Remember back to when you were a child.   There was that one teacher who inspired you to be your best, that one teacher who you wanted to never disappoint, that one teacher who made you feel so proud whenever she told you how proud you made her. That’s a great starting place to begin to understand Misty Leigh Butler, but she is also so much more than that.

In addition to being so inspiring, Misty possesses a commanding insight and embodies a captivating grace.  For her first book, Finally Spoken; Words of Hope, Misty received numerous positive reviews for her gentle uplifting wisdom.  In addition to being an author, Misty teaches piano to over thirty students, tutors children with autism, and assists as a support/respite provider for special needs individuals in community living situations.  She is actively involved in her church, and volunteers in her community.  Misty is eagerly working on her second book.


JON MEYERS:  Hi Misty — thank you so much for agreeing to this interview. I’ve told you before, you are VERY inspiring to me — but to clarify that a bit, the thing that inspires me about you is your ability to inspire others. In so many different ways. You wear so many hats — blogger, poet, songwriter, music teacher…am I forgetting something? Anyway, in all of these roles, you inspire other people in one way or another. Talk a little bit about that. What drives you to want to bring out the best in others?

Misty2MISTY LEIGH BUTLER:  I love seeing people discover something they’re passionate about and watching them become more confident as they throw themselves into it! Especially with the arts, people can develop so much creativity and can influence others through a song, poem, or painting. The world seems like such a cruel place at times; it’s a gift when humans try to add a little more beauty to it by creating art or inspiring others.

JM:  Great answer, Misty, great answer. Talk a little but about the people you come in contact with throughout a typical week. The settings, the interactions, student-aged and adults. And what are the different ways you bring out creativity in different types of people?

MLB:  During a typical week, I teach students ages 5 through adult. One time I taught an 84-year-old man! When I first started teaching, I didn’t realize the bonds I would develop. Both students and their families have become people I get to share life with. I’ve taught kids from a young age until they graduate high school or watched them go from being terrified in front of an audience to being confident. Every student has some areas they’re stronger in musically and some areas they’re weaker—whether it’s ear-training, sight-reading, muscle memory…. I love to find ways to develop a weaker skill and approach concepts from that angle.  Once students lose that fear of whatever their weakness is musically, we can get creative and attempt what they might have resisted before.

JM:  You give the coolest answers!  Cool, cool.  So that’s what makes inspiring your students so fulfilling.  What’s the other side of that relationship? What do the best students bring to the table? Well, that’s probably not the optimal way to phrase that — let’s try this: What traits do the students who excel possess? Are there common denominators?

MLB:  I love seeing students with passion and enthusiasm, students who connect with music and gain joy through making it a part of their lives!  Going even a level beyond that, however, to the most successful students are qualities which are often overlooked because they’re just not as “fun”—carving time to practice into an already busy schedule, drilling scales instead of playing on electronics…Music can be so enjoyable, we sometimes forget that’s not all it is. Certain stages of learning music can be repetitive, tedious, and grueling. Our culture has become so fast-paced, not everyone will persevere through those challenging phases, so I’m always encouraged when I see a student willing to put forth the effort, time, and self-discipline!

JM:  Yes, and you even give prizes!
[Editor’s Note:  Below is an actual reward slip Misty received recently from one of her students after she offered a prize if they would log their weekly practice times.]
JM:  Beyond teaching, another way you inspire is through your writing.  In fact it was through another writer, Monica Spees Ramsey, writing on your blog, that we first connected.  Your book, Finally Spoken: Words of Hope, has some really good reviews on Amazon.  One said, “Misty is an impressive first-time author. (I’m saying this as someone who works professionally as both a writer and an editor.) She has a delightful style, and there is a refreshing breeze coming from her short stories. As another reviewer wrote, I look forward to her second book.”    Do you think about what others liked about the first one, as you write your second one?  What can you tell us about the plans for the next one?

MLB:  I’ve gotten a lot of feedback that readers love hearing stories about my students. Every time I experience a meaningful moment with my students or they say something clever (which is often), I document it, because I know later it could be used to bring someone a smile or laughter.

My second book is in the works! It’s just such a long process! But worth it. The style and format will be similar to my first one—a collection of short pieces that can be read in intervals. Just like with music though, I keep thinking of new little touches to add or things to adjust. I love the creative process! I hope my writing is relatable and brings words of encouragement and joy. I pray that is what my readers leave with after finishing my book or other

JM:  So true.  Thank you so much for your time, Misty.  I’ve really enjoyed hearing you talk about your art and work.  Makes me want to go out and create even more
MLB:  Thank you so much!! Good luck with everything!
misty 3

TO FOLLOW MISTY L. BUTLER ON FACEBOOK:     https://m.facebook.com/StudioOfMistyLButler/?ref=bookmarks



Last month, I had the opportunity to interview my friend Rebekah Fieschi for the second time in the last year.  A lot — and I mean a lot — has happened since the last time.
Rebekah Fieschi is an award-winning writer/director from a tiny island in the south of France. Her new film, Sylphvania Grove, successfully crowdfunded on Seed&Spark and will debut in film festivals later this year.. Her previous, Mauvaises Têtes, is an award-winning reinvention of classic Hollywood horror films such as Frankenstein; Mauvaises Têtes was well received in film festivals around the world. Her focus is to bring more entertaining, yet layered, character driven gothic horror and fantasy films to the screen.
After studying filmmaking in Paris, Rebekah moved to New York in 2010. She is also an advocate of fair gender representation in cinema, she is known for giving nuanced voices to female characters and is part of a group of filmmakers seeking to transform the industry. Her first feature film, Beast, is currently in development.
Rebekah Fieschi (center) with other female filmmakers before the first shot of Sylphvania Grove.
JON MEYERS:  Hello Rebekah Fieschi.  Thank you for this, our second interview, in less than a year.  Why don’t we start by getting my readers caught up.  I’ve spoken to you, of course, of and on — but tell everybody else about what’s happened from the last time we’ve spoken publicly until today, the status of Sylphvania Grove, the preparation for your feature, what you had for breakfast this morning…  You know, the usual.
REBEKAH FIESCHI:  Hey Jon Meyers, I’m thrilled to be speaking with you again so soon! Quite a lot has happened since we spoke last: Sylphvania Grove’s crowdfunding campaign went on to get 200% funded (which I still struggle to believe and feel endlessly grateful for), we shot the film, edited it and went through most of the post production process, I’m hoping I’ll be able to finally say “Sylphvania Grove is done” in a few days (I am DYING to share it with our lead Maxine Wanderer who is truly extraordinary in it, and then of course our supporters and the rest of the world!), and I’ve been submitting a work in progress to a handful of festivals. [Editor’s Note:  While preparing this interview, Rebekah did indeed finish Sylphvania Grove.  There’s no trailer yet — but soon.  Meanwhile, you can check out the teaser here:     ]
JM:  I can’t wait to see the rest of it.  I’m so excited for you.  What else is new?
RF:  Well, I completed my first feature script, Beast, in January. Check out the poster for the script:
JM:  Ooooohhh!  Cool.  Beautiful poster. Tell me more.
RF:  It’s a story I’ve been carrying with me for years and was finally able to put on paper, it’s very different from anything seen before and I can’t wait to connect with people through it. It’s a psychological horror film that tells the story of Bobby, who’s disease threatens to take on a monstrous form while mounting her first stage production. I’m planning  to crowd fund part of it’s budget in 2019, I can’t wait to start talking about it more.
JM:   Same!  Except that my cream cheese was half a schmear (and fat free), and my latte was hot. 
          Beast sounds great.   As usual, what an amazing idea.  And I’m sure, like your other work, it will play well at festivals.  Speaking of festivals, I’m going to Edinburgh this year, in June.  I’ll be sure to tell everybody and anybody about Beast. 
RF:  Spreading the word is always a great help!
JM:  By the way, Edinburgh just announced one of its featured theme retrospectives:  American Woman: Female Directors in American Cinema.  That’s right up our alley, isn’t it?  I’ve been meaning to ask you about this, so now is as good a time as any.  Now that #MeToo permeates the news cycle, do you see yourself altering — in any way — how you make movies?  Like me, you have always been pro-woman.  To those late to the party, are you more “It’s about time, y’all” or “Where’ve you’ve been for the last ten years?”

It’s about time, y’all! I don’t think it will alter the way I make movies, but it definitely gives me more confidence in many ways and makes me feel less alone in my battles. I hope it will change the way a lot of movies are made and bring positive change and safer environments throughout industries.

JM:  So true.  Hey, thanks Rebekah Fieschi for giving me some of your valuable time.  As always you’re always welcome here on my page.  Make sure you let my readers know when that Sylphvania Grove trailer is available.

RF:  Will do, Jon Meyers.  Thanks again for all you do.



Rebekah just put up a new Patreon page.  If you want to support her efforts to raise the profile of female filmmakers, you can do so here, for as little as $1 a month:
How cool would it be if you could be one of the first 25 people to support her?   Now’s your chance.
Here are Rebekah’s other links as well:
Emma Pullar Is Having An EPIC Year

Emma Pullar Is Having An EPIC Year

Emma Pullar is a writer of both dark fiction and children’s books. Her picture book, Curly from Shirley, was a national bestseller and named Best Opening Lines by NZ Post. Emma also writes twisted tales under the speculative fiction umbrella.  Her debut novel, Skeletal, was published in Autumn 2017.  It’s part of a duology and Book Two will be published soon, Summer 2018.   As a citizen of both Britain and New Zealand, Emma Pullar has a unique take on the world.  Her uniqueness is evident in the stories she crafts.

Emma Pullar

In fact, if you’re a fan of  horror, dystopian, sci-fi, fantasy and paranormal, Emma Pullar has a lot of unique stories she wants to share with you.  Her favourite authors are CS Lewis, Roald Dahl, Suzanne Collins, Stephen King, Julia Donaldson, Dr Seuss, Phillip K Dick, JK Rowling, George Orwell, L V Hay and GX Todd.   In fact, it was in Lucy V Hay’s online writing group, Bang2Writers, where I first met Emma.  What a pleasure it was to interview her.  I have admired her forthright demeanor and driven work ethic for years.  It’s time for you to admire her along with me.

JON MEYERS:  Hi Emma, thank you so much for granting me this interview.  It’s no secret that I’m a big fan of your straightforward attitude, and unwillingness to ever give up.  Tell me a little about your writing process.  Not the nuts-and-bolts of it — but the emotional component of it.  Describe how you feel ten minutes before you actually sit down to write — and the shift that happens as you write the first word, the first sentence, the first page.

EMMA PULLAR:  Hi Jon, thank you for inviting me to be a guest on your blog.  Well, what an interesting question. To be honest I hadn’t thought about what happens directly before and as I begin to write. After I’ve dropped the kids to school, I come home and make tea and toast. I can’t write anything before that. I have the same breakfast every morning before I write. Tea because I’m British and it’s what we do and NZ Marmite on toast because I’m also a Kiwi and can’t stand UK Marmite. After that I check my emails and then I’m ready to write.

I start by reading back the paragraph I wrote the day before and once I’ve done that I’m in the zone. The real world is forgotten and I’m standing next to my protagonist experiencing everything with her/him. I often feel like a puppet and the words are coming from somewhere else – a separate consciousness or something strange like that.
When I write at night, the process is different and more often than not I can only write longhand. Sun up is for the keyboard, sundown belongs to the notepad. I hope that makes sense.

JM:  Thanks, Emma — THIS is fascinating.  I’ve never heard anything like that.  So cool.  Plus, I was actually going to ask about longhand vs. typing — and you kind of already answered that.  Very cool.

Emma Journal 1
(Above) This is an excerpt from a first draft in Emma Pullar’s longhand writing from a still-unnamed short horror story yet to be published.
























JM:  My next question has to do with the “business side” of the business.  Tell us how you feel when you’re talking to your agent (and how you got that agent in the first place), how you feel when you’re in a meeting, etc.  What’s the process you used when you were starting out?  Did you send out ten queries or one hundred?  How did you know where to send them?  Stuff like that.

EP:  I met my agent in a rather unusual way. I had a baptism of fire into the writing industry when my first publisher embezzled my royalties which were meant to go to charity. I was informed that out of the $17K my picture book made, $11K (after publishing expenses) should have gone to my chosen charity but instead the publisher put the money back into her business. She bit off more than she could chew and then folded the publishing house, owing money to authors and printers.

I can forgive a lack of judgement, we’ve all made mistakes in our lives that we wish we had handled differently but she cut communication and sent out a seven page document in which she blamed the authors for the failure of her business and tried to discredit me.

I’d met a few of the other authors at a meeting before the publishing house went bust and we formed an online support group after we found out the horrible truth.

One of the authors caught my attention. He was friendly, talented and had a string of books published already. He’d found himself an agent and kindly put in a good word for me. I’m forever grateful to him, and even though I was not at all ready to be published, Vicki (my agent) saw my potential and took me under her wing.

Finding an agent is tricky. I’ve crossed paths with a few (online and through pitching opportunities) and my work wasn’t right for any of them but when I met with Vicki in London (she lives in New Zealand so our conversations are mostly by email) I instantly liked her. We get on extremely well and have a friendly, laidback working relationship.
Vicki is open to me networking with publishers alongside her efforts to find the right deals for my work. I have a few exciting projects Vicki is passionate about that are currently on submission. Fingers crossed we’ll see a deal for them soon.

JM:  Yes!  Awesome.  I love your answers by the way.  I love interviewing fascinating inspiring women!!!   Talk to my readers about you, Emma Pullar, and your life, pre-Vicki, pre-published, pre-Skeletal  — as compared to Emma Pullar today, post-all-those-things.

EP:  I’ve always been a writer. When I was a little girl, I was often found scribbling stories and I’ve never stopped. I had no desire to have my work published because when I was eleven I was told I would never be good enough and sadly, I believed that as an adult. How wrong they were.
I also spent ten years of my life on stage and wanted to dance for a living. Unfortunately, I developed a knee complaint in my teenage years and needed surgery. Another dream shattered.  After that, I drifted through life working in any jobs I could get: bookshops, toy shops, offices, real estate. I ran theatre companies and enjoyed that, but it wasn’t really for me. I got married and had three children. I’ve always worked part-time alongside motherhood but never really knew what to do with my life.

“At thirty-one, when my youngest daughter was only a few months old, a deadly earthquake devastated our city and killed 185 people. That natural disaster triggered something inside me. “

— Emma Pullar

At thirty-one, when my youngest daughter was only a few months old, a deadly earthquake devastated our city and killed 185 people. That natural disaster triggered something inside me.  The first thing I did was write the event out of my system and it was then I realized … I AM A WRITER. It does not matter that I had little in the way of a formal education, that I can’t spell and my grammar/punctuation is dismal. I must teach myself. People are dead, their journey has ended. I need to do this to honour their memory, otherwise, I don’t deserve to be alive.

To answer the question of how life compares before I became a professional storyteller and now … although seven years on, we’re still struggling to get over the mess that earthquake left our lives in, I’m now doing what I should be doing — what I should have been doing all along. I’m peacefully walking my path, my career unfolding like the petals of a rose. Sunshine and room to grow provided by the amazing people I have met along the way: my agent, publisher, mentor, readers and my writing buddies. I’m grateful to finally be doing what I should be doing, as opposed to doing what others expected of me. As a child, I wanted to be a dancer, a writer and Prime Minister. Having ticked off the first two, I have no interest in doing the last one. I much prefer being ruler of my fictional worlds, though I must admit, I’m not always in control of the story, the characters often surprise me.

JM: I love your answers. They inspire me.  Next question, Prime Minister Pullar: Give us a recent example of how one of your characters really surprised you.
EP:  Interesting question. The character who most surprised me has to be Bunce from Skeletal. Going from his safe and comfortable life to the rough streets of Gale City was a real shock to his system, and yet, he didn’t run home to mummy and daddy after the horrors he experienced, and everything he did was out of admiration and love for someone who really didn’t deserve his attention. He found the courage to carry on and when hope was lost, he made the choice the stop suffering. I was surprised by him every step of the way and he still has a few surprises left for readers in the sequel. It’s not what they’re expecting and certainly not what I expected to happen!
JM:  Great answer!!! I love that. I can tell you connect with your characters so deeply.
Speaking of deep connections, you’ve written a book with your daughter.  Tell us about how this new book came to be. Not just about how you wrote it together, but how you pitched it to your agent, and so on.
beth and mom
Emma, Rupert, and Beth Pullar
EP:  Ah, great question.  My new picture book, Kitty Stuck, never went on submission. I showed it to my agent and she thought it was great but she was in the middle of opening a new agency and extremely busy. At the same time, I was in talks with Amy Stretch-Parker who wrote a delightful picture book called: Peter Digs A Den. Amy had never written a picture book before and one of our mutual friends, Rachael Howard, decided it would be a good idea for us to connect. Having one picture book under my belt which hit number four on the national bestseller list in New Zealand, I knew I could help Amy. I gave her a tips and advice and she was super grateful (there’s more to books written in rhyme than people think, it’s tricky to get the flow just right) and after that I watched with interest as Amy’s book became a reality. Amy sent me an ebook version and I was surprised to see my name mentioned in the acknowledgements. In my mind, I did very little, Amy is a talented writer and Peter Digs A Den is a fun book. I bought a copy for my kids. They loved it. The quality of the book was up there with the bigger publishers and soon many writers wanted to be published by Amy, so she opened her own publishing house called A Spark in the Sand.
EP:  I had so many projects on the go but I wondered what Amy would think of Kitty Stuck. I asked for her advice and she came back with some tips, as I had done for her, and then she offered to publish the book! You can imagine the shock. I was not expecting her to say that at all! At the same time, I’d asked my eldest (Beth, who spends all her spare time drawing and practicing different art styles) to draw Kitty. She did and I was blown away with the result.
Beth Pullar, Illustrator
EP:  I sent her work to Amy. She also thought Beth was an amazing illustrator and asked if she would be interested in illustrating the book. Beth jumped at the chance. She’s saving up for some professional Copic Sketch Markers and a tablet of her own — at the moment she share’s the family one. I did a small favour for a friend of a friend and ended up with a book deal, an awesome new friend, and an amazing opportunity for my daughter.
JM:  Wow.  What a great story.  Thank you so much for your time, Emma.  As expected, you were great.
EP:  Good luck with it all, Jon. This has been a fab experience.
Want to purchase Emma Pullar’s books?  Go here:   www.emmapullar.com



I can’t reveal the exact date (but soon, very soon); however, director/gender fairness advocate Rebekah Fieschi has some exciting news to share — and she’s letting ME tell YOU, my loyal readers, FIRST!!!

This is an especially sweet moment for us, as some of you were complicit in helping Rebekah get past the 500 follower mark on her Seed & Spark campaign for Sylphvania Grove last year.  Which leads us to our big news…

Sylphvania Grove is out of color correction, and THERE GOING TO BE AN ACTUAL TRAILER!!!  And YOU get to be among the first to see it!!!

Better yet, to add even more excitement to this already exciting event, I am in the middle of another interview with Rebekah and will be releasing it HERE to coincide with the release of the trailer.

If you’re new to this blog, or to Rebekah Fieschi, below are some links to get you up to speed with the wonder that is Sylphvania Grove — including a link to my previous interview with Rebekah which believe it or not was almost a year ago at this point.

Be sure to follow me on all of my social media platforms, as well as Rebekah Fieschi, so you don’t miss when the trailer release date is announced.






Remember earlier in the year, when you, my loyal readers, helped put TeamRAD‘s Soiled Doves over the top during their crowdfunding campaign?  Well we have so many new readers who have joined us since then, I thought I would refresh everyone’s memories, so you could refresh your browsers’ bookmarks by adding all the links to Soiled Doves.

Plus, November is going to be a big month for this project, so I thought I would bring it back to front-of-mind for everybody.

TeamRAD consists of Verity Butler, Rebecca Holopter, and Darby Kennerly.


As you know, the reason I support TeamRAD, and other like-minded women-centric production teams, is that they are committed to making a change for female filmmakers in Hollywood.  This trio in particular is committed to creating complex female characters who are defined by who they are and not their male counterparts. In Soiled Doves, the female characters hold positions of power, are grounded in the real life given circumstances, and have full breaths of life.


When tragic, unexplainable events occur in the frontier town of Barlowe Springs, California, three very different women are forced to face challenges beyond the hardships of frontier life, and will realize the duality of nature.

With the grit and danger of Deadwood, the supernatural undertones of Twin Peaks, and the female camaraderie of Orange is the New Black, Soiled Doves, a one-hour supernatural western TV show, tells the story of three women embracing their pasts in order to save their town and the ones they love.


So, now go.  Connect.  Link.  Bookmark.  Favorite.  Follow.  Do all that social media-y stuff you do.

TeamRAD’s facebook page.

TeamRAD’s twitter page.

TeamRAD’s instagram page.

Watch the SOILED DOVES trailer here.



Every article I read about Steven Soderbergh’s current experiment refers to what “could” happen to Hollywood or what Steven “wants” to change about Hollywood.  But the truth is this:

It already has happened.

Steven Soderbergh has changed Hollywood.

There’s been a ton of press about it, but I believe Jake Coyle does the best job of summing it all up.  Read on:


Steven Soderbergh wants to change Hollywood’s game plan.  His latest film, ‘Logan Lucky,’ is his model.

By Jake Coyle

“Populist Pictures,” reads the buzzer ID at Steven Soderbergh’s Tribeca office. It’s a grand nameplate on an otherwise nondescript Manhattan building.

But Soderbergh means it.

Four years after dramatically quitting moviemaking, he has re-entered the fray with “Logan Lucky.” He didn’t spend his hiatus crafting a Major Artistic Statement. He long ago lost his taste for “prestige films.”

“Logan Lucky” is a heist movie so similar to his “Ocean’s Eleven” that the down-and-out West Virginia characters in the new film refer to their con as “Ocean’s 7-11.”

“I thought the first line of every review would be, ‘He came out of retirement for this?’ ” Soderbergh says in an interview at the modest office. “Of course my answer to that would have been: The only thing I would have come out of retirement for is to make something like this. I wasn’t going to come out of retirement and not make something fun. Why would I do that?”

And Soderbergh also wants to prove a point. When he said goodbye to the movie business four years ago (and went off, in a filmmaking marathon, to direct every episode of the acclaimed Showtime series “The Knick”), he was fed up with a risk-averse Hollywood, unwilling to innovate, problem-solve or shake up anything.

“Logan Lucky” isn’t just a comeback movie; it’s an experiment. Soderbergh independently financed the film, selling distribution rights for foreign territories to raise the budget, and then making ancillary deals (like Amazon) to pay for prints and ads. While ballooning marketing costs have made little beside franchise films appealing to major studios, Soderbergh believed it would be possible to put out “Logan Lucky” with a more modest marketing approach centered on the 10 days before release and the social-media followings of its stars — notably Channing Tatum.

It’s a way to prove that a broad-appeal movie can be made by a filmmaker with a plan, without the involvement of a committee or corporation.

“I’ve been very vocal about my issues, and it’s an opportunity to learn some stuff, and I’m prepared for any scenario. But at least we got to do it the way we wanted to do it,” says Soderbergh. “And that’s a win. We may learn a lot. I’m hoping it works so I can continue to put my work through this system and have other like-minded filmmakers put their work through this system.

“We don’t need another boutique distributor,” he adds. “This is designed for wide-release movies. This isn’t an art-house proposition.”

Movie financing arrangements are byzantine, but Soderbergh has set up an account that anyone who has put money into the movie can log into and check the movie’s expenses, grosses and their cut. The whole scheme is more than a little like the plot of “Logan Lucky,” in which an out-of-work miner (Tatum) rallies a team to rip off a NASCAR track. A tongue-in-cheek line at the end of the credits reads: “No one was robbed during the making of this film except you.”

Executive producer Dan Fellman, former distribution chief at Warner Bros., says “We don’t know whether it’s going to work or not. We certainly hope like hell it does. … One way or another, we’ll get to prove our point.” Fellman anticipates the film will screen in 2,800 theaters, with many in the industry keenly following the results.

Soderbergh plans other innovations, too. “Mosaic,” his interactive movie for HBO, is coming in November. And with a number of other projects he’s producing, Soderbergh sometimes seems like his own studio head.

He actually spent a year. researching how to put a subscription-based platform together. “I really got pretty granular with it,” he says, but he ultimately decided it would work only if he had a back catalog to give subscribers enough content.

Others appear to be lining up behind him.

“He found a way to do it where it’s on his terms, and he has the control that he wants,” says Adam Driver, who plays the Tatum character’s brother. “His setups move so fast that there’s no momentum lost. He’s very economical about how he shoots. It’s freeing for us as actors. There’s no bull …, no time wasted, so it almost feels like a protest.”

The first-timer credited with the script, Rebecca Blunt, is unknown and may be a pseudonym. Soderbergh will say only she’s a friend’s wife.

And then there’s the question of why anyone who loves moviemaking so much as Soderbergh wanted to quit. He shoots his own films (under the pseudonym Peter Andrews), and he considers editing a day’s shooting his nightly reward. A few years ago, as an editing exercise, he recut films such as “2001: A Space Odyssey” and “Blow-Up” for fun.

When he retired, Soderbergh thought he might dedicate himself to painting, but he acknowledges, “I didn’t get very far in my second career. … When I got back to the set of ‘The Knick,’ it definitely had the sense of: This is your job. This is what you should be doing.’ That was a good thing to feel.

“There are very few things you can do repeatedly that give you the same pleasure as they did the very first time,” he continues. “Figuring something out on set is always a great feeling. That never gets old, when it finally reveals itself to you. … That’s hard to walk away from. I don’t feel like that’s a bad addiction to have.”

       (Photo Credit:  Rick Diamond/GettyImages)

See?  It happened already.  A non-indie major movie with no studio backing opened in 2800 theaters.   It wound up in 3031 theaters.  As of this writing the box office is at $42.5 million.  [UPDATE 10/14: $42,865,483]  The articles that were written about the box office receipts in August, called it a “flop,” but the “flop” was in quotes.  That’s because everyone knew Logan Lucky releases on digital download on November 14, 2017 and then releases on DVD, Blu-ray, and Ultra HD Blu-ray on November 28, 2017.  The studios and the machine have obvious reason to pronounce Soderbergh’s experiment a failure. As of right now, it’s made $10 million profit in the clear.  By the end of the year, however, it will have at least doubled that.  Tens of millions of dollars in the black is nothing at which to scoff. Beholden to no one, Steven Soderbergh proved to the world it could be done.

“It almost feels like protest.”  ~~Adam Driver, actor.

I love that quote from Driver.  I defy anyone to explain to me how it’s not a protest.

Was Logan Lucky a blockbuster?  No.  And I contend it didn’t need to be.  If you found $10 million dollars laying on the sidewalk, would you pick it up?  Of course you would.  Cudos to Soderbergh for having the brains to try to see if this could work.  A $10 million, a $20 million, maybe even more, paycheck — without having to deal with the meddling studio execs — will be hard to ignore by his fellow creatives.

You Can’t Run An Entertainment Blog And Not Mention Taylor Swift’s Face Is On UPS Trucks

You Can’t Run An Entertainment Blog And Not Mention Taylor Swift’s Face Is On UPS Trucks

When I started this entertainment blog, if you would’ve told me I’d be posting an ad for UPS on it in 2017, I would’ve told you that you were cray-cray.  (Actually, I would never use that word in real life conversation, but it seemed appropriate considering the subject of the next sentence.)  However, ever since yesterday, TayTay (see what I did there?) has her face in medium close-up all over the side of UPS trucks.


Taylor Swift wants you to spot one of these trucks, snap a picture of the Swift-faced UPS truck (at a safe distance, she adds) then tag @UPS and share the hashtag #TaylorSwiftDelivery because then you might win “an improved opportunity to buy Swift concert tickets.”   I don’t know what the means, largely because I can’t imagine how anyone could improve upon the opportunity to buy a concert ticket — but if anyone can, Taylor swift can.


When the new UPS ad rolled starring Swift some entertainment reporters went agog over Taylor Swift’s “creepy” smirk.  Really?  Sly, perhaps — but there’s nothing on Taylor Swifts unblemished visage that even comes close to creepy.  Nonetheless, here’s the ad if you want to judge for yourself:

I’d love to see you COMMENT in the COMMENTs below and explain to me, how anyone could deem that “creepy.”  Anyone?


Woke internet folks routinely bash Taylor for her Swiftian brand of Nu-Feminism, claiming her Intentional Victim Barbie persona wears thin compared to “true feminists,” such as _____________________ (these bloggers gladly insert their own names here).  If it’s true (and I contend it is not) that Swift’s positions only help herself and not ALL women, tell me exactly how does _________________ (again “true feminist” bloggers gladly insert themselves here) bashing Taylor Swift help the cause?  Okay, now tell me again, because I didn’t get it the first time.

The truth is Taylor Swift doesn’t need me to defend her.  Equally true is the fact that Swift’s detractors have a motivated feminist base that also do a good job furthering the cause; and, they don’t need me to defend them either.   And neither camp needs me mansplaining about anything.

Finally, whether you like this song or not, it will be a hit.  Taylor Swift calls her own shots, and is modeling a canny business acumen at which millions of other young women will take notice.

The actual video for Taylor Swift’s “Look What You Made Me Do” will be released tonight at the MTV Video Awards.  Until then, I leave you last week’s lyric video (which also garnered controversy which I won’t go into here).




Sure the chorus reminds you of 1992 and Right Said Fred’s “I’m Too Sexy For My Shirt,” but that’s on purpose, right?  And sure, the song is infinitely better than the video, right?  However, nonetheless, as mentioned yesterday, Taylor Swift released the actual official video for “Look What You Made Me Do,” last night on MTV’s VMAs.   And it underscores “in red underlined” my point I made yesterday:  Who are YOU to tell Taylor Swift what kind of feminist she needs to be?  Who are any of us to tell her anything?  How is one feminist telling another feminist how to present not counterintuitive and counterproductive to the movement?

SPOILER ALERT:  Though as I mentioned, the song is better than this video, the final forty seconds are the best final moments in a music video since David Bowie got all clever-clever after he just met a girl named Blue Jean…

You can pre-order Taylor Swift’s new album “Reputation,” to be released November 10, 2017, here:  http://amzn.to/2vjmqEX








BONUS:   Bowie’s unedited full-length “Jazzin’ For Blue Jean.” (1984)