“Joe Keatinge has established himself as the latest new writer I want to undermine and destroy. It’s just top class stuff.”
- Mark Millar (Kick-Ass, Civil War, Wanted, Ultimates)

"I think Joe is definitely one to watch."
- Robert Kirkman (Walking Dead, Invincible)

e-mail: joe@keatinge.com
Reblogged from powells  3,019 notes

bobbycaputo:

Here’s Why We Need to Protect Public Libraries

We live in a “diverse and often fractious country,” writes Robert Dawson, but there are some things that unite us—among them, our love of libraries. “A locally governed and tax-supported system that dispenses knowledge and information for everyone throughout the country at no cost to its patrons is an astonishing thing,” the photographer writes in the introduction to his book, The Public Library: A Photographic Essay. “It is a shared commons of our ambitions, our dreams, our memories, our culture, and ourselves.”

But what do these places look like? Over the course of 18 years, Dawson found out. Inspired by “the long history of photographic survey projects,” he traveled thousands of miles and photographed hundreds of public libraries in nearly all 50 states. Looking at the photos, the conclusion is unavoidable: American libraries are as diverse as Americans. They’re large and small, old and new, urban and rural, and in poor and wealthy communities. Architecturally, they represent a range of styles, from the grand main branch of the New York Public Library to the humble trailer that serves as a library in Death Valley National Park, the hottest place on Earth. “Because they’re all locally funded, libraries reflect the communities they’re in,” Dawson said in an interview. “The diversity reflects who we are as a people.”

(Continue Reading)

The end (until December) is here.

This Wednesday. September 17th. 2014. A.D.

People (and not-people) are reunited. Revelations start coming. Blood’s drawn. 

The fuller picture opens up (THE SHUTTER, IF YOU WILL)* placing Kate & co. in a very different place than when the series began and kicking off our next big arc, taking us to… well, you’ll see.

*sorry not sorry

P.S. I can’t imagine I’m alone in thinking that Leila draws some of the best Totally Normal Fish comics has ever seen.

P.P.S. If you’re at Rose City Comic Con this weekend, Leila and I will be at tables G-09 + 10, selling our Shutter wares (including our Us-Only exclusive Shutter #1 sketch cover featuring real life sketches by Leila [or me if you’d like to burn some money]) AND some copies of #6. Maybe some other stuff, but more on that later.

Reblogged from cinephiliabeyond  148 notes
cinephiliabeyond:

Here’s a fantastic interview with Terry Gilliam, “one of the great cinematic fabulists of our time, architect of magnificently maximalist alternate universes, from the surreal dreamscapes of The Imaginarium of Doctor Parnassus to the dirty, juddering dystopias of Brazil and 12 Monkeys, right back to the alarming, bulbous animations he created for Monty Python. In his 1988 film The Adventures of Baron Munchausen, the titular teller of tall tales puts forward a neat distillation of the Gilliam world-view: ‘Your reality, sir, is lies and balderdash, and I’m delighted to say I have no grasp of it whatsoever.’”

Directing was, says Gilliam, always what he wanted to do. His first solo effort, which came out in 1977, was Jabberwocky, a scatological Dark Ages fantasy that had only the loosest connection to the Lewis Carroll poem (it had a monster in it). He was filming at Shepperton when George Lucas was filming Star Wars at Elstree, and the two productions shared crew. “I remember our crew would go some days and work on Star Wars, and come back saying, ‘Jabberwocky’s going to be great; Star Wars, the director doesn’t know what he’s doing.’ They were so proud to be working on Jabberwocky, they wore T-shirts with the name on, until Star Wars came out. Off went the Jabberwocky T-shirts, on with the Star Wars T-shirts.”

The fickleness of Hollywood is a subject you feel Gilliam could expound upon ad infinitum. His struggles with the “middle-range bureaucrats” who run the place have become the stuff of legend, because Gilliam has never been afraid to engage them in battle. In 1985, Universal producer Sid Sheinberg asked him to hack away 50 minutes from Brazil and give it a happy ending. In response, Gilliam took out a full-page advertisement in the trade paper, Variety, reading: “Dear Sid Sheinberg, When are you going to release my movie, Brazil?” Then there was the episode in 2006 when, aggrieved at the lack of marketing support for his film, Tideland, Gilliam wandered the streets wearing a cardboard placard reading: “Studio-less film maker – Family to support – Will direct for food.”

Gilliam used to jet over to Los Angeles to pitch his stories to the studios, but not any more. “I’ve cut my ties, I don’t even have an agent out there,” he says. “I used to go out there with my begging bowl in my hands. And you’d go to these meetings with these executives and you’d get this preamble of five minutes of how much they’ve loved all my films, when they were kids, Time Bandits, it goes on and on. And then you present the new film and they say, ‘Well, I don’t know, I don’t quite get this one.’ And I have to tell them,” he says, wagging his finger, “ Nobody got those other ones either!” Gilliam is still a member of the Academy, and submitted votes for this year’s Oscars: “I just vote for my friends, or do it whimsically, or out of spite in some cases.” —Terry Gilliam interview: ‘If I had stayed in America, I’d be throwing bombs’


For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going:

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cinephiliabeyond:

Here’s a fantastic interview with Terry Gilliam, “one of the great cinematic fabulists of our time, architect of magnificently maximalist alternate universes, from the surreal dreamscapes of The Imaginarium of Doctor Parnassus to the dirty, juddering dystopias of Brazil and 12 Monkeys, right back to the alarming, bulbous animations he created for Monty Python. In his 1988 film The Adventures of Baron Munchausen, the titular teller of tall tales puts forward a neat distillation of the Gilliam world-view: ‘Your reality, sir, is lies and balderdash, and I’m delighted to say I have no grasp of it whatsoever.’”

Directing was, says Gilliam, always what he wanted to do. His first solo effort, which came out in 1977, was Jabberwocky, a scatological Dark Ages fantasy that had only the loosest connection to the Lewis Carroll poem (it had a monster in it). He was filming at Shepperton when George Lucas was filming Star Wars at Elstree, and the two productions shared crew. “I remember our crew would go some days and work on Star Wars, and come back saying, ‘Jabberwocky’s going to be great; Star Wars, the director doesn’t know what he’s doing.’ They were so proud to be working on Jabberwocky, they wore T-shirts with the name on, until Star Wars came out. Off went the Jabberwocky T-shirts, on with the Star Wars T-shirts.”

The fickleness of Hollywood is a subject you feel Gilliam could expound upon ad infinitum. His struggles with the “middle-range bureaucrats” who run the place have become the stuff of legend, because Gilliam has never been afraid to engage them in battle. In 1985, Universal producer Sid Sheinberg asked him to hack away 50 minutes from Brazil and give it a happy ending. In response, Gilliam took out a full-page advertisement in the trade paper, Variety, reading: “Dear Sid Sheinberg, When are you going to release my movie, Brazil?” Then there was the episode in 2006 when, aggrieved at the lack of marketing support for his film, Tideland, Gilliam wandered the streets wearing a cardboard placard reading: “Studio-less film maker – Family to support – Will direct for food.”

Gilliam used to jet over to Los Angeles to pitch his stories to the studios, but not any more. “I’ve cut my ties, I don’t even have an agent out there,” he says. “I used to go out there with my begging bowl in my hands. And you’d go to these meetings with these executives and you’d get this preamble of five minutes of how much they’ve loved all my films, when they were kids, Time Bandits, it goes on and on. And then you present the new film and they say, ‘Well, I don’t know, I don’t quite get this one.’ And I have to tell them,” he says, wagging his finger, “ Nobody got those other ones either!” Gilliam is still a member of the Academy, and submitted votes for this year’s Oscars: “I just vote for my friends, or do it whimsically, or out of spite in some cases.” —Terry Gilliam interview: ‘If I had stayed in America, I’d be throwing bombs’

For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going: