Archive for June, 2009

‘I’ll end up like Elvis’: Michael Jackson’s ex-wife Lisa Marie Presley says he predicted he would die like her father

Posted in Uncategorized on June 27, 2009 by blog4tsotsm

By Daily Mail Reporter
Last updated at 1:45 PM on 27th June 2009


Michael Jackson’s former wife Lisa Marie Presley said he once predicted he would ‘end up’ dying like her father Elvis.

Miss Presley described how she once discussed her father’s death from a heart attack in 1977 with Jackson. 

‘At some point he paused, he stared at me very intensely and he stated with an almost calm certainty, “I am afraid that I am going to end up like him, the way he did”.’

Miss Presley tried to deter Jackson from the idea, but said he shook his head and nodded ‘as if he knew what he knew’ and would not be dissuaded. 

Michael Jackson with wife Lisa Marie Presley in 1994Michael Jackson with wife Lisa Marie Presley in 1994. She says he predicted he would die from a heart attack due to drug abuse like her father Elvis

‘As I sit here overwhelmed with sadness, reflection and confusion at what was my biggest failure to date, watching on the news almost play by play the exact scenario I saw happen on August 16, 1977 happening again right now with Michael (a sight I never wanted to see again), just as he predicted, I am truly, truly gutted,’ she said.

Elvis PresleyElvis Presley died from a heart attack brought on by drug abuse in 1977

Presley added that she and Jackson’s family had tried to save him from ‘the inevitable, which is what just happened’.

Writing in her MySpace blog, she also denied rumours her relationship with Jackson was ‘a sham’.

She said they split up because she could not save him from his self-destructive behaviour. She said she was ‘overwhelmed with sadness’ at his death.

‘I became very ill and emotionally/ spiritually exhausted in my quest to save him from certain self-destructive behaviour and from the awful vampires and leeches he would always manage to magnetize around him,’ she wrote.

She called it an ‘unusual relationship’ but added: ‘Nonetheless, I do believe he loved me as much as he could love anyone and I loved him very much.’

Presley is the only daughter of the ‘King of Rock ‘n’ Roll’ Elvis and was a performer in her own right.

Her father died at the age of 42 of a heart attack after years of drug use. Presley married Jackson in the mid-90s but they were together for less than two years.


The King of Pop seemed driven and upbeat in the weeks, even hours, before his death:

Posted in Uncategorized on June 27, 2009 by blog4tsotsm
Jackson was energetic, upbeat ahead of London tourAP, Jun 26, 2009 10:43 pm PDT
The King of Pop seemed driven and upbeat in the weeks, even hours, before his death as he rehearsed rigorously for a series of 50 concerts in London that were to begin a late-career comeback.Friends and colleagues said Friday that Jackson appeared in recent months to be rejuvenated by the prospect of performing again.

After years of seclusion following a child sex scandal, the pop icon was heavily involved in all aspects of the concert rehearsals. He had hired a personal trainer and was practicing with backup dancers and choreographers several hours a day, they said.

“He was working hard, setting the example, overseeing the choreography, kicking butt and taking names,” said Johnny Caswell, president of CenterStaging Musical Productions Inc., a Burbank sound stage where Jackson rehearsed until late May. “He was ready to blow everybody out of the water. This was going to be the biggest extravaganza, entertainment spectacle ever.”

Jackson was involved in all areas of planning, including watching auditions and choosing the backup dancers who would appear with him, said Maryss Courchinoux, a 29-year-old dancer from Paris who sought a place on stage with Jackson.

Courchinoux said she had been selected as a backup dancer for the London concerts and had been fitted for a costume. She had been invited to Thursday’s rehearsal in Los Angeles to meet Jackson and watch the practice to help prepare for her role, she said.

On the same day, Jackson was pronounced dead after collapsing at his home in Holmby Hills, a swanky neighborhood near Bel Air.

Courchinoux recounted how Jackson was in the audience as she auditioned in April, when she performed a set routine and then was asked to do freestyle dances — a hip-hop style called “pop-ins.”

From the stage, she could make out Jackson’s profile and his glasses where he sat in the empty auditorium. Friends later told her that Jackson jumped up and applauded after her group performed.

“I knew it was him, and I knew I was in his presence,” she said. “In a way, I feel blessed that we got to dance in his presence, and I was looking forward to meeting him yesterday,” she said, choking back tears.

“It was my dream since I was six years old. I guess there was a different plan.”

Rehearsals for the tour began in late March, Caswell said.

Jackson and his choreographers, band and dancers took over about four of the 11 studios at Centerstaging. Jackson would wander in and out of the studios, keeping tabs on the work and would often sit on a large black leather couch and listen to the band practice.

He frequently offered band members suggestions and took an interest in the mixing levels for the concert’s soundtrack, according to those who worked with him at the sound stage. They spoke on condition of anonymity because they had signed confidentiality agreements.

Caswell and other workers at the studio said Jackson would arrive in an SUV, with another vehicle following, about four or five times a week. One of the SUVs ferried Jackson, but the second was to fake out the paparazzi and European fans who flocked outside the studio’s doors. Jackson, an infamous recluse, would always crack a window and allow fans to pass CDs in for him to autograph.

“There would be tons of fans — European fans — they weren’t sharing the information with anyone else that he was coming here with anyone else. They didn’t want to spoil the exclusivity,” Caswell said.

Max Miller, a dispatch manager at the studios, said he saw the singer work on a transition routine between two songs.

Miller’s team aimed a spotlight at the stage area as Jackson, wearing a black suit, practiced the moves with no music and just a metronome clicking.

“He was totally dancing like top-notch. He seemed totally good,” Miller said. “He seemed totally cool and really focused.”

As focused as energized as he was in Burbank, Jackson seemed even more excited about his comeback as the concert date approached.

He recently moved his rehearsals to The Forum, the Los Angeles Lakers‘ former arena in Inglewood, and ultimately to the Staples Center, where he was rehearsing daily, sometimes for hours.

Ken Ehrlich, executive producer of Grammy Awards, said he met Jackson there on Wednesday for a business meeting and spoke to him for about 20 minutes before Jackson invited him to watch him rehearse.

Ehrlich, who has known Jackson for years, said he was amazed by the singer’s vitality and focus as he practiced moves with backup dancers and a handful of choreographers.

The choreographers walked him through moves and gave him stage directions. They also introduced him to some new props and appeared to be working with Jackson to incorporate them into the show.

“Michael was digesting it all. He was learning, but even with that, there were times during the songs where his singing was full out,” Ehrlich said. “I would watch him move across the floor like the Michael of old. I was convinced (the comeback) was going to be the Michael of old.”

Ehrlich said he left after watching Jackson work through five or six numbers, but got chills from watching him — a memory that seems especially precious now. The star showed no signs that he would die less than 24 hours later, he said.

“There was this one moment, he was moving across the stage and he was doing these trademark Michael moves, and I know I got this big grin on my face, and I started thinking to myself, ‘You know, it’s been years since I’ve seen that,'” he said.

“There was that Michael that was just like no one else and no one else could touch,” he said. “The shame is that new generation won’t see that — but we all came close to being able to see it again.”


Associated Press writers Lynn Elber, Raquel Maria Dillon, Beth Harris, Solvej Schou and Thomas Watkins contributed to this report.

R.I.P. Micheal….

Posted in Uncategorized on June 26, 2009 by blog4tsotsm

This is so sereal to me. I sensed this coming two years ago. I sensed this about my grand father and my mother before their deaths. I also sense this about another within the next five years but I can’t speak the name…It’s  just someone very close to me. This concerns me but the Universe does its will.

I remember when I was nine years old Micheal and his brothers inspired me to become a musician. Then I did. I’ve been a fan of Micheal Jackson’s for thirty-nine years and I loved every minute of  watching he and his brothers and watching him as a solo artist.

Micheal has touched millions across the globe. I will miss you Mike.  You are singing in God’s choir now.

My personal condolences to the Jackson family.

Booking the Future

Posted in Uncategorized with tags on June 23, 2009 by blog4tsotsm

Booking the future


15 – 06 – 2009


Is the book dead? Can the Six Sisters of publishing rescue books? Will publishers find a new profit model? Can bookstores survive the internet? Can writers make a living? What about e-books? Is Kindle the beginning and end of the revolution? Will Google Books be literature’s savior or executioner? Where does fit in?


Ransom Stephens is a San Francisco-based technologist and author. His novel, “The God Patent“, is published on Scribd.
openDemocracy’s Media and the Net coverage has chronicled the politics of the web’s transformation of media since 2001.

Though the role of publishing has not changed – connect readers to writers – the revolution will not be led by an established publisher. To date, no established player has prospered through, much less led, the transition to the digitally-based economy. What’s left of the recording industry is still pursuing the fascinating how-to-best-prosecute-our-customers business model. No one was better positioned to profit from the web-based economy than Sears, with its legendary catalog, but Amazon all but killed it. Even IBM barely survived the computer revolution.

For some reason, even when entrenched companies can see the iceberg they can’t turn the ship. In 2000, at the height of the “Napster Crisis,” Time-Warner/AOL’s CEO, Richard Parsons said, “It’s an assault on everything that constitutes cultural expression of our society… And the corporations won’t be the only ones hurt. Artists will have no incentive to create. Worst-case scenario: the country will end up in a sort of Cultural Dark Age.”

Have YouTube, Facebook, iTunes, Blogspot, et al reduced cultural expression? Here’s a better example. In 1977, Ken Olson, President of Digital Equipment Corporation (DEC) which, at the time, built the best computing hardware, said, “There is no need for any individual to have a computer in their home.” Time-Warner/AOL, Sears and IBM survived, but are swimming in the wake of Dell, Google, Amazon, etc.

Three mistakes will plague the six huge publishing conglomerates, a.k.a., the Six Sisters: first, their blockbuster profit model is unsustainable; second, they’re not capable of marketing those titles that are in the market segment with the greatest profit potential; and, third, they’ve stopped nurturing the majority of their talent with the editorial and promotional nutrition necessary for them to blossom into bestselling authors, the so-called mid-list authors whose early efforts showed enough promise to be published, but didn’t return a profit. It looks a lot like what sickened Time-Warner/AOL, Sears and IBM and killed DEC.

Publishers’ role as the gatekeepers of quality has always been dubious. Do book buyers have brand loyalty? Do you check the publisher before buying a book? Once we jump the low hurdle of spelling, grammar and minimal storytelling skill, literary merit is nearly as subjective as your favorite color. In a world where musicians can sell their best songs on iTunes, the only thing maintaining publishing’s quality-control role is the carefully manicured perception that self-publishing is anathema to aspiring professional authors. Publishing, through its marketing plans and budgets, today effectively controls who sees what book. But the grip of the industry’s role of gatekeeper is about to go.

The publishing company that turns the corner, leaving the Six Sisters in the dust, will leave quality control to authors – even grammar and spelling.

The obvious candidates include Yahoo and Amazon, but I think they are already too big and stodgy to make the move; Google has everything necessary on its place, but might be too fragmented to make the move; the big self-publishing companies Lulu and iUniverse are well positioned but might be too burdened by the “vanity press” label to emerge. Right now, I think the smart money is on Anyway, for the sake of argument, let’s call the emerging company NetBoox.

The biggest change in the terrain is that NetBoox will be able to “stock” every title not just online, but in every bookstore. Currently, the biggest bookstores hold well under 100,000 titles. The basis for their profit-model is the assumption that the fraction of stocked titles covers 80% of demand. In other words, they’ve been operating under the assumption that 20% of available titles accounts for 80% of realizable (as opposed to realized) profits. The 80/20 rule embodied: 80% of the results come from 20% of the work.  

It turns out that the 80/20 rule is wrong. It’s more of a 40/20 game. This is the lesson of long tail economics.

Long tail economics is straightforward: First, assemble every title, not just those in or out of print, but those that could be in print, every possible title; second, organize the titles in decreasing order of demand; and, third, plot the number of copies that could be sold if everyone was aware of them, i.e., the potential demand. The result is the graph shown in Figure 1. Gimme bestsellers, like Patterson and King titles, are on the far left, mid-list titles in the center-left and low-volume sellers, niche books, on the right.

Figure 1: Publishing’s long tail. Demand for titles organized from highest to lowest. Bestsellers are on the far left, like King or Patterson titles, mid-list titles in the center-left, and niche titles, like my grandpa’s unpublished memoir on the right.

To figure out how NetBoox will operate, consider the extremes. The Six Sisters concentrate their marketing prowess on squeezing as much money as possible from bestsellers, the darkened 20% of titles/40% of demand on the left – the so-called blockbuster strategy.

Stephen King can write a book, punt it over to Lulu, put a note on his web page and it will sell. Bookstores will order it, people will buy it in both electronic and bound form, and Stephen King will earn about twice the royalties he would from a conventional publisher. The loss of their golden-egg laying geese is the first huge profit-problem established publishers will face.

What about the cover art, distribution, and the promotional prowess required to propel a title onto the bestseller list? Established bestselling authors don’t need a publisher to be promoted they need publicists; the retail e-industry has solved the distribution problem; and cover art and bindery will improve the instant Stephen King tosses his text to iUniverse or Kinkos.

Now consider the extreme right, the long tail of the demand distribution. If my grandpa wrote a bad memoir about the day we first rode horses together, the total market might be 100 copies. Or maybe three: mom, me and, well, surely someone else would like a copy. What crazy publisher would carry Papa’s memoir? NetBoox would carry that title and make a cozy profit on those 3-100 copies.

Papa writes his bad memoir, uploads it to NetBoox and clicks the usual “I agree” button next to the usual infinite scroll of unintelligible text. Had he read the legalese, he’d have seen that he will only collect royalties if the book sells more than 1000 copies. Or maybe 10,000 or 100,000. It doesn’t matter because Papa doesn’t care; he just wants his book out there.

Mom and me and that other guy order it and, as we click, the text is either automatically submitted to a queue for printing, binding, and shipping, that is, it is Published on Demand (PoD), or we download the appropriate format for our preferred electronic book-readers. NetBoox’ only overhead is storage of the text file. A novel takes less than a megabyte; storage of 100 books costs less than two cents per year. While the unit profit is small, it’s still thousands of times the overhead. In other words, if NetBoox holds the rights to half the titles that the six sisters would never consider carrying, half the unshaded long tail in Figure 1, they’ll make twice the money that the six sisters make from their caches of high-overhead bestsellers – bestsellers who don’t need them and are going to leave.

After NetBoox acquires rights to all the manuscripts that established publishers have rejected – the slush of the slush, the unwashed huddled manuscript masses – they need to find people who will pay for them, and they need to do so at very little cost. Based on this problem, Harvard economist Anita Elberse argues that the blockbuster strategy will dominate long tail economics because, she says, “It is extremely difficult to forecast the demand for a new title.” But she neglects the massive potential of sophisticated targeted marketing techniques that are only now starting to emerge.

With every click of your mouse, NetBoox’ model of your preferences becomes more accurate. Composing a preference algorithm isn’t rocket science, but rocket scientists are composing them at places like By preference model, I don’t mean a trivial guessing algorithm like Amazon’s “people who purchased A also liked B.” Netflix has a better example, they build a model of your preferences every time you rate a movie and the recommendations are pretty accurate. In fact, if you can come up with a better algorithm, Netflix will pay you a million bucks for it (

Preference models work by building confidence levels from large samples of preference data. Along with your book choices, every click of your mouse can be correlated to your preferences. The complexity runs from “people who liked title A also liked title B” to “people who bought tickets to this event, liked that title” to “people who read this blog, drink that beer, wear those clothes, listen to that music, and … liked title C.” Correlations are everywhere.

Remember the third guy, besides mom and me, who would buy Papa’s bad memoir? This is how it works: NetBoox has a rack of servers plodding along, calculating the confidence level for the potential of every person to buy every title. This guy surfs the web and, at some point, NetBoox’ algorithm rings up a 75% confidence level that he would buy Papa’s book. With his next click, he’ll see an ad for Papa’s bad memoir. It might be the only ad ever placed for this book. The guy likes the book, buys it in either electronic or printed form and NetBoox collects the dough.

The same promotion model applies for every NetBoox title, but, unlike hobbyist writers in the long tail, writers of mid-list titles are willing to do whatever it takes to become profitable authors. Mid-listers receive tiny advances from established publishers and must self-finance their book promotion. Once the bestsellers start evacuating the inventory of established publishers, the vanity stigma of self-publishing will evaporate and the mid-listers will flock to NetBoox. NetBoox won’t pay an advance, but will grant royalties that surpass those of the Six Sisters by the smallest margin necessary to maintain the exodus.

This will be the Sisters’ moment of reckoning. They will invest more heavily in the literary-lottery, choosing a few titles that their instincts tell them have bestseller potential and reduce investment in the development of new authors. With centuries of publishing experience, the Sisters will hit on enough bestsellers to survive in the same way that Time/AOL, IBM, and Sears did before them. But with decreasing numbers of titles and formidable NetBoox competition, they will continue to whither until they are either acquired by NetBoox, find themselves in the DEC-memorial hospice, or… wakeup and rediscover confidence in the skills they’ve developed over centuries, skills so ingrained in their corporate culture that they might as well be instincts.

NetBoox needs data for preference models to predict a given customer’s desire. Since Google has the greatest cache of necessary data, it must be considered a formidable contender. If Google Books musters the focus, it could dispel companies like Scribd and Amazon in a few months.
On the other hand, the established publishing industry has an instinct for identifying salable authors. To survive, they must fully capitalize on that instinct as they adapt to the terrain as it shifts under NetBoox weight. Rather than cast aside authors whose debut work faded into the disappointing mid-list part of the demand curve, the surviving Sisters will remember why they published that debut in the first place, sign the author to multiple book deals with reasonable promotion budgets, performance bonuses, and accelerating advances. The model is like free agency in professional sports. You try to hang onto the big stars and pile up wins, but are aware that it is the ascending special teamer, the guy tearing up the minor leagues, the sixth man on the bench who guarantees your future. Your only hope to build a dynasty is to sign the stars to multiple book contracts before they know they’re stars.

In this way the Sisters can hang on to the middle of the distribution as NetBoox redefines the market.

And redefine the market they will:
NetBoox will provide a free e-bookreader in exchange for a subscription “commitment” – the same sort of long-term-with-penalty commitment that gets you a free cell phone. Your subscription level will allow so many e-book downloads per month and/or so many printed and bound titles per month with pricing structures based on a licensing model. If you buy the hardback, you’ll get the audio version and the e-book for free. If the book has been made into a movie, you might get that too. Plus, short stories, novellas, even individual chapters will be profitable – you’ll be able to assemble your own anthologies.

While lack of copyright protection has been the bane of the recording industry and, if they weren’t so good at pricing DVDs, would be more than a threat to the movie industry, it’s not a threat to books. There’s a big difference between literature and music or movies; as bibliophiles, literature-lovers, literati-snobs, we are loathe to admit it: No one steals literature. Authors and publishers want their titles in libraries, fercrissakes. Even when blockbusters are downloaded to pdf files, there’s no evidence that their proliferation decreases sales; on the contrary, giving free books seems to generate buzz and increase profits. Except for the case of textbooks – but that’s a different article (the answer: textbooks in printed form will truly, conclusively die).

E-books will have an effect, but won’t be disruptive.

The mass-market, pulp paperback will probably die. Its value as a medium for storytelling is easily replaced by text on a bookreader and its value as a printed record, gift, collectible and decoration is dwarfed by cloth-bound hardbacks, plus, it’s not searchable, the font size is fixed, and there’s no backlighting. The pulp paperback will only hang on as long as people are uncomfortable taking their bookreaders to the beach or bathtub. On the other hand, as the simplest PoD output, the trade paperback will survive.

Hardbacks are a different story. They will survive for a long time. However, NetBoox isn’t going to release many first editions on hardback, it’s too expensive. NetBoox will not do a first release in the most costly form without verified market demand. Instead, titles will have to demonstrate wings in electronic form before being released to bookstores in printed and bound form. But don’t worry, since NetBoox’ processes will be so much faster than publishing as we know it, the casual reader won’t notice the difference. Bookstores will notice because they’ll have far fewer runway-bound hardbacks to return.

Perhaps the greatest failure of established publishing is time-of-delivery. It takes the Six Sisters 18 to 24 months from the time a title is acquired until it’s launched – total disregard for the market window that renders nearly every title a “period piece.” How could Julia Angwin’s Stealing MySpace be issued over a year after FaceBook rendered MySpace obsolete? NetBoox will have titles out in days. Following the high tech licensing model, the beta release e-book will be followed by a tidier, better edited, v1.0 release – free or as an upgrade to anyone who paid for the beta version. Those books that can fly based on e-book and PoD sales will be released in hardback, online and at your local bookstore.
The Kindle, Sony Bookreader, iBooks on your iPhone – are prototypes for what the bookreader will look like. We can trust engineers and market evolution to produce a bookreader with incredible battery life, awesome graphics, a killer GUI and so forth. The bookreader will have i/o ports, so you can listen to the audio version or plug into your car stereo, and integrated visual-audio bookmarks so that you can listen in the car and read in bed without losing your place. Only the beta version audiobook will use clunky text-to-audio robotics. Stories should be told by authors or actors, please.

Bookstores will survive but must evolve. In fact, NetBoox will heal the epidemic of bookstore failures. People love bookstores and your presence in them is an advantage to everyone in the industry except Amazon. NetBoox will want you in the store because every time you go, you’ll buy more of their products than you would online alone. To get people into bookstores, NetBoox will offer free shipping to the bookstore of your choice; if you don’t want to go to the bookstore, you’ll have to pay for shipping. Of course e-books don’t need to be shipped, but bookstores will carry them too and readers will benefit from the usual “what’s good?” banter with bookstore employees and other customers.

Bookstores will benefit by not having to stock books that don’t fly – though NetBoox is not going to abide the age-old consignment model of the Six Sisters. When a bookstore stocks a bound copy, it’s theirs for keeps, no more free returns. But NetBoox will nurture bookstores in other ways. With NetBoox’ database of bookstore sales, they can derive preference models for individual stores and target-market at the bookstore scale. For the first time, bookstores will have sales predictions of known uncertainty. Known uncertainty allows accurate calculations of risk/reward probabilities. Right now, as in all old-school marketing, mathematical models are nothing but stodgy accounting estimates. No high tech company, and certainly not NetBoox, would permit such mathematical inelegance in the house. Bayesian statistics, Fisher discriminants, Hadamard matrices provided by NetBoox to the indie bookstore on the corner. Nice.

From the vision provided by Powell’s, Book Passage, Books Inc, and the other great independents, we can see that bookstores will look a tiny bit less like libraries and more like cafes and speaking venues centered around author events, book clubs, and storytelling, not to mention cappuccino, Earl Grey, good beer, and, I pray, fine scotch. This is convergence we can live with.

Bookstores will also look a little bit like Kinkos. If it’s not already in stock, why should you have to wait more than fifteen minutes for delivery of your book? What are we, cavemen? A PoD printer/binder is desktop equipment – the Espresso Book Machine, so-called “ATM for books.” This is how NetBoox will allow every bookstore to “stock” every title.

Our concern should not be for the future of books. The timeline below demonstrates that, in the evolution of storytelling, the introduction of a disruptive technology rarely kills previously established technologies: written stories didn’t kill spoken stories, though the book did kill the scroll, but movies didn’t kill books, TV didn’t kill movies, video games didn’t kill TV, and virtual reality won’t kill video games. I didn’t include the electronic bookreader in the timeline because I don’t think it’s any more disruptive than the pulp paperback was. It’s just another way to read books.

Figure 2: Storytelling technology timeline.

Our concern should be with NetBoox’s potentially monopolistic stranglehold on content. In a world where one operating system company assumes inordinate market share, as does one online retailer (Amazon) and one online flea-market (E-Bay), what we need to worry about is the largesse of the provider. When you click the “I agree” button to get your free e-bookreader, you will grant NetBoox permission to acquire whatever data from your computer that they desire to build a model of your preferences. Preference models are built from all the data, not just your choice of books. They’re powerful predictors of our choices and, if they can tell what books you’ll buy with known uncertainty, they can tell who you’ll vote for, too.

Check out “New Fantasy Novel Warbreaker” on Sci-Fi Talk

Posted in Uncategorized on June 19, 2009 by blog4tsotsm

Sci-Fi Talk
Connect with Like-Minded Lovers Of SF movies,Novels,Podcasts And TV

Tony Tellado Check out the discussion ‘New Fantasy Novel Warbreaker’
New novel and Wheel Of Time news

Discussion posted by Tony Tellado:

“Sanderson is clearly a master of large-scale stories, splendidly depicting worlds as well as strong female characters …

Discussion link:
New Fantasy Novel Warbreaker

About Sci-Fi Talk
This is your SF Community where fans and pros can gather. We also embrace horror and fantasy.

Posted in Uncategorized on June 16, 2009 by blog4tsotsm
Creative Screenwriting Magazine

Don’t Miss This Great Interview With Quentin Tarantino On Inglourious Basterds

Quentin Tarantino on the set of Inglourious BasterdsIn what may be one of the most fascinating articles you will ever read about how a the creative decisions were made in a script, Creative Screenwriting’s Jeff Goldsmith opens a window into the soul of cinematic artist writer-director Quentin Tarantino in our exclusive interview.

Subscribe to Creative Screenwriting for just $29.95 by June 17, and you’ll receive the July-August issue with this amazing interview.  To subscribe, click this tinyurl: *

If you subscribe after June 17, or if you want only this issue, you can order this issue at the single-issue price of $6.95 plus $2.41 postage and 75 cents handling fee (total $10.11) for as long as our supplies of extra copies lasts.  Click here to add this issue only to your shopping cart, then click here to go directly to your cart and complete your purchase.

Here are some excerpts from this remarkable interview:

“It’s not this thing that I’ve been working on forever,” insists writer-director Quentin Tarantino about his own Inglourious Basterds. Pretty much the only thing that’s left in the script from what I started back in ’98 are the first two chapters.” I never finished it. Literally, the story and everything else, I did in 2008.” As for what happened to Inglourious during the interim decade, Tarantino recalls…(in the interview)

Also learn what he says about getting what could be called “reverse writer’s block.”  Here’s a partial excerpt from  what Tarantino said about his first attempt to write this script back in 1998:

“I couldn’t stop writing. It was going to be my first original since Pulp Fiction. I wanted it to be great, and I couldn’t turn my brain off. I kept stopping myself from starting the actual story.”

Uma Thurman Stops The War Picture

Learn how a chance meeting with Uma Thurman at a party delayed completion of Inglourious Basterds.

You’ll read about the tug-of-war between ego and necessity, between the writer and the director in him, between artist and box office.  Learn how his Kill Bill and Grindhouse experiences had a positive effect on the making of Inglourious Basterds.

When to Write A Scene, When To Stop

Brad Pitt in Inglourious BasterdsNeed writing advice from a master?  He says –

“Overwrite — get it all out. I would know I was done because …”

In this interview, he also tells his secrets about….
again for years – and how the outcome of that meeting caused him to change the very nature of Shoshanna Dreyfus, a key character.

  • Outlines.  (You’ll probably be surprised by the answer.)
  • Which screenwriting software he personally uses.  (Hint: our advertisers are going to hate us for this…Sorry!)
  • How he does his rewrites.
  • How he approaches creating characters:   “I didn’t study writing. I studied acting. So in all my writing I’m not outside — I’m inside.” As he explains, he nearly becomes one of the characters during his process.   He tells which character does he become in Inglourious Basterds.

After Filmmaking…Then What?

And at the end of the interview, learn what Quentin Tarantino wants to do when he grows up.  It’s completely different from, but in a way, exactly like, what he already does.  Hint: It’s what he brought onto the set of Kill Bill.

This is an amazing interview.  Tarantino’s honesty and self-reflection give you a portrait of the artist you’ve never seen before.  And the only way to read this interview is to get the July-August issue of Creative Screenwriting.

It will be on sale in early July.  It’s an exclusive — no other screenwriting magazine will have an interview with Tarantino at this time.  So the only way to read it is to subscribe to Creative Screenwriting right away for $29.95, or wait for it to hit your local newsstand.  To subscribe, this URL will take your straight to the Creative Screenwriting subscription page: *

Or, click here to add this issue only to your shopping cart for $6.95 plus postage and handling (total $10.11), then click here to go directly to your cart and complete your purchase.

Bill Donovan

Editor and Publisher
Creative Screenwring Magazine

P.S.  Our marketing exec, Danny, will also be shooting you an email telling you what else you can find in this issue, but here’s the July-August Table of Contents, in case you miss it:

In The July-August Issue Of Creative Screenwriting Magazine


Quentin Tarantino’s Glorious Inglourious Return To The Screen
Quentin Tarantino’s glorious return to the screen is explained by none other than the maestro himself. By Jeff Goldsmith

Judd Apatow Interview On Funny People
(Still being written as this page is created.)  By Jeff Goldsmith.

In the Public Eye
Screenwriters Ronan Bennett, Ann Biderman, and writer-director Michael Mann each did time with John Dillinger, one of America’s most well-known — and well-liked — criminals, to create the script for Public Enemies. By Peter Clines

An American Writer in Bollywood
From Michigan to Mumbai

Supriya Kelkar may be the only American writer ever to go straight from college to writing for Bollywood. Here’s what the journey has been like so far. By Supriya Kelkar

Did Anyone See the Original?
Direct-to-DVD Horror Sequels to Movies That Didn’t Fly

They’re a sub-niche of a niche. Because even failed horror films develop a brand identity, their sequels work financially. That makes them a market in which a writer can make a living. By Paul Doro

People & News

The Buzz
Why does everyone rave about the Nashville Screenwriters Conference? Just think music, great food and stellar guests —and every year it gets better!

Writer-director Kyle Rankin thought Project Greenlight would be his ticket to the big time, but then he discovered his work was just starting.

Anthony Jaswinski tells tales of his dozen thrilling years as a writer-for-hire in the industry.

Anatomy of a Spec Sale
Longing for a good thriller, creative executive Marc Haimes decided to try his hand at writing one. The result was Hidden and a new career as a screenwriter.

Why I Write
Comedian-turned-writer-director Bobcat Goldthwait is serious about perfecting his craft, and his latest effort, World’s Greatest Dad, proves he’s more than just a stand-up guy.

Legal Brief
So you’ve finally gotten a manager. You’re all set, right? Not so fast. Make sure you address these seven questions as you enter into a management contract.  By attorney Lee Rudnicki

Lost Scenes: Reservoir Dogs
Luckily Quentin Tarantino didn’t learn any lessons the hard way on his nearly immaculate film Reservoir Dogs because the first-time writer-director was smart enough to chop out any redundant scenes that got in the way of his narrative’s strong momentum.

Last Words
A group of Jewish-American soldiers hunt down Nazis during WWII in Inglorious Basterds by Quentin Tarantino.


Agent’s Hot Sheet: I Feel the Earth Move Under My Feet
With the recent merger of rival agencies WMA and Endeavor, the landscape of Hollywood has irrevocably changed. We explain whether it’s good news or bad (and for whom) and what this all means to the emerging writer. By Jim Cirile

Our Craft: The Six Stages To The “Eureka!” Moment
That instant of inspiration is usually a lengthy process. By Karl Iglesias

Now Playing

(500) Days of Summer
When two screenwriters combined their tales of heart-wrenching breakups they wound up creating a top-notch romantic comedy. By Peter Clines

A mild obsession with Asperger’s syndrome turned into a heartfelt romance for writer-director Max Mayer.. By Peter Clines

Away We Go
Having a baby was just part of the inspiration for married novelists David Eggers and Vendela Vida to sit down and write a quirky comedy about pregnancy and parenthood. By Peter Clines

G.I. Joe: The Rise of Cobra
It took three screenwriters and five years to bring a “real American hero” to the big screen. By David Michael Wharton

The Hurt Locker
Journalist Mark Boal shows audiences a new side of combat in his first produced screenplay as he takes us inside The Hurt Locker. BY Adam Stovall

Writer-director Lynn Shelton takes a story of two old friends reconnecting and uses it to question ideas of sexual boundaries, marriage and ultimately friendship. By Adam Stovall

I Hate Valentine’s Day
Nia Vardalos does it all — writing, acting and directing — in her return to the big screen after a long hiatus during which she did nothing but, well, write. By Danny Munso

I Love You, Beth Cooper
Larry Doyle takes us down the long and twisted path of adapting his own novel into a screenplay. BY Adam Stovall

In the Loop
A large team of writers collaborates so much on a comedy that by the end of the process few can remember which lines and ideas they actually contributed. By Peter Debruge

Julie & Julia
Writer-director Nora Ephron wasn’t inspired by the story of food blogger Julie Powell until it was paralleled with the story of Powell’s inspiration — Julia Child. By Peter Clines

Writer-director David Leslie Johnson started out learning at the feet of a screenwriting giant before putting his own unique spin on a horror standard. By Peter Clines

The Time Traveler’s Wife
The co-writer of The Last Mimzy got a second chance at a time travel movie — with first-class results. By Peter Clines

To Subscribe:
To subscribe to Creative Screenwriting for just $29.95/year, use this link to jump to the Creative Screenwriting subscription signup page:*

To Buy At A Newsstand:
Creative Screenwriting is sold at these and other newsstands: The literary section of Barnes & Noble Bookstores. Also at  B & N College Bookstores, Borders, B.Dalton, Books A Million, Virgin Megastores, Tower Records/Books, Hastings, Shinders (all over Minnesota), Joseph Beth Booksellers, and in many independent newsstands and booksellers in major cities around North America and in Europe, and at the Writers Store in West Los Angeles, CA.

Or you can buy this issue only directly from us. Click here to add this issue only to your shopping cart for $6.95 plus postage and handling (total $10.11), then click here to go directly to your cart and complete your purchase.

* Note:  this is a legitimate URL. is a site that abbreviates long URLs, which can break when they word-wrap.

Astro Boy on DVD:

Posted in Uncategorized with tags , , , on June 16, 2009 by blog4tsotsm

Popular Anime Series Based on the Original Comic By
The Father Of Manga, Osamu Tezuka

Astro Boy™: The Anime Series, Volumes 1-5


CULVER CITY, CALIF. (June 15, 2009) – Blast off with Sony Pictures Home Entertainment when Astro Boy™: The Anime Series, Volumes 1-5 come to DVD on August 18. The anime series based on the legendary Japanese comic series by Osamu Tezuka, known as the Japanese Walt Disney, is now available in five separate collectible volumes and priced to own just in time for the new feature film. Astro Boy™: The Anime Series, Volumes 1-5 follows an atomic-powered robot who is a reluctant superhero possessing super strength, jet-rocket feet and the ability to fly. Inspired by the anime series that originally aired in Japan in 1960, Astro Boy™: The Anime Series, Volumes 1-5 was updated and modernized in 2003 with state-of-the-art animation and visuals that kept the same classic style as the original “Astro Boy” manga and anime. The series debuted on the Kids WB Network in 2004. Each volume, sold separately, contains ten episodes priced at $14.94 SLP.

Astro Boy is a clever and resourceful atomic-powered robot. A reluctant flying superhero with super strength and jet-rocket feet, he possesses a human-like personality and fights for justice and peace for humans and robots alike.

Episodes Included in Astro Boy™: Volume 1:
Power Up!
Rocket Ball
Astro vs. Atlas
Destination Deimos
Into Thin Air
Rainbow Canyon
Neon Express
The Venus Robots

Episodes Included in Astro Boy™: Volume 2
Reviving Jumbo
Robot Hunters
The Rise of Pluto
The Fall of Acheron
Dragon Lake
Lost in Outland
Deep City
The Blue Knight
Geo Raider

Episodes Included in Astro Boy™: Volume 3:
Secret of the Blue Knight
Robot Circus
Little Sister, Big Trouble
Micro Adventure
Only a Machine
Robot Boy
Dawn of the Techno-Revolution
The Legend of Tohron
March of the Micro Bears
Old Dog, New Tricks

Episodes Included in Astro Boy™: Volume 4
The Case of the Phantom Fowl
Fairy Tale
Shape Shifter
Space Academy
Atlas Strikes Back
Time Hunters
Escape from Volcano Island

Episodes Included in Astro Boy™: Volume 5
Battle of Steel Island
Into the Dragon’s Lair
Night Before the Revolution
Showdown in Robotonia
Journey to Tomorrow
Astro Reborn
The Final Battle
Featurette: “Remaking of Astro Boy”

Astro Boy™: The Anime Series, Volumes 1-5 each have a run time of approximately 240 minutes and are not rated. Artwork and digital clips are available for download at Visit Sony Pictures Home Entertainment on the Web at
DVD Special Features on Each Volume:
-Full Screen Presentations
-Audio: English, Spanish, Portuguese (Stereo)
-Closed Captioned

Astro Boy : Volume 1
DVD Catalog: # 32237
UPC Code: 0-43396-32337-0
Order Date: 7/16/09
SLP: $14.94

Astro Boy : Volume 2
DVD Catalog: # 32238
UPC Code: 0-43396-32338-7
Order Date: 7/16/09
SLP: $14.94

Astro Boy : Volume 3
DVD Catalog: # 32239
UPC Code: 0-43396-32339-4
Order Date: 7/16/09
SLP: $14.94

Astro Boy : Volume 4
DVD Catalog: # 32240
UPC Code: 0-43396-32240-0
Order Date: 7/16/09
SLP: $14.94
Astro Boy : Volume 5
DVD Catalog: # 32240
UPC Code: 0-43396-32241-7
Order Date: 7/16/09
SLP: $14.94

Sony Pictures Home Entertainment is a Sony Pictures Entertainment company. SPE is a division of Sony Corporation of America, a subsidiary of Tokyo-based Sony Corporation. SPE’s global operations encompass motion picture production and distribution; television production and distribution; digital content creation and distribution; worldwide channel investments; home entertainment acquisition and distribution; operation of studio facilities; development of new entertainment products, services and technologies; and distribution of filmed entertainment in more than 100 countries. Sony Pictures Entertainment can be found on the World Wide Web at For more info on Blu-ray Disc™, visit

Cool…About Time..!!!!!

Tags: astroboy, astroboydvd, dvd, releases



%d bloggers like this: