A brilliant video essay/documentary to mark the 10th anniversary of David Milch's landmark HBO series ‘Deadwood.’ “A stand-alone, nearly half-hour-long piece, co-produced with HitFix, that looks at the show's style and major themes, as well as its roots in different genres, including the Western and the gangster picture. The title comes from the two-part episode that opened season two of ‘Deadwood’—a slight rewording of a Napoleon quote: ‘History is a set of lies agreed upon.’” —Matt Zoller Seitz, A Lie Agreed Upon: David Milch’s Deadwood
In case you somehow missed it, the legendary David Milch (acclaimed writer-producer of ‘Hill Street Blues,’ ‘Brooklyn South,’ ‘NYPD Blue,’ ‘Deadwood,’ ‘John from Cincinnati,’ ‘Luck’) interviewed by LA Times television critic Paul Brownfield about his extraordinary career, fascinating creative process, and his unique perspective on the universe.
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I’ve entered a phase of novel-writing which partly resembles novel-writing and partly resembles something else—something furtive, like low-level espionage, or a secret drug addiction.
For the past two months or so I was writing full time, flat-out, or as flat-out as you can get in this age of modern distractions like Twitter and Kingdom Rush and babies-who-for-some-reason-don’t-feed-themselves. Now I’m back at work.
But when you’ve got enough momentum going with a novel, and you’ve got a bunch of deadlines for that novel that you’ve agreed to, in writing, you can’t just stop. So you don’t stop.
Instead you go dark.
For example: in the mornings I work from home for an hour or two before I go into the office. Not because there’s any particular reason for me to do that, except that by the time I hit the subway rush hour is over, which means I can probably get a seat, and if I get a seat I can crack open my MacBook Air and steal 20-25 minutes of writing time.
I’m always on the lookout for little gaps like that in my schedule: anytime I can get a block of 10 minutes or more, I take it. I write in waiting rooms. I write in cars while other people are driving (this is very boring for them, but I do it anyway). I write while pasta is boiling.
Sometimes when I’m taking care of my kids they fall asleep, or lose consciousness for other reasons. The second they do I’m at my keyboard. Ninja writer strikes! Then I go back to changing diapers.
It’s not ideal. It’s tough to keep your concentration, with your time chopped up like that. But on the plus side you tend to come at your writing from new angles, freshly, the way you would somebody else’s book. And there’s plenty of time for your subconscious to process things and toss out ideas while you’re distracted by other things. I get my best ideas 10 minutes after I’ve stopped writing and gone on to something else.
And since you’re writing in the spaces in between work, your brain automatically categorizes writing time as play. Which is as it should be.
But it means leading a bit of a double life. I don’t always feel great about it. I don’t know who said, ‘books are written with time stolen from other people’ (Paolo Bacigalupi? Anyway I heard it from him), but it’s true. I’m engaging in petty time-thievery, all day, every day.
If nothing else, it motivates you. What you’re writing had damn well better be worth it.
Peter Jones - Today We Choose Faces, 1980.
A lot of people need to come to terms with the fact that people who troll and are abusive online are assholes offline. Abusive people buy smartphones and download social networking apps just like everyone else. This idea that people are wonderful offline and are just being…
Because everyone needs to be aware.
"TRANSFORMERS comics will never be the real thing.
GI JOE comics will never be the real thing.
STAR WARS comics will never be the real thing.
Those comics are for fans that love the real thing so much, they want more – but there’s the important thing to understand: