“The dialectic of repetition is easy, for that which is repeated has been — otherwise it could not be repeated — but the very fact that it has been makes the repetition into something new.”—Kierkegaard (via loopermovie)
“How do you get those uneven edges in your illustrations?” “I draw them, unevenly.”
“What’s the best way to get this to look like it’s cut out of paper?” “Cut it out of paper.”
“What typeface are you using? It looks so much like handwriting.” “That’s my handwriting.”
These are all real questions I’ve been asked by folks. At lectures, in class, over email. It makes me feel like I’m in the business of serving up plain, glaring answers.
“Care to shed some enlightenment, Frank?” “Hm, I don’t know. How about a big pile of obvious?”
Sorry folks, the most evident way of doing something is typically the way that I do it. No secret labs, no special tools, no computer gee-whizzery.
Disappointing, isn’t it? I’m not surprised that these people are asking these questions. I think everyone wants a peek into someone else’s process. What surprises me is that they infer there isn’t an easy, obvious answer to their questions. There’s a digital silver bullet somewhere, and damned if they aren’t going to find it. But still, surely people still know that handwriting something and scanning it in is an option, rather than using a typeface?
What’s interesting to me is that these questions are being raised because some peoples’ default states are to “fake it.” Maybe that’s a natural response to being constantly presented with things that are not real. Maybe it’s from working with tools whose reach is so wide, it’s sometimes difficult to grasp where their edges truly lie. The issue is that faking it is turning an awful lot of creative processes that have the potential to be deep oceans into shallow puddles. It’s weakening our physical connection to our work.
Our audiences have lower standards too. It’s unusual for them to be confronted with authenticity. When confronted with it, they’re startled. They don’t want to believe, and their first response is generally to scream “fake!” But, no green screen. No movie special effects. No camera tricks. Nothing that’s kind of like this other thing but isn’t quite it. It is what it is. And it really happened. I hadn’t fully realized it until recently, but authenticity is special now. Authenticity is special now.
This is clearly the greatest movie review ever written. The blockquote below doesn’t even do it justice.
You know who I love? I love anyone who hated this movie because I would like to fight them to the death for being wrong as balls. Fuckouttahere. I wanna be on the 2012 thrill park ride, playing 2012 on my Nintendo DS, eating the 2012-branded chocotaco and watching this movie at the same time because I am greedy for this brand of INCREDIBLEBANANASINCREDIBLE. Everyone who says otherwise may as well have written their reviews on their faces in marker because they are obviously batshit crazy and should be ignored. Seriously, will somebody tell me what people expected other than 158 minutes of apocalypse BUKKAKE?
Music Monday - Bloom Intro (Rough Electric Version)
You know, for someone who spends most of their time making music, I realized I don’t post a lot of it on Tumblr. So I’m gonna start throwing a little something up on Mondays. Maybe some behind-the-scenes stuff, early sketches, or something from a band that I’m producing and think you should know about.
I’ll start with an early track I just found from the Bloom score. This comes from the Overture, before it was filled out (You can hear the final “Brothers In A One Hat Town” piece here).
The way I did this project involved much more of a “building” process than a traditional score where you write it, record it and release it. I recorded hundreds of different tracks with the key instrumentalists and then began building and editing. As things came together, I would send ideas to Rian and we would talk about the direction before adding new elements.
Often, I would get takes of a few different instruments playing the lead melody lines so I had options for different versions as the entire track developed. In this rough track, you get to hear Jonny Rodgers’ great electric guitar work in a much more stripped down way.