ZEN AND THE ART OF GAMING: HOW GUNS, BLOOD AND ACTION CLEAR MY CREATIVE CHANNELS

 

I love video games.  I started PC gaming ten years ago.  I was a broke-ass writer and couldn't afford to buy them, so I would download free demos and play them over and over again.  My first title was an obscure 3rd-person alien game called Evolva.  I soon worked my way up to Unreal Tournament and I was hooked.  It was the biggest rush I had experienced since I gave up drugs years before. 

I still game on my PC.  I'm a purist.  My kid has an X-box 360 and a Wii, but they're not the same for me.  Something much more intimate and interactive about a PC.  Keyboard and mouse movement is so second nature to me and having the images inches from my face with surround sound -- it's just fucking awesome.  I go there.  I AM the warrior, I AM the killer, I AM the hero.  Kurt disappears.  It's an escape like no other.  TV, movies, music -- great distractions, but passive.  Gaming is active.  You don't watch the story, you ARE the story.  Those are the games I love.  Strategic action.  Games that make you think -- actively.  I don't like straight up strategy games or straight up shooters.  Too passive and too arcade like -- I become completely aware that I am playing a game and I get bored.  I need good story, good character and good action. Max Payne, Splinter Cell, Rainbow Six, XIII, Fear, these games are incredible.  Interesting and complex storylines, three-dimensional characters, and kick-ass action.  They demand that you think on your feet-- life and death.  And of course, you kill a lot of shit with big guns.  I do not own guns, nor am I an active gun-enthusiast, but inside a great game, I'm a strapping, gun-toting, blow-your-motherfucking-head-off bad-ass.  I love it.  It allows me to be everything I am not. 

I'm not into RPG’s or MMORPG’s.  It's not a good fit for my personality.  I'm a bit obsessive and the all-inclusive nature of those games scare me.  And I fucking hate wizards and fairies and knights and all that Dungeons and Dragons bullshit (sorry WOW lovers).  Plus online gaming is counter-intuitive for me.  It’s not about reaching out and connecting.  I don’t like “real” people, why would I want “virtual” friends.  Which brings me to the Zen part of the essay -- for me, gaming is not a hobby; it’s a writing meditation tool.  An imagination enema.  A good game will blow out the creative cobwebs and unclog my same-old-shit valves.  It wakes me the fuck up and centers me, delivering me to my bloody, dark, chewy center.  It’s another reason why I game on a PC.  I’ll write till I’m burned out, game for twenty or thirty minutes, get completely adrenalized and refreshed, then jump back into the script.  It’s better than coffee and a blowjob (mainly because the latter usually makes me sleepy and hurts my neck).

I've recently tweeted about how I think most of the really creative young talent is ending up in the gaming world and I'll post a separate blog about how and why I think that is true.  Wanna do a bit of research before I shoot my mouth off about that.  D-girls I can handle, gaming chicks would kick my fucking ass. 

D-GIRL DEATH WISHES

I'm clearly an outspoken guy.  Just my nature.  I have a big personality.  I can either fill up a room or suck the life out of it.  Honestly, it's all ego.  I just assume people need to hear what I have to say.  It's becoming clear to me that other than my family (and they have to listen to me) and a handful of people on Twitter, Blogger and Facebook, most people don't need to hear what I have to say.  In fact my reps and network would kinda wish I'd just shut the fuck up.

One thing I've realized over the years is that I do best when I follow my gut.  So far, it's served me well.  In life and in my work.  I've never made a career choice based on a career choice.  It's always been about the project.  I stayed on The Shield for seven seasons because in my opinion there was no better show on TV.  I created Sons not because there was a demand for an outlaw motorcycle show, but because I loved the world.  I take on movie projects because they excite me not because they advance me.  

But my gut-following often leads me into a thrusting closed-fist.  My lawyer has a saying -- Don't wound anything you can't kill.  Sound advice.  I'm trying to take it to heart.  At the moment, my world is littered with the bloody and the pissed.  My recent blog posts have created a flurry of fan mail (writers) and hate mail (network executives).  I'm used to getting death threats.  I'm averaging three or four a season, usually from schizoid inmates who demand a piece of my paycheck because the Virgin Mother whispered the idea for SOA to them in a dream.  But this is the first time terminal harm was tossed at me from a 130 pound, lipstick-wielding, Chanel-wearing, development executive.  Quite honestly, she was much more frightening than the inmates.  And I must admit, very sexy, in a -- I'll-fuck-your-brains-out-then-bash-your-brains-in kinda way.  She stopped me today as I was getting off my Harley outside a Starbucks in Burbank and asked me if I was Kurt Sutter.  She was too old to be a friend of my daughter's and too young to be anyone I ever dated.  I assumed she was a fan.  I was wrong.  She was a development executive at a network.  She wished me dead.  Literally.  Said I was a dick and she hoped I crashed and died on my Harley.  My first thought was, maybe I did date her.  She's fucking crazy enough.  That was my main dating criteria before I met Katey.  Then she mentioned my blog.  Now I understood.  Apparently some bigger websites picked up excerpts of my previous blog and my "why network dramas suck" diatribe went far and wide.  The following was roughly my conversation with this lovely young woman. 

KS: What was wrong with the blog?

DG: You're an asshole.  Job is hard enough without arrogant pricks like you shouting bullshit from your fucking mountain top.  Shows a hit.  Big fucking deal.  You'll be crawling back to us when it's not.

KS: You didn't answer my question.

DG: Everyone I work with is smart, well-educated and very story-savvy.  We know how to do our jobs.  Shit you said was general and ridiculous.  You've never even developed at a network.  How the fuck would you know?

KS: Where's the proof?

DG: What?

KS: Your proof that you're smart, well-educated, story --

DG: Fuck you.

KS: I'm serious.  I want to believe you.  You're probably right.  Name something on your schedule that you're proud of.  That's original.  Smart.  Great stories. 

(She names two shows)

KS: First of all, I agree with you,  (show 1) is original and interesting.  So why are you pulling it off the air?

DG: It's not canceled.

KS: Of course it is.  It's been yanked from the schedule and replaced with reruns.

(Silence)

KS: And (show 2)... c'mon, you were just honest enough to wish me dead and you're gonna stand there and tell me you're proud of that piece of shit.

(More silence.  Then --)

DG: We've got shows in development that I'm very proud of.  Original.  Smart.

KS: That's great.  Then get 'em made.  I fucking dare you --

(She glares)
KS: I dare you to prove me a dick.  Get those shows you love made.  Fight for them.  Don't let anyone turn them into dreck.

DG: (Dripping sarcasm) Yeah, okay.  I'll do my best.

KS: I have no doubt.

(Silence)

KS: Can I buy you a coffee?

DG: Fuck you.

(She walks away)

KS: Did we ever date?

(She almost smiles) 

My point for bringing up this conversation is the very reason why I blog.  I think it's necessary for people to stir the fucking pot.  Too many talented people in this town are content collecting a big fucking paycheck, hooking their fucking collar to the leash and getting in the fucking tow-line.  People care less and less about originality.  I see it happening all the time.  Writers and directors whom I respect, taking big juicy overall deals, getting turned into machines churning out shit they wouldn't have even watched five years prior.  I get it, we all want the brass fucking ring, but at what cost?  So what if I ruffle a few feathers, if I get one person thinking, questioning the system, then maybe I've said something worthwhile.

Or maybe I should just shut the fuck up.

Either way, I just hope I stay alive long enough to witness the change or lack there of.

IT AIN'T JAY'S FAULT

In light of the somewhat historic Sons of Anarchy ratings last week, the press seems to be on a Jay-bashing run.  Using the event to call attention to the "NBC mistake" and turning Jay into the I-told-you-so piñata.  Being it was my show that set the fire, I thought I'd take the opportunity to clear up something -- I really like Jay Leno.  I think he's a talented comedian who's earned his place as a preeminent force in late night entertainment.  

When I sat in on the FX showrunners panel at TCA a few months ago, it ended up being a platform for Shawn Ryan to hammer home some residual strike angst.  Most of that was pointed at NBC and Jay.  And trust me, we all chimed in; most of us writers have residual strike angst.  But none of us, including Shawn, really got a chance to expand upon the general comments and unfortunately our quotes were picked up by the trades; we sounded petty and angry.  

But my beef -- and I think this is true for a good chunk of the creative community -- was never with Jay.  Leno's an artist looking for a good gig like the rest of us.  The truth is, NBC should have NEVER bumped him out of the 11:30 spot.  No one bumped out Carson.  Why Jay?  His ratings were solid, he had a loyal following and he was constantly doing what he could to keep his show fresh -- dude is one of the hardest working cats in town.  And it's obvious Conan's "younger" humor works way better in the later hour.  The bigger concern is the potential dangerous trend that NBC is setting by putting Jay in the 10 pm spot.  As Peter Tolan said, "...NBC is raising the white flag", essentially giving up on scripted dramas.  And why is that?  For all the reason I've mentioned in the previous blog -- to succeed in dramas you need employees who are intelligent, patient and creatively nurturing.  Instead of fixing their system, NBC is creating a new one.  An easier one.  A cheaper one.  One that doesn't demand talent.  One that can be run by suit-monkeys and accountants.  That's the core fear we are all experiencing.  We realize that public consumption is changing.  We are the ones who created Jon and Kate, TMZ and the gangsta paparazzi.  We are the ones veraciously consuming rag-mags and reality TV.  Losing five hours of episodic television is the result of that trend.  And we all know it ain't going away.  It's growing.

At the end of the day, NBC's new system may work and the once last-place buffoons could become the simpleton champions of prime-time.  And then we'll all be pitching gameshow ideas to Lord Zucker and the suit-monkeys of the dark empire.  But until then, let's back off Jay and beat the right piñata.  I won't say who that is, but I guarantee you, when he splits open, there will be gold bullion and Universal stock options pouring out of his ass.

SUPRISE HIT OF THE FALL

An article by Michael Starr in today's NY Post.  Because of the fans.  Thank you.

Sons of Anarchy," the hardcore series about a gun-running motorcycle club, is starting to leave tire tracks all over the competition.

Without a lot of fanfare, "Sons," now in its second season on cable channel FX, is outdrawing nearly all the competition Tuesdays at 10 p.m. -- even NBC's Jay Leno (in adults 18-49).

It's averaging 4 million viewers each week, making it one of the top-rated shows on cable -- and the surprise hit of the season.

"Sons," in fact, is one of the rarest phenomenons on TV -- a genuine word-of-mouth hit.

"It has a strong voice and a hot look, two elements that resonate on TV," says Todd Gold, who covers pop culture for TV site fancast.com. "It provides an intense look into a sexy subculture."

Sons is about members of the close-knit Sons of Anarchy Motorcycle Club, Redwood Original -- nicknamed SAMCRO -- who more or less run the town of Charming, Calif. (even the cops fear them).

The show's central figure is young Jax (Charlie Hunnam), who questions the club's code and wants to ease SAMCRO into the mainstream.

The gang makes its money mostly by dealing illegal guns -- but they have a strong internal code that has made fans compare the show to "The Sopranos," another show about bad guys you can root for.

"There's a sense of danger, and the illicit, that has an allure," says Gold. "It's the kind of show you watch and then want to talk about the next day at work.

"And people have always been curious about motorcycle gangs."

"Sons" creator Kurt Sutter has watched while his show -- which debuted last year to solid reviews but not much buzz -- has picked up a growing number of loyal and vocal viewers since it returned for a second season in early September.

"What I love is how committed the fans are," says Sutter, who's married to the show's co-star, Katey Sagal. "I get notes on Twitter and on my blog . . . [the fans] are plugged in and really invested in it and I think that can't help but get people to tune in.

"And this was the perfect storm for us," he says. "FX really spent the dough and did a really fabulous job promoting it . . . When people tuned in, there was enough going on that they decided to come back."

Sutter acknowledges the "Sopranos" comparisons -- while at the same time distancing his show from that series.

"Our show is much more of an ensemble piece . . . just by the nature of outlaw clubs . . . 'The Sopranos' was really Tony and everyone else in his orbit," Sutter says.

"I think what really appeals to a lot of viewers is ['Sons' '] sense of camaraderie about a band of guys -- and their dedication, commitment and love for each other."

WHY MOST NETWORK SCRIPTED DRAMAS SUCK

Several articles like the one below hit the trades today.  Read it.   My opinions follow.

SAMCRO Defeats Leno: FX Beats NBC, ABC in Ratings

Posted by James Poniewozik Thursday, October 22, 2009 at 12:40 pm

Thump-thump. Thump-thump.

That was the sound of broadcast network television getting run over, twice, by FX's biker drama, Sons of Anarchy, Tuesday night. For the first time, SoA defeated both NBC's Jay Leno Show and ABC's The Forgotten in the 18 to 49 ratings, which, as network programmers will tell you incessantly, is the only rating that matters when it comes to advertising money.

Since all 10 p.m. programming this year must be viewed within the prism of the Great Leno Experiment, what does this mean for Jay?

A mixed bag:

On the one hand, it certainly would not look good for NBC to get beaten by basic cable on a regular basis. In the traditional ratings sense, Jay is getting his chin handed to him.

On the other hand, Jay has company: The Forgotten, an original scripted drama of the kind Jay is replacing, lost out to SoA too. Which raises the valid but unprovable argument that a new NBC drama in the time slot would be getting beat too, but paying much more to do it. (As bad as Jay is doing, some nights he comes close to or beats ABC originals like Eastwick, whereas even NBC only hoped he could take second against reruns.)

Bottom line: I've argued before that the premise behind the Leno show is that network TV is becoming increasingly indistinguishable from large-basic-cable-channel TV. From the vantage point of Leno and The Forgotten—splayed out on the highway with tire tracks across their back, it's sure looking like that.

Let me first say that my opinions are heated and a generalization.  I don't have the time or desire to do the long, detailed, thoughtful version of this essay.  I'm disillusioned and a little lazy.  Having qualified --

It's not an issue of scripted show vs. non-scripted shows.  It's a question of process.  The reason most network scripted dramas suck is because of the process.  For the most part, you have a collection of young, half-bright development executives who wouldn’t know a good story idea if it set itself on fire and fucked their mothers while singing “Cheyenne Anthem” from Leftoverture.  So they do what most chimpanzees do -- they ape and throw shit.  Developing shows based on what they think people want to see.  Churning out clones of semi-successful shows.  Looking for a “hook” to market.  It’s never about the story or characters.  That would demand talent, patience and an open mind.  Commodities that have long up and deserted ABC, NBC, CBS, FOX and the CW. 

(There are some exceptions.  Chuck and Glee are all I can think of right now.  In fact, that might be it... oh, and Lost, I love Lost)

Gone are the days of the TV visionary.  Bochco, Kelley, Fontana, Sorkin, Milch, Wells, Wolf.  These guys had fucking balls.  They stood up to network fears and contradicting marketing strategies and pushed their vision forward.  The result was great TV.  It was great because the networks were smarter, they let the creatives DO THEIR FUCKING JOB.  All those savvy executives have been replaced with accounting personnel.  And when a network is inspired enough to hire a creative leader -- Reilly, Ligori -- they never give them a chance to flourish.  It's a fucked up system that has created hours upon hours of dreck.

I have a director friend, let’s call him… CJ, who says the job of a network executive is to turn everything to shit.  They hire you to stop them from doing that.  Unfortunately, the shit-turners are winning.  Nowadays it’s all about formula.  You get rights, attach a hot writer, develop it into the fucking ground until it’s so middle-of-the-road it has no point-of-view, then attach a waning movie star, throw tens of millions in promotion at it and hope that no one notices that it’s the same old crap repackaged.  But folks always do. 

In recovery, the “definition of insanity” is doing the same thing over and over and expecting a different result.  Primetime is an active asylum.

I’m an extremely lucky guy.  I have a network behind me that understands the creator-network relationship.  Yes, FX has its bottom-line.  They are not in the business to make great TV, they are in the business to make money.  They do that by making great TV.  The truth is that Fox didn’t want John Landgraf to make Sons.  They couldn’t imagine anyone tuning in to watch a biker family drama.  It defied all research.  When John said he still wanted to do it, I think Chernin started to prepare his transfer papers.  But FX believed in the show and by proxy they were forced to believe in me.  I was all they had.  Yes, they were completely up my ass during the pilot, pilot reshoot and the first four or five episodes, but then they backed off.  They had to.  They knew that the success or failure of Sons of Anarchy ultimately landed on my shoulders.  When the show hit its stride midway through the first season we settled into our creative process that we still have today.  I get notes, ideas and feedback.  I take the ones that make the show better and discard the ones that don’t.  At the end of the day, the creative decisions are mine.  Sometimes I bend to a note and regret it, sometimes I disregard a note and regret it, but ultimately it comes down to trust. 

FX trusts the storyteller.  Networks trust charts and graphs.   

MY HEART'S ALL A TWITTER

When I first signed up for Twitter four or five months ago, I tweeted to my friend Rich that I'd probably abuse it for a week, get freaked out and quit.  I did.  Twitter was a ridiculous concept to me.  Self-involved monitoring of daily inanities.  Who the fuck cares where Ashton buys his fucking latte?  

Clearly Twitter survived without my contribution.  A month or so ago, I got a Google alert about SOA and it was a Twitter post by Alan Sepinwall.  Alan is the TV critic for my hometown paper, NJ Star Ledger.  Alan did not seem like the type of guy who would be informing his readers where he was picking up his fucking dry cleaning, so I re-examined twitter.

That's when I got it.  I suddenly saw the power of the tweet.  Yes, it is still filled with millions of folks commenting on the texture of their morning shits, but it is also a brilliant PR tool --

Instant messaging to the masses.  

Instant links to stories.  

Instant images.  

Instant feedback.  

Instant information.  

Instant karma.

I love instant.  I consider myself a spiritual person capable of patience and acceptance, but at the end of the day -- MORE, BETTER, FASTER is still what gets my dick hard.

I have been considerably erect on Twitter ever since.  It is proving to be a great device, not for Kurt Sutter, but for SutterInk.  I feel like I have direct access to fans, critics, biz personelle and everything in-between.  The big lesson I have learned is the reach of Twitter (calling Zucker a buffoon, while accurate on some level, not a very smart career move for Kurt).  I now understand that every character I type from my keyboard or iPhone is essentially a press release.  The opinions of a writer and director for public consumption.

SOA FRANCE

Katey, Charlie and I did press in Paris last March. As I blogged at the time, we had a great day. M6, the French network who bought the show, were very enthusiastic and embraced the show. Season one premiered there this month and it was their most successful premier in four years. Below are some of the publicity shots and press from season one. Katey and I are hoping they want to do some follow up press this fall (read: we'd like a free trip).  Merci beaucoup.

Here's the M6, SOA website.   http://www.groupem6.fr/soa/

 

CHARLIE ON CARSON DALY

THE CREATION OF WHITENESS

I think this is a very relevant video in light of what we are doing this season.

SONNY'S 71ST

A while back, I got wind that Sonny was a fan of Sons. My initial response was relief. Perhaps the same relief David Chase felt when he got a gift basket instead of a dead fish from his Italian brethren. Sonny is Sonny Barger (it's a hard G). If you don't know who Sonny is, you should. The man is single-handedly responsible for turning a lifestyle into a subculture. Before Sonny, motorcycle clubs were an unorganized pack of riders. For better or worse (depending on what information you choose to believe) Sonny organized and idealized the MC life. A few weeks ago I was made aware of a poker run for Sonny's 71st birthday. It was an open party. Meaning it was open to friends and neighbors who were not part of the club. Sonny does two of these events a year. One for the HA anniversary and one for his birthday. I reached out to Sonny's lawyer, Fritz Clapp to make sure it was cool if I showed up. I then received a few Facebook messages from a family friend of Sonny and Zorana (Zee), his wife, extending the invitation. When I spoke to Zee on the phone she couldn't have been more gracious and welcoming. She then put Sonny on the line and he personally invited Katey and myself to the run. Katey unfortunately is in Hawaii shooting Lost, so I went solo (I invited my cast, but everyone had prior commitments... or so they said... fucking actors). I flew into Phoenix in the morning and was picked up by Kevin, the family friend. I was taken to the third bar of the poker run (a poker run usually consists of hitting 3-5 bars and landing at the last one for the big party). I was greeted by Sonny and Zee and escorted into the bar. I know this is going to sound like naive idol worship, and I know Ralph Sonny Barger is a man who has been accused of some nefarious deeds, but the guy I met was unbelievably kind, gracious and giving. He basically adopted me for the day. Had me at his side and introduced me to everyone he encountered. I felt like the prodigal son. We posed for photos, signed autographs and shook hands for hours. Sonny refused no one. I was exhausted trying to keep up with him. To be clear, this crowd-working only happens on open runs. Private runs or private time, his brothers wouldn't let anyone approach Sonny. You can get a sense from my blog and tweets that I'm a guy who speaks his mind. Usually to me detriment (I'm piling up the hostile work environment claims from Fox employees). And I'm not a guy who is easily impressed, I can smell bullshit a mile away. Trust me, I'm neck fucking deep in it in this town. So, based on my limited resources, I was expecting Sonny to be slick, vague and a bit of a manipulator. I was not expecting to meet a quiet, simple, forthright cat. And he was. Alarmingly so. An interesting mix of charisma and enigma. His feedback was direct, honest and kind. But I found myself more fascinated by what he didn't say. A look or a nod to one of his brothers or his wife spoke volumes. The legendary status made complete sense to me. The man know he's an icon and wears it like a comfortable shirt. He made me feel completely at home. The only tension I experienced was when Sonny asked me if I wanted to ride to the last bar. Sonny Barger was inviting me into his formation, I couldn't refuse. So I rode Zee's Electra Glide, packing her behind me. Now, I've gotten very comfortable riding again. As some of you know I hadn't been on a bike for a dozen years so when we got our free Harley's the deal I made Katey was that I'd bone up and take a few lessons. Which I did. But here I am, riding a bike I've never ridden before, riding in a pack with a hundred bikes, which I've never done before, with the love of Sonny's life packed behind me. My prayer for the few mile ride was "Oh my fucking god, please don't let me lay down the bike, please don't let me lay down the bike...". I didn't. Other than the flop sweat, I actually held my own, got us both there in one piece. After the party, Sonny and Zee invited me back to their home where a few friends and the rest of his Cave Creek charter joined us. I hung out and listened to these guys swap stories and critique the show. My favorite piece of feedback came from a prospect who said that there'd be no fucking way Half-Sack would be drinking and making out with a girl at a run. He'd be washing the fucking bikes. The comment came from a place of experience. I gotta say, the coolest thing to me was how much all these people love the show. I mean they really fucking love it. Every character nuance, every detail is not wasted. They are smart, sophisticated viewers who completely plug in. And they totally get and accept that it's television and that we take deep dramatic license. My favorite quote of the trip came from one of the Cave Creek members, who blurted out this excited revelation, "Sons is fucking soap opera... but it's our fucking soap opera". Yes, brother, it fucking is. I want to thank Sonny and Zee and all the members of Cave Creek for an extraordinary day.