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DamienRoc

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  1. What Tele said, also there's a lot more to writing than what makes it on screen. Writing for a shorter season can be less content, but not less work, depending on the nature of the show. If it's intricately plotted and involves a lot of pinpoint character work, a short season can be considerably MORE work than an episodic longer season. The latter might take a bit more time actually banging it out, but that's not the entire job of writing.
  2. I tend to joke with my brother that the dream of a creative career is to have a lower middle-class lifestyle.
  3. That pretty much happened last time around. I had a debate with a former roommate, who has some personal connection to people in Hollywood, who said something to the effect of "if the writers are striking, so many other people are going to be hurt." And while that's essentially true, it pins the blame on the wrong party. It's mostly because while writers are often essentially to creating a "good" product, they aren't seen as essential to creating a product, period. Unlike actors or directors, they're seen as a nice addition, but hardly necessary, to the movie business. This creates a view that writers getting paid is already nice, regardless of whether they're getting paid equitably. And even if it's viewed as necessary, it's seen as this distant and distinct part of the process: the writer puts together a script, and then their part (and the process of writing) is done. It's ludicrous, though. So many productions, especially blockbuster productions, have this very involved, hands-on take on writing, where it happens in tandem with the directing, acting, and editing to create the product you have as a whole. If you remember the stories about Elliott and Rossio being on set for the later PotC films, that's because of this process. The MCU movies are probably almost entirely this. (How far have they strayed from the days of IM1, which may not have had anything resembling a completed script when they started shooting.) The writers understand that there's a dialogue. They know they're integral to the process of movies (and critical to the process of scripted TV). However, the studios have the much stronger hand. They not only control most of the board, they also have a more powerful voice in shaping the narrative about how movies are made. Every script that's published with an indication that it was what was submitted before cameras started rolling and not assembled after the fact to try and mirror the edited, released version of the film, does the writers a disservice. What a writer initially submits (after possibly many, many drafts) may not be as good as that final script, but it's a more honest portrayal of the process and will give a better understanding of how the writer is critically involved. The studios have the money, and the power. They could acknowledge the importance of all the creative people involved in the process of making a movie or show, by equitably paying those people what they deserve. We don't get that, though. Instead we get "those greedy writers". To pull something I've seen said about sports: in the argument between millionaires and billionaires, it's probably not going to affect me either way, but I'll ultimately side with the millionaires.
  4. Well, I didn't get called into work today, so I suppose I can spend some time putting this together. Really haven't thought about the summer, though, so who knows how it'll go.
  5. I remember the last time the strike happened, there was a bit of a rallying call of "Pencils down!" which mostly served as a reminder to anyone who had a dual role that they couldn't write anything down. Still, because of all the fudging that can be done (either with release dates, nudging production schedules around, or just plain bullshitting their way through, a la TF2 and its not-at-all-a-script outline that they used to shoot while Bay or someone made up dialogue for the actors to say right before shooting) movies are probably going to be okay. It might be interesting to see how the cinematic universes handle it, though. TV is going to be really risky, though. It's so much of a bigger, more important piece of the pie for studios, and you can't really fudge things like you can with TV. The metaphor of a TV show as a train that's rolling down the track and can't be stopped so you have to keep working to lay new track ahead of it is apt. Without writers, there's nobody to lay that foundation, and without the ability to keep production going, audience loss is a huge danger. I'd guess that several shows won't survive, especially if there was a question of them possibly ending. A strike would make it definite. This should probably incentivize the studios to play ball. The streaming services have it a bit easier, at least. Netflix probably has target release dates, but it's not like it aims for a specific fall release date or anything. As an upside, it's possible this will clear out a lot of cruft. Maybe we'll see more original ideas, both movie and TV-wise, coming out of this.
  6. Finally saw Get Out. Not quite what I expected, because I'd mostly managed to keep myself in the dark about it prior to seeing it. Still, it's fucking brilliant.
  7. There were several films from that period of '99 to '04 that probably would have set the OW record if they'd had normal, Friday openings. TPM, RotK, Shrek 2, SM2. But they had weird mid-week openings which undermined that potential.
  8. So if the remaining Star Wars films haven't switched to Christmas releases, can they do that, now? Also, they can slot in another couple into that two year gap without any competition. Win/win!
  9. Ehh... That's not a great argument. Like, I thought about Prometheus a lot after I saw it. But most of those thoughts were about how annoying terrible it was as a movie. It had flashes of good stuff, but overall, it was a poorly conceived, poorly paced feature. The ideas presented weren't good or compelling, so much of my thoughts about it were "god, that was relentlessly stupid." But if the barometer for "effective" is because I did end up thinking about it, then any film that has a degree of ineptness undermining itself is effective. (Haven't seen Passengers, yet. But the presentation in the trailers annoyed me enough that I doubt I'd really find it either sneaky or effective.)
  10. At Sakura-Con this year, our musical guest was Miliyah, who I found out sang the closing version of How Far I'll Go in the Japanese version of the film. Despite the fact I had to run around and take care of a lot of things, I was told by those who saw her sound test and track list that she would sing it at the end of her concert, so I made sure to get to it by the end. And, damn, it is a good rendition. She's a powerful singer, and works really well with the slight dance atmosphere of the credits version of the song. Plus, she just packed our main events hall for the concert. The crowd was totally into it, and when I looked back at the end when the lights came up, there were people all the way in the back. That's pretty rare, considering the size of the room. (I'm not sure what the total capacity is, but it's well past 2000 people.) If I'd had a bit more time, I would have tracked down a copy of the single to have her autograph. I considered asking her to sign my blu-ray, but felt it would have been a bit weird, since there isn't a Japanese track. Also, she's a total sweetheart. I got to chat with her for a little bit after the concert and thank her for making our 20th anniversary year such a good one. Then, this morning when we were trying to get all of our guests on the shuttles to the airport, she had to stop and make sure she gave everyone a hug. I'd post a video of her version, but I can't seem to find a legit, complete one online.
  11. I got to go to Nintendo HQ today with a friend who works there. I wasn't able to get a Switch from the company store, but I did get a NES Classic Edition without realizing how crazy valuable they are, now.
  12. It will be interesting to see how many conversations I have this weekend about Your Name with the Japanese guests at Sakura-Con.
  13. I am busy being staff for Sakura-Con all weekend. I doubt I will be able to get away from it for a few hours to see it, but who knows.
  14. I felt like that moment was when they filmmakers realized they didn't have a good way to resolve the film. The third act of GotG is pretty damn dire overall, but that was cringe-worthy.