03 April 2010

Proof of Hyphenation: March 22-April 2

by Tyler Weaver.  Follow me on Twitter.

Monday, March 22, 2010

Choices, Passion, & Film Festivals by Tyler Weaver
After experiencing a few days of the Cleveland Film Fest, I'm loathe to report that my time there is coming to an end.  The Cleveland Fest is wonderful for moviegoers, but I'm not sure how great it is for filmmakers, leaving - at least in my estimation - not much room for networking amongst the filmmakers that actually attend, or for me as a filmmaker who happens to have a forum in which to pontificate to do so.  I just don't have much to say (except for the lengthy post coming... now.)
Tuesday, March 23, 2010

The Longest Yard by Oli Lewington
Like most people under the age of 60 today, with the exception of my mum, I can type a lot faster than I can write long-hand.  In fact, I can type faster than I can think.  And therein, as the Bard would put it, lies the rub.

Wednesday, March 24, 2010 

My Comic Book Swan Song by Anthony Schiavino
  Sometimes a plan just comes together unexpectedly. Due to a number of factors in real life, my monthly comic collecting days as I know them are coming to a close. Between the job situation, and the increasing prices...it’s all just come to a head very quickly.

I don’t collect all that much and I probably collect more then I should at times. It doesn’t help, although it’s a good thing, that my comic shop has dollar back issues. On one hand it’s sad because my 14-plus years of collecting is about to stop. On the other hand it’ll allow me to save more money in our budget, and floor space.

The part where it all comes together where it gets weird. As if it’s sort of meant to happen. Every comic that I get, every story that I’m reading, ends today or next month.

Thursday, March 25, 2010

Tyler @ Pulptone: HUMAN TARGET - The Yips & The HUMAN TARGET Non-Linear Trap by Tyler Weaver
THE GAH! The consistently annoying use of bad non-linear storytelling, for no reason other than to open with a fight scene.  The non-linear approach didn’t reveal anything!  It was done well in episode two, but that’s it!  STOP!

After last week’s episode, I was worried. It dropped the ball. Big time. What should have been a nail-biting hour of television wasn’t (in spite of what MTV hailed as the reviewer’s “favorite episode of the series” ) Maybe I was spoiled by the perfect mixture of fun, bad assery, and overarching plot that had come between the previous worst episode of the show (the Embassy episode) and the new worst episode of the show (Baptiste)

The Idea-o-Tine by Tyler Weaver
I've read lots of articles and columns by writers (and non-writers) talking about where ideas come from, what state of mind they have to be in for ideas to flow, and so on and so forth.   And those are great points of inspiration, but I want to go into an area rarely talked about: when do you know it's time to let an idea die?

Taking a page from Monty Python, I ask myself these questions three.  If I respond no to any or all of them, it's time to pull out the pocket guillotine and chop off the idea's cabeza.

Friday, March 26, 2010

The Cleveland Film Fest - Getting It Right by Frederick Marx
I just got back from the Cleveland Film festival where I showed my film to very enthusiastic audiences at two sold out 300 person screenings. It’s gratifying to attend a festival where it seems like they’re doing most things right. People queue for hours to get into obscure, unknown films like mine. The excitement in the air is palpable.

The Idea-o-Tine: From the Headless Perspective by Tyler Weaver
Yesterday's post, "The Idea-o-tine" was partially inspired by events that took place starting at 9AM yesterday morning.  Upon my normal news-checking, I came across a story, which I won't link to here, that said a fairly well-known writer was in the process of selling a script with a kick-ass concept.  Normally, I'm excited when I read stories like that, because I want to see movies like the one laid out in the article.

What I didn't want to see was THAT movie.  The movie that was more or less the same hook that my writing/producing partner Paul Klein and I had been so excited about when we first formed our partnership.  This was the script (
Breathe) that I had, two weeks ago, spent churning out a first draft of during my self-imposed "First Draft Attack."

If you'll allow me a metaphor, the writer in question is more like the Beatles.  We're a pub band in Liverpool.  Barely.  And the Beatles just played our hook on Ed Sullivan.  Pretty much the same notes, different chords, and different lyrics, but the hook was largely the same.
Wednesday, March 31, 2010

House of Sand & Comics by Mike Elrod
One of the things I love most about working for a college is that from time to time we host lectures by various people. Already this year we’ve had the head LGBT officer from Atlanta speak to our gender studies classes, Jane Goodall was with us for two days last month, and most recently we’ve had Andre Dubus III come to our campus and speak to our creative writing classes. This is just to name a few of the great programs our professors and administration has brought to campus to enlighten these students with their experiences. I had the chance to speak with Dubus one-on-one for a bit last week. For those of you who don’t know, Andre Dubus III is the author of House of Sand and Fog.

Thursday, April 1, 2010

Tyler @ Pulptone: HUMAN TARGET - Mercs, Mine Shafts, and Bodily Warmth by Tyler Weaver
"I’ve discovered an odd phenomenon with Human Target. I enjoy episodes that are primarily set in the outdoors much more than those that are not. My three favorite episodes, “Sanctuary,” “Salvage and Reclamation,” and this one – were all outdoorsy-oriented (“Sanctuary” less so, but there were still trees, dammit). I’ve yet to come to a conclusion as to the reason behind this, but I’m fairly certain that it has to do with that particular setting working well with the character, the “survivalist” idea, and that it reminds me a lot of the television shows I grew up with, especially The A-Team and Bixby’s The Incredible Hulk, that, for various budgetary reasons, took place outside for the majority of each episode. "

Styrofoam Cups, Ice Cream, & $35K Doors by Tyler Weaver
I interviewed for a job at the Apple Store.  There.  I’ve admitted it publicly.

OK, it wasn’t really an interview.  It was more like a cult initiation, opening with a walk down an aisle formed by doe-eyed initiates with brightly-colored T-shirts and lanyards clapping and high-fiveing us, like some sort of revelatory self-help wedding.  Sitting on stools (appropriate) with a group of fellow unemployed folk fake orgasm-ing at the $35,000 dollar apiece doors (a fact the hiring managers made a point to tell us - a big turn-off when 90% of the people there were without work).  We were regaled and intimidated with stories of how much money each square foot of the store makes ("you're sitting on half a million dollars!"), how the floors are flown in from Apple’s own mountain, and how you have a better chance of getting into Yale than working at an Apple Store (to which I replied, "well, shouldn’t you pay us a Yale graduate’s salary?").

I made it into neither, but I’m not bitter about it.  I decided from the first high-five that it would not be a good environmental fit for both parties, but that I would take two hours of my life and get some material for future reference.

Friday, April 2, 2010

Tyler @ Pulptone - FRINGE: Give John Noble an Emmy by Tyler Weaver
I moaned.  I groaned.  Eight weeks, I said.  Eight weeks between episodes.

If this episode is what we get after eight weeks of waiting, I’ll gladly wait eight weeks between episodes.

To put it mildly, this was the best episode of the series, finally taking down the final episode of season one.  To add in hyperbole, grounded in truth, and still feeling the same as I felt last night – “Peter” was one of the finest hours of television I’ve seen in a long time.

Listening to Your Audience by Frederick Marx
I always test screen my film for audiences before releasing it. This might come as a shock to those who connote the market testing of Hollywood movies with the death of auteurist creativity. And in fact, I’m one of them! I think market testing has in fact killed some of the creativity of Hollywood filmmakers. So do I have a double standard? It’s OK for me but not for Hollywood? Maybe. For me the information I collect is always useful. The question is what do you do with it afterwards?

Until next week...

Tyler Weaver is a filmmaker, writer, contributor to the pulptone.com website, and is the founder and EIC of Multi-Hyphenate... which you're reading right now.  He's currently making new things and yaks about that and more on Twitter under the creative guise of @tylerweaver.



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