writer

“I’m really a freak in every place I go. I don’t quite fit in the independent scene, I don’t quite fit in the art scene, and I don’t fit in the Hollywood scene, so I’m a weird strange fat motherfucker. I’ll tell you this: I plan to stay that way, because there is something to be said.”- Guillermo del Toro

“I’m really a freak in every place I go. I don’t quite fit in the independent scene, I don’t quite fit in the art scene, and I don’t fit in the Hollywood scene, so I’m a weird strange fat motherfucker. I’ll tell you this: I plan to stay that way, because there is something to be said.”- Guillermo del Toro

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STEPHEN KING: The desk

by Gav

Think about this: Stephen King has been releasing one, sometimes two books a year pretty much every year since his first novel, Carrie, was published in 1974. That’s 43 freakin’ years of consistent output! He’s become such a mainstay of our culture that it’s easy to take his genius for granted.


King’s been writing since he was 7 years-old, when he would copy and rearrange the stories out of his favourite comic books. Impressed by her son’s talent, King’s mother urged him to write an original story. He began submitting short stories to horror and sci-fi magazines at age 12 and would use a nail hammered into the wall above his typewriter to hold all his rejection letters. By the time he was 14, the nail wouldn’t hold the weight of the letters anymore and King had to replace it with a larger spike. By the time he was 16, King was still getting rejection letters, although at least now there were hand-written notes of encouragement from editors scribbled on them. By his mid 20s, King was selling the occasional short story to pulp and mens magazines but not nearly enough to make a living. He was working in an industrial laundry, cleaning maggot-infested restaurant and hospital sheets, while his wife Tabitha, also a writer, worked at Dunkin’ Donuts. They had two young children, were living in a trailer and although King managed to find better work as an English teacher, he was starting to despair that his writing career would never take off.


“Good story ideas seem to come quite literally from nowhere, sailing at you right out of the empty sky: two previously unrelated ideas come together and make something new under the sun. Your job isn’t to find these ideas but to recognise them when they show up.”


King chanced upon the idea for Carrie when he recalled working as a high school janitor. While he was cleaning the female locker room he paid special attention to the shower curtains since he knew the boys lockers didn’t have them. He imagined an opening scene (NSFW) in which a girls locker room didn’t have the curtains and students were forced to shower in front of each other. What if a girl had her period in the shower but didn’t know what it was, and all the other girls laughed and threw tampons at her? How would that girl retaliate? Then King remembered reading an article about telekenisis and how there was evidence that it was prevalent in young girls, especially around the time of their first period. Boom, that’s when two unrelated ideas came together to create something new. King knew he had found an idea for a book and wrote three pages of a first draft while working his teaching job. He hated it and threw it in the trash. It was King’s wife Tabitha who found the pages while emptying the bin and encouraged her husband to finish it. Carrie was published in 1974 and was King’s breakthrough novel. King finished off the decade with a string of bestsellers including ‘Salem’s Lot and The Shining.


By the ’80s King and his family were living in a beautiful house in Bangor, Maine, and King was writing at his dream, massive oak desk. However, he was also an alcoholic and a drug addict. He would write all hours of the day strung out on cocaine and medicate at night with a whole case of 16-ounce beers. In 1985 and at risk of losing his family, Tabitha held an intervention and gave King an ultimatum: get help or get out of the house. Thankfully, King managed to get clean and put his family life back together. And thankfully for us, through it all, he never stopped writing.


I tried to find a picture of the actual massive oak desk King mentions. The best I could do was this brief glimpse into King’s office in an interview from the mid ’80s. You can see it at the 2.40min mark. The newer, smaller desk I’m guessing is this one. I could be wrong about both.

Moonrise Kingdom — Where Story Meets Style

In Moonrise Kingdom, Wes Anderson’s style is the perfect match for the story. He uses details to create a believable world, establishes the rules of this fantastical story, and creates a tone that forms a connection between the audience and the characters of Suzy and Sam.

David Fincher: From a Distance

by @jacobtswinney

Swinney’s last David Fincher video examined the filmmaker’s use of the extreme close-up. It seemed only right that his follow-up video would do the opposite. Fincher’s use of the long/extreme long shot is something of beauty, lending a majestic sense of scale to his often cramped and grimy little worlds. Whether he employs the shot to communicate isolation, express magnitude, or even just to give us a much needed breath, Fincher’s approach to distancing us from his subjects is masterful.

FILMS USED:
Alien 3 (1992)
Se7en (1995)
The Game (1997)
Fight Club (1999)
Panic Room (2002)
Zodiac (2007)
The Curious Case of Benjamin Button (2008)
The Social Network (2010)
The Girl with the Dragon Tattoo (2011)
Gone Girl (2014)

pickledelephant : 
 
  

I’ve become sceptical of the unwritten rule that 
just because a boy and girl appear in the same feature, a romance must 
ensue. Rather, I want to portray a slightly different relationship, one 
where the two mutually inspire each other to live - if I’m able to, then
 perhaps I’ll be closer to portraying a true expression of love.

   -Hayao Miyazaki

pickledelephant:

I’ve become sceptical of the unwritten rule that just because a boy and girl appear in the same feature, a romance must ensue. Rather, I want to portray a slightly different relationship, one where the two mutually inspire each other to live - if I’m able to, then perhaps I’ll be closer to portraying a true expression of love.

-Hayao Miyazaki

5 Films That Influenced Christopher Nolan

By MICHAEL MAHER

Before Christopher Nolan was a blockbuster director, he was a kid who loved movies. Here are the five films he identifies as his biggest influences.

Christopher Nolan has established himself as one of the blockbuster directors of this generation. The skills he has acquired as a filmmaker can be credited to the countless movies he’s seen in his lifetime.

“Movies become indistinguishable from our own memories,” Nolan said in an interview with Wired magazine. “You file them away and they become very personal.”

Here’s a look at how five specific films played a major role in establishing Nolan’s blockbuster worlds.

2001: A Space Odyssey

In May of 1977, Star Wars reinvigorated the world’s love of sci-fi and space films. That summer, theaters in the UK re-released Stanley Kubrick’s space epic, 2001: A Space Odyssey.

“My dad took my brother and me to Leicester Square, which is where you’d find the biggest theaters in London. I remember very clearly just the experience of being transported to another world. I was a huge Star Wars fan at the time. But this was a completely different way of experiencing science fiction. I was seven years old, so I couldn’t claim to have understood the film. I still can’t claim that. But as a seven year old, I didn’t care about understanding the film. I just felt this extraordinary experience of being taken to another world. You didn’t doubt this world for an instant. It had a larger than life quality.

When I tell people this story, they often find it unusual that a child of that age would want to see 2001. But the truth is all of my friends went to see 2001 in the year after Star Wars. We would all sit and talk about what it meant. It was ‘pure cinema.’ The fact that it’s challenging cinema in an intellectual sense doesn’t bother you when you’re a kid. You just appreciate the feeling of the movie.” — Entertainment Weekly

“It just has that sensory stimulation of pure cinema that speaks to people of all ages. People forget kids like it too — because we were all into spaceships.” — Empire Magazine

It’s obvious that 2001 highly influenced Nolan’s Interstellar, but director Stanley Kubrick would be the one that really shaped Nolan as a filmmaker. Not only did Kubrick’s work leave an impression, but so did his personal approach to the craft.

“From a storytelling point of view, from a directing point of view, there is one thing I associate with what he does, which is calm. There is such an inherent calm and inherent trust of the one powerful image, that he makes me embarrassed with my own work, in terms of how many different shots, how many different sound effects, how many different things we’ll throw at an audience to make an impression. But with Kubrick, there is such a great trust of the one correct image to calmly explain something to audience. There can be some slowness to the editing. There’s nothing frenetic about it. It’s very simple. There’s a trust in simple storytelling and simple image making that actually takes massive confidence to try and emulate.” — Entertainment Weekly

It’s not Kubrick’s filmmaking alone either, as the director also influenced Nolan’s approach to studio collaborations.

“I think anyone who is working [for the studios] looks to Kubrick as the great example of someone who is able to make films that were very personal to him, very idiosyncratic, with a great degree of passion, while collaborating with the studios and making what he did fit within the economic models of their times.” — Entertainment Weekly

That mindset has since helped Nolan’s production company, Syncopy, establish itself as a blockbuster powerhouse in a matter of years. Syncopy has collaborated with Legendary Pictures, DC Entertainment, and Warner Bros. to produce films that have hit nearly $4.7 Billion in box office sales — in less than a decade.

Blade Runner

Director Ridley Scott had just blown audiences away with Alien when his 1982 follow-up film, Blade Runner, hit theaters. The films established Scott as a blockbuster filmmaker during Christopher Nolan’s most influential years.

“I have always been a huge fan of Ridley Scott and certainly when I was a kid. Alien, Blade Runner just blew me away because they created these extraordinary worlds that were just completely immersive.” — Media Factory

This film has influenced nearly all of Nolan’s movies. He considers Blade Runner a key touchstone of science fiction. The film’s production design and style were key to establishing the base of Nolan’s Batman universe. Nolan even cast Blade Runner star Rutger Hauer in Batman Begins.

“It’s hard to say what was conscious homage, and what was my analysis of why Blade Runner was so convincing in its production design and in the way it uses its sets. From a pragmatic point of view, Blade Runner is actually one of the most successful films of all time in terms of constructing that reality using sets. On Batman Begins, unlike The Dark Knight, we found ourselves having to build the streets of Gotham in large part. So I immediately gravitated toward the visual treatment that Ridley Scott had come up with, in terms of how you shoot these massive sets to make them feel real and not like impressive sets. And immediately we started looking at the rain, the handheld cameras, the longer lenses…

So myself, my designer Nathan Crowley, and my cinematographer Wally Pfister, we started to throw all of that into the mix of how you can help the look of something, how you can create texture, as Ridley Scott has always been the absolute master of. Creating a texture to a shooting style that maximizes the impact of the set, and minimizes the artifice — the feeling that this world has edges to it that you would see at the edge of the frame. Blade Runner is one of the examples of how you can take a camera and get down and dirty… and really envelop your audience in the atmosphere of the world you’re trying to create. We definitely tried to emulate that style, and I think in doing so we actually created homage, particularly where we used the rain very much.” — Forbes

The Spy Who Loved Me

Released the same year Nolan first watched Star Wars and 2001: A Space Odyssey, 1977′s The Spy Who Loved Me may be the most well-known Roger Moore Bond film. To the eyes of a kid, this was the coolest Bond ever. To Christopher Nolan, 1977 may have been the greatest year ever.

“One of the first films I remember seeing was The Spy Who Loved Me and at a certain point the Bond films fixed in my head as a great example of scope and scale in large scale images. That idea of getting you to other places, of getting you along for a ride if you can believe in it — in The Spy Who Loved Me, the Lotus Esprit turns into a submarine and its totally convincing, and it works and you go ‘Wow, that’s incredible.’” — IndieWire

Nolan frequently cites this particular Bond film often, but he is a huge fan of Bond films in general. He credits the franchise for creating threats that played on audiences fears.

“Interestingly, the Bond films, back in the 60s, they were very specifically about Cold War fears — They introduced the threat of nuclear terrorism very specifically for the first time in movies and they were closer than people realize, in pop culture terms, to what people feared at the time. And I think that one of the things in taking on an action film set in a great American city post-9/11, if we were going to be honest in terms of our fears and what might threaten this great city, then we were going to come up against terrorism and how that might feature in the universe of Batman. And I think we approached it with a great deal of sincerity.”

It wasn’t only the Dark Knight trilogy that benefitted from the influence of 007. In fact, the closest thing we may get to a Christopher Nolan James Bond film is Inception.

“The Bond influence on the film was very intentional because, for me, growing up with the Bond films — they’ve always stood for grand-scale action.” — BBC

The Spy Who Loved Me was not the only Bond film to be a major influence, as Nolan also cites On Her Majesty’s Secret Service as his favorite Bond film. Overall, it was the world of James Bond that showcased an expansive cinematic universe.

“I think for me, when you look at the idea of being able to create a limitless world and use it almost as a playground for action and adventure and so forth, I naturally gravitate towards cinematic worlds, whether it’s the Bond films and things like that. So without being too self-conscious about it or without too much intention as I was writing it, I certainly allowed my mind to wander where it would naturally and I think a lot of the tropes from different genres of movies, heist films, spy films, that kind of thing, they therefore sort of naturally sit in that world.” — Collider

The Thin Red Line

Terrence Malick‘s 1998 film, The Thin Red Line, is listed as one of Christopher Nolan’s all-time favorite films. The film helped Nolan realize that there were no set boundaries in film editing, which helped him set up the story in Memento.

I also see a lot of attempts to do what I saw Terrence Malick doing, in terms of the portrayal of mental states and memory. If you watch The Thin Red Line, that was a revelation to me. He’s cutting to memories and flashbacks with simple cuts; there are no wavy lines or dissolves. There are moments [in Memento] where Guy’s character is remembering his wife that were taken very much from that film. — Movieline

Superman

“One of the great films that I am very influenced by that we haven’t talked about was Dick Donner’s Superman. It made a huge impression on me.” — The Hollywood Reporter

“Donner took on the character of Superman, he made the image of how people my age saw Superman. I still remember the trailers. I remember going to the cinema to see something else and seeing these epic trailers — the character standing in the cornfield, Marlon Brando’s voice — and that stuck with me.” — IndieWire

One of Nolan’s biggest takeaways from the film was the realistic setting.

“… the world is pretty much the world we live in, but there’s this extraordinary figure there, which is what worked so well in Dick Donner’s Superman film.” — The Hollywood Reporter

“When I talk about reality in these films, it’s often misconstrued as direct reality, but it’s really cinematic reality. It’s about trying to find the translation and credibility in the events and fantastical nature of what is going on.” — IndieWire

That cinematic reality played a huge role in the world of the Dark Knight trilogy, and once again appeared in Superman’s universe with the Man of Steel franchise, which was produced by Nolan.

Henry Miller’s 11 Commandments of Writing and His Daily Creative Routine

In 1932-1933, while working on what would become his first published novel, Tropic of Cancer, Miller devised and adhered to a stringent daily routine to propel his writing. Among it was this list of eleven commandments, found in Henry Miller on Writing

COMMANDMENTS


01. Work on one thing at a time until finished.
02. Start no more new books, add no more new material to ‘Black Spring.’
03. Don’t be nervous. Work calmly, joyously, recklessly on whatever is in hand.
04. Work according to Program and not according to mood. Stop at the appointed time!
05. When you can’t create you can work.
06. Cement a little every day, rather than add new fertilizers.
07. Keep human! See people, go places, drink if you feel like it.
08. Don’t be a draught-horse! Work with pleasure only.
09. Discard the Program when you feel like it—but go back to it next day. Concentrate. Narrow down. Exclude.
10. Forget the books you want to write. Think only of the book you are writing.
11. Write first and always. Painting, music, friends, cinema, all these come afterwards.

Under a part titled Daily Program, his routine also featured the following wonderful blueprint for productivity, inspiration, and mental health:

MORNINGS:
If groggy, type notes and allocate, as stimulus.

If in fine fettle, write.

AFTERNOONS:

Work of section in hand, following plan of section scrupulously. No intrusions, no diversions. Write to finish one section at a time, for good and all.

EVENINGS:

See friends. Read in cafés.

Explore unfamiliar sections — on foot if wet, on bicycle if dry.

Write, if in mood, but only on Minor program.

Paint if empty or tired.

Make Notes. Make Charts, Plans. Make corrections of MS.

Note: Allow sufficient time during daylight to make an occasional visit to museums or an occasional sketch or an occasional bike ride. Sketch in cafés and trains and streets. Cut the movies! Library for references once a week.

The Prestige: Hiding In Plain Sight

by Evan Puschak

Joel & Ethan Coen - Shot | Reverse Shot

by Taylor Ramos and Tony Zhou

Hands of Nolan