And to Think it All Started Here...

Yep, that's James Sturm and I moving his studio across the street to what was, in the summer of 2005, the new Center for Cartoon Studies building. Hard to believe it's been two years, but here we are -- the first graduating class, about to graduate -- tomorrow.

It's been a heady, at times heavy week at the Center for Cartoon Studies. We've completed the senior thesis review sessions, and I'm savoring a little breather between that intense block of work (the prep in particular, though I loved reading and re-reading the thesis projects -- pretty stunning group of cartoonists going out into the big, bad world this Saturday!). Tomorrow is graduation, and I've got a little work to do to prep for that.

The intensity has been in part revolving around the mounting finality of this transitional period. It's been sad to say goodbye to some folks, and that will accelerate tomorrow, as many of the folks who have been absolutely central to our day-to-day lives together are leaving after commencement to their respective family homes. I had lunch with Rich Tommaso yesterday; Rich has become a great friend, we've bonded over a number of shared interests and Rich was an invaluable part of the Drawing Workshop I helmed for the Freshmen class this spring. Rich and graduate Caitlin Plovnick are moving to Brooklyn on Sunday, and I sure am going to miss them. Of course, we'll all keep in touch, and be seeing each other in the years to come, but the reality of the community of the past two years going through inevitable, here-and-now change that necessarily revolves around the departure of so many key community members is a real roller-coaster ride.

That said, part of the transition, too, is the evidence of the new incoming freshman class of 2009 -- CCS discussion board posts from incoming fall students has been ongoing all month, and soon we'll see a new community arrive, merging with the standing CCS community and bringing all the excitement, change and transformation that implies.

Ah, CCS; I'm now part of a college community, and all that entails. I love it.

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I saw Paul Verhoeven's new film Zwartboek/Black Book last night, and I can't recommend it highly enough. This is Verhoeven's best film in years, and a genuine return to form -- what The Pianist was for Roman Polanski, Zwartboek/Black Book is for Verhoeven.

For fellow Verhoeven fans (Steve Perry, take heed!), it's absolutely critical to note that this film isn't just his return to his Dutch roots, but also reunites Verhoven and writer Gerard Soeteman, who was absolutely central to Verhoeven's often brilliant pre-Hollywood body of work. In fact, Soeteman was Verhoeven's primary collaborative partner in the whole of the director's pre-Hollywood career arc, scripting and co-scripting what remain Verhoeven's best films, beginning with Verhoeven's debut feature Wat zien ik/Business Is Business (1971) and blossoming with Turks fruit/Turkish Delight (1973) and Keetje Tippel (1975), which in many ways provides a blueprint for Zwartboek, as did Soeteman/Verhoeven's breakthrough international hit Soldaat van Oranje/Soldier of Orange (1977). Zwartboek is almost a perfect fusion of Keetje Tippel and Soldaat van Oranje, chronicling as it does the often harrowing experiences of a Dutch Jewish woman (Carice van Houten, giving a powerhouse performance) struggling to survive WW2 in Holland, and the convoluted tangle of loyalty, deceit, devotion and corruption that entails.

Soeteman and Verhoeven built upon the success of Soldaat van Oranje with the excellent Spetters (1980), the marvelously delirious De Vierde Man/The Fourth Man (1983, which also introduced actor Thom Hoffman to international audiences; Hoffman features prominently in Black Book), and concluded this ripe collaborative streak with Flesh+Blood (1985, aka The Rose and the Sword), which sadly led to an acrimonious split of the team as Verhoeven rushed to Hollywood and launched that phase of his career by directing an episode of HBO's The Hitchhiker ("Last Scene," 1986) and the classic Robocop (1987).

That Soeteman and Verhoeven are back together is something to celebrate; that they are also hard at work at a second 21st Century collaborative effort, Azazel, is tremendous news, and promises Verhoeven may at last be free of the restraints Hollywood placed on his creative life (his last American film, Hollow Man, 2000, was derivative and disappointing at best). As already noted, this new work also reunites Verhoeven with Dutch actors from his classic Soeteman era: Thom Hoffman (who was Herman, the central object of desire in De Vierde Man), Derek de Lint (Alex in Soldaat van Oranje), Dolf de Vries (Turks fruit, Jack in Soldaat van Oranje, Dr. de Vries in De Vierde Man), etc. are familiar faces to Verhoeven fans, and it's exciting to see the chemistry onscreen anew.

All this makes Black Book the theatrical sleeper of 2007 thus far. Don't miss Zwartboek/Black Book if it's playing near you, and I'll post a review proper next week when I start squirting those overdue Cine-Ketchup packets all over the keyboard. It stands, along with Das Leben der Anderen/The Lives of Others and El Laberinto del fauno/Pan's Labyrinth, as the best film I've seen thus far this year.

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Sorceror's Apprentice: Bush, Gonzales (NY Times photo)

Speaking of "loyalty, deceit, devotion and corruption," in real life,

this week's Congressional testimony yesterday of James B. Comey, former Deputy Attorney General under John Ashcroft, was a real jaw-dropper

and demonstrates the monstrous extremes that the Bush White House pursued to carry out its illegal, secret spying program against the people of the United States. I'm no Ashcroft fan, mind you, but it's startling to see how vast the ethical gulf between Ashcroft's reign and Gonzales's dynasty in the Justice Department really is, and how far we've fallen.

If you're clueless on this, it's time to catch up ("...an account of Bush administration lawlessness so shocking it would have been unbelievable coming from a less reputable source...") --

-- there's no more damning evidence of the corruption rampant in the Justice Department, and how irresponsibly current Attorney General Alberto R. Gonzales's behavior has been (and how fiercely he has exercised and exercises his loyalty to his President, placing that above US law and our Constitution).

Bye, bye, Wolfowitz (if you have the computer/high-speed access, also check out the two 'related videos' on the left menu bar at the Yahoo News site, particularly President Bush's gobsmacked incredulity); hello whatever next uber-corrupt crony President Bush appoints --

-- and we wonder (like children) why American credibility is so shot in the eyes of the world.

Have a great Friday, one and all...

Zombies, Brickbats & Dragonflies

With real spring hitting, the black flies are finally out, along with the blessings of night moths and my first glimpse of butterflies and dragonflies yesterday by daylight. I love this time of year -- so, to commemorate the new awakening, here's some early morning dragonflies for you. Dragonflies courtesy of my daughter Maia Bissette ('Technicfarce' c 2007 Maia Rose Bissette) -- Thanks, Maia!

Whoa, sobering news yesterday for Chrysler's 80,000 US employees, and another major landmark in the changing times as we continue to lurch into the 21st Century.

Don't underestimate the import of this devastating turn for the auto manufacturer, which unmoors one of the true 20th Century corporate giants those of my generation grew up with as an economic anchor, for better or worse.

Seismic shocks of another kind are continuing to hammer the fringes of the Bush Administration, apart from our ruinous foreign policies and wars:

A panel of executives at the World Bank just ruled that its President (and Bush appointee) Paul Wolfowitz broke the bank's code of conduct and violated the terms of his contract,

but the big news this morning is that the second highest official in the US Justice Department, Paul McNulty, is resigning -- maybe Alberto Gonzales will yet have to pay the piper for his crimes against the Constitution?

Time will tell... keep an eye on these ongoing situations.

Not having enough real-life apocalyptic catastrophes in our own lives, my stepson Mike and I dashed out last night for the viral armageddon opus 28 Weeks Later. I had some fun with it; the film is an invigorating and sturdily made outing for most of its running time, but ran out of gas in its final act. Six+ screenwriters credited, and nothing new to add to its subgenre; it's 20th Century Fox's genre subsidiary Fox Atomic doing its bit for keeping derivative traditions we used to depend upon cheapjack producers to keep alive back in the '80s (and the second such Fox Atomic outing I've seen in a little over a month, on the heels of The Hills Have Eyes 2, which was nastier, meatier, more satisfying fare for this depraved horror addict). Still, nice to see a flick with Mike, and we enjoyed the time out -- more on 28 Weeks Later when I play Cine-Ketchup next week (after a long hiatus posting such comments, though I've seen tons of movies). I hope to see Paul Verhoeven's Black Book before then, too (a return to form for a one-time masterful director?)... lots to talk about in that department.

But here's what I really want to share with you all this fine rainy Tuesday, to wind up on a cheerier note. This just in from Colin Mathieson and Dave West of Accent UK, aimed at contributors to the Zombies anthology, but worth sharing with all of you as a report of that collection's successful debut and an update:

Dear All

Just back from Bristol earlier today so brief update on what was probably our best ever convention!

We’re very pleased to report that Zombies was a well received hit with record sales and an overwhelmingly positive response. Everyone commented on the quality of the strips, the design and the printing with the result that there was a real buzz about the book.

Thankfully many of you were there and able to share in the moment and enjoy what had to be one of the busiest Bristols ever (despite the weather!). It was great catching up with you all and registering everyone’s delight with the way the book turned out and hear of your own creative projects and ideas for Robots – actually we had several ‘new’ interested writers and artists wanting to contribute to next year’s Robots so we’re expecting another strong batch of submissions.

"An Alphabet of Zombie" (c) 2007 SR & Daniel Bissette

We are hoping for a wide coverage and distribution with us being approached over the weekend by no less than 5 separate retailers to stock both Zombies and our other release Wolfmen, with provisional deals set up with 2 others! We also had an encouraging meeting with Diamond’s representatives (and await their USA panel review with interest) so your work is getting the best chance of a wide audience and will hopefully complement and highlight your own individual projects.

Special congratulations must also go to Andy Winter, whose Hero Killers book deservedly won this year’s Eagle for favourite British black and white comic book. Andy’s award nicely follows last year’s success for fellow Zombies contributor Dave Hitchcock’s Spring Heeled Jack series, so well done chaps!

A fuller report on Bristol will follow on the website in due course and we’ll keep you informed of Zombies progress but in the meantime thanks once again for all your hard work and being a successful part of our annual anthology.

Cheers

Colin M and Dave W

Colin added, "Zombies had a tremendous reception – your cover really caught everyone’s attention and when they saw the quality of the strips inside, it was an easy sell! Several buyers mentioned your Indie Spinner interview too, so that proves the plugging works!!"

Shameless huckster Bissette signing off, reminding you to

keep an eye on the Accent UK site for photos, updates, news and ordering info -- remember, Zombies does not yet have a US distributor, so you may want to order your copies now via Accent UK --

-- and to have a great Tuesday, one and all. Cheers!