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Pretty
exciting stuff, eh? And that was the best stuff. I would guess that
there was enough dialogue and plot to fill about five minutes of
running
time. You can make the rest of the movie at home, using the following
recipe:
1. Show some stock footage of Los Angeles traffic.
2. Show a woman leaving a car, meeting her client. Show
the first half of a sex scene in which the woman's lower body is wrapped
in a sheet, as seen in the picture above.
3. Cut to the driver sitting in the car, reading a
magazine. You can kill some running time by allowing the camera to
linger on articles or ads in the magazine which are more interesting
than the script, but don't fall in love with this idea because even
those little subscription cards which fall out of magazines are more
interesting than this script.
4. Cut back to the second half of the sex scene,
in which the woman's lower body is still covered. Once in a while,
let the sheet fall away, so it is completely obvious that the
prostitute is actually fully dressed below the waist.
5. Show more stock footage of Los Angeles traffic.
In fact, show the exact same stock footage each time - same
intersections, same cars, same turnpike exits, same everything. (And
the traffic scenes are on film stock so worn and faded that it looks
like it was all photographed in the distant past, in complete
contrast to the bright, competent DV look of the remainder of the
movie.)
6. If
the next "john" is particularly far away, show some of the stock traffic
footage TWICE to indicate the passage of additional distance.
Repeat about six times.
This film was so cheap that it couldn't even
afford the usual sad saxophone music usually associated with noir
films. Instead they played faux-saxophone music on a synthesizer.
Oh, yeah, it's called Knightwalks because the
driver is named Knight, and ... um ... uh ... well, he didn't ever
walk anywhere - but Knightdrives sounded like a shitty title.
Interestingly, this is the same process Dickens used to come up with
the name for Martin Chuzzlewit, which was about some guy named
"Marty" Chuzzle who wasn't witty. I can see that these filmmakers
must have been profoundly affected by Dickens in many other ways as
well, starting with their use of paper to write the script, and
climaxing in the appearance of The Ghost of Traffic Past.
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