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If the pen is mightier than the sword, then the keyboard is at least as good as a stick in the eye.
Crazy Emergency scribe Jesse Lawler writes narratives, opinion pieces, and shocking travelogues, as well as love-notes to his parole officer.
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Investing Naked
- Barry Lawler - May 14th, 2006
Stripped-down financial advice from senior market analyst (and senior Lawler-family writer) Barry Lawler.
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OP-ED: Rifting the Republicans
- April 2nd, 2005
An obvious proposal for American politics that everybody will, unfortunately, hate.
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In preparation for a full seaborne invasion of New Zealand during summer of 2005 (complete with frigates, beach-balls, etc.), Crazy Emergency Productions scouted the South Island during Yuletide 2003. Here is the journal.
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OP-ED: Nursery-School Nuclear Policy
- June 3rd, 2002
Just think what your mom might have accomplished with nuclear weapons...
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In spring of 2002, Jesse Lawler split LA for a cross-the-U.S. bicycle trip.
Here is the incriminating evidence.
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In certain circles, this might qualify as the script for an educational film,
but we're not exactly sure who those circles are...
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Suicide Regimen Director's Journal
A travelogue of adventures in low-budget film land.
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OP-ED: Who's Afraid of the Big, Bad Clones?
- November 27th, 2001
Human cloning versus human chickens.
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OP-ED: Nice Guys Finish Dead
- November 7th, 2001
Offense/defense analysis early in the War on Terror.
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OP-ED: Shopkeeper Nation
- October 2001
A piece on the pros and cons of ethnic profiling in the wake of 9/11.
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OP-ED: New World Revenge
- September 17, 2001
An early "Yikes! What do we do about 9/11?" piece.
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Beer, Boats, and Invisible Goats
- Spring 2001
A travelogue of a post-collegiate Spring Break: Los Angeles, Lake Havasu, the Grand Canyon, and beyond...
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Propulsion
- January 2001
A super-short script about responsible driving.
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An experimental script trying to fit a classic Western into ten pages.
(It came out eleven.)
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clipping from Suckerpunch
- November 1999
An orphaned scene off the cutting-room floor of a feature script.
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A super-short one act theater piece probing why so
many Italian-American criminals are also good dancers.
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