full interview here.
ang maskot gets a nice little mention in there, and so my day is now officially made.
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|click to enlarge|
Here’s hoping the next step in combating the lack of respect for copyright includes an initiative to instill some respect for the people who create content. Real human beings live behind that work.
I just participated in a genuinely fascinating discussion, and I think it’s old dog, new tricks time.
Finally, Glaser looked across the room to where Conan was sitting and asked him, “What do you want to do?”
His chest muscles were so constricted, Conan wondered briefly if he might be having a heart attack. “What I want to do,” he said, haltingly, his voice rough and raw, “is something that all of you are going to tell me I can’t do.”
He had their full attention now, all eyes pinned to him. “I want to write a statement that says exactly how I feel about it. You guys are going to tell me that I’m giving up all my leverage if I’m supposed to go to another network or something, but I can’t wait. I don’t want to play games here.”
He described how much the show meant to him, the legacy of Carson, the offers he had passed up to get this chance, and how losing it would be crushing—and unfair. Because they were never really given a chance.
The words came freely; he composed them on the spot. But they flowed, syntax perfect, no hesitation between sentences. His voice grew softer, even more strained with emotion when he got to the core of his message: he could not accept a postponement in a nightly habit Americans had participated in and shared for nearly six decades; he would not be an accomplice to the destruction that this idea of NBC’s might inflict on the greatest franchise in television history. If it truly came to this, if NBC would actually force him to decide whether to give up his dream or play a role in undermining a cultural landmark, then maybe it would be better for him to find someplace else to work, someplace that prized the art of late-night television more than NBC now apparently did.
When Conan finished, his group sat silent. Jeff Ross, his own eyes welling up, looked around and saw no dry eyes on the Conan team. Patty Glaser finally broke the silence. “I like it,” she said. She paused, then said definitively, “Let’s do it.”
Frey emphasized that this was collaboration—not my own project—and that he needed writers who will listen to him. He gave as an example a King Arthur adaptation he was working on with another writer. That author had listened to his criticism and rewritten it in a different voice; because the author was receptive, Frey was positive the book would sell, and big. Another project, a Gossip Girl–like series he had worked on with two writers employed at Star magazine, he said had gone south. The writers hadn’t made his requested character changes, so Frey had recently fired them.
He reintroduced the idea that he was modeling his company on Damien Hirst’s art factory, a warehouse in which a reported 120 employees work to create fine art signed by Hirst. He considered Full Fathom Five an improvement on the way traditional book packagers like Alloy work. Generally, a book packager conceives an idea, hires writers to generate the content, and sells the package to a publishing house, much like a film-production company selling a project to a studio. The book packager’s writer will sometimes share in the revenue but usually just take a standard fee, to the tune of $10,000. Frey seemed to think that writers who had a bigger share in the profits would deliver better books.
In Trese, Budjette Tan and Kajo Baldisimo has [sic] crafted a testament to the limitless capacity of the Filipino imagination, as well as one of the best Filipino comic books of all time.
To the National Book Development Board and the Manila Critics Circle, thank you very much for recognizing our work and giving us this award.
To Ruey de Vera, who has shown support to local comics since 1995, writing reviews and interviewing local comic book creators, introducing them to Pinoys through his newspaper articles.
Thanks to Bow, Taps, Arnold, and Mark --the skeleton crew who conjured The World of the Unknown, a radio show about ghosts, aswang, and witches and most especially to Mark who thought of the name Trese.
My dad, who told me all those stories that start with … There’s aswang outside the window!
My mom, who told me all those stories that ended with “happily ever after”
My brother Brandie, who drew my first horror comic book story and made me want to write more
Ka-Jo, my partner-in-crime, who asked me to do the impossible
Nida, our publisher and willing accomplice
Wella, who stands by my side during those days that seem like nightmares
Let me just take this opportunity to make an appeal to all the publishers in the room, to all the writers and artists in this room, to consider creating one comic book next year, to publish one graphic novel next year. (Although I’m not sure if my publisher will agree with me, that I’m encouraging you to become our competition.)
We once had a golden age of komiks, when supposedly it sold in the hundreds of thousands and reached millions nationwide.
We once had a golden age of komiks when it was the source material of many TV and radio programs -- and movies as well.
But maybe the age of the 10-peso newsprint komiks magasin sold at the bangketa is over.
Maybe this new age of comic books will flourish in the bookstores, sold at the price of a value meal.
I understand that as publishers, you have an editorial line to maintain. So, maybe aswang-hunting kick-ass women are not your thing and maybe gay beauticians swallowing giant magical stones that turn them into superwomen are not your thing-- but please do consider, the next time you plan a book about Rizal, why not tell it as a comic book – he was our country’s very first comic book artist after all.
The next time you do a biography of Ninoy or Cory, why not tell it as a comic book?
When I picked up Dolphy’s autobiography I thought, “This should’ve been told as a comic book!”
The next time you do a cook book about paella – maybe it the instructions can be told using comic book panels.
We once had a golden age of komiks.
I invite you to take the leap – to take a super human leap and bring back that marvelous age, that wondrous age, that fantastic age.
Thank you and good night.
24 hour comics and beyond by mel casipit
atomic under ground special edition #1 by m3 comics
barangay sesame by dumpling press
bayan knights #5 by bayan knights group
boy bakal #2 by carlo valenzuela
dekada by lyndon gregorio
boink! comics featuring: Andrew Villar (Ambush), Stong Franco (Quipino), Greco Milambiling (Aha Hule), Julius Villanueva (Life in progress) Hazel Manzano (Callwork), Syeri Baet-Zamar (Carpool), Mimi Romauldez (Frog pond), P'Casis, Amos Villar, and Celso Quijano
kanto inc. promo by melvin calingo, joanah calingo and kilayman
break out comics by subway productions
komikon comics compilation by mel casipit
cresci prophecies vol. 3 by ika-siyam
digmaang salinhali #8 by jon zamar and judd abinuman
dragon kid #3 by lady storykeeper
drop dead dangerous by chad cabrera and mike banting
earthborne chapter zero by alitaptap comics
force 8 by tomokii
fruitshake by soul synth comics
hyper comics #1 by hyper comics
estrella part 2 of 2 by jeri barrios
gutom by norby ela
hard core by hazel manzano and andrew villar
hero #3 by rommel estanislao
whew, and that's not all of them!
if you're going to komikon this saturday, try to get your hands on the first-ever komikon event catalog for more info on even more komikon titles. first 50 entrants get it free!
as for non-komiks attractions, the youth & beauty brigade guys will be selling their books THE EL BIMBO VARIATIONS and THE KOBAYASHI MARU OF LOVE, and tabi po webcomicker mervin malonzo will have prints and possibly shirts up for grabs.
UPDATE: gerry alanguilan has more titles at his own list here.