Hollywood

japanese monster film

In an attempt to gain real world experience after three years of studying Keats, Byron, Shelley, Coleridge, Joyce, Shakespeare, you apply for a summer advertising internship in Hollywood on the shaky notion that at least it’s communications, it’s all communications – right? – the artful use of language to woo an audience. When you arrive you are all east coast and corn fed. You aren’t fat, but solid, pretty, but not stunning. Besides, you wear clothes that match and earrings that match with that and a purse that goes.

They have no idea what to do with you so they sit you in front of a huge TV and show you how to use a large knob to stop the pictures. Somewhere, in one of the edit bays, they are allowing a woman  to write a script, someone not much older than you are, someone, you know, who has never read a book cover to cover.

And yet there you sit with Guilala, a giant Japanese Gila monster, who crushes cars with feet that wobble. He smashes elevated trains and spews his wrath while tiny people flee. You are supposed to write down the numbers on the frames to use for commercials to distributors. You are supposed to take notes. They will be doing a Japanese monster campaign sometime in the future. You write down every frame. You have no idea what you are doing. No one cares. No one is watching or holding you accountable. No one is teaching you anything.

You love Hollywood and hate it. You cross seven lanes of L.A. traffic in between your exit in Burbank and Sunset. (This is the only thing, actually, that impresses your parents, that you can navigate this.) You love your night drives down the Pacific Coast Highway. You take day trips to Laguna. The surfers tell you to go home. You walk through rock formations. You spend your day half-self-consiously enjoying the warm sun.

One night, late, a policeman picks you up for prostitution. You had just gotten out of a movie at the Chinese Theatre. You are shocked but then you remember the cutoffs you are wearing. They are not too short you think. Any woman out after midnight on Sunset is a suspect, he says. He drives you to your car. Luckily, you are not in trouble. You allow a man to sleep in your bed one night. You could have gotten in trouble then too in a different way. He was a hot man and even the women in the office are jealous. Nothing happened, though, because you didn’t allow it.

You have never known people to act so self-important as they do here. And yet, you find yourself getting in on the act. It creates a mini-scene that you jump out of your car with the film that is overdue, that you pop out onto the sidewalk to make an urgent delivery. Someone could see you. Someone could say, “That girl’s important. Who is she?” Some tourists could notice you. That’s what you want, most of all, is to be seen as some kind of insider.

When you get home, you break up with your boyfriend of three years, the one your parents wanted you to marry even though he was a Catholic. He hadn’t wanted you to go to Hollywood at all. Neither had they. But you can’t talk of Hollywood without crying. It has broken something in you and how can you explain, in a way that will be understood, what it is.

Image source: http://en.wikipedia.org/wiki/Kaiju

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