Why 127 Hours Felt Like 130

Some time ago a friend of mine saw Aron Ralston speak at a business function.    He told me that it was the most inspirational talk he’d ever heard.

Ralston — as everyone knows by now — is the young man who became pinned by a boulder during a misfortunate solo hike and used an all-purpose tool to cut off his right arm below the elbow in order to escape.  It was an act of astonishing courage, the kind of thing that prompts normal people to pause in their daily routines when they first hear about it, to reflect for a moment on the human capacity for survival, and to wonder whether we ourselves would have the chops to do what this man did in extremis.

So why did the feature film 127 Hours, which tells this story, fall so flat for me?

The Story Business

Q: Why don’t book publishers own Hollywood studios?
A: Because they realized too late that they were in the story business.

I was struck by news last week in the Wall Street Journal that Random House, “eager to cash in on the lucrative videogame business, has set up an in-house team to create original stories for videogames and provide story advice for games in development.”

In the first instance, this is an eerie sign that the cash cow of backlist books has begun to resist further milking. Random House publisher Gina Centrello comments, “We need new revenue streams.”

Gulp. There’s a thought every writer can dig. But maybe there’s something we can learn from this move. Let’s take a look.