Rian Johnson (director of “Brick” and “The Brothers Bloom”) did a great interview on MakingOf.com, where he puts into words something I’ve been formulating for awhile.
Key excerpts of his quote, and the full video interview under the cut.
I added a new category to the site, “Notable Links.”
Should be pretty self-explanatory.
While we’re here, it’s a good time to explain some of the category structures I’m using for the site.
Real problems from fake people.
Dear Earl,
I read your post about how screenwriters should become directors to protect their work. Isn’t that a bit much to ask somebody? It’s hard enough to learn one job.
In that specific case, I was referring to the screenwriter’s weakened position in the moviemaking system.
Directors have more power. Ergo, if screenwriters want the power to protect their stories, they should seek a position of power. I’m not saying every artist needs to study every field.
Oh, thank goodness.
But now that you mention it, it’s not a bad idea.
Just read this post about Elizabeth Knox and her unhappy experience with the movie adaptation process. Here’s the article:
Author cried over film of Vintner’s Luck
I don’t want to address the merits of Ms. Knox’s story as I think it’s irrelevant to my point here. My point is: it’s time for the role of a screenwriter to come to an end.
Real problems from fake people.
Dear Earl,
We just received an email announcing the open entry period for a big media award/film festival, and we’re going to enter!
Awesome, congrats. Why are you entering?
When you win, the trophy is amazing, it’s made of crystal and golden butterflies — wait, what? What do you mean, ‘why?’ It’s a big award/film festival!
How much is the entry fee?
Huh? I don’t know. It’s somewhere around ($50/$100/$200).
Maybe it’s just me, but if someone is asking for more than lunch money, I like to know why I’m doing it.
Found this blogpost on Twitter, courtesy of Matt F’n Wallace. It’s a piece by Kurt Sutter, a TV showrunner, and it digs into the little-mentioned world of television runners. It’s a world I’m currently fascinated by. Film directors brag about shooting a 2 hour film in 30 days. A television showrunner could be overseeing the production of between 13 and 22 hour-long features, each of which will be turned around in a matter of weeks. In short, these guys know the process, and they know how to multi-task.
Read more here: The Show Must Be Run
Scifi Wire posted this story (Warning: Sanctuary Spoilers) about a recent plot twist on Sanctuary.
What Really Happened To (Spoiler Deleted)
Here’s the excerpt I want to focus on (emphasis mine):
Creator Damian Kindler: “Once we know for sure about a third season, there is definitely an Ashley story in there that we’re developing…(snip) The intention was to never kill her off with any finality. It was always to kill her off in a way that was dubious at best and fraught with inconsistencies and fraught with mystery and isn’t completely solved even when they have to put her to rest and move on.”
Let’s start with some disclaimers.
Last week I spent a few days in Auburn, Al, catching up with Doc Waller, executive director for the Layman Group. He did an interview with me (as Board Emeritus for the group) about art, the Layman Group, and their collective futures, and you can see the best pieces of it here:
From August 11th to October 9th, I was on the road shooting Job Corps locations around the country. It was a trip of approximately 4,986 miles, during which I saw 18 states, 12 different hotel chains, three dying or dead cities, and one sexual rendezvous in an Iowa gas station bathroom.
Check below the jump for the Google Map.
As we enter the first real week of October, it’s time for a status update.
This is where I’ll be and what I’m doing for the next four weeks.
Continue Reading…
