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http://www.warrenellis.com/?p=8163 This is me with local musician Carolina Fasalo of The Voronas. Caz dumped a load of old photos on to her Facebook account and turned this up. Last summer, I think?
I was reading this interview with David Simon the other day — he gives good interviews, see if you can find the one he did with THE BELIEVER magazine sometime — and something he said stuck with me a little bit. As it often does in Simon interviews, as he’s good with a bon mot or two. I’ve hacked some connective tissue out to present it as a complete thought:
There would be a series of planning sessions. First, at the beginning of every season, we did a sort of retreat with the main writers, the guys who were going to be on staff the whole year. We’d discuss what we were trying to say… we weren’t cynical about having been given ten, 12, 13 hours — whatever we had for any season from HBO. All of that was an incredible gift.
So goddamn it, you better have something to say. That sounds really simple, but it’s actually a conversation that I don’t think happens on a lot of serialized drama. Certainly not on American television. I think that a lot of people believe that our job as TV writers is to get the show up as a franchise and get as many viewers, as many eyeballs, as we can, and keep them.
What we were asking was, “What should we spend 12 hours of television saying?”
Which, yes, should sound blatantly obvious. But it’s easy, when working in fast and deadline-intensive serial formats, to forget that bit: to trust to the process of pulp writing and the form’s innate effect of whatever you’re really interested in leaking out into the work regardless. It’s easy to forget what you turned up for.
It’s also an interesting process note. A good 95% of longform serials, I’d guess, turn up not knowing what they want to talk about. Sometimes they don’t discover what they showed up to talk about until the third or fourth season. And I don’t mean so much the working out of what’s now called "show mythology," the actual overarcing storyline — and we can all name shows that suddenly realised they’d payed out all the rope they had and they didn’t know where the plot went next. I mean the serials where they finally open their mouths and nothing comes out. They made the show because they were allowed to make the show.
In other news, Karl Urban has apparently been signed to RED. This brings the cast up to something like the eight thousand most popular actors in the world.
Tonight I am mostly clearing the house. Not enough strength left in me for proper writing. I’d actually really like to be digging into the outline I wrote for the GRAVEL film, and fixing all the stuff in it that looks broken. I’m delivering it at the end of the second week in January, so there’s plenty of time, and it’s actually in reasonably good shape overall. But the thing about distance from a thing — and this is actually not bad advice for any new writer — is that it gives you essential and often surprising perspective once you’ve been away from it for a few days. Walking away from something for a few days or a week is sometimes the best possible thing you can do for a piece. Again, not something we always have time for in the deadline game.
I’d also like to be working on the animated series I have in development, but, like I said. Burned way the fuck out. So I’m going to content myself with clearing the house, catching up on my RSS feeds, scheming about getting a new phone out of Vodafone, and making a few notes on loose ideas. Proper writing can wait a couple of weeks, now.
http://www.warrenellis.com/?p=8157 Well, nearly. We ran into a blizzard north of Church End, east of the Gallows Green Road (love the place names up-county – Bacon End and Butcher’s Pasture are in the same area). It slicked a small, winding country lane already made treacherous by packed sheet ice. And then we hit a pothole and that was it, we were planing. Up over the kerb and headed for a low wall with a deep ditch behind it. Luckily, mounting the kerb gave us the traction we needed to pull round with a foot to spare. That was fun. Drove on, to find a car buried in a ditch at the next junction.
Oh, and the back of the kitchen flooded the other day. I’m starting to get the sense that 2009 wants to finish me off before it dies of old age. A calendrical unit yelling "I’m taking you with me, you bastard!" from its vanishing final paper bunker marked December, every spent day a room deleted from the structure until 2009 is finally huddled in one small box marked 31 and screaming obscenities in stark terror.
All of which was probably an episode of Grant’s DOOM PATROL.
This is the new issue of COILHOUSE. Delighted to see Kristamas Klousch on the cover. It goes on sale on the 22nd. This will be the link you need.
So, having lost even more time to trying to staunch an apparently endless flow of meltwater through my windows, I have to now write DO ANYTHING #026 and FREAKANGELS 0082, because Paul’s just caught up to me. And then I’m calling it Done for the year. I’ve really got nothing left in me this year. Not intending to do anything more than scribble in a notebook and write the occasional piece here until Jan 5.
(FREAKANGELS will be on a skip week this week, because Xmas Day falls on Friday. If we had any sense, we’d skip New Year’s Day too.)
Fuck you, 2009.
http://www.warrenellis.com/?p=8155 Tiiiired. Sitting here listening to Pocahaunted and chugging coffee in order to stay lucid enough to do a GRAVEL phone conference set for 1.30am. This week’s been utterly buggered — you may have noticed the silence here — by a member of the family being rushed into hospital early in the week, which has turned everything into bubbling chaos and is necessitating runs to the hospital, rescheduling, etc. And then the snow hit, turned into two inches of white stuff sitting on three inches of ice, and Britain shut down because it is now a country of weaklings and jabbering genetic wreckage who shit themselves when the sky moves.
GRAVEL phone conference with my producers is to set the storyline. I’ve spent what little time I’ve had this week putting all my notes in order. Which is how I ended up writing the line "Bill, you’re kind of persona non fucker around here."
Also, at the top of the week, I wrapped the last few pages of ULTIMATE COMICS IRON MAN ARMOR WARS #4, which is one of the more ridiculous titles that I haven’t invented myself. Sadly, the Marvel office chose to ignore the alternate titles I wrote at the top of each script. I liked IRON MAN: HUMAN SEX JEEP the best.
Had a conversation with David Bogart at Marvel about the future of the NEWUNIVERSAL: STORMFRONT project there that got stalled when my computer and backups were destroyed. Should be sorted in a few months. I think Dave’s official title at Marvel is Grand Inquisitor or Witchfinder General or something, but I’ve known him pretty much since he started out in the business, and, frankly, it’s always nice to know that there’s a guy in that office who will never try to screw me over. Dave will look after me.
Or, of course, I will have him killed. I know lots of people in New York. I mean, trust is good, but insurance is better, right?
If I can just get a few more pages on other things out over the next two days, then from Monday I am done with 2009, and anyone who doesn’t like it can bite my muckpump.
More coffee.
http://www.warrenellis.com/?p=8153 Variety says:
Summit Entertainment has set Oct. 22 as the release date for "Red," its espionage thriller starring Bruce Willis, Morgan Freeman and Helen Mirren.
Red," based on the WildStorm/DC comicbook…
…because apparently reading the names on the spine is hard work.
http://www.warrenellis.com/?p=8142 Nearly to the end of the first volume, now:
…Alan Moore who’s also in the audience at an early Roxy Music gig and watching Brian Eno in some insane costume making music with Science, Alan Moore, whose early career could easily be described as trying to find out what might happen if Brian Eno had written the Fantastic Four, Brian Eno, who conceived of his generative art software project 77 MILLION PAINTINGS as “visual music,” which is as good a term for “comics” as any I’ve seen…
http://www.warrenellis.com/?p=8140 TOTW is basically a joke that Ariana and I pull each week in our joint guise as the International Electrophonic Unit. Basically, we take some of the stupider things I’ve said on Twitter and elsewhere, often in a state of extreme alcoholic refreshment or severe sleep deprivation, and put them on a t-shirt. Ariana set up a Cafe Press store (because this is a joke and engaging with a serious maker of t-shirts would be less funny to us), and… well, once a week, here we are.
Through this website and this Cafe Press store, we’re going to release one t-shirt a week. It’ll go live on Monday… and it’ll die Sunday night — midnight UK time, more often than not. Each one lives for a week, and then it’s replaced by the next week’s shirt. Until I either run out of dumb ideas or Ariana’s brain explodes.
So, every Monday, I’ll post the new shirt here, and you can peer at it more at http://www.cafepress.com/electrophonic.
HOWEVER, THIS WEEK: it’ll run ’til next Monday, as we’ve been running late today due to my being in London for meetings. Okay?
This one needs some explaining. I once opined on Twitter that the word "scrotum" ruins everything. And proved it by providing the helpful example "scrotumpunk." And then, um…
…I present to you T-Shirt Of The Week #008: SCROTUMPUNK:
We also offer a couple of perennial items. Mostly because I wanted one of these for myself:
(And also a MAN COOK MEAT WITH FIRE "splatter-shield", because Ariana’s crazy)
Thank you for your kind attention.
http://www.warrenellis.com/?p=8138 I have to go into London tomorrow, as I’ve been instructed to meet a producer. Sometimes my agent talks to me as if she has some kind of remote-operated Destructo-Ray Projector in my office that’ll burn off one of my balls if I disobey her instructions. But she speaks with such confidence that I start to worry that she does actually have some kind of remote-operated Destructo-Ray Projector in my office, and so I go to the meeting.
So it’ll be all quiet here until tomorrow night.
http://www.warrenellis.com/?p=8128 After many years of doing rough work on Visors and Treos, I switched back to notebooks this year. Moleskines and Field Notes. Usually working with a propelling pencil, until I found a reliable micro-Sharpie thing earlier this year. Just because I think it’s always worth looking at the way you work and seeing if a change won’t do it good.
These are from a Field Notes notebook started on 5 July 2009.
Had to crank this one up in GIMP, as I was working in pencil (some notes on ASTONISHING X-MEN I scanned were too faint for the scanner or GIMP to save). The left hand page was made around the time I was speaking to the Architecture Association. As you can see, I do tend to go back and add guidance notes later — here, reminding me not to re-use this bit because I ended up using it in a WIRED UK column.
On the right, is how I tend to start roughing out a comics script. It’s almost legible, innit?
I write GRAVEL as "scriptments," usually — a cross between a script, a short story and a film treatment, that Mike Wolfer then turns into something that makes some kind of sense before he starts drawing it. They can run to four or five pages, sometimes just becoming long runs of dialogue. This is me halfway through #15 of that book, just banging the dialogue down without stage directions, as it comes to me:
Yes, I do have bloody awful handwriting. Always have had. I’ll often write in block caps just for the sake of legibility — sometimes I can’t read my own writing.
I’ve filed the serial numbers off this one, as it were, because it was for a work-for-hire project that never got off the ground due to my lack of time. Hence the odd gaps on the page. But this is what you’ll most often find in one of my notebooks: looking at comics page flow. This was the start of several pages of diagrams and notes, trying to find a formal page flow I liked for a DPS, or Double Page Spread.
http://www.warrenellis.com/?p=8121 Well, probably not that Ministry Of Space. But:
Britain is to get its own space agency more than 40 years after the Apollo project landed the first astronauts on the moon. The agency will come into being next year and replaces the existing British National Space Centre as a single co-ordinating organisation for the nation’s space exploration activities.
The announcement coincides with the publication of a government review of space exploration that warns the nation is "at a critical point" in deciding its future in the space business.
Britain has a long-standing policy of not contributing to human spaceflight programmes and instead supports robotic and satellite-based missions. The review urges ministers to consider backing a space programme that involves both robotic and human explorers…
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