And now I'm awake while everyone else in the house is fast asleep, except for a cat named Zoe, who is sitting on the desk beside my computer.
A suggestion thinly disguised as a question:
Could you save the Sandman movie by writing a script in which the story lines for Preludes and Dollhouse overlap? The solution would be very simple . . and I felt rather keen. By having the Sandman undertake his quest to retrieve his tools AND his servants at the same time, the quests become interlocked. The Corinthian would take the place of the John dee Character, eliminating the need for the Superheroes, and painting the Corinthian as the whole nega-sandman that the readers were convinced that John Dee would become upon destroying the ruby. It Could still include the bag of dust, the helmet in hell, the diner scenes, the serial convention, Rose and her brother, Fiddler's green, the introduction of many primary characters from the dreaming, and have a much cooler battle between the Corinthian and Morpheus, as the Corinthian may actually have stood a chance had he possessed John dee's Ruby. I don't have to explain how this would appeal more to the Hollywood big-wigs, and it ALMOST fits perfectly into your original vision for the series. It just kind of morphs certain elements together. Think about it?
Notice: A Question mark at the end of the paragraph suggests a question.
First of all, anything to do with a Sandman movie is er, nuffink to do wiv me. I'm not writing it, producing it, directing it. I'm not involved. Honest.
Second of all... oddly enough, your plot suggestion was what more or less happened in the second draft of the film, the Avary-Rossio-Elliott draft. Roger Avary's story of how he joined (and left) the Sandman film, along with their complete script is at http://www.avary.com/theskinny/sandman/script-sandman7-10-96.html.
This is a Tori question which I hope you don't mind terribly. With the release of her latest CD, Epic set up a companion website accessible via the enhanced CD. The website, among other things, promised chances to hear the B-sides for this album. Well... after many technical problems and terrible trouble with the website, I managed to hear the first B-side: Tombigbee. This is an absolutely gorgeous song. Should I have ever needed it, this song reaffirms my love and appreciation of Tori.
In any case, all this struggle to hear this one beautiful song brings me to my question:
when you get to hear Tori's songs before we do (for example, receiving a copy of the unfinished album), do you get to hear the B-sides as well? Or must you go along deprived with the rest of us?
It depends on where I am when.
With "Scarlet's Walk" I got to hear about 21 songs, in the passenger seat of Tori's SUV in Florida, parked in her garden. (She didn't have a CD player in the house, and neither of us thought to put the CDs in the DVD player because we weren't thinking.) (Although actually it was a really appropriate sort of way to hear the songs, in the front seat of a car.) So I heard the songs that were going to be on the album, and also Tombigbee and Mountain and so on. But at that point she hadn't quite made up her mind which tracks were going to Scarlet's Web and which would be on the CD, so I heard them all.
With "Strange Little Girls" I heard the four songs that didn't make it onto the CD when I was in Cornwall. "After All" and "Only Women Bleed" wound up on Bs. "Hoover Factory", which would have been Rattlesnake's B-side, is really sweet, although it never got heard, and the other one is amazing. (I'm not going to name it, as she never has, to the best of my knowledge.)
OTOH there are lots of Bs I only hear when she sends me singles, and some fall through the cracks, and I only find out about them when she plays them live and I ask "What was that song?" afterwards, and she says "Oh, it was a B side".
I got this in e-mail today. It's the shortlists for the British Science Fiction Association Awards for 2002.
Effendi - Jon Courtenay Grimwood (Earthlight)
Light - M. John Harrison (Gollancz)
Castles Made of Sand - Gwyneth Jones (Gollancz)
The Scar - China Mi�ville (Macmillan)
The Separation - Christopher Priest (Scribner)
The Years of Rice and Salt - Kim Stanley Robinson (HarperCollins)
Best Short Fiction:
'Singleton' - Greg Egan (Interzone 176, February 2002)
'Coraline' - Neil Gaiman (Bloomsbury)
'Voice of Steel' - Sean McMullen (SciFiction -
'If Lions Could Speak' - Paul Park (Interzone 177, March 2002)
'Router' - Charles Stross (Asimov's, September 2002)
'Five British Dinosaurs' - Michael Swanwick (Interzone 177, March 2002)
'Experiment 1' - Peter Gric (cover, 'The Third Alternative' 31, July 2002)
cover of Interzone 179 - Dominic Harman (Interzone 179, May 2002)
'My Name is Death' - Fraser Irving (page 1 of 'Judge Death: My Name is
Death, 2000AD Prog 1289, 1st May 2002)
illustration for 'The Routine' - Joachim Luetke (The Third Alternative 31,
'Obliquitese' - Richard Marchand (cover, 'The Third Alternative' 32, Autumn
Best Related Publication:
'The Interrogation' - Nick Gevers interviews Chris Priest (Interzone 183,
introduction to 'Maps: the Uncollected Stories of John Sladek' - David
Langford (Big Engine)
'Mapping Mars' - Oliver Morton (Fourth Estate)
'The Timex Machine' - Lucius Shepard
'Once There Was a Magazine' - Fred Smith (Beccon Publications)
And finally, this in from Harper Collins marketing mistress, Lisa Gallagher, who wrote in order....
....to warn you that, after much careful research, we are finally switching the website to a dedicated server. The switch is being made on Monday, and it may take 48 hours to be back to being fully operational. All the journal & archives will be backed up just to be safe, but I'm assured that there will be no problem.
Anyway, you may want to warn people this weekend in the journal that Monday - Wednesday may be problematic.
So. I'd like to warn all you people that Monday to Wednesday of this week may be problematic. Dress warmly, don't walk under ladders. You may want to stay home, in a dark room and move as little as possible.