Chris Roberson writes a sentiment that had occurred to me although he writes it with far more eloquence than I would have. To wit: "Just how the hell is one third of 2006 already gone?!"
On that note I noted with great glee yesterday that no magazines with a 2005 cover date remain in my magazines-to-be-read holder. And as of this morning I have no more than three issues of any given title to read. I will triumph over the to be read pile. I will, because I must.
Today's magazine was the Jan 2006 issue of Locus which focused on Canadian Sci-Fi. There was an interview with Dave Duncan, who I've never read but I quite enjoyed the interview. My favorite bit was this:
In other media consumption, I accidentally forgot to put a Babylon 5 disc at the top of my Netflix queue so I got Lost in La Mancha instead. Has everyone else seen this already? It's a bit slow to start but it's interesting viewing. Looks like it would have been a great film as well, had it been made. The part that really caught my attention is about an hour in. They've had a disastrous first week of production, a flash flood, unexpectedly heavy jet traffic overhead, and to top it off the star has fallen ill and can't ride a horse. The head staff regroup on the weekend and the producers have a solution, because that is what producers do - solve things. The producers want to fire the first assistant director. Not that he did anything wrong you understand, just that it's traditional to fire the 1st AD if shooting goes poorly. WTF? How does something that insane become industry practice? (There's more producer-based comedy scattered throughout, mainly of the "We're on hold, so do work, but don't spend any money" variety.) The second WTF moment is at the conclusion. The final outcome is that the insurance company now owns the film and Terry Gilliam will need to buy it back from them if he attempts to make the film. Isn't that fabulous? After all, who is a better caretaker for a creative concept than an insurance firm?
On that note I noted with great glee yesterday that no magazines with a 2005 cover date remain in my magazines-to-be-read holder. And as of this morning I have no more than three issues of any given title to read. I will triumph over the to be read pile. I will, because I must.
Today's magazine was the Jan 2006 issue of Locus which focused on Canadian Sci-Fi. There was an interview with Dave Duncan, who I've never read but I quite enjoyed the interview. My favorite bit was this:
As for anyone who doesn't believe in evolution, ask them how they got there -- because they probably came in a car, driven on gasoline, which comes from oil. I was an oil geologist, and I know that they couldn't have found that oil without using stratigraphy, which is based on index fossils, which require evolution. So they shouldn't drive cars if they don't believe in evolution, right? If God created everything all at once, then God was lying. (emphasis in original)
In other media consumption, I accidentally forgot to put a Babylon 5 disc at the top of my Netflix queue so I got Lost in La Mancha instead. Has everyone else seen this already? It's a bit slow to start but it's interesting viewing. Looks like it would have been a great film as well, had it been made. The part that really caught my attention is about an hour in. They've had a disastrous first week of production, a flash flood, unexpectedly heavy jet traffic overhead, and to top it off the star has fallen ill and can't ride a horse. The head staff regroup on the weekend and the producers have a solution, because that is what producers do - solve things. The producers want to fire the first assistant director. Not that he did anything wrong you understand, just that it's traditional to fire the 1st AD if shooting goes poorly. WTF? How does something that insane become industry practice? (There's more producer-based comedy scattered throughout, mainly of the "We're on hold, so do work, but don't spend any money" variety.) The second WTF moment is at the conclusion. The final outcome is that the insurance company now owns the film and Terry Gilliam will need to buy it back from them if he attempts to make the film. Isn't that fabulous? After all, who is a better caretaker for a creative concept than an insurance firm?