"Pat Cadigan - The Final Remake Of Little Latin Larry" - читать интересную книгу автора (Cadigan Pat)

The distinguishing characteristic of The Return of Little Latin Larry, the
singular property, the hallmark -- if you'll pardon the expression -- is
the emotion. It kicks in immediately, almost before you know you're in a
bar. Only the first remake spends much time in the bar before the lights
go down for the show and I found that Carola had been right -- it really
was too much time hanging around drinking and smelling and drinking and
drinking and smelling some more. It wasn't until the second remake that
The Return of Little Latin Larry began with the backstage sequence of
everyone getting into character. I have to say, it's really breathtaking,
the first time you go through it with everyone. And in spite of the fact
that Carola insisted none of them were very happy with the second remake,
I have to say that the sequence editor did have good instincts, as the
viewpoint moves in what I think of as ascending order, from the Latinettes
teasing their hair, to the Latinaires all trying to fit their reflections
into one skinny full-length mirror while they rehearse their moves, to the
Loopy Louies getting completely shitfaced (the actual Loopy Louie term for
it, absolutely no substitutes accepted, no matter how ridiculous or coarse
the term may sound to us today), and then Little Latin Larry himself,
moving around among them like a teacher supervising a playgroup.
Well, I'm sorry, but that's how it looks to me. It's another quality
present in every single remake, the sense that Little Latin Larry is
supervising a bunch of kids at play and sneaking in some teaching at the
same time. Don't ask me what he's teaching them. How to play, maybe. And
don't think that some people don't need to learn how to do that.
In the third remake, the film crew appears explicitly for the first time,
and we get the interviews interspersed with the sequences, and even with
the musical numbers onstage, which I personally feel is a significant
mistake on the sequence editor's part. Obviously the sequence editor on
that remake thought the in-between-numbers parts of the performance were
dull, which is too bad, as you lose a lot of the bar atmosphere and you're
reminded constantly that this is a feature and you're not actually there.
This is fine with some things but it's all wrong for Little Latin Larry.
And I'll go so far as to say this is more than an aesthetic choice, it's
true.



I knew there was something new and different coming up when Ola and her
sidekick apologized for the amount of material they were passing on to me.
Most of the time, they apologized for a lack of material, at least in one
area or another. I couldn't imagine having too much material to go
through. Then she had the cases delivered to my editing room.
I mean, cases. I mean, crates. Yes, there were literally crates of
recovered material -- not reconstructed, but raw material recovered. An
out-of-work dance team brought them in. I had to cut more cable and put
together a board with a dozen more outlets before I could even get started
sorting things according to chronological order.
Now it's true that I have a preprogrammed sorter to handle the first
layers of sorting, but I don't depend solely on that, and I always