Bitter Wheat is the new play by David Mamet, closing on Sep 21 at the Garrick in London. This fits right in with Mr. Mamet’s plays on Hollywood, albeit a wonderfully strange minor work. It is a play that was inevitable, Mamet’s answer to the monstrosity that is disgraced producer Harvey Weinstein. And it is just the play that Weinstein deserves: not so much a grand work but a strategic strike.
Tag Archives: Movies
Over the years, I’ve done a number of process posts where either I just show you my work, or show you how I created it, whether visual or literary or whatever. Being an artist is not just one thing, right? Seems to me a good time to do a bit of a reintroduction here. I’m going to be looking over things I’ve done in the past, sharing new things, and gearing up for a number of new process posts going into the end of this year and into the next. We’re looking at everything. And this is while I’m still working my way to completing some current projects!
This leads me to a quick Top Ten list.
WHAT DOES IT TAKE TO MOTIVATE YOU TO CREATE ART–or ANYTHING?
A deadline. If there is some kind of deadline, that always gets my attention.
Curiosity that develops into an obsession. You develop a passion! Who knew?
Feeling competitive. Okay, maybe not the best reason but, hey, a bit of gusto never hurt.
Breakthrough. You have figured something out. An epiphany. You are compelled to create!
Drop your inhibitions. You stop putting yourself down and clear away any doubts!
Need to impress. So, you’ve fallen in love and want to impress that someone special. Why not?
Others are looking up to you. What about that special someone in your life who already believes in you?
Courage. Maybe there’s nobody special at the moment to cheer you on but you find courage on your own!
Making up for lost time. Where did the time go? Seriously, where did it go? So, you hop into action.
You discover this feels good! The very act of creating is intoxicating. Now, you’re on your way!
What I’m getting at, for the purposes of this post, is that I want to do my best to get some good solid process features out soon. You know, “How-to” sort of stuff. I am constantly learning new things from various sources. I see a lot of fun and interesting “how-to” books and gurus out there. My conclusion: there’s always room for another person to share their work, tips and insights! I’m just that kind of person. I won’t promise what happens next here but I’ve got a nice track record of following through. Heck, I’ve done more posts right here on this blog than most people I know. So, yeah, I’m good for it. I just gave you a top ten list. Not bad, huh? We’ll do more. That I can promise.
Anyway, with all that said, I’m thinking a lot of my activity here on this blog and elsewhere could add up to some sort of book that I could share with you that speaks to what I’m doing. It would be an initial step towards what I’m envisioning. It would be the first in a series of books that explores the passion of creating art and storytelling, a nice mix of work, tips, and insights. I’m always learning, always thinking. Also, I should add here that I’m gearing up for a big trip. It is something that has involved a bunch of behind-the-scenes planning with a little help from sponsors and friends. That will be revealed as we progress down this journey. Basically, what I hope will happen is that, at least, a number of successful travel and art blog posts will result. That’s the first step.
An aspiring writer does well to heed that famous Tolstoy quote about families: “Happy families are all alike; every unhappy family is unhappy in its own way.” Cartoonists, many of them and I include myself among these wonderfully wretched souls, gravitate more often than not to stories about outsiders, people dealing with deep issues. It leads to glorious work like The Nao of Brown, originally published in 2012 by SelfMadeHero/Abrams. A new edition, from SelfMadeHero and Abrams, just came out and it’s a good time to revisit what has become a classic tale of a young woman finding her way.
Nao Brown, at 28, is still teetering along on the precipice that takes one from childhood to adulthood. Nao comes to understand that one can remain dangling on that cliff forever. This is the year that Nao makes it to the other side. The Nao of Brown is in the same spirit as Ghost World, the Daniel Clowes tour de force graphic novel that seemed, with its major motion picture version, to bring geek culture out of the closet back in 2001. The Nao of Brown is also, just like Ghost World, a crisp combination of exquisite art and writing. Where Clowes is more hard-edged and sarcastic, Dillon is more dreamy and bathed in soft watercolor washes. Our main character, Nao, is struggling to find her place in the world with one foot in her Japanese ancestry and the other foot in her Anglo-British ancestry. And she sees the world in the black and white extremes of an obsessive-compulsive. Her dark thoughts terrify her. Pop culture, hip and ironic, is an island that she can escape to.
Will one more mix tape be able to save Nao? She works in a pop culture boutique run by Steve, a hapless nerd if ever there was one who has a crush on Nao. She cringes at the thought of the pack of teenage boys who frequent the shop only to worship her. She knows she’s too old for them. She intellectually knows her youth is relative. But she still thinks like a little girl. For most of the book, she works out her feelings for a man she’s developed a relationship with recently. Her initial interest in Gregory was triggered by the fact he resembles a pop culture toy she adores.
There’s a wonderful interview by Dick Cavett with Orson Welles in which Cavett asks Welles to reveal his secrets to filmmaking. Welles delivers an answer spiked with mystery and simple honesty. Welles claimed that everything you need to know about filmmaking can be learned in about an hour. In other words, the basics are accessible. It’s a question of what you do after that! With Welles, you had a masterful storyteller and an artist of great vision. Filmmaking becomes just a means to an end. And so it has for Quentin Tarantino many times over. He’s had a bumpy ride with accusations of lifting from other movies including lifting the entire story for Reservoir Dogs from a Hong Kong action movie from the ’80s. In his latest film, Once Upon a Time in Hollywood, it seems safe to say that Tarantino displays the strengths of a seasoned director.
Tarantino the king of retro, has been around long enough to see his own career turn retro. A lot of Millennials were either too young or not even born when Pulp Fiction first came out in 1994, chock full of vintage pop culture references. In Once Upon a Time in Hollywood, Tarantino can bring to bear his retro obsession with mature grace. Tarantino is now, like Welles, a director with well-honed themes and obsessions, everything fitting him like a perfectly well-worn leather jacket. And that’s a huge part of what is going on in this movie: a love letter to a bygone era. Just consider the first scene set in Hollywood’s legendary Musso & Frank Grill. If there is one place that represents Old Hollywood, when actors could still be glamorous stars, that is the place. But change is in the air. It is 1969 and a number of factors have cleared the landscape, including television. The fatal break with the glorious past would arrive on the night of August 8, 1969 with the mass murders by the Manson Family. It is that turning point to which all concerned are converging upon. The two main innocent bystanders are a couple of Hollywood fixtures: aging leading man Rick Dalton (Leonardo DiCaprio) and his stuntman/handyman Cliff Booth (Brad Pitt). The obsession with retro is fully satisfied here.
Another hallmark of any Tarantino movie is his love for a salty, dark and raw sensuality. It is in every one of his films. In Tarantino’s case, he seems to best evoke that vibe whenever he manages to share with the viewer his fascination with feet. He is not the first director to make that relatively offbeat choice. You can go back to such film legends as Luis Bunuel for that. To his credit, Tarantino is simply being true to his own quirky passion as well as mining for something original and provocative. It’s all interconnected: his foot fancy and his love for B-movies and throwaway culture. He seems to be challenging the viewer to find art in unexpected places. And, with age one hopes comes some wisdom. Compared to his overindulgent examination of Uma Thurman’s feet in Pulp Fiction and Kill Bill, Tarantino appears to have restrained himself enough to use his obsession like a painter to a canvas. A scene that manages to display the soles of Sharon Tate’s (Margot Robbie) feet while she’s in a movie theater must have been challenging and seems perhaps only a bit contrived. Another scene that has one of the Manson Family members (Margaret Qualley) with her bare feet resting on the dashboard and firmly pressed on the windshield comes across as more natural and provides that spot on Tarantino touch. The unique appeal of feet and B-movies may not seem to add up to much and yet perhaps a mystery remains, a nearly indescribable appeal. That’s the stuff that dreams, and movies, are made of.
And no Tarantino movie would be complete without his ultimate obsession: righteous fury! Remember, this is a love letter to everything that Tarantino holds dear to a once wondrous Tinseltown. If there is a dark force that needs to be dealt with in order for truth and beauty to survive, then you know Tarantino is going to unleash the remedy. In this case, the hippie culture with all its navel-gazing sense of entitlement and self-righteous angst is anathema to a more refined and disciplined era. To see a new generation that is not only not up to the old standards but doesn’t care is pretty heartbreaking for Tarantino. But for that movement to be weaponized is the last straw and that brings us to the fight that Tarantino is more than willing to engage in.
Masters of Comics: Inside the Studios of the World’s Premier Graphic Storytellers is a unique behind-the-scenes look at the studios and work habits of some of the all-time great comic book artists, published by Insight Comics, with interviews by Joel Meadows. It is a pleasure to get a chance to chat with Joel Meadows, a fellow comics journalist. Mr. Meadows jumped into comics journalism in 1992 with his own Tripwire Magazine. In this interview, we’re going to unpack what that all means. There have been so many others who have joined the ranks of comics journalists, including myself, so there’s plenty to unpack!
HENRY CHAMBERLAIN: Joel, thank you for joining me for this conversation. We’re going to chat about Masters of Comics and the world of comics journalism. You begin in 1992 as a young guy who is compelled to create Tripwire, a magazine of genre culture, and that has evolved into an exciting new website presence and the publication of significant books on pop culture. I believe you really hit upon something with the original Studio Space and now the current Masters of Comics. As a jumping off point, share with us some of the thinking that led you to pursue a collection of in depth process interviews.
It started with the magazine, you mentioned Tripwire. We used to run a feature, Studio Space, where we interviewed artists and illustrators in order to get a closer look, get behind their work: the way they work and how they approach their work. We began with Tim Bradstreet, Phil Hale, and John Bolton. I found it fascinating and I thought it might be fun to pursue this further as a book. We put together a line up of artists for Image in 2008 and that was an impressive book. I was very proud of that book. That came out 11 years ago. We had the late great Joe Kubert. We had Sergio Toppi. We had Steve Dillon. We had Howard Chaykin. I can’t recall everyone. It was a pretty amazing list. I was very proud that we had managed to gather all these great artists together and get into each of their headspace and look at how they actually created work and how each studio was different from the next.
I love the fact that you have books out in the world. For me, my first loyalty is with print. We both go back to a pre-internet perspective. It used to be that to have something in print was the be all, end all. You feel secure with print. You can feel a bit uncertain about the internet: things can be completely wiped away. The whole website might blow up but you can always have a print edition somewhere. Do you feel like that sometimes?
A little bit. We switched to the web back in 2015 and it has its pros and cons. If you make a mistake you can always go back and fix it. But there’s something about the physicality of a book or a magazine. There’s the tactile nature of it. Say, if you meet someone and they ask you what you do, you can direct them to a website but, in some ways, it’s even nicer to be able to show them the book that you’ve published or the magazine that you edit. There’s something about having something physical that is hard to beat.
Exactly, that’s what I want to stress to everyone. Of course, you can go to a tutorial on Youtube but it’s so great to be able to pick up a book and pore over the pages and make discoveries. I think of someone like John Paul Leon, an amazing artist who will be new to a lot of readers. There’s one title that he worked on, The Winter Men, that really sticks with me. You’ve got such a wonderful range of talent, everyone from Frank Quitely to Bill Sienkiewicz to J.H. Williams III, and everyone has their own way of working. There’s so much to consider, of course, over creating the work physically or digitally or a combination of the two.
Maybe it’s a generational thing. I interviewed Mike Kaluta for the book and he works physically with pen and ink. J.P. has more of a mix. Walt Simonson works physically but he does fix lines digitally. I think it was Laurence Campbell, who does work physically, who said that, with digital, he misses the idea of being able to have a happy accident. You might make a mistake but it’s a good mistake. It brings the work to life a little bit more. In some ways, it comes down to digital coming across as too precise. The idea that you can go in and fix a mistake in Photoshop can leave some artists feeling that something is missing. Obviously, other artists love digital. Sean Phillips he draws his line art digitally but he also paints physically. He went back to painting for some of his covers and some of his work for Criminal. He likes to jump between the two. It really depends upon the artist. Some like the tactile experience of physically painting. Others like the convenience of digital. So, it comes down to a case by case basis.
Yes, I think it does come down to a case by case basis since you can’t totally peg it as generational. You have so many young artists who enjoy doing work physically. I even wonder sometimes if using markers is really the best approach to coloring your work. But, hey, if an artist can make it work with markers, then why not.
I want to ask you about your own process. Maybe you can take us behind the scenes of how you got the book put together. Did you personally interview each artist in their studio or were some interviews over the phone?
It was a mix. I got to visit some of the artists personally: Mike Kaluta, Walt Simonson, Posy Simmonds, Laurence Campbell, and Sean Phillips. The rest were e-mail or telephone interviews and, for those, they supplied the photographs. I would have loved to have interviewed in person Eduardo Risso but he’s way over in Argentina. The same with Rafael Albuquerque. He’s in Brazil. I did the photography for the artists that I met with in person.
It’s a seamless presentation, how all the profiles were put together into such a compelling whole.
Insight did a great job with the design. It looks beautiful. They did a great job with the typography and the way all the images fit, the comics art and the photography. It holds together really well as a cohesive package.
There are 21 profiles here. Maybe you can tell us something more about the decision-making process in choosing artists. It is a stellar line-up of artists. Rafael Albuquerque. Tim Sale. Yumo Shimizu. The list goes.
We wanted to have a cross section of artists coming from different disciplines. For instance, Walt Simonson is very much a pen and ink guy. John Paul Leon is more of a marker artist. Dave Johnson is a cover artist, one of the best. If we picked 20 or so artists that were all in the same style, then it would have gotten repetitive. So, we wanted to have something that was varied in terms of approach and actual work.
Share with us about the world of comics journalism. It was a whole other world when you began in 1992. The field was wide open. Back then, there were only a few outlets, like The Comics Journal. Today, it’s a relatively crowded field, especially when you add in all the various tiers of involvement.
It has changed. The Comics Journal had its moments. I used to enjoy Amazing Heroes, going back to the late ’80s. The biggest one was Speakeasy. It had a column by Grant Morrison. It was a very irreverent magazine. That was a big influence on us at Tripwire. Back in the ’90s, you also had Wizard, which really wasn’t for me. And, yeah, I never connected with The Comics Journal. Today, there are a number of good websites. There’s a digital magazine based in the UK that is doing a lot of good work called, PanexPanel, run by Hass Otsmane-Elhaou. And Forces of Geek, with Stefan Blitz, does excellent work too. A lot of sites are just running press releases. At Tripwire, we try to dig deeper. We interview the creators and the key players. We try to look at the bigger picture. It’s a challenge.
The thing with press releases is that it’s a balancing act. You don’t want to rely on them. You have to really pick and choose. Some are quite informative and newsworthy. What is the criteria for you when it comes to content on Tripwire?
We try for variety and we try to cover people that other websites don’t. For example, we’ve recently run two interviews with Scott Dunbier from IDW. His artist collections and special projects are a great celebration of comics history. So, we try to pick people like him. We’ve interviewed Chuck Palahniuk a couple of times. We’ve interviewed Philip Pullman. We try to go beyond the boundaries of many comics websites. I want to dig a bit deeper like we did with our interview with J. M. DeMatteis. We try not to cover everything. And we try to contextualize our interviews and explain the significance of our interview subjects.
I do my best to go in depth with my interviews. And I’m always on the look out to go beyond the boundaries of a typical pop culture website. I will naturally gravitate to some novel, which may or may not have anything to do with comics. I might bring in an essay, or whatever. It just happens organically and it helps to keep things fresh and bring in a cross section of readers.
Yes, we do that too on occasion.
I wonder what your take is on alternative comics. My partner, Jennifer, and I are both cartoonists. We come from that indie alt-comics scene. I’m sure you’re familiar with the Page 45 quote.
Yes, I am.
It’s a brilliant observation by Stephen Holland, owner of the UK comics shop Page 45, about how “alternative comics are the real mainstream.”
There’s a lot of great material. I read indie comics. I’ve read the likes of Joe Matt and Daniel Clowes and Adrian Tomine back in the ’90s. I tried to keep up with their careers. There’s incredibly talented people. You have someone like Ed Brubaker who started life as an indie cartoonist and moved into the mainstream. He’s one of these guys who can straddle the two. I believe the Page 45 quote gets it right. You can give someone who doesn’t normally read comics a book like Berlin, by Jason Lutes, and they can appreciate it. But they will have a much harder time with a Batman or Teen Titan graphic novel which relies on more in depth comics knowledge.
I just need to ask you about what’s been on your pop culture radar. For instance, what was your take on how Game of Thrones on HBO resolved itself?
You have to feel sorry for the creators of the show since you can’t satisfy everyone. I remember when the Sopranos ended. I really liked how it ended but there were a lot of people who weren’t happy. A big show like that, which has been around for years, it’s almost impossible to satisfy all of your audience. I think the ending to Game of Thrones was okay. To be honest, I’m not sure how else HBO could have ended it.
There are some shows that we in the States have to wait for from across the pond. But then there’s also the reverse. For example, the new Twilight Zone on CBS All Access. Are you looking forward to that one?
I am curious. I enjoyed Get Out a lot. I think Jordan Peele is quite talented. I’m curious as to whether or not they’ve managed to keep that original flavor.
I’ve gotten a chance to view the whole season and I think it’s coming together. I think it’s going to be of those shows that will probably remain a bit uneven but can have exceptional episodes so you root for it.
There’s quite a bit of TV. I’m trying to catch up with Jessica Jones. I’m a bit ambivalent about the Marvel shows on Netflix. I enjoyed a lot of Daredevil and Luke Cage. I think the big problem is that a lot of these shows run too long. They would be much better off with shorter runs of six episodes per season. Another one, Punisher, I just couldn’t finish that.
How would you like to end our talk? Anything else you’d like to add about Tripwire or Masters of Comics?
We continue to evolve the Tripwire website. We’re hoping to organize a talk that ties in Masters of Comics at the Society of Illustrators in October during New York Comic Con. It would include Walt Simonson and Shawn Martinbrough. It would be very nice to have an event tie-in for the book. We’re also looking forward to some collections of interviews from Tripwire. This is something we’re working with another publisher on. The plan is to have the first book available in time for next year’s Comic Con in San Diego. So, that’s exciting. We’ll be returning to print after a bit of a break.
That would be so exciting to have a talk at Society of Illustrators. I hope that works out.
Well, thank you. We’re hoping to pin that down.
Thanks so much, Joel.
Thank you, Henry.
You can listen to a portion of the podcast interview by just clicking the link below:
Masters of Comics: Inside the Studios of the World’s Premier Graphic Storytellers is a 184-page full color trade paperback, with 21 profiles, with art samples and studio photographs, published by Insight Comics.
Keep up with Joel Meadows and Tripwire magazine by going right here.
If you’re a Marvel Comics fan, or just about anyone game for some fun entertainment, it is hard to resist heading out to see the latest, and final, Avengers movie as we’ve come to know them. Last? Hey, it isn’t called Endgame for nothing! Now, let’s be honest, the Marvel franchise’s ideal audience, those most susceptible to having a mind-blowing experience from this movie, are way younger than my average reader. It’s kids who most love and most relate to this–as well it should be. Sure, without a heck of a lot of mature and professional adults, there would be no Marvel franchise but, at its heart, this is primarily kid-friendly fare. That said, there’s no shame in being a kid at heart and I definitely found that to be the case last night. What’s more, fueled by the Disney-Marvel powerhouse of pop storytelling, what is essentially magnificent entertainment excess manages to strike enough chords to not only satisfy hard-core fans but also those looking for some humanity with their popcorn. In fact, Marvel has proven time and time again to have a golden touch when it comes to character development.
Without an end, we can’t fully appreciate the whole. With a satisfying and well constructed ending, we can often forgive any shortcomings along the way and we can take a satisfying pause before the next big thing. That’s how it works for regular comic book readers as they follow a certain story arc through a series of issues to its end. And that is what regular moviegoers have come to see ever since the current Marvel Comics franchise has been in existence. This Avengers movie rounds out a ten-year reign for Marvel Comics on the big screen. Never before has a mainstream audience been provided with so much of the narrative, full of all the nerdy and arcane details, that was once the sole domain of the comic book reading experience. Even the relatively obscure animated features based on comics books did not go as deep. All that said, with this Avengers movie, a mass audience gets to experience the bittersweet sting of finality. Yes, it should be no spoiler here, some stuff happens in this movie that is very, very final.
Among the very nerdy but usually quite delightful things you find in this movie that is a staple of comic books is something that subverts your expectations. The best example of that is what happens to The Hulk. It is right in the spirit of Marvel’s traditionally dry humor. The Hulk is no longer the aggressive out-of-control brute we’re so familiar with. Nope, Bruce Banner (Mark Ruffalo) has been tinkering with his perpetual recipe for disaster and has managed to combine the best of both worlds! Now, he’s turned himself into a hybrid: the enormous strength of The Hulk has morphed with the brilliant mind of Bruce Banner! He’s now a kinder and gentler Hulk who can now discern what is the most efficient way to dispatch of a supervillain without wreaking havoc in his wake each and every time. There’s also a very funny makeover going on with Thor but I will let you find out about that on your own.
Again, the big takeaway here is that all things must come to an end–well, at least, for now. Avengers: Endgame, the fourth and final Avengers superhero movie, is the 22nd movie in the Marvel Cinematic Universe, which launched in 2008 with Iron Man. Those films have now eclipsed $19 billion in worldwide box office. The timing to bring the Avengers leg of the franchise as we’ve known it to a close could not be any better. We’ve had some true heroes here among actors, everyone from Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Don Cheadle, Paul Rudd, Brie Larson, Karen Gillan, Danai Gurira, Bradley Cooper to Josh Brolin. Box office records for Avengers: Endgame show a stunning $350 million in North America and $1.2 billion worldwide. It could not have been planned ahead for any better. If all the time and effort involved in getting this franchise right was used for something else, well, the results would likely be just as stunning. You can fill in the blank however you please. A cure for… Or and end to… Now, that’s a mind-blowing proposition.
The brother of Marvel Comics writer Bill Mantlo has turned to GoFundMe for help in continuing to care for his brother at home after a terrible hit-and-run accident. You may recognize the name. Bill Mantlo is the co-creator of Cloak and Dagger and Rocket Raccoon. Bill is also known for his work on two licensed toy properties whose adventures occurred in the Marvel Universe: Micronauts and Rom. It is a shame that with such an impressive lineup, the Mantlo family finds themselves in urgent need but that is unfortunately the case.
Bill Mantlo was an attorney who worked as a public defender. In 1992, he was the victim of a hit-and-run accident and he’s been under care ever since. His brother, embarrassed to seek help is compelled to ask since his own funds have been completely depleted. He owes over $100,000 after having taken on the responsibility of caring for his brother. Please visit the Mantlo family’s GoFundMe page right here.
You can learn more here: https://www.gofundme.com/embarassed-to-admit-this-but-i-need-help