Joseph Mallozzi's Blog, page 199

May 29, 2020: Let’s talk crypto currencies!

I mean, wut?  Alaskas favorite fast food restaurant is Tim Hortons?  Hawaii’s is Popeyes?  Also – what’s Mod?  And why is it so popular?

I mentioned yesterday that our former VFX Supervisor on SG-1, James Tichenor, recommended we invest in Netflix.  Back in 2004.  Netflix?  The movie rental company?  James was quite insistent that streaming was the way of the future – but I’d been hearing about it forever and it seemed like streaming was exclusively the venue of people pirating off bit torrent.  Oh, how wrong I was.

Fast-forward, oh, eleven years later and Akemi was telling me I should invest in this thing called bitcoin.  Although I found the idea of digital currency interesting, I also found it altogether baffling, from the manner coins are “mined” to the bewildering means by which they are purchased and stored.  Five years later, things are slightly less puzzling on that front, but I’m still on the fence.  On the one hand, I think that, conceptually, it makes perfect sense and should be the currency of the future.  On the other hand, how far into that future are we talking about because, at the moment, the coin has no applicable practical value beyond its theoretical prospectus.  I mean, sure, some places will allow you to pay using bitcoin, but how many?  And how many people actually do pay with bitcoin?  At present, not very many, rendering bitcoin a purely speculative investment.  Which is fine, I suppose, but opens it up to significant volatility.  Also, I hear transaction times lag and the fees are high.

I was looking into the other digital currency, but I ultimately know even less about these coins beyond…

Ethereum: The second most popular alt coin – although a distant second – that, apparently, may suffer from security issues.

Ripple: Doesn’t require mining like other digital currency, but the fact that the majority of its coins are owned by Ripple makes the risk of manipulated inflation/deflation a concern.

Litecoin: Referred to by some as the silver to bitcoin’s gold, it offers faster transactions but is really just a bitcoin clone.

Tether: One of the more popular stable coins, so called because its market value is tied to a currency.  It was hacked to the tune of 30 million in tokens a few years ago, which doesn’t exactly inspire confidence.

Monero: Really, all I know about this one is that its private, untraceable, and perfect for drug dealers and terrorists.

EOS: The relatively new kid on the blockchain.  Introduced in 2018, it offers fast transactions but confusing in its application.

And there are plenty more – Binance Coin, Bitcoin SV, Bitcoin Cash, Cardano, and Facebook’s yet to be released Libra.  Like I said, all very interesting but also confounding and potentially unstable.

Would love to hear hear from you crypto experts.  Have you invested?  If so, which digital currency do you prefer.  More importantly, which digital currency do you steer clear of and why?

Yesterday’s movie-themed question:

What is a great comedy that not enough people have seen?
Answer with a gif. pic.twitter.com/RV76LxvMRV

— Joseph Mallozzi (@BaronDestructo) May 28, 2020

And tonight’s movie-themed question:

What's a fantastic action movie that not enough people have seen?
Answer with a gif. pic.twitter.com/s2tJ5zwOac

— Joseph Mallozzi (@BaronDestructo) May 29, 2020

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May 29, 2020: Breakfast cereal and haggis ice cream. But not together, because that would be gross.

I couldn’t resist.  I was in the cereal aisle of my local supermarket today (in my masks and gloves of course) and decided to pick up these two boxes.  I’m more of a steel cut Irish oatmeal type of guy, but was inspired by Gabe over Cereal Time TV.  In truth the last time I had this type of “kids” cereal was maybe give years ago – and only because I was experimenting with ice cream flavors derived from cereal-flavored milk (Cap’n Crunch was the big winner).  Before that it was, uh, much longer, back when I was a kid watching Saturday morning cartoons like The Bugs Bunny/Road Runner Hour, Scooby-Doo Where Are You?, and the hallucinogenic Ralph Bakshi Spider-Man.

This was my first time eating Chex.  I think I avoided them as a kid because I recall them being a lot better for you back then.  While this may still hold true in the general sense, I’m pleased to report this version did NOT taste healthy.  And it retained a nice crispy texture in milk.

The smell of maple syrup this you the second you spent the package, but not in an unpleasant way.  Suffice it today, it smelled sweet.  And it delivered.  Like the Chex, the mini Eggos also retained a nice crispy texture sitting in milk.

While Akemi preferred the texture of the Eggos, she preferred the favor of the Chex.  I enjoyed them equally and look forward to working Cocoa Puffs into the rotation at at later date.

Hey!  Haggis Ice Cream?  Yes or No?

This ice cream is haggis-flavored

May 27, 2020: Worst snack ever!

Just tried Doritos Dinamita for the first time.
Haven't checked the packaging, but I'm pretty sure the main ingredient is recycled cigarette filters. pic.twitter.com/9rSUgR9La3

— Joseph Mallozzi (@BaronDestructo) May 27, 2020

Seriously.  It was like eating a pack of Newports.

Today’s movie-themed question –

What was the greatest remake in movie history?
Answer with a gif. pic.twitter.com/7d51dLyrA1

— Joseph Mallozzi (@BaronDestructo) May 27, 2020

This one a close second for me… pic.twitter.com/FCLBB9abSO

— Joseph Mallozzi (@BaronDestructo) May 27, 2020

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May 26, 2020: My accomplishments pale to Akemi’s!

Well, time to take my supplements!

So, that’s what I accomplished this week.  Akemi, on the other hand, in addition to the gardening and the baking, has been making gyoza…

I, of course, have been doing my part and supporting her by eating them.

Today’s movie-themed question…

What is the saddest moment in cinematic history?
Answer with a gif. pic.twitter.com/ermvMqOORE

— Joseph Mallozzi (@BaronDestructo) May 26, 2020

Received some sad news today.  Beloved french bulldog Stewie passed away yesterday at age 11.  He was a 30 lb bundle of energy and I will always fondly remember how he would greet me whenever I would visit – by charging down the hall and launching himself, full force, into my stomach.

I leave you with my favorite video of the handsome boy.

 

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May 25, 2020: Results, a recommendation, and a couple of movie-themed questions!

Thank you to all those who weighed in with suggestions for Suji.  We’re going to try introducing collagen supplements and CBD oil into her routine.  Hopefully we see some improvement in the next few weeks.

Also, in the next few weeks, I look forward to seeing the results of our grand social experiment.  Either many are correct and the worst is over with regard to the virus so these mass gatherings will be perfectly fine – OR a bunch of people are going to be truly fucked.  Oh well.  I guess time will tell.

So after watching a collection of positively horrifying videos revealing the amount of bugs in your average strawberry, I decided to put my recent purchase to the test.  I soaked five strawberries for five minutes in a bowl of cold water, salt, and apple cider vinegar.  The findings?  No discernible insects.  And strawberries that taste of salt and vinegar.

Watched a couple of horror movies today.  I highly recommend this one:

Yesterday’s movie-themed question:

What was the Holy Shit scariest reveal in a horror movie?
Answer with a gif. pic.twitter.com/5oRFNASclX

— Joseph Mallozzi (@BaronDestructo) May 25, 2020

Today’s movie-themed question:

What movie scene made you laugh the hardest?
Answer with a gif. pic.twitter.com/gGwkY5iRgm

— Joseph Mallozzi (@BaronDestructo) May 25, 2020

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May 24, 2020: Suji Sunday!

Suji seems to be slowing down.  It’s as if someone flipped a switch on her birthday.  Whereas once she was a determined and tireless walker, lately she has been slow and given to lengthy stoppages. It reminds of a similar situation with my pug, Jelly, who would just quit partway through her walks, taking a seat in the grass and refusing to budge.  I would later discover that she suffered from hip dysplasia and the lengthy walks made her uncomfortable.  I wonder if it’s something similar with Suji.  I do know that she suffers from some hip dysplasia as well, but it’s never slowed her before.  She’s been taking krill oil/MSM/glucosamine (for her joints), monthly cartrophen injections (for her arthritis), and rimadyl (a non steroidal anti-flammatory) – and that has seemed to help.

She’s also been taking tacrolimus to address the keratitis on her eyes – and I’m wondering if that might not be it as well.  She seems to be having trouble seeing as evidenced by her wayward walking pattern and her recent propensity for walking into things.  She can see me hunker down to offer her a treat from 12 feet away but often, if I’m holding the treat just inches from her face, she won’t even notice.  I wonder if it’s an issue with her peripheral vision that has made her more cautious and uncertain in her walking.

Otherwise, her appetite is good.  She’s still as vocal and cantankerous as ever if breakfast or dinner are delayed, or she wants to go to bed so she can get her good night treat.  Still, there has been a noticeable change.  We’ve started giving her a small dose of gabapentin for pain whenever she seems uncomfortable, and plan to bring her in to get checked out by our local vet.  Hopefully, it’s something we can address.

Yes, 15 is old for a dog.  But she was perfectly fine up until recently, and the sudden change has been surprising.

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May 23, 2020: On rewrites, credits, and substituting Bob for Bill!

Came across this article today: https://uproxx.com/movies/jack-barth-interview-yesterday-writer-richard-curtis/ that details the story of a struggling screenwriter who sold the script to what would become the movie Yesterday.  In a nutshell, the writer sold his original script which was later wholly rewritten.  He received a co-story by credit, the purchase price of the script, and a share of the film’s profits which amounted to approximately zero dollars because his agent was an imbecile who negotiated a deal for net rather than gross.  The original screenwriter, Jack Barth, is clearly ticked because he feels his initial contribution to the movie was dismissed by the credited writer, Richard Curtis.

I found this article and the online response it has garnered very interesting. There are those who are outraged because they feel Bart was mistreated.  And there are others who are outraged because he was totally rewritten and, thus, should have no cause for complaint.

I am equally unsympathetic to both sides of the argument.

First, Barth has really no one to blame but himself, and his agent, for his predicament.  At the end of the day, that was the deal he signed in order to: a) get paid and b) get the movie made.  Rewrites are part of the business.  As a showrunner, I have to rewrite scripts – sometimes because of production issues (ie. we lose a location, the script won’t board), and sometimes because of creative issues (ie. the writer didn’t deliver on the page, the studio had an 11th hour change of heart and decided to throw out the script).  Sometimes, these rewrites are cosmetic in nature.  Other times, they are page one rewrites where nothing is left of the original draft outside of the story (which was broken in writers’ room). And who gets credit for that final version?  Almost always, the original writer. Why?  Because that’s the way the business works.  Rewriting scripts is part of my job as a showrunner.

Of course another way the business works happened to me on a miniseries my former writing partner and I wrote.  We delivered two drafts, a polish – and then were rewritten by another writer who claimed a co-writing credit.  Now, in order for a writer to claim a co-writing credit, they had to have changed 50% from the last draft.  And God knows, he tried: changing names so that Bob became Bill, and Bob’s car became Bill’s car, and Int. Bob’s Office -Day became Int. Bill’s Office – Day, but that wasn’t enough to reach the 50% threshold, so we won the arbitration and kept our original sole credit.

In Barth’s case, he was completely rewritten.  He didn’t deserve the co-write.  But he did deserve the nod for coming up with the original idea – and some degree of respect, something – it could be argued – he did NOT receive.  From the article:

I guess the reason why I’m playing Devil’s Advocate here is because I’ve experienced both sides.  As I said, I’ve written countless uncredited page one rewrites.  On the other hand, I can sympathize with new writers who, desperate to make a name for themselves, sign a crappy deal in order to get their script produced.  I also really despise gatekeepers who minimize the contributions of others – or take credit for it.  The latter happens a lot more than you realize. Last year, I was brought on to a development project looking for a showrunner.  The pilot script was co-written by a young, inexperienced writer and a fairly prominent director whose production company was attempting to set up the series.  Eventually, the young writer sheepishly admitted that the script was his but he had to agree to a co-write credit in order to bring this dipshit marquee director on board (because, evidently, the money to be made from being both a director and an Executive Producer on a show he would own through his production company wasn’t enough).

That, unfortunately, is also how this business works.

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May 22, 2020: I’m thinking my time could be put to better use.

Today’s movie-related question:

What is your favorite filmic twist ending?
Answer with a gif. pic.twitter.com/9DiqmIpIng

— Joseph Mallozzi (@BaronDestructo) May 22, 2020

Came across this article today about Manitoba’s plans to restart their film & television industry:

Manitoba could be the first jurisdiction to reopen its film industry on June 1, but physical distancing on film sets could be challenging. https://t.co/Jwwe5LIkTn @CBCMarina

— CBC News (@CBCNews) May 22, 2020

My favorite part comes about halfway through the article: “Film productions are only allowed in Manitoba if cast, employees and the public can keep a separation of at least two metres from one another, except for brief exchanges, the province said.”

Sure.  Good luck with that.

So, how’s everyone doing?  What’s new and/or exciting?  Akemi’s balcony garden is coming along nicely, and she’s giving the bread another go.  I, meanwhile, am still trying to make sense of the stock indicators and just the stock market in general.  I think a good rule to follow is to buy whatever stock the US government is pumping Monday morning (ie. Big Pharma companies announcing promising tests results high on excitement but low on details), then sell the stuck Monday afternoon before everyone else realizes they’ve been had.

I don’t know.  Maybe I should just give up and focus on more productive pursuits.  Like making interesting pasta shapes using whatever is lying around my kitchen:

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May 21, 2020: Production Pandemic Issues

Came across this Variety article today:

Extras on $et: Inside Hollywood’s Pricey Plans to Restart Production

A few things. 

The article starts off by referring to Producer Tyler Perry’s plans to restart production at his Atlanta-based studios, and the safeguards he will put in place: “Perry will fly out-of-town cast members in on his private plane, and, since the studio is a decommissioned U.S. Army compound, everyone working on the production will live on campus.”  

That’s the gold standard right here.  But, realistically, it’s unlikely most productions will be able to fly out of town cast members in and out on private planes.  Quarantine cast and crew?  Sure.  It wold be no different than an extended location shoot – except that most every production will now be proceeding along those lines.  And for how long?  Depends on the production.  In the case of a tightly scheduled 10 hour t.v.series?   Say, four months.  That’s four months away from your significant other.  OR, if they are with you, four months which they will spend in isolation, waiting for you to come home. 

But putting all that aside, assuming you can work out the quarantine and the testing and the minimal interactions during prep and post, there are a few BIGGER issues that need to be addressed.  

First, the article refers to “the impending release of highly anticipated guidelines spearheaded by the AMPTP, which is based on input from studios, epidemiologists and public health officials, as well as sensitive negotiations with the various trade unions.”  Bolding is mine as herein lies the first big issue: union concessions related to a potential post-pandemic production model, one that may push for fewer bodies on set.  It’s a complicated subject, in my mind THE most complicated and challenging for production and union (members) alike.  But provided something can be worked out, there’s another issue.

What with all of the new safeguards that will be put in place, new rules that will make for a safer but, admittedly, much slower working environment, the “costs of production, already sky-high, are going to get even higher.” And who is going to bear these extra costs?  Is the production company going to pony up? I doubt it.  Will the commissioning broadcaster boost their licensing fees?  Uh, I suppose it’s possible.  Or, will the costs ultimately come out of the production’s budget?  Ding ding ding!  And if that turns out to be the case,  how much of that money will be coming off the screen?  In other words, how badly will the end product suffer as a result?  I suppose it depends on the costs – and a show’s particular budget.  You would think the bigger budget productions would be in a better position – however, as the article points out…

“The issue is simply that considering the massive crews, complex stunt work and elaborate sets, costumes and makeup, large-scale productions might be too big to reasonably accommodate COVID-19 precautions without a vaccine.”

Okay.  So what about smaller productions?  The article states they may be in a better position to negotiate this more challenging terrain.  Except THEY run up against another problem: “The information that we’ve gotten from different brokers and people that we work with on the insurance side has been, generally speaking, that it will be difficult to cover any sort of COVID-related kinds of claims,” says Jordan Beckerman, Levine’s partner at Yale Prods. 

These smaller productions don’t have the deep pockets of big studios.  If a cast member falls ill or production is interrupted by that rumored “second wave”, they are screwed without the insurance to cover their asses.

All that said, production has already restarted in Australia – and the U.K. is gearing up to get back at it as well.  I imagine, here in North America, we won’t be far behind.  And, hopefully, we’ll all find a way to make it work.    

Still, I think this phrase, that appears early in the article, provides the perfect capper to any discussion on the topic: “It will be many months before we know whether the scramble to make movies in a world in which few theaters are open is practical planning for a COVID-less future or delusional magical thinking”.

Continuing my #AGraphicNovelADay Challenge…

#AGraphicNovelADay Day 23
What If? Classic Vol. 4
A collection of Bronze Age AU tales covering everything from depowered heroes and unexpected deaths to surprising encounters and strange mutations. The Leaving, by David Micheline and Paty Greer Cockrum, is an absolute standout. pic.twitter.com/rXf991Oz5t

— Joseph Mallozzi (@BaronDestructo) May 18, 2020

#AGraphicNovelADay Day 24
FreakAngels Vol. 1
12 childhood friends possessed of extrahuman powers evolve in a post-apocalyptic England of their own making. Brilliant character work. I ended up reading all 6 volumes in a single day. @warrenellis @paul_duffield @Avatarpress pic.twitter.com/O67PbPngyr

— Joseph Mallozzi (@BaronDestructo) May 19, 2020

#AGraphicNovelADay Day 25
Gast
A young bird watcher investigates the suicide of a "rare bird" named Emrys.
Swain's subtle, minimal art style reflects a deceptively simple tale brimming with empathy.
Carol Swain @FantaBookstore pic.twitter.com/HPosnaYvEU

— Joseph Mallozzi (@BaronDestructo) May 20, 2020

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May 20, 2020: David Hayman

Shocked and saddened to hear of the sudden passing of David Hayman. His passion for music, and knowledge of the industry, was immense, and I'll miss his unbounded enthusiasm. A compassionate and generous titan gone way too soon. https://t.co/2kze0M7Vh5

— Joseph Mallozzi (@BaronDestructo) May 20, 2020

The first time I met David Hayman was over a year ago when I visited his offices at Supergroup Sonic Branding, the media company he masterminded and built.   He was one of the first music supervisors we met with regard to our upcoming series, Utopia Falls, and five minutes into our conversation with him, I already knew he had the job.  Part of it was the Hip Hop-themed displays that adorned the walls.  Part of it was his easy-going, self-assured attitude.  But mostly, it was his obvious and considerable understanding of music.  Utopia Falls would be a Hip Hop-focused series and that was clearly in his wheelhouse, but over the course of the meeting, where I mainly sat back and listened, he and show creator RT Thorne fell into a long and involved discussion on the topic, from its varied roots and influences to its usage in film and television as a narrative device.  His knowledge was vast and the ideas he generated, at once creative and practical, clearly marked him as an expert in the field.  Perfect.  Except, it was early still.  And as we left the Supergroup offices, and we discussed some of the other music supervisors we would be meeting in the coming days, I couldn’t help but think: “Do we really need to?  HE’S our guy.”  And I suspect that at the time, RT and our line producer, Robbie David, knew it too.

So it came as a surprise to absolutely no one when, after finally meeting with the executives at the production company, David Hayman was hired as our music supervisor.  And over the months I worked with him, he proved as enthusiastic as he was tireless in meeting the needs of a very demanding production.  With series creator RT Thorne and composer Nikhil Seetharam, David built the sound of the series, the music that was the very heart of the show.  The end result is a testament to the combined talent, initiative and love for music these three shared.

The last time I saw David was back in December when we gathered for our final mix and screening of the show’s finale.  It was a celebratory mood with some champagne drinking and an overall sense of accomplishment.  And, above all else, an appreciation for the hard work put in by cast, crew, and individuals like David who always went above and beyond the call to get things done – and done well.

Eventually, productions will resume.

The music will play on.

But David Hayman will be greatly missed.

May 20, 2020: David Hayman

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