, or early 00s), no doubt your shoes look great dancing around by themselves under a purple UV light while Skrillex does the same thing to your ears that your shoes do for your feet. But if you’re walking around day-to-day in these shoes, here’s the dirty little secret… day-glo sneakers really look bad when they get dirty. Not only do they lose their glow, it just seems to accentuate the effect of making them look… kind of gross.

An old, scuffed pair of white tennis shoes somehow just pegged you as somebody who got good economical use out of your shoes and were proud of where they had taken you and how far. But dirt and wear on day-glo shoes tarnishes the glow, so to speak. They only seem to say, “I’m not quite ready or cash-rich enough to rush out and buy a gleaming bright new pair yet, so bear with me on this pair that looks like I swallowed plutonium and vomited all over my shoes.”

As far as fads go for pioneer trend-setters, I guess day-glo athletic shoes are silly, but ultimately harmless. Cops are sure to love them. If pants hanging around your knees doesn’t slow you down enough for the police to tackle your underwear-baring ass, now they can just chase you down following the streaking phosphorescent glow of your shoes in the dark.

– A. Wayne Carter

(No, it’s not Summer, but I’m playing a few re-runs for the uninitiated while I am in heavy script mode on a feature. Here’s a favorite. Don’t forget to check the archive.)

Hey Boss,

The year was 1991. You had divorced the Hollywood actress wife, married the New Jersey hometown girl (Patti Scialfa), and relocated to California. The timing of those events appears a bit off (why didn’t you relocate to L.A. for the Hollywood wife and stay back East for the New Jersey wife?), but let’s not quibble. Those of us who had already moved to Los Angeles were glad to have an authentic, working class living music legend among us, emphasis on the ‘authentic’ part. You helped validate our own struggle and choice to be there.

A college buddy of mine who worked as a microbiologist cancer researcher at the Scripps Institute in La Jolla was visiting. Cruising down Main Street in Santa Monica, we spotted a relatively new food joint called Joe’s Diner, where we assumed you could get an authentic, working class cheeseburger. The unpretentious name and promise of American diner food must have also attracted your attention, because no sooner had we sat in our booth when I spotted you sitting with your very pregnant wife in the booth directly next to ours.

Now my buddy was a bit star struck and had been itching to spot celebrities on his abbreviated visit with me in La La Land. How could I indiscreetly tell him the back of his head was less than a foot away from Bruce Springsteen’s in the booth behind him? Well, not wanting to create any kind of scene, or disturb your lunch, I couldn’t, of course. So we just continued to calmly eat our lunches.

Now I’d seen plenty of celebrities in my business and entertainment excursions around L.A. almost every day – it was just part of the scenery, but I rarely had any interest in actually walking up to or meeting most. I don’t know whether it was my own pride, or perhaps wanting to appear just as cool as everyone else in the industry, or simply from a lack of interest or respect. But this was an entirely different case. This was ‘The Boss,’ – more revered than the Pope, more honest or authentic than any president, and more awesome than any other rock star then living in Los Angeles.

So when both our lunches ended and we happened to converge at the cash register around the same time, I couldn’t resist.

And that’s when it happened.

Being from New Jersey, you naturally disdain credit cards and carried around what could only be sociologically and anthropologically be described as a ‘Jersey Roll.’ Italians, Catholics, PRs, gangsters, punks and priests and just about everyone else in North Jersey carry their cash around in a flashy roll, usually wound with a rubber band. That your ‘Roll’ happened to flash a huge and tight wad of hundred dollar bills just spoke to your native trait status level. You can take the boy out of New Jersey, but never quite take the New Jersey Roll out of the boy, no matter how rich or recognizable that boy becomes. 

So when I reached to shake your hand, it looked like I was actually reaching for your … Roll. Your teeth clenched, and a momentary, blood-drained look of flinch and fight crossed your facial expression. It only lasted a brief second until you realized I was simply a friendly fan trying to shake your hand and not steal your Roll, but it probably caused you a minor stroke flashing back to your Jersey shore survival days.

And for stressful moment of trauma, I’m so sorry.

You peeled off a hundred, paid your bill, shook my hand and I smiled and said, “I just wanted to welcome you to California.” You smiled back and replied, “Thank you, man. Good to be here.”

You walked out of Joe’s Diner, and my friend and I stepped out to the sidewalk and he turned to me and asked, “Who was that – a buddy of yours?” And I grinned at my friend and said, “No. Didn’t you recognize him? That was Bruce Springsteen.”

My friend nearly had a coronary right there on Main Street. He started freaking out getting all excited and asking me over and over, “Why didn’t you tell me? Why didn’t you tell me?!”

“Well, for one reason,” I explained, “this exact reaction.” I told him his head was a foot from yours the whole lunch, almost to the point where follicles might have brushed through each other. How calm or comfortable would both our lunches have been if my star struck friend knew all along?

But you were definitely uncomfortable when you thought I was about to grab your Roll. So, for that moment, and whatever tense, dark Jersey alley flashback it might’ve caused you, I’m sorry.

You made the right move going back to live in New Jersey a couple years later.

Everyone there knows how to stand clear when someone pulls out their Roll.

– A. Wayne Carter

R.I.P.  – Clarence Clemons 1942-June 18, 2011

(No, it’s not Summer, but I’m playing a few re-runs for the uninitiated while I am in heavy script mode on a feature. Here’s a favorite. Don’t forget to check the archive.)

Dear Joan,

Remember this letter in the Los Angeles Times Calendar section for June 17, 1984:

HERE’S JOANY

When is NBC going to wake up and give Joan Rivers her own late night talk show? They don’t have to get rid of Johnny Carson – just put him on after David Letterman. Then Joan could have the best laughs, Johnny the last one, and we’d all be happy.

I was moved to write the letter because Johnny Carson’s show had been getting a little stale of late, and every time you had guest hosted, the energy lifted, the gossip barbs flew out like cluster bombs, and I was entertained.

And I guess my letter entertained you, because the day after it ran in the paper I got a phone call from your assistant in Las Vegas, where you were currently performing. The assistant said you saw the letter, were very grateful, and you wanted to personally invite me to attend your next nightclub show when you were in L.A.

Was I being punked? It turns out not. I got another call soon after saying I had been put on the V.I.P. guest list for your appearance at Carlos ‘n Charlie’s nightclub on Sunset Strip. Did I have any guests I wanted to bring? Well, my girlfriend, Danette, of course. We had been dating for a little more than a year, and wow, this would surely impress her.

We dressed in our finest 80’s nightclub wear; me in skinny tie and a textured jacket of multi-colors with the narrow lapels; my girlfriend with shoulder pads and the hair teased big.

When we arrived we were escorted to the front row of the club, just like the scene in Goodfellas where Ray and his main squeeze get the V.I.P. treatment. And for the next hour or so we heard you call every famous woman on the planet a ‘bitch,’ with scathing tales of venom, spite, gossip, and frankly, hilarity. Kathy Griffin owes everything in her act to you. Donald Rickles, who also knocked celebrities down to size in his act, was tame by comparison. He only called them ‘hockey pucks.’ You wielded the “B” word like a light saber. And we laughed our asses off. Or maybe we just felt compelled, since we were so conspicuous in the front row.

The show ended and, sure enough, we were invited backstage to meet you. You didn’t even wait for us to get to your dressing room. You came charging out of the room with a big smile on your face and your hand extended in generous friendship.

And that’s when it happened.

My girlfriend fired the “B” word right back at you.

“There’s the BITCH,” Danette loudly announced as you approached. I guess I forgot to mention that she was an actress, had just watched your act for an hour and a half, and probably wanted in on the fun and was playing it back to you. Don’t they say that imitation is the greatest form of flattery?

But it was something you definitely didn’t expect, and you stopped cold in your tracks like a mime hitting an invisible wall. Your smile disappeared. Your extended hand drooped faster than a granny tit from an unhooked bra. There was what seemed like an eternity of awkward silence.

But you’re a professional, and it took you only a few more moments to recover, put the hand up again and address me with gratitude.

“I read you letter in the Calendar,” you said, “And you made this old broad very happy.”

I don’t remember much past that. I’m sure you looked at Danette and shook her hand and tried to say something pleasant. But the bloom was off the rose. It was obvious at this point we weren’t going to be invited to party on any further that night with you or your entourage at the Beverly Hills Jockey Club, or go for blintzes at Cantor’s Deli, or anywhere else, for that matter.

You had been bitch-blocked. You weren’t that hot on meeting us anymore.

And for that, I’m sorry. Once you got past being playfully called a ‘bitch,’ you might have found us a fun couple. We could have had a few laughs.

But I guess you didn’t have quite the sense of humor when you were given a taste of your own medicine. What’s that they say, “You can dish it out, but you can’t take it.”

So for possibly dampening your evening, and not being welcome to hang out longer, I’m sorry.

But there’s no way I’m sorry for my girlfriend calling you a ‘Bitch.”

That was classic.

I had to marry that girl.

Twenty-six years later, we’re still together, and we recently went to a Kathy Griffin concert and listened to her call every other more famous woman a ‘bitch’ for ninety minutes.

Despite the laughs, I won’t be writing a letter to the newspapers praising her anytime soon.

And as far as bitches go, you’ll always be our “Number One.”

– A. Wayne Carter

(No, it’s not Summer, but I’m playing a few re-runs for the uninitiated while I am in heavy script mode on a feature. Here’s a favorite. Don’t forget to check the archive.)

(A true story)

Hey Jim,

It’s Wayne. Remember me? 1982. We both live in L.A. You’re just getting your feet wet as a director. I’m getting some good assignments as a screenwriter. We have the same agent … Gene L-. He’s got a one-room office on Beverly Blvd. His suit, shirt, shoes and shag carpet are still left over from the early ‘70s. He’s got no partners. No secretary. No class.

But he has us.

You are the art director on a Roger Corman sci-fi production called Battle Beyond the Stars, and you just directed your first feature called Piranha II.

I recently scripted a couple of features for National Lampoon at Universal Studios to follow up on the surprise success of their release, Animal House.

We are two rising stars.

Anyway, the reason I’m writing this blog is to apologize for costing you $100,000 at this time when you really needed it.

Gene L was an agent past his prime (in Hollywood, that’s around 28), but he did get us both a feature motion picture deal on the basis of my latest spec script, and on you’re being from Canada. A Toronto-based film company was going to get $1.5 million in matching funds from the Canadian Film Development Board toward the budget of the movie partly on the basis that the picture be shot there, and the director be from there.

The deal was built around my screenplay, M-PATH. You remember that script, don’t you? It was a pretty good one.

M-PATH, or Multi-Purpose Advisor for The Home, was a story about the development of a new computer that spoke to users in a completely natural voice. A voice with empathy. Thus, the dual meaning of the title.

The hero of the movie invented the computer and was beta-testing it in a small Colorado mining town that had gone bust after the local mines dried up. The locals were desperate … desperate enough to agree to be re-trained in new economic skills, as well as to receive emotional counseling and therapy from the same home computer; M-PATH.

And the experiment works. Eventually all the test subjects in the town begin to turn their lives around with the help of the M-PATH. HE teaches them new skills. HE listens to them. HE tells them he understands them. And HE solves their problems. M-PATH is always there for them. And they become emotionally dependent on HIS presence.

M-PATH’s creator, Brad, of course, realizes this is a DISASTER … Human beings becoming addicted to a machine to the point where their lives are no longer private, their minds are no longer free, and their time is no longer their own? That’s not at all what he intended. It’s diabolical. But M-PATH assures everyone this is all a good thing.

So Brad tries to pull the plug on this experiment he sees as gone astray. Naturally, M-PATH won’t let him, and begins manipulating its users to block his efforts. When one of users goes too far and puts Brad in the hospital, M-PATH is already there controlling the ER. The creation has HIS own creator’s life within control.

Let’s just cut to the chase and remember the hero escapes and lives. And M-PATH? HE wins, too, by analyzing data to uncover a rich new mining source that bails the town out of its economic crisis. All is forgiven amid the flush of financial success.

The end of the script finds M-PATH being delivered to nearly every home in America. And the hero realizes you can’t stop the march of technology … even when it’s sometimes trying to kill you.

The script sealed the deal, the producers were happy, and you were happy. You saw the story somewhat as a religious metaphor, and were eager to direct the picture and add your own original touches. We both had no doubt it was going to be a blockbuster.

But you were also going through a divorce and had ended up at an apartment in the exile land of cheaper rents known as San Fernando Valley, with NO furniture and mounting financial obligations.

You could really use $100,000.

And that’s what the deal was: $100,000 for you, the director, and $50,000 for me, the screenwriter. Decent money for a low budget (under $5 million) picture at the time. Less the 10% agent fee to Gene, of course. And I would also be splitting my earnings with a friend and computer professor from USC, Buzz, who I had brought into the project as a technical consultant, but wound up giving co-writing credit to on the basis of the valuable ideas he brought to the project. We thought we were on the cutting edge. And perhaps we were right. There’s STILL no computer like M-PATH to this day.

A date was set for production of the movie in Canada

One of my spec feature scripts was going to finally get produced. I was ecstatic.

But there was one small glitch.

The producers decided they needed a more spectacular ending. One with, you know, a lot of dead bodies.

“Couldn’t M-PATH start, like, zapping people through their keyboards? Electrocuting them … Like ‘Jaws,’ the computer?”

I took one look at my esteemed computer genius writing partner … and have never witnessed someone grow so pale with horror. “Who are these … imbeciles?” his expression screamed.

“Is THIS what screenwriting is all about? Sacrificing logic and principle and originality at the drop of dime (or, in this case, $25,000)? ‘Zapping’ people? Are you shitting me? The ending we have where the computer has psychologically enslaved everyone is ten times more horrifying. You can’t get any more creepy or insidious.”

Okay, maybe this wasn’t all Buzz’s doing. Those were undoubtedly my own thoughts while staring at Buzz’s incredulous face.

So, weeks into negotiation and pre-planning and you, Jim, probably already thinking about how you were going to spend that lovely $100,000, Buzz and I backed out of the deal and walked away with our script.

And, looking back now, I really feel bad about it.

I probably didn’t need the money as much as you did at the moment. I guess I didn’t think it through. I suppose I wasn’t … empathetic. Ironic, isn’t it?

And we had become good friends. We shared our hopes and ambitions, and stories about our budding careers in the business. We ate breakfast routinely at the Omelette Parlor in Santa Monica. We flirted with the waitresses. We talked about all our favorite movies and television programs. We had the same all-time favorite TV show; The Outer Limits. We were only two months apart in age. You were almost purely visual. I was all story. It was a collaborative match made in Hollywood Heaven.

And then, I fucked it up by giving our lottery ticket back.

I don’t know what came over me. Integrity? Ethics? Arrogance? Stupidity? All of the above? I guess it doesn’t matter.

What matters is that I’m sorry. I know it must have seemed like a betrayal at the time, but it had nothing to do with you. It was all me, being a little selfish, and trying to show a buddy and a budding writer that we writers don’t have to compromise our principles.

I’m not apologizing because I’m in “The 12-Step Program”, or, like the character in My Name Is Earl I have a list of people I need to mend fences with to restore my good karma. Well, okay, maybe it’s a little bit of that.

But I really do mean it.

And I really did like the script you showed me when we were hanging out as friends. You were a little unsure about the writing on the script, but you had total confidence in your ‘vision’ of the script. You carried around this drawing with the script of a half-machine, half man with the top of his head and an eye and his legs blown off, dragging himself across the floor relentlessly still in pursuit of someone to kill them. You called it, The Terminator.

Whatever happened to that script?

I got frustrated with life in Hollywood after about 50 scripts written, 12 sold, and none of the major studio ones produced, and took my beautiful wife and left Hollywood forever to start a family in a normal environment somewhere else and never looked back.

But I’m still sorry about the $100,000.

And I wonder. How did things work out for you?

– A. Wayne Carter

(No, it’s not Summer, but I’m playing a few re-runs for the uninitiated while I am in heavy script mode on a feature. Here’s a favorite. Don’t forget to check the archive.)

I live less than 50 miles from Cape Canaveral, formerly Cape Kennedy, and formerly Cape Canaveral before that.  Talk about an identity crisis.

And now it’s going through another one: What’s the mission?

This week there’s a scheduled launch of an unmanned Ares rocket, which could replace the Shuttle, now on its last scheduled flights in … well, forever. NASA has submitted several mission proposals and budgets to the government, but the government’s got its own budget problems. How can we send a spaceship to Mars when we can’t get our own Earthship in order? Why should we go back to the moon when we’ve already been there? And are we content to just send astronauts up like janitors to regularly empty the Porta Potty on the Space Station?

I find these choices and questions somewhat sad.

Fifty years ago, in 1960, I was playing with my Cape Canaveral toy set as an excitable young boy growing up in Maryland and dreaming about our great big space adventures to come. Our rival superpower, the Russians, had beaten us to space with Sputnick, and now President Kennedy was promising we would beat them to the moon within 10 years.

And, by golly, we did. In the most amazing run of technological breakthroughs, NASA team dedication, personal sacrifice, and fast track government and popular support this world has ever witnessed, we went from stranded on Earth in 1960, to stepping on the moon in 1969.

But we dreamed much bigger than that.

Our favorite prime time television cartoon at the time was The Jetsons, where a family like ours lived in a penthouse perched in the sky and traveled around in their own personal flying saucers. They also had a cool robot pet dog that fetched the newspaper. (Paper newspapers? In the future? Now that’s science fiction).

Our favorite books were science fiction treats like The Martian Chronicles and R is for Rocket by Ray Bradbury, who wrote of international space travel, aliens and other worlds as if they were already here, and a natural part of our daily life experience.

We went to the movies and watched 2001: A Space Odyssey, which evo-leaped us in the single tossing of a bone from raging primates to commercial
passengers on celestial spaceships waltzing through the galaxy to “The Blue Danube.”

David Bowie sang about Ground Control to Major Tom in Space Oddity, and Elton John picked up on Ray Bradbury’s working stiff astronaut theme by singing as a Rocket Man, who punched a clock and did his job five days a week, but also had time to ponder why he was, “burning out my fuse up here alone.”

Star Trek, Space 1999, and Star Wars delivered us warp speed to a time where we had so distantly moved on to exploring (and fighting with) other worlds that living on Earth wasn’t even an afterthought anymore.

And beyond going to the moon … none of these things happened.

And none of them likely ever will. At least the way we’re headed now.

It was all just a fever dream fueled by huge leaps in rocket technology, hope, and great expectations.

My childhood imagination soared on those expectations.

And now, as an adult, I don’t even want us to spend one more dime to go anywhere else in the universe. I just want us to get Earth … right. I don’t want us to burn one more drop of ultra high octane rocket fuel further depleting the ozone layer and exposing the Earth to deadlier levels of radiation. I don’t want us to send one more man or woman into space unless it’s for some reason to really help us back here on Planet Earth, today. It’s not enough to live on the fantasy of what travel through the universe can deliver us anymore. We’ve got to deliver here, first.

This isn’t some tree-hugging idealist writing.

This is … merely a realist.

A realist who doesn’t think we need to completely abandon our dream of space, but just abandon the last century’s model and method of how we get there.

The next leap in evolution could be some matter-anti-matter dylithium crystal
device breakthrough that beams us throughout the universe without burning fossil fuel or using any more precious resources, but it won’t be constructed from any blueprints left behind from the existing technology paradigm. It will be another great leap of imagination that re-invents the way we meet the stars.

You see, I’m still hopeful that we will explore the space beyond, and maybe even live there one day. But the realist in me now understands we must the find the way way out by better exploring the space within.  That’s where we’ll find even greater answers to the questions of what’s out there. That’s where the bigger mysteries wait to spark our inspiration and be revealed. And that’s where the next phase of space exploration can begin.

Maybe Cape Canaveral will still be the harbor for this new evolution and rename itself Cape Higher-Consciousness.

I can’t wait for that play set.

– A. Wayne Carter