I dunno. I always wrote and made comics and wanted to tell stories. I went to art school, them film school, then got into animation. when the comics internet was becoming, y’know, a thing, i wrote about comics because i loved them and because, hey, art school, and would show the animated work my friends and i were making the way other creators woudl showcase comics work. the animated pieces and critical pieces became my samples, basically, and eventually i was asked to write shorts, and the shorts became, uh, longs. whenever i’d produce written work — usually not the critical stuff, because it’s a specific type of person that wants to read that kind of thing for kicks — but either animated shorts, videos, demo reels, or comics, i’d give them to other people in comics. other writers, other artists, and editors — who eventually offered to pay me to write for them. for a while i did both, the animated/commerical stuff by day and the comics at night as a hobby, and then eventually writing became the only thing i did. make work, work hard, meet people, don’t be crazy, don’t stop. that’s my short version.
i think i try… i think my work is like my dreams; i think they serve the same, or very similar, functions? Like… like i just… it’s like i’m just trying to process everything. I look at my work and it’s painful, not because i think it’s “bad” necessarily — there’s always stuff i want to change, sure, but i play that up because it’s easier to explain — but because it’s painful to see my subconscious wrestling with whatever right out there in the open. like… it’s not quiet as embarrassing as, y’know, trains going into tunnels or whatever but it might as well be. For all the aspirations and pretense to “saying something” i’m almost always trying to figure out what the fuck is going on and why i’m feeling the way i’m feeling and reacting the way i’m reacting. what am i living through? what am i trying to figure out? what do i love right now, what do i hate, what do i fear? just like a dream — all scrambled up and mixed around and subverted with symbols but it’s all i can see. And it’s all I seem to be able to say.
and then, okay, maybe iron man punches some shit or whatever but the core is, if i’m being super-honest (and it’s not like anyone is gonna read this, right?) all i’m ever saying with my work is whhhhhaaaaaaaaa? and what the fuck is that? why the fuck do i presume me trying to, like, be an adult-ass man is of any interest to anybody, no matter how many times iron man hits something on the surface?
my point is: it’s okay. comics have a super low bar.
i don’t see her work until it’s published and vice versa, usually. she’ll show off emma pages as they come in sometimes.
DOGMO FOR LIFE
Zoë Bell is a New Zealand stuntwoman and actress. Some of her most notable stunt work includes doubling for Lucy Lawless on Xena: Warrior Princess and for Uma Thurman in Kill Bill.
As an actress, she has appeared both on television and in feature films and also starred in the web series Angel of Death. Other works include : Oblivion, Death Proof, Kill Bill, Gamer, Inglorious Bastards, Whip It! and Django Unchained.
CAN WE TALK ABOUT HOW FUCKING AWESOME ZOE BELL IS?! WE DON’T TALK ENOUGH ABOUT ZOE BELL! I HAVE A LOT OF ENTHUSIASM FOR ZOE BELL.
i want to be this lady
Brubaker like WHHUUUUUUH
Ms. Harvey, world-conqueror, honored by her queen (who may think she’s Suzi Quatro)
Transformers Generation 1 Concept Art
A document of exceptional historical value: Ray Bradbury's screenplay for John Huston's 1956 film Moby Dick [pdf] (NOTE: For educational purposes only). Unseen for 50 years, Ray Bradbury’s screenplay has been published with an introduction by William Touponce, Ph.D., director of the Center for Ray Bradbury Studies at Indiana University-Purdue University Indianapolis and an internationally known Bradbury scholar.
Above: Ray Bradbury (right) working in Ireland with John Huston on the screenplay of Herman Melville’s Moby-Dick (1956). Mr. Bradbury was a popular writer, having already published The Martian Chronicles (1950) and The Golden Apples of the Sun (1953) when acclaimed film director John Huston asked him to write a screenplay for Moby Dick late in 1953. In fact Fahrenheit 451, perhaps his most famous book, was published while Bradbury was in Ireland working on the screenplay. According to Touponce, Bradbury was a fan of Huston’s films and Huston was a fan of Bradbury’s work, including the short story “The Fog Horn” (collected in The Golden Apples), for which Bradbury had done a lot of research about the sea.
Once he read Moby Dick, Bradbury agreed to write a screenplay for Huston. During a meeting to discuss the screenplay, Bradbury informed John Huston that regarding Melville’s novel, he had “never been able to read the damned thing.” According to the biography The Bradbury Chronicles, there was much tension and anger between the two men during the making of the film, allegedly due to Huston’s bullying attitude and attempts to tell Bradbury how to do his job, despite Bradbury being an accomplished writer. After several months of work in the British Isles, Bradbury submitted a working script for Moby Dick to Huston in early 1954.
By the time that the film came out in 1956, Huston had listed himself as co-author of the screenplay. Bradbury protested Huston’s action to the Screen Writers Guild and initially was successful in having Huston removed as a co-author but the powerful filmmaker had the decision overturned. After the success of the film, Bradbury was asked to do many screenplays based on the novels of others, but declined because he wanted to devote himself to writing novels. Later in his career, however, during the 1980’s, he wrote all the screenplays for the Ray Bradbury Theatre. While the authorship controversy kept the screenplay for Moby Dick from the public, Bradbury has always listed it as one of his works. Huston died in 1987.
People come to you and they say, “Boy, we love your work. We love this and we want to buy it.” Then, as soon as they buy it, the teeth come out. You become not the father of the work, but the stepfather. All of a sudden, you’re an outsider, a villain. I have often said to these people, “Look, I’ll do the script free for you if you’ll shoot my mistakes instead of yours. My mistakes are better.” —Ray Bradbury
Touponce says that Bradbury felt strongly about having the screenplay published under his name in his own lifetime. “It was Huston’s film, but the language was all Bradbury,” said Touponce. Besides original screenplays, such as It Came from Outer Space (1953), Moby Dick is the sole novel which was not his own that Bradbury adapted for film. “I know that Ray Bradbury was very proud of his work on this screenplay and feels this work borders on literature. Unlike plays, screenplays usually don’t shape up as literature. But Bradbury’s Moby Dick has a poetic style that can be read as quasi-literary,” said Touponce, who wrote his doctoral dissertation on Bradbury more than 20 years ago and has devoted his career to the study of Bradbury’s work. In 2004, he and Jon Eller, Ph.D., professor of English at the IU School of Liberal Arts at IUPUI, published Ray Bradbury: The Life of Fiction with The Kent State University Press. It provides an overview of Bradbury’s career of over 50 years. —Science fiction giant’s screenplay for Moby Dick ends half century of ‘invisibility’
Recommended reading, viewing, and listening:
- Moby Dick: the Screenplay by Ray Bradbury [Amazon]
- Ray Bradbury concerning Moby Dick script
- Playboy Interview: Ray Bradbury
- Ray Bradbury: 'It's Lack That Gives Us Inspiration'
- Ray Bradbury’s Impact on Movies, from Huston and Truffaut to Spielberg
- A Writer’s Life: Ray Bradbury on writing and the importance of the subconscious