No lightining in a bottle, just / one eye on the target / and two bricks on the throttle
Jun. 30th, 2025 01:24 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
konsectatrixI thought "hey, I have a free morning! Maybe I'll install the car cams," but it was already hitting 90f at 8 am, so yeah, guess who wasn't outside playing with their car today? No gardening, either (which is fine, after this weekend I'm kinda over plants, and I'm right back at it tomorrow, swapping out some displays).
In cinema news, our class had a lecture by Michael Uslan, a Jersey local who is credited with being an exec producer on every Batman live action movie ever made, starting with Batman (1989). He had bought the rights when he was still just a twenty-something back in 1979 and went on a decade long mission to find a studio that would honor his vision (he was considered absolutely nuts and was turned down by every single one). The man is a fantastic storyteller, absolutely hilarious, but also deeply sincere in his quest to have Batman (and by extension, comics in general) taken seriously as a medium with powerful stories to tell.
I think you could say he was ultimately successful, which is very cheering in a world that is constantly messaging that giving a fuck about art is stupid and pointless in a desperate attempt to devalue all the labor that goes into it (all the while, we should note, profiting from it like mad).
The class itself is great; there's a lot to process (and there's another quiz today that I should review for). If animation has a million moving parts, live action is that times 3000x these days. I gotta say I do miss the industry in general, and it's kinda interesting seeing how all the random side quests I've been on all this time relate to practical experience points now that I'm coming back to peer at it again. It's been a rather unorthodox journey, to say the least, and it's far from over.
Oh wait, let's backtrack a bit--my production class is being taught by a line producer recently back from LA whose specific expertise is in unscripted shows. He's been pretty upfront about using the class to train PAs/take note of prospective PAs for future projects (normally production roles are learned on the job and the learning curve can be steep for the PAs and a source of frustration for the production office), so that's neat, too. I may go ahead and jump in on his production accounting class as well; collecting any and all related certifications seems like a sensible move in the gap between now and the major studios getting up and running.
Also, and more importantly: it doesn't matter what field you're going into, knowing how the money works in that world is a big deal. If there's an opportunity to find out, always find out.
In cinema news, our class had a lecture by Michael Uslan, a Jersey local who is credited with being an exec producer on every Batman live action movie ever made, starting with Batman (1989). He had bought the rights when he was still just a twenty-something back in 1979 and went on a decade long mission to find a studio that would honor his vision (he was considered absolutely nuts and was turned down by every single one). The man is a fantastic storyteller, absolutely hilarious, but also deeply sincere in his quest to have Batman (and by extension, comics in general) taken seriously as a medium with powerful stories to tell.
I think you could say he was ultimately successful, which is very cheering in a world that is constantly messaging that giving a fuck about art is stupid and pointless in a desperate attempt to devalue all the labor that goes into it (all the while, we should note, profiting from it like mad).
The class itself is great; there's a lot to process (and there's another quiz today that I should review for). If animation has a million moving parts, live action is that times 3000x these days. I gotta say I do miss the industry in general, and it's kinda interesting seeing how all the random side quests I've been on all this time relate to practical experience points now that I'm coming back to peer at it again. It's been a rather unorthodox journey, to say the least, and it's far from over.
Oh wait, let's backtrack a bit--my production class is being taught by a line producer recently back from LA whose specific expertise is in unscripted shows. He's been pretty upfront about using the class to train PAs/take note of prospective PAs for future projects (normally production roles are learned on the job and the learning curve can be steep for the PAs and a source of frustration for the production office), so that's neat, too. I may go ahead and jump in on his production accounting class as well; collecting any and all related certifications seems like a sensible move in the gap between now and the major studios getting up and running.
Also, and more importantly: it doesn't matter what field you're going into, knowing how the money works in that world is a big deal. If there's an opportunity to find out, always find out.
