You see, for the longest time, the iconic character of Batman was credited pretty much only to Bob Kane, when in fact, that particular caped crusader was not a solo act. In fact, there’s a Bill Finger award that has been established specifically to recognize comic book writers whose work in comic book writing has gone previously unrecognized (at least significantly).
There’s a whole lot of nuggets in here, but I won’t spoil them for you. Suffice to say I agree with a lot of this and find that understanding how you’re like your characters and their experiences has rung true for me as both an actor and a writer.
This week, I joined the Streaming Nonsense crew in their mission to review lesser known films available online. This time, we looked at The Velocipastor. Is it everything you want from a disillusioned-priest-becomes-dinosaur-and-fights-ninjas movie? Give a listen.
One curious note in the NYPL release: an honorable mention for Goodnight Moon, which I suppose they suppose people would wonder why it was absent. It turns out the NYPL’s chief children’s librarian didn’t care for it and, seeing that this was back in the age of traditional gatekeeping, made sure it was kept out. Dan Kois over at Slate has some additional details.
Strange attitudes about Margaret Wise Brown’s evergreen book with the green bedroom aside, the whole list is interesting, considering it does represent over a century of readers. I hope other library systems add their lists in time.
So, as a bit of follow-up, all last year he did a monthly income and expense report about his business, often detailing what worked and what didn’t, what his predictions were, and what the basis of those predictions was. It was wonderfully detailed stuff: data you almost never get to analyze unless you’re doing it yourself.
One of the notions you’ll see in the links above is the idea to just go ahead and do it. Carpe that diem, even if it annoys Latin scholars that you just mangled that phrase. Mister Keating has your back. Alea iacta est and maybe this time it’s a natural 20.
So, on the one hand, it’s nice to see an industry professional mirror some of those sentiments, which is what Christopher McQuarrie did on Twitter back in October. Not being a Twitter power user, I only picked up on it when someone posted No Film School’s recap recently in a writer group.
The main thrust of his tweet thread is that those asking him for where to find an agent, read their script, etc., are asking the wrong questions, because on one level, it’s about submitting to the status quo of “the lottery,” the often random way one finds success and builds a career in Hollywood.
That he notes he realized that he was asking the wrong question and after winning an academy award no less (surely winning the lottery), made me sit up and take notice. In fact, hearing some of the same notions from someone who is absolutely “in the system” and has “won the lottery” that I hear from indie folks encouraging each other was striking.
The whole thread is worth reading, but I wanted to highlight some parts. One is the overall implication that he has played –and won– the lottery, but all that gets you is the ability to play the lottery again. This squares entirely with repeated anecdotes I get from people that Hollywood is a very binary environment, where you can be a one or zero at any time as far as various people believe.
And another implication is that if you’re not making something, you never get to be a ‘one’ in anyone’s eyes. And sometimes that something is not seen hardly at all, or it is seen and judged lacking, yet you focus on the “execution and not the result.”
That’s what I liked about him going beyond the oft-repeated idea of “doing what you love” You have to execute and keep on executing until you there’s more people that find you to be a “one”
On the Wordplay site (where the “Never Wait” column comes from), they mention writing a script is like writing your own lottery ticket. But McQuarrie makes the point several times how making a film, making more than just a screenplay, is actually giving you more chances.
“And it’s infinitely harder to sell a screenplay than it is to sell one’s proven abilities.”
I love that he closes with the notion that the business isn’t something to be broken into so much as you are the business to be acquired, that the creative folks we might look up to like-as-not made their own luck, and many –if not all– of them failed spectacularly along the way.