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helpfulsnowman's review against another edition
3.0
The big tragedy of this book is that in the preface, and a bit in an afterword, it's revealed that George Romero was kind of stuck in his role as "the zombie guy."
Which isn't a problem in and of itself, it's a problem because it seems like he wanted to do other things.
I could definitely identify with the guy when he was talking about how filmmaking is a grind, how you never really "make it," and each time you have to start over, convince everyone that you've got a good project and you're the right person to do it, and, I don't know, that's really sad because this guy made, at minimum, 3-4 stone cold classics, and realistically made 5-7 really good movies, and you'd think that'd earn him at least a little consideration, a little leeway where people would be like, "You know, he seems to have done a great job with some things in the past, maybe he knows what he's doing."
But it doesn't because...well, I don't really know why. It just doesn't.
I guess that's the good and bad of writing books as opposed to filmmaking. Because it's a much cheaper proposition, especially today, you can kind of do whatever you want. You don't have to get financing or actors. You don't have to start with ANY funding.
I complain about how hard it is to be an indie author, but the truth is that it's easier to be an indie author than an indie filmmaker. Because as an indie author, you get to make the thing first, and then you can switch into marketing/accounting/strategizing/formatting the manuscript. You don't have to do all that nonsense first, the way you do with filmmaking.
Which is to say that while I'm a mediocre author, I'd be a terrible filmmaker. By the time I said "Action" the first time, I'd be all bummed out and shit.
It's too bad. I'm certainly the world's best hope for Demolition Man 2: The Demolishing. The Demolitioning? Demolishment?
Which isn't a problem in and of itself, it's a problem because it seems like he wanted to do other things.
I could definitely identify with the guy when he was talking about how filmmaking is a grind, how you never really "make it," and each time you have to start over, convince everyone that you've got a good project and you're the right person to do it, and, I don't know, that's really sad because this guy made, at minimum, 3-4 stone cold classics, and realistically made 5-7 really good movies, and you'd think that'd earn him at least a little consideration, a little leeway where people would be like, "You know, he seems to have done a great job with some things in the past, maybe he knows what he's doing."
But it doesn't because...well, I don't really know why. It just doesn't.
I guess that's the good and bad of writing books as opposed to filmmaking. Because it's a much cheaper proposition, especially today, you can kind of do whatever you want. You don't have to get financing or actors. You don't have to start with ANY funding.
I complain about how hard it is to be an indie author, but the truth is that it's easier to be an indie author than an indie filmmaker. Because as an indie author, you get to make the thing first, and then you can switch into marketing/accounting/strategizing/formatting the manuscript. You don't have to do all that nonsense first, the way you do with filmmaking.
Which is to say that while I'm a mediocre author, I'd be a terrible filmmaker. By the time I said "Action" the first time, I'd be all bummed out and shit.
It's too bad. I'm certainly the world's best hope for Demolition Man 2: The Demolishing. The Demolitioning? Demolishment?
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