For those of you who aren’t adverse to making lists and know that producing a film means you need to know what Inland Marine insurance is, this is the nitty-gritty (albeit lightning-paced) panel for you as we go through the unglamorous aspects of filmmaking.
Now, considering that much of his prolific writing was science fiction, it’s well worth reading. Remember, this is the guy who wrote the Foundation series which had the field of “psychohistory” that was able to predict future trends. I found his predictions to be prescient in some aspects and hopeful and others. I suppose someone might find that in and of itself unremarkable, but just as with much of Asimov’s fiction, the fun part comes from how he analyzes how society fashions itself.
In case you’re not aware, Isaac Asimov wrote hundreds of books… and not just in science fiction, for which he’s perhaps best remembered. In fact, his books cover most of the categories covered by Dewey Decimal Classification.
Not only that, he seemed to love to write. He wrote voraciously like some people read (and, of course, being a voracious reader enabled that).
So take a look. From ongoing learning to getting out of being stuck, there’s some good takeaways.
Basically, one’s happiness often dips right about now –it’s not just a Gen X thing– and goes back up later in the 50s into the 60s.
The really interesting thing I found from the article was that this phenomenon has been observed across cultures and even in other species of great apes (apparently, we all don’t feel so great at the same point in our lifecycle).
The motivation part of it comes deeper in the article where it’s speculated that the subsequent upswing in happiness (thus making the U curve) comes from a re-calibration of what one values of life — which is comforting, though I understand if that feels more like comfort in the Vulcan logic kind of way.
A significant factor on why I believe it should be ranked so highly is because of the episode-specific music composed by Sol Kaplan. Viewers may recall the original series re-used a lot of music cues as a cost-cutting technique. The fact that they don’t do so here underscores (pun intended) how a composer can really bring a story alive.
Composer Shem von Schroeck has an hour-long video that goes into the music and the episode in depth. The first 10 minutes are discussing and demonstrating some of the themes Kaplan uses. The next 50 are a special annotated version of the episode itself, highlighting which music is used when. It really gives you an appreciation for how much art and craft goes into composing for the screen.
I posted yesterday about Marvel movie music, which I found interesting since –while I’ve collected movie soundtracks since I’ve been little, I haven’t gotten around to getting any of the Marvel soundtracks. (Though I do remember the Avengers “fanfare.”)
One recent soundtrack that I have gotten, however, is Game of Thrones, composed by Ramin Djawadi.
So, I talked about comics and Captain Marvel specifically so far this week… and that got me thinking more about the Marvel Cinematic Universe and then I thought of “Every Frame a Painting’s” critique of Marvel’s movie music.
Now, superhero movies in general are not likely to be modestly budgeted these days: they’re too tempting to be used as tentpoles by the studios. The Marvel Cinematic Universe has brought in over $7 billion. Disney’s not about to abandon using them as tentpoles.
But what about the the medium where these superhero stories first appeared: comics?
Parts of their argument is that comics –even if they aren’t as all-fired profitable as their big screen offspring– serve an important function as idea incubators. In a sense, they’re narrative R&D projects. Certainly, good periodic comic books and graphic novels aren’t the cheapest things to produce — many an indie creator colleague has made me aware of that. But they are a darn sight cheaper than bankrolling a $120 million tentpole movie. And in fact, just about all the tentpole movies owe some of their “genetic material” from the comic form.
Another way they could be thought of is as the “narrative farm teams” for some of the bigger budgeted stories. And, of course, I’m thinking of that mainly for the business folks to better reconcile the numbers. The creativity and storytelling on display in so many comics is not “minor league,” but bean counters usually don’t care if a comic book was emotionally impactful, just how many units it sold. So whatever keeps the presses rolling.