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Eighty-Eight Frequencies
Gorgeous MGM star Hedy Lamarr and her unlikely confederate enter a world of flying notes and moving slots. They make a scientific discovery that could change history while she masters the Hollywood machine. Based on a true story.
In a luxurious townhouse on the Opernring, HEDWIG KIESLER lives a lonely life. Married to the third richest man in Austria, armaments magnate FRIEDRICH MANDL, the radiantly beautiful young woman is held captive to her husband's jealousy and possessiveness.
Late at night, Hedwig breaks into her husband's study to read a giant book labeled "Erfindungenbuch." The book is filled with drawings and symbols, and as she studies them, they jump off the page and fly about. Later, as she suffers through yet another boring party with her husband's business associates, the same animated symbols appear behind her, accompanied by strange music, dissonant yet well-orchestrated.
1941, Hollywood. Four years and two husbands later ...
Hedwig Kiesler-Mandl is now HEDY LAMARR and is, if anything, even more beautiful. Four years ago, she was the vassal of Fritz Mandl's war machine; now, she is the vassal of Louis B. Mayer's studio machine.
At a boring party at JANET GAYNOR's house, her friend promises to introduce her to GEORGE ANTHEIL, an eccentric composer and orchestrator. George leads the musicians in the American premiere of his masterpiece, the Ballet Méchanique, scored for percussion orchestra, three airplane propellers, and sixteen synchronized player pianos.
As the dissonant Ballet begins, a wind picks up, and the animated Xs and slots circle the party. At the same time, in the hills behind them, the Hollywoodland sign changes to read ERFINDUNGENBUCH. Hedy gasps as she realizes the Ballet Mécanique is the music of Hedy's animated dreams.
She catches George's eye as he stares at his Ballet coming to life, and they realize their lives are about to get very complicated …
Seth Rogen
Kathy Bates
My parents were animators who met on the picket line at Disney Studios in 1941, and I spent almost thirty-five years in the labor movement as an officer of the Animation Guild Local 839 IATSE. About fifteen years ago I started taking classes with Joe Bratcher and the late Judy Farrell at the Twin Bridges Screenwriting Salon.
Worldfest - Houston (First Place, Platinum Remi, Biographical) [2007]
Sundance (Semifinalist, Writers Lab) [2006]
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