At last … one of my favorite sci-fi books has been adapted into a series. Altered Carbon by Richard Morgan arrived last Friday on Netflix. When I first read the novel, I was mesmerized by the world Morgan created: a world where consciousness could be downloaded into a type of chip located at the base of the neck called a cortical stack. It could then be placed in a body (known chillingly as a sleeve). That sleeve could be a real body, a clone or a synthetic.
The ramifications of this concept are dizzying. Say your body was injured or diseased, and you had the money to pay for a new sleeve—because in this world and like most sci-fi, the wealthy have all the options—you could essentially live forever. But if you’re not rich, this world is not your oyster; it’s grim, gritty, ultraviolent and rife with sexual exploitation.
The 10-episode series is also a future-noirish crime story lead by our hero Takeshi Kovacs. Played by Joel Kinnaman (The Killing, RoboCop), who buffed out uber hard to play our conflicted hero, Kovacs is a mercenary who’s stack has been imprisoned for 250 years for crimes against the state. And now’s he’s been re-sleeved by one of the Meths (as old and rich as Methuselah, get it?) to solve who murdered him. Yes, this rich dude (James Purefoy) is alive again! His consciousness was backed up to his personal cloud before his stack was blown to bits. You see, once your stack is kaput, you’re irretrievably dead.
While the series made some dramatic changes to the novel that weren’t entirely satisfying to me, the overall result was thrilling and very cool. Budget was rumored to be around $100 million. Whatever the budget, every cent is evident on-screen. If you’re a lover of Philip K. Dick’s novels and the polluted, ad-fueled and rainy world of Blade Runner—which turned those motifs into sci-fi visual canon—you must check it out!
I get this question a lot from my film students: what more can I do to learn about filmmaking and the industry?
The answer is multi-fold:
Watch as many films or TV shows as you can. From indies to blockbusters, foreign films, in a theater, streaming, it doesn’t matter. The more content you watch, the more you’ll learn about storytelling and filmmaking techniques. (Although, I’m not a fan of phone viewing; all you get is the story and not the incredible cinematics.)
This seems pretty obvious, right? You’ll be amazed at the number of students I’ve encountered who don’t see anything. The reasons why are always the same: any extra time is spent texting, on social media channels or watching YouTube. I admit to falling into a YouTube cyberhole (Dr. Pimple Popper, stop feeding our popaholic addiction!) but I can pull myself out. For some, it’s practically impossible. Which leads me to …
Prioritize your viewing. If you want to be a director, cinematographer, editor or production designer, watch all the films made by your favorites and analyze them. Go the extra mile: listen to their DVD commentary, read interviews and film criticism. You love Christopher Nolan or Gordon Willis? Dive into their oeuvre—it’s the best kind of personal film school.
The same goes for being a writer, producer, documentarian. Immerse yourself and become that annoying film nerd … and I say this with the utmost affection.
Also, for aspiring writers… not only should you watch movies written by your fave screen and tv writers, read the scripts. It’s easy to get caught up in the visuals of a movie, so reading helps isolate the written storytelling and structure. Scripts are available online. For free! (Read the 2018 award season screenplays too.)
Read the tradesto find out what producers, directors, actors, and studios are doing what, what’s in development, what are the hot spec screenplay sales, ratings, studio wars, intrigue and more—this info is all there for the gleaning: THR, Variety, Deadline, Cynopsis, TV By the Numbers, to name a few.
Listen to The Businesson KCRW, hosted by Kim Masters, editor-at-large of the Hollywood Reporter, the weekly program covers an industry report then follows with interviews of mainstream to indie talent about their current projects. There are lots of insights to be had here. Previous shows are archived.
Listen to The Treatment, also on KCRW, hosted by film critic Elvis Mitchell. In his weekly show, he interviews innovative talent from the entertainment industry. He’s such a film champion that he can always find something informative and positive to say about any movie. I may not agree with his tastes but I always get something out of his perspective.
Practice, practice, practice.Write and shoot. Technology has made it so easy to shoot and edit anything, and it’s cheaper than ever. And there’s really no excuse not to.
Ever wonder what happened to Renton, Sick Boy and the other miscreants from the movie Trainspotting (1996) directed by Danny Boyle? Twenty years later we get to find out as the sequel T2 Trainspotting releases this week. I can’t wait! This was one of my favorite movies of the 90s. I loved it for its in-your-face visual style, insane characters and memorable performances, which introduced us to Ewan McGregor, Jonny Lee Miller, Ewen Bremner, Robert Carlyle and Kelly MacDonald.
This movie made such an impact on me that every film class I teach I show the infamous “toilet scene.” It is one of the great examples of how metaphor is used filmically. Renton played by Ewan McGregor loves his drugs so much that he’s willing to “dive” into the “worst toilet in Scotland” to retrieve them. It’s a funny, brilliant and gag-inducing representation of a junkie’s priorities. You been warned. Enjoy!