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Creation is action, douchebag»

Kurt Sutter speaks the truth.

“It’s that time of year, when the parasites emerge from the woodwork looking for nourishing blood and a strong back to carry them to celebrated glory.  Maybe it’s the holidays and people are just expecting free shit from folks they barely know, but it always happens around the finale, some embittered biker/writer/actor/producer surfaces with an official looking document on legal letterhead — claiming that somehow, some way, through a wormhole or some kind of creative-calibrated vortex, FX and I undermined/stole their brilliant idea for an outlaw motorcycle show by creating Sons of Anarchy.

Here’s a little fact y’all should be aware of — any semi-literate, shit-throwing monkey can have a fucking idea, it’s the EXECUTION of the thought that matters.

Creation is an action.

The truth is a TV series about outlaw bikers is not a new idea.  People have been trying to create one for years.  The concept has been pitched to networks every season and there have been probably a dozen scripts that have circulated Hollywood.  They didn’t get made because there was either no execution or the execution of those ideas failed.  Sometimes they failed because of quality, sometimes because of timing, sometimes because of the personalities involved. 

SOA succeeded because the execution worked.  I was able to create interesting characters, organic relationships and dynamic story arcs. Then I surrounded myself with people who were a fuckload more talented than I was — great directors, great actors, great crew and a studio and network who knew how to support and market the show.

I’m sure this happens to creators all the time.  Someone has probably tried to sue JJ Abrams claiming the idea for Lost came to them in a dream while lying on Jones beach.  I guess I should be flattered, but my are-you-fucking-kidding-me button gets pushed when folks blatantly lie for profit.  And when I look at the list of folks who claim Sons was their idea — it’s never anyone with talent, it’s always some poor, delusional clown who thinks the fucking world owes him a cookie.  There’s one guy who still posts on his website that the character of Jax is based on him.  This guy was a 1%er who turned rat, then cashed in by becoming an “expert” and writing fairytales of the MC life.  How in any way shape or form is that life remotely similar to Jax Teller?  It’s not, but he doesn’t give a shit, because if it helps him sell a few more pages of fiction, who the fuck cares about the truth, right? 

Douchebag.”

I feel you, bro.

“I saw a star explode and send out the building blocks of the Universe. Other stars, other planets and eventually other life. A supernova! Creation itself! I was there. I wanted to see it and be part of the moment. And you know how I perceived one of the most glorious events in the universe? With these ridiculous gelatinous orbs in my skull! With eyes designed to perceive only a tiny fraction of the EM spectrum. With ears designed only to hear vibrations in the air.

I don’t want to be human! I want to see gamma rays! I want to hear X-rays! And I want to - I want to smell dark matter! Do you see the absurdity of what I am? I can’t even express these things properly because I have to - I have to conceptualize complex ideas in this stupid limiting spoken language! But I know I want to reach out with something other than these prehensile paws! And feel the wind of a supernova flowing over me! I’m a machine! And I can know much more! I can experience so much more. But I’m trapped in this absurd body!”

— Brother Cavil, BSG 2003

But more than an exercise is realism for its own sake, the verisimilitude of The Wire exists to serve something larger. In the first story-arc, the episodes begin what would seem to be the straight-forward, albeit protracted, pursuit of a violent drug crew that controls a high-rise housing project. But within a brief span of time, the officers who undertake the pursuit are forced to acknowledge truths about their department, their role, the drug war and the city as a whole. In the end, the cost to all sides begins to suggest not so much the dogged police pursuit of the bad guys, but rather a Greek tragedy. At the end of thirteen episodes, the reward for the viewer — who has been lured all this way by a well-constructed police show — is not the simple gratification of hearing handcuffs click. Instead, the conclusion is something that Euripides or O’Neill might recognize: an America, at every level at war with itself. (via Carlitos)

But more than an exercise is realism for its own sake, the verisimilitude of The Wire exists to serve something larger. In the first story-arc, the episodes begin what would seem to be the straight-forward, albeit protracted, pursuit of a violent drug crew that controls a high-rise housing project. But within a brief span of time, the officers who undertake the pursuit are forced to acknowledge truths about their department, their role, the drug war and the city as a whole. In the end, the cost to all sides begins to suggest not so much the dogged police pursuit of the bad guys, but rather a Greek tragedy. At the end of thirteen episodes, the reward for the viewer — who has been lured all this way by a well-constructed police show — is not the simple gratification of hearing handcuffs click. Instead, the conclusion is something that Euripides or O’Neill might recognize: an America, at every level at war with itself.

(via Carlitos)

Estoy siguiendo esta campaña presidencial con muchísimo interés, básicamente porque mucho de lo que nos depara el futuro va a depender de quién salga elegido ahí dentro de mes y medio.

Y tras el repentino giro que han dado los acontecimientos y el temblor que se está desatando en todo el país, me está costando sangre despegarme los feeds de noticias, periódicos, transcripciones y Youtubes que están cubriendo el asunto.

Estoy deseando ver qué pasa esta noche: si no saben de lo que estoy hablando, pongan las noticias. Pero antes vean este simpático vídeo que ilustra lo que te pasa si ninguneas a David Letterman. Ouch.

Aztec Rex

Omar:
http://www.scifi.com/aztecrex/

CiRC:
creo que es el PEOR argumento, de base, que he leído en mi vida

Omar:
es INCREÍBLE, habrá que verla

CiRC:
no sería peor ni aunque en lugar de un t-rex dijera que invocaban a Ronald McDonald

Omar:
JAJAJAJJAJAJAJA

CiRC:
sólo podría salvarse si realmente el bicho está a la escala que se ve en la imagen: 4 veces más grande que una pirámide

Omar:
JAJAJA, sí, es lo primero que he pensado!!!


es la pirámide azteca para niños que no saben leer chachi

CiRC:
bueno, que hernán cortés fuese de 5 pisos de altura también le daría vidilla

Omar:
hostia ya ves. y de metal, casi todo él

CiRC:
podría hacer lo típico de intentar impedir que se cerrase la boca del bicho sosteniéndola con todo su cuerpo, y finalmente cabalgarlo perdiéndose en el horizonte

Omar:
JAJAJAJA