Longreads Pick
Mindy Kaling has quickly progressed from a writer and cast member on NBC’s The Office to a best-selling author and star of her own new sitcom:
“To people who know her, it makes perfect sense that she would now have her own sitcom. It was simply a matter of course, on par with how, at 30, she decided to write a book of memoirish essays and observations called Is Everyone Hanging Out Without Me? (And Other Concerns). What’s interesting is that the book exists at all. In the introduction, Kaling apologizes for its not being Tina Fey’s Bossypants, anticipating that the two will be compared, even though Fey published her book amid huge anticipation as the fortysomething lead and creator of 30 Rock who was also starring in movies and thriving off her Sarah Palin impersonation. Kaling wrote hers amid demand from herself and her publisher. One of the chapters is a detailed breakdown of just how famous she’d like to be, which is to say, famous enough that teenagers will copy her look and, when she’s old, she’ll be used as a sight gag on TV shows.”
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Published: Sep 10, 2012
Length: 15 minutes (3,779 words)
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The “two bodies, one brain” of Lana and Andy Wachowski, creators of The Matrix and co-directors, with Tom Tykwer, of the new film Cloud Atlas:
Since Costa Rica, the Wachowskis and Tykwer had viewed the dramatic trajectory of the script as an evolution from the sinister avarice of Dr. Goose to the essential decency of Zachry, with both characters embodying something of the Everyman. Tom Hanks, they agreed, was the ‘ultimate Everyman of our age.’ ‘Our Jimmy Stewart,’ Lana called him. They sent their script to Hanks, and he agreed to meet with them. On the way to his office in Santa Monica, the siblings received a phone call from their agent, who told them that Warner Bros. had decided to hold off on a distribution deal. ‘Cloud Atlas’ had been subjected to an economic-modelling process and the numbers had come back too low. The template that had been used, according to the Wachowskis, was Darren Aronofsky’s ‘The Fountain’ (2006), because it had three autonomous story lines set in different eras; ‘The Fountain,’ which had a mixed critical response, had lost almost twenty million dollars.
‘The problem with market-driven art-making is that movies are green-lit based on past movies,’ Lana told me. ‘So, as nature abhors a vacuum, the system abhors originality. Originality cannot be economically modelled.’ The template for ‘The Matrix,’ the Wachowskis recalled, had been ‘Johnny Mnemonic,’ a 1995 Keanu Reeves flop.
“Beyond the Matrix.” — Aleksander Hemon, The New Yorker
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Longreads Pick
The “two bodies, one brain” of Lana and Andy Wachowski, creators of The Matrix and co-directors, with Tom Tykwer, of the new film Cloud Atlas:
“Since Costa Rica, the Wachowskis and Tykwer had viewed the dramatic trajectory of the script as an evolution from the sinister avarice of Dr. Goose to the essential decency of Zachry, with both characters embodying something of the Everyman. Tom Hanks, they agreed, was the ‘ultimate Everyman of our age.’ ‘Our Jimmy Stewart,’ Lana called him. They sent their script to Hanks, and he agreed to meet with them. On the way to his office in Santa Monica, the siblings received a phone call from their agent, who told them that Warner Bros. had decided to hold off on a distribution deal. ‘Cloud Atlas’ had been subjected to an economic-modelling process and the numbers had come back too low. The template that had been used, according to the Wachowskis, was Darren Aronofsky’s ‘The Fountain’ (2006), because it had three autonomous story lines set in different eras; ‘The Fountain,’ which had a mixed critical response, had lost almost twenty million dollars.
“‘The problem with market-driven art-making is that movies are green-lit based on past movies,’ Lana told me. ‘So, as nature abhors a vacuum, the system abhors originality. Originality cannot be economically modelled.’ The template for ‘The Matrix,’ the Wachowskis recalled, had been ‘Johnny Mnemonic,’ a 1995 Keanu Reeves flop.”
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Published: Sep 3, 2012
Length: 29 minutes (7,251 words)
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A writer of made-for-TV movies reflects on his middling successes and near-misses from a career of steady but not spectacular work in Hollywood:
On occasion during my 30-year screenwriting career, the amount on these checks has been life-changing, enough money to buy a car or temporarily pay off our credit cards. But I don’t really expect to see that kind of windfall again. I haven’t had a movie made in eight years, and my current career status is somewhere between emeritus and irrelevant. Still, the check that came yesterday was a nice surprise. The total was $2,588.95. Included with the check was an itemized list of movies for which I had received sole or shared screenwriting credit and that had been shown again and again around the world. The biggest amounts were for Cleopatra ($716.41), a lavish and maybe-just-a-little-bit-cheesy ABC miniseries, and for King of Texas ($854.30), a Western retelling of King Lear with Patrick Stewart and Marcia Gay Harden that had originally aired on TNT. A half-dozen other movies were on the list. They included a few boilerplate TV movies like In The Line of Duty: Blaze of Glory (56 cents), an ‘inspired by a true story’ bank heist movie starring those then-titans of the small screen Bruce Campbell and Lori Loughlin; a steamy Lifetime murder mystery called Widow on the Hill ($341.60), which remains the only thing I’ve ever written that my mother implied she would just as soon I hadn’t; andThe Colt ($122.53), a nicely rendered little Civil War movie that aired on the Hallmark Channel that I had adapted from a seven-page short story by Mikhail Sholokov. The Guild statement provided scant information about which parts of the world embraced these movies most fervently, but I doubt that I’m far off the mark in imagining an unwatched TV screen in the back of a kebab stand in Kota Kinabalu.
“I Was an A-List Writer of B-List Productions.” — Stephen Harrigan, Slate
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Longreads Pick
A writer of made-for-TV movies reflects on his middling successes and near-misses from a career of steady but not spectacular work in Hollywood:
“On occasion during my 30-year screenwriting career, the amount on these checks has been life-changing, enough money to buy a car or temporarily pay off our credit cards. But I don’t really expect to see that kind of windfall again. I haven’t had a movie made in eight years, and my current career status is somewhere between emeritus and irrelevant. Still, the check that came yesterday was a nice surprise. The total was $2,588.95. Included with the check was an itemized list of movies for which I had received sole or shared screenwriting credit and that had been shown again and again around the world. The biggest amounts were for Cleopatra ($716.41), a lavish and maybe-just-a-little-bit-cheesy ABC miniseries, and for King of Texas ($854.30), a Western retelling of King Lear with Patrick Stewart and Marcia Gay Harden that had originally aired on TNT. A half-dozen other movies were on the list. They included a few boilerplate TV movies like In The Line of Duty: Blaze of Glory (56 cents), an ‘inspired by a true story’ bank heist movie starring those then-titans of the small screen Bruce Campbell and Lori Loughlin; a steamy Lifetime murder mystery called Widow on the Hill ($341.60), which remains the only thing I’ve ever written that my mother implied she would just as soon I hadn’t; and The Colt ($122.53), a nicely rendered little Civil War movie that aired on the Hallmark Channel that I had adapted from a seven-page short story by Mikhail Sholokov. The Guild statement provided scant information about which parts of the world embraced these movies most fervently, but I doubt that I’m far off the mark in imagining an unwatched TV screen in the back of a kebab stand in Kota Kinabalu.”
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Published: Jul 11, 2012
Length: 21 minutes (5,455 words)
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How the Supreme Court dismantled campaign-finance reform—and how government missteps in the Citizens United case inadvertently aided in its undoing:
Alito wanted to push Stewart down a slippery slope. Since McCain-Feingold forbade the broadcast of ‘electronic communications’ shortly before elections, this was a case about movies and television commercials. What else might the law regulate? ‘Do you think the Constitution required Congress to draw the line where it did, limiting this to broadcast and cable and so forth?’ Alito said. Could the law limit a corporation from ‘providing the same thing in a book? Would the Constitution permit the restriction of all those as well?’
Yes, Stewart said: ‘Those could have been applied to additional media as well.’
The Justices leaned forward.
“Money Unlimited.” — Jeffrey Toobin, The New Yorker
More #longreads from Toobin
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Longreads Pick
How the Supreme Court dismantled campaign-finance reform—and how government missteps in the Citizens United case inadvertently aided in its undoing:
“Alito wanted to push Stewart down a slippery slope. Since McCain-Feingold forbade the broadcast of ‘electronic communications’ shortly before elections, this was a case about movies and television commercials. What else might the law regulate? ‘Do you think the Constitution required Congress to draw the line where it did, limiting this to broadcast and cable and so forth?’ Alito said. Could the law limit a corporation from ‘providing the same thing in a book? Would the Constitution permit the restriction of all those as well?’
“Yes, Stewart said: ‘Those could have been applied to additional media as well.’
“The Justices leaned forward.”
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Published: May 14, 2012
Length: 39 minutes (9,780 words)
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The evolution of Charlie Chaplin’s most famous character—and the woman who helped shape it. On actress-director Mabel Normand and her effect on Chaplin’s work:
When Chaplin became the Tramp on Normand’s watch, he also learned to be a movie actor. As Sennett put it, Normand, ‘the greatest motion-picture comedienne of any day, was as deft in pantomime as Chaplin was… She worked in slapstick, but her stage business and her gestures were subtle, not broad.’ Normand, the first movie star actress who wasn’t stage trained, hadn’t been taught the comic conventions of the theater, or to project to the back of the house. She had a movie-bred patience for living in the moment. She was a movie star because while she was beautiful, she let you see inside, and people liked what they saw. Movies are supremely intimate, and Normand was consummate at drawing people in, and holding them. We can watch Chaplin learning Normand’s delicate skills.
“Who Invented Chaplin’s Tramp?” — Jon Boorstin, Los Angeles Review of Books
More #longreads from the Los Angeles Review of Books
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Longreads Pick
The evolution of Charlie Chaplin’s most famous character—and the woman who helped shape it. On actress-director Mabel Normand and her effect on Chaplin’s work:
“When Chaplin became the Tramp on Normand’s watch, he also learned to be a movie actor. As Sennett put it, Normand, ‘the greatest motion-picture comedienne of any day, was as deft in pantomime as Chaplin was… She worked in slapstick, but her stage business and her gestures were subtle, not broad.’ Normand, the first movie star actress who wasn’t stage trained, hadn’t been taught the comic conventions of the theater, or to project to the back of the house. She had a movie-bred patience for living in the moment. She was a movie star because while she was beautiful, she let you see inside, and people liked what they saw. Movies are supremely intimate, and Normand was consummate at drawing people in, and holding them. We can watch Chaplin learning Normand’s delicate skills.”
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Published: May 7, 2012
Length: 16 minutes (4,053 words)
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An essay from Bissell’s book Magic Hours: A film crew and actor Jeff Daniels arrive in the author’s Michigan hometown to shoot a movie:
As the sun sets behind the thick pine stand that perimeters the football field, the lack of extras begins to become a problem. To appreciate how crucial extras are to tonight’s filming, one must know several things about Michigan’s Upper Peninsula. First, citizens of the Upper Peninsula are known as ‘Yoopers,’ an inelegant transliteration of ‘U. P.,’ as this underpopulated and fearsomely bleak stretch of land is known. The U. P. is separated from the rest of Michigan culturally and geographically, connected only by the Mackinac Bridge, an architectural marvel built as recently as 1957. The U. P. might be the most rural part of the country, as well as its least familiar. Some maps neglect to include the border separating the U. P. from Wisconsin, an accidental annexation that, if made official, would please the vast majority of Yoopers, who feel a stronger cultural identification with Wisconsin anyway. Finally—and in light of tonight’s scene, not to mention the whole film, this is a key point—for Yoopers, deer hunting has near religious significance. The first day of deer season is actually a school holiday—Deer Day, it is called—and the entire place is a hotbed of gun crazies and gun-craziness.
“Escanaba’s Magic Hour: Movies, Robot Deer, and the American Small Town.” — Tom Bissell, McSweeneys
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