Benjamin Caro

Tag "writing"


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For a couple years I’ve been threatening to adapt Raymond Carver’s “Cathedral” into a short film that combines the best parts of that story with some truly unique sound design ideas. If I was a good salesman I might say these sound design ideas have never been done in a film before. Of course, that’s probably not true. Moreover, does anything make you want to roll your eyes more than hearing a sentence like “never been done in a film before?” Probably not. So I’m not going to say that sentence, but you get the idea.


I don’t believe there is enough form experimentation in narrative films. Even “arthouse” indie-minded films tend to showcase a story in traditional ways. Though the content is shocking, out of order, or shot in a unique way, on the surface the audience is still watching a scene shown in a frame with as little interruption as possible. Film has the opportunity to use both sound and sight to express a story, but movies tend to tell the story visually, with the audio only enhancing the visuals, always in sync, rarely contradictory. I see an opportunity to use those tools separately.

I’m interested in film as an experience, rather than a mouthpiece for a story. Most movies in theaters try to get out of the way of the story—they want the audience to forget they’re watching a film entirely. But I’m interested in using the form to give the audience a unique experience. In the same way as most movies, many novels seek to relay a story. Poetry, however, uses rhyme, rhythm, spacing and line breaks to deliver an experience to the reader. I want to do the same thing with Cathedrals.


Carver’s “Cathedral” presents a great opportunity to tell a story through an experience. One of the major characters in the story is a blind man. Blind people use what they hear to understand their world. They’ve learned to live without eyes. Therefore, I want to present his part of the story in the same way to the audience. I want the audience to hear the story first, and see it later, so that hearing becomes the dominant way to take in the story.

For parts of the film, the visuals will be delayed several seconds, so that the scene feels slightly out of sync. Like a blind person, the audience will use their ears to take in the full story, rather than just their eyes.

I’ve tested this effect before, and it has a couple amazing effects:

1). It focuses your attention to the sounds, and how they connect to what you’re seeing.
2). It makes you feel a bit stoned or drunk, which matches what happens in the story.
3). Most importantly, it creates a strange dissonance that mirrors the dissonance between the characters on screen.

The film becomes an experience.

When the climax of the story occurs, you will feel that experience emotionally, too. I can’t wait for you to feel it. It’s going to be shocking.


Sawhorse Productions is helping me create this experience. Unfortunately, as of now, all the money needed to create this experience is coming out of my own pocket. That’s why I’m asking for any help at all in the creation of the project. Perhaps you want to donate some of your time to providing props for the set or PA-ing on our shoot.

Feel free to get in touch with me. I would be tremendously grateful for your help. Like the Facebook page for updates, subscribe to my YouTube channel to watch more from the filmmaking vlog. Shoot me an email, and I’ll send you the script.

Thanks for reading, everyone.

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1. You’re cooking on the stove and a GREASE FIRE breaks out. What do you do?

a) Cover the pan with a lid, smothering the flames.

b) Try to eat the food, even though it’s clearly mostly burned. End up ordering pizza.

c) Take your family out to McDonald’s.

d) Take your family out to an especially nice restaurant. When your spouse asks you why you chose such a nice place, try to pretend it’s not to an apology for all the times you might’ve ruined dinner before, or any time she’s gone to bed disappointed with you, in want.


2. You head to The Cantina, your favorite college bar, with a couple of girlfriends. You’re talking to this cute guy Brett who you’ve been eyeing during 2nd Semester Spanish. After putting your margarita on the bar, you head to the bathroom. When you return and continue sipping, you feel suddenly lightheaded and drowsy. Hay carumba, you think. Something must be wrong. What do you do?

a) Better make that next one a vodka soda.

b) Better make that next one a vodka soda, and a water.

c) Grab your girlfriends. You’ve been drugged. While you can, tell them you think Brett was the one that drugged you. But please, don’t say anything to him. You don’t want to be that girl. I mean, you‘d totally lose your chances with him, whether it was true or not.

d) ….

3. You wake up in your bed at 4 a.m. after only two pathetic hours of sleep, and notice the thick, metal ceiling fan 10 feet above your forehead beginning to rattle. Dust drips down from the corners of your room. You are encased in overwhelming dread as you realize what is happening: there is an EARTHQUAKE. Your girlfriend next to you turns on her side and looks you in the eye. She asks, “Do you even care that I can‘t sleep right now?” What do you do?

a) Say, “How was I supposed to know that? I was asleep.”

b) Whisper, “Of course I do. I was so worried about you that I wasn’t able to sleep myself.”

c) Scream, “Jesus Christ. Is it always about you? We have to get out of here. There is an earthquake happening!”

d) Lean in, silently wrapping your arm over her side, and pull her in close.


4. 8th grade. Middle school. Do you remember it? A CHEMICAL FIRE breaks out from a freak explosion in the chemistry lab. Kids are running down the hallway dripping in bright blue flames, clutching their backpacks as if trying to catch the bus. You look down and some of the fire has been thrown onto your pant leg. Jessica is watching you, horrified. God, you remember Jessica. The flames creep up your pants, and as you look at her, her luscious, plump skin, her cleavage peeking rhythmically over the top of her shirt (as she tries to inhale the remaining oxygen from the room), your loins become enveloped in the chemical heat. Your heart feels like it is on fire. What do you do?

a) Take a deep breath. There’s nothing to worry about. Your body’s just going through changes you may not understand right now.

b) Make a joke about it. Girls like jokes, right? Have you heard the one about being burned alive.

c) Whatever you do, do not let her look down at your pants. She will run, screaming, and will never forgive you for expressing your true desires.

d) If the fire has not spread to any of your other clothing, strip off your pants. Make out with her right there on the hard, linoleum floor, writhing among the casualties.


5. You and three coworkers get stuck in an elevator. One of them is Brad, which is terrible, because you’ve been avoiding him ever since you slept together after the office Christmas party and he moved back with his ex-wife a week later. Between the four of you, all you have is two pieces of granola, a cigarette, a lighter, a travel mug. You have no idea how long the elevator will be out of order. You need to ensure your survival and get help. What do you do?

a) Hit the “emergency” button. After about an hour, it becomes clear that no one is coming to help. This stresses you out, so you smoke the cigarette. Brad gives you a look, because that asshole knows you’ve tried to stop smoking before.

b) Midway through the cigarette, Brad gets the idea to set off the smoke alarm with the lighter. You curse yourself for not thinking of such an obvious solution. You only started smoking again because of his ex-wife bullshit. Now he’ll certainly get the Account Manager job instead of you. Unfortunately for Brad—but you’re not sure you mind—he couldn’t get the lighter to set off any alarm. Serves him right.

c) Twenty-four hours pass. Two of the coworkers have urinated in the crack between the elevator and the door to your disgust. All four of you sit on the floor among the stink, and Brad is beginning to look sincerely fatigued. You know, relationships are tough, scary, all of them. As Brad sits against the wall, his knees facing skyward, his eyes closed to the fluorescent lights beating down from above, the sweat beads are undeniable. Surveying your inventory you begin to think, Wow, this travel mug is useless in this situation. Why was it even mentioned? Why are we locked in here? You begin to believe it is some sort of design. You, Brad, and the other two guys did something to deserve this. What did you do? You must all tell each other. You begin to spurt out everything you’ve ever done wrong, anytime you were confused and scared, anytime you felt unsafe in your own skin, looking into the eyes of a friend. The hours pass. Brad interrupts you. “I’m done listening to you.” “Screw you, Brad,” you say. He says, “Fine, but I want a turn to confess, too.” You say go ahead. This should be good. “The first mistake that comes to my mind is how I treated you,” he says. “I never should’ve gotten rid of you like that.” You immediately look at your feet, tucked barefoot under your skirt. “I didn’t know how I felt about you. It was scary. If I wasn’t so reckless with my actions, with my feelings, we would never be locked in this elevator like this.”

d) You begin to feel for him. “It’s okay,” you say. “I was reckless, too.” You reach out your hand to him because you notice his eyes begin to water. “Don’t cry,” you say, because you believe you know the answer to the question that keeps repeating, over and over. You get on your knees, and crawl to him. You gently rest your hand on his shoulder and with your other hand reach into his left pocket. Inside his pocket is a sheet of paper with a combination of numbers and letters lying upside-down at the bottom of the page. It’s the answer key. He had it all along. You just had to reach in and get it out of him. The elevator melts away, and for the first moment in a long time, you finally feel safe.


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Still, my heart. Do not
Try to love this thing.
It is a dead end, dead
Before the chance, before
Even the touch of regular air.

Still, my body. Do not
Work too hard to give this baby.
Water on a brick
Does not grow flowers. The brick stays a brick,
And cracks when it falls.

Still, my mind. Do not
Panic at this dead chunk inside.
They’re working to remove it,
And after, you can shed yourself
Of this tumor inside.

Still, my I. But my I can’t help but wonder why
And mourn a dead, just a little pound
Spilling out: My dear daughter,
First try, first kiss, my first love now blacked.
Heavy hole, and the next I fear will be another blank

Weight inside, another bad egg and another,
And instead of trying again, the terror of
This cancer will linger and tumors will continue,
And instead of two it will just be me,
Forever alone filled with tumors, my husband forever alone.

Still, I can’t let that feeling become. I will
Push against despair, because I know
Life continues, so
My heart, my body, my mind,
Be still: and push, push, push.

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