- Work on one thing at a time until finished.
- Start no more new books, add no more new material to "Black Spring".
- Don't be nervous. Work calmly, joyously, recklessly on whatever is in hand.
- Work according to Program and not according to mood. Stop at the appointed time!
- When you can't create you can work.
- Cement a little every day, rather than add new fertilizers.
- Keep human! See people, go places, drink if you feel like it.
- Don't be a draught-horse! Work with pleasure only.
- Discard the Program when you feel like it—but go back to it next day. Concentrate. Narrow down. Exclude.
- Forget the books you want to write. Think only of the book you are writing.
- Write first and always. Painting, music, friends, cinema, all these come afterwards.
Boyhood is quite unlike any film I've ever seen. If you've seen it, you're no doubt a little bit obsessed and want to know more about it. A good place to start is with the Boyhood FAQ, but it's also well worth having a dig through this lot:
- Reviews from all the usual respected sources: Adam Batty at Hope Lies; Ed Williamson at The Shiznit; Neil Alcock at the Incredible Suit; Liz Beardsmith at Empire; and Mark Kermode at The Guardian.
- Linklater discussing the making of the film on Film4.
- Drew McWeeny and Ali Gray both give personal accounts of what the film meant to them as fathers (both of which I concur with – it's definitely changed how I think about what's to come in my boy's life).
- Linklater discusses plans for Criterion release of the film.
- One of the many ways the films marks the passing of time is through a rather fantastic of-the-time(s) soundtrack. The dated opening track alone says a lot about how long this project has been in the works. Here's a complete list of every song used. Any film that takes a moment to discuss I Hate It Here by Wilco is okay by me.
- Tracklisting for the Black Album.
- Linklater and Hawke interviewed by Esquire.
- Daily Beast interview with Alabama Worley herself, Patricia Arquette.
- The New York Times have a fascinating slideshow of star Ellar Coltrane at various ages. In summary: cute, cute, cute and … BLAMMO! puberty.
- As unique as Boyhood is, characters/actors growing up on screen happens on televisions all the time. For example, there's definitely an interesting film to be cut together just using scenes of Sally Draper/Kiernan Shipka in Mad Men (ideally to feature a present-day final scene starring Kathleen Turner … but I digress).
- And for some good old-fashioned reading on paper, I can highly recommend Spike, Mike, Slackers and Dykes, John Pierson's account of the American indie scene from which Linklater et al sprung.
I've only just discovered that the full title of Daniel Defoe's Robinson Crusoe is:
The Life and Strange Surprizing Adventures of Robinson Crusoe, Of York, Mariner: Who lived Eight and Twenty Years, all alone in an un-inhabited Island on the Coast of America, near the Mouth of the Great River of Oroonoque; Having been cast on Shore by Shipwreck, wherein all the Men perished but himself. With An Account how he was at last as strangely deliver'd by Pyrates.
Books just don't have interesting, ludicrously detailed titles any more, do they? Tis a shame. Anyway, nice to see York get a mention in there.
And so to work on a new cover …
From Hayao Miyazaki's Turning Point 1997–2008:
Making films is all about — as soon as you’re finished — continually regretting what you’ve done. When we look at films we’ve made, all we can see are the flaws; we can’t even watch them in a normal way. I never feel like watching my own films again. So unless I start working on a new one, I’ll never be free from the curse of the last one. I’m serious. Unless I start working on the next film, the last one will be a drag on me for another two or three years.
And with that, Miyazaki succinctly describes the ongoing state of mind and primary motivation of every creative person I know. Forever on a loop of perfection, disappointment and determination.
Going through my latest collection of reading material stashed away in Pocket, I notice I have rather a lot of stuff related to The Grand Budapest Hotel. So I thought I'd share:
- Mise en scène and the visual themes of Wes Anderson.
- Creative Review interview with designer Annie Atkins.
- In the New Yorker: The Grand Budapest Hotel – Wes Anderson's artistic manifesto.
- "I stole from Stefan Zweig" – Anderson on the author who inspired The Grand Budapest Hotel.
- Wes Anderson: Centered.
- The Society of the Crossed Keys, selections from the writings of Zweig.
- The official site of the film, Akademie Zubrowska, would be lovely it wasn't such an enormous Flash-hungry monster of a thing. It's worth a look, but expect to be staring at quirky progress bars for quite some time.
- Wes Anderson’s Elegy to Stefan Zweig by Max Nelson.
- And this is my new favourite thing: Wes Anderson Colour Palettes.