Time for a little shameless self-promotion. Most of my writing these days is for Jabberwocky Audio Theater, so when a sci-fi writer was looking to interview other sci-fi writers about their writing, well, that’s what I talked about. I also muse about Star Trek vs. Star Wars, sci-fi authors I like, and other fun topics.
Back in 1983, prolific writer Isaac Asimov was asked to imagine what the world would be like well into the 21st Century: 2019 to be precise. 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…
Lest Monday’s post seem insufficiently motivational, I figured I’d pass along this article by Charles Chu about how Isaac Asimov managed to be such a prolific writer. 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…
This is for all the Gen Xers out there, irretrievably in their 40s and 50s, facing Monday with Garfield-level malaise. Here’s an article by Jonathan Rauch in The Atlantic which I missed when it first came out in 2014, but seems to have hit me at just the right moment… and it might be just the right moment for you all as well. In feature story fashion, it goes into the anecdote of 40-somethings seemingly…
One of my favorite episodes of the original Star Trek and, I would argue, one of their best overall episodes, was the action-packed season two entry, “The Doomsday Machine.” 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…
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. Spencer Kornhaber writes about Djawadi, his composing, and his fame, in a recent article for The Atlantic.
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. You may recall me raving about the YouTube series on the occasion of its end, but in any case, this approximately 14-minute video gives you a bit to ponder.
So, I was pontificating about the future of the comics industry yesterday, but I realize many of you are more concerned about a more pressing issue: What’s with all these Captains Marvel, anyway? Perpetual pop culture historian and comics writer Mark Evanier gives an illuminating and succinct account.
One trend I continue to follow is the decline of “mid-tier” creative works, whether they be “mid-budget” movies or “middle tier” novels. I touched on this just over two years ago when I was looking at the film Warcraft in particular and film budgets in general. At the time, I also noted how the erosion of the mid-budget movie and how a similar trend seemed to occur with “mid-list” authors. Now, superhero movies in general…
Continuing on the topic of producing films from Monday’s post on film budgets, what do you do when you –miracle of miracles– finish the film? Well, you want to get it distributed, of course! And, just as I want more than theoretical notions and generalizations for distribution, I want to know who likes to acquire what — and as much of their terms and conditions can be shared. So over at the site Dear Producer,…