On January 12, Mr. Palmer, the multimedia teacher, announced a new project. Seth desperately hoped this would be another filmmaking project—the last three were filmmaking, and the theme was “Lego-mation.” Seth excelled at them all.
“All right, class, today is project day. I’ve decided, since so many of you mostly enjoy the filmmaking aspect of the course, that this project will be filmmaking.”
Seth held out his hand to his friend and filmmaking partner, Brody—they high-fived one another.
“And as usual, you have until the end of class to submit your film proposals.”
Seth and Brody took a work station. Brody reached into his bag and pulled out pencil and paper.
“All right, Seth—what will our next epic production be? Anything in mind?”
Seth smiled at Brody. “Picture it. Belfast, Ireland, 1909. Harland and Wolff Shipyard, March 31. Three thousand men start construction on the world’s largest and most luxurious ship ever built.”
Brody looked at Seth somewhat unenthused. “Really, the Titanic, again? We already made a Titanic film, using Legos, remember?”
Without missing a beat, Seth defended the idea. “That’s right, we did make a Titanic film, in Lego. This will be different.”
“Oh, really? How so? Is the ship not going to sink? Or maybe it does sink, but the Carpathia gets there just in time.”
“I’m not talking about changing the facts, you moron. I’m talking about our approach. I want to approach this film like no other filmmaker has before. No, I want something fresh, new and original! I not only want people to say, ‘This film is the best we’ve ever seen,’ I want people to be there and experience it.”
Brody sat quietly. “That does sound great, but how do we go about doing that?”
Seth reached into his bag and pulled out a 10-page film treatment. He handed it to Brody.
Brody took the treatment and began reading it. After five or so minutes, he gathered the papers, exhaled and then rubbed his eyes. Seth anxiously waited for Brody to say something.
“Well, I’ve got to say, I don’t like it.”
“What! Why not?”
“Because I love it! It’s too good!”
Seth sighed in relief.
Brody handed him the treatment. “Let’s do it.”
Seth took the treatment from Brody and brought it over to Mr. Palmer. “Here, Mr. P., signed, sealed and delivered.”
Seth returned to Brody.
After ten minutes Mr. Palmer approaches the boys.
“So, Seth.” Mr. Palmer held up the treatment. “You wrote this?”
“Yes, sir!”
Mr. Palmer smiled. “Well, I’ve got to tell you—it’s quite amazing. I’m flabbergasted. I just have one question though. How are you going to film this?”
Seth sat back and remained silent for a moment. “Quite simply, we don’t use actors.”
Mr. Palmer sat beside them. “What do you mean?”
Brody scratches his head. “Yeah, Seth, what do you mean?”
“I’m proposing we build miniature sets.”
Palmer and Brody shared a look.
“And the ship and water effects?” Brody asked.
“We build two six foot ships, one for wide shots and close ups, and the other for sinking.”
Palmer nodded with amazement. “So, essentially, what you’re going to have is a silent film with empty sets?”
Seth said, “No, sir. What we’re going to have is beautifully decorated and lit sets with carefully and appropriately edited dialogue from James Cameron’s Titanic.”
Palmer placed the treatment on the desk and stood. “Well, you’ve answered my questions, and you also seem confident and know what you’re doing. You’ve got my approval.”
He headed back to his desk but suddenly stopped and turned around again. “Seth, do you have any idea how long it’s going to take?”
Seth shook his head. “Not a single clue.”
Palmer nodded. “Tell you what, boys. If this film is going to be as grand as it appears on paper, I’ll give you the rest of the school year to complete it. Which means the expectations for this film are extremely high. Since you have a lot to do, I’ll try to get you permission to use dialogue from James Cameron’s Titanic.”
Over the next week, Seth spent many hours studying the Titanic, getting to know every last inch and curve, her interior and exterior, even going as far as knowing where each and every rivet was placed. He spent time online studying original Harland and Wolff blueprints. Then, over the next three months, it took a team of 26 students, including Seth and Brody, to create the two six foot ships needed and all interior sets and props. On April 13, after three long months and countless man-hours, all the sets and props were complete, including the two ships.
After class ended that day, Seth and Vance met as usual at the bus stop.
“No Keri today?”
“No, she must not have been feeling well,” Seth said.
“So, tell me, Mr. Director, how’s your film coming along?”
Seth’s face lit up. “It’s coming along perfectly. We just finished construction of the sets, ships and props today. The only two things remaining to do is fill up the tank in the horticulture room and shoot the film.”
“Sounds great, man! Glad to see all your hard work is finally ready to go in front of the cameras.”
When Seth got home, he immediately went up to his bedroom and collapsed on his bed. After a couple of minutes he called Keri. “Hi. I missed you at school today. You feeling okay?”
Keri said nothing for a moment. “I was feeling, sick earlier, but I’m fine now. And your day?”
“I had a great day! We finished building the props, sets and the two ships for the film, and—”
Keri cleared her throat. “You know what, Seth? I’m suddenly not feeling well again. I think I should go.”
“Uh, okay, we still on for tomorrow?”
After another few moments of silence, she asked, “What’s happening tomorrow?”
“I thought I was coming over.”
“Oh. Oh yeah, sure. Whatever.”
“I’ll see you then. I—” Keri quickly hung up, and Seth sighed heavily.
*
The next day Keri went on a rant.
“Keri, calm down! Please, tell me what’s the matter.”
“Filmmaking, Mom! Filmmaking is all Seth talks about. Filmmaking this, Spielberg that! I’m getting sick and tired of hearing it!”
Carol took a big gulp of wine. “What did I tell you, Keri? The moment he said he wanted to be a filmmaker, I knew he was no goddamned good. He’s nothing but a helpless and hopeless dreamer with absolutely no prospects.” Carol took another gulp.
“What do I do, Mom? Help me.”
Carol smiled deviously. “You dump him, sweetheart. You drop him quick and never look back.”
Keri’s jaw dropped. “What? Just like that?”
“Sure, why the hell not?”
“I don’t think I could bring myself to do that.”
Carol finished her wine and quickly poured another glass. “Why not?”
“Well, because Seth is sweet, charming, funny and sensitive.”
Carol rolled her eyes. “Tough shit, honey. Don’t worry about his feelings. You’re more important in this scenario.”
“I don’t know. It would destroy him, plus, we’d still see each other at school. That wouldn’t only be uncomfortable for Seth but for me as well.”
Carol sipped her wine as she considered the situation. “Okay, put Seth on a two-year plan.”
Keri was confused for a moment. “What the hell are you talking about, Mom?”
“You finish school in two years, right? So to avoid the discomfort of running into each other, keep him around for another two years. Until then, you’re a saleswoman. Your job is to sell Seth the illusion you’re still a happy, loving couple. Lie, cheat, play dirty—just have a ball!”
Hours later, Keri and Seth were in the living room watching TV. Carol was on the computer, when she suddenly swivelled her chair around and looked at Seth.
“So, Seth, I hear your movie is the buzz around school?”
Seth looked over at Carol. “Yeah, I guess it is, sure.”
“Why is that? Why is your movie the talk of the school? It’s not like it’s a professional film or anything. And you are the furthest thing from a real filmmaker.”
Seth tried to answer as best as he could without going off the deep end. “Well, if I had to guess, I think it’s because of how much work is going into it—all the students needed to work on it and the size of the sets.”
Unimpressed, Carol smirked. “Tell me about it, Mr. Spielberg. What all went into it?”
Seth hyperventilated, his face blood red, his hands turning into rock-hard fists. He tried to keep calm and collected and took a deep breath. “I had to design the two ships and figure out appropriate building materials. I had to design all the interior sets, plus co-design the ships electrical system and electrical split system.”
Carol snickered. “Electrical system? Why in the hell does a stupid cardboard ship need an electrical system?”
Seth continued taking deep breaths. “It needs an electrical system to light up the sets, to show off the detail and to add more realism to the film.”
Carol scratched her head. “What the hell is an ‘electrical split system’?”
“The electrical split system is a small series of copper wires built into one ship, and is hooked up to a D battery. The purpose of the system is that, when the switch is flicked, the ship will begin splitting in half on cue.”
A brief moment passed before Carol laughed.
“What’s so funny, Carol?”
Carol swallowed some wine. “You. This film you’re making, all the hard work and effort you’re putting into it. To me, it seems to be an utter and useless waste of time. And you’re the furthest thing from a professional filmmaker. I mean, you’re not getting paid, and absolutely nobody in the world is ever going to see it.”
By this time Seth’s fists were so tight his knuckles were bone white. He stood up angrily. “Listen, you! I’m absolutely sick and goddamned tired of taking your verbal abuse! Just because you didn’t have any dreams growing up doesn’t give you the right to shit all over mine! Now, turn your chair around and continue drinking, you lush!”
Carol and Keri were paralyzed from shock.
Marlon came up the steps by the front door. “I’m home.”
Carol began to cry.
Marlon noticed his wife’s tears and said, “What’s the matter?”
Carol couldn’t speak. The only thing she could do was cry. “Seth made mom cry.”
Marlon shook his head. “Let me guess, Carol—filmmaking was mentioned. You were drinking so you ranted to Seth, and knowing you, you kept your mouth open. Which in turn pushed Seth’s buttons to the extreme, and he blew up in your face?”
Carol shamefully nodded.
Marlon shook his head and then bit his lip. “Well, Carol, don’t say I didn’t try to warn you.”