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Blood, Sweat & Chrome by Kyle Buchanan PDF DownloadBlood, Sweat & Chrome by Kyle Buchanan KINDLEBlood, Sweat & Chrome by Kyle Buchanan EBOOKBlood, Sweat & Chrome by Kyle Buchanan EPUBBlood, Sweat & Chrome by Kyle Buchanan Read onlineBlood, Sweat & Chrome by Kyle Buchanan Full PDFBook Description: A full-speed-ahead oral history of the nearly two-decade making of thecultural phenomenon Mad Max: Fury Road—with more than 130 new interviews with key members ofthe cast and crew, including Charlize Theron, Tom Hardy, and director George Miller, from the popculture reporter for The New York Times, Kyle Buchanan.It won six Oscars and has been hailed as the greatest action film ever, but it is a miracle Mad Max:Fury Road ever made it to the screen… or that anybody survived the production. The story of thismodern classic spanned nearly two decades of wild obstacles as visionary director George Millertried to mount one of the most difficult shoots in Hollywood history.Production stalled several times, stars Tom Hardy and Charlize Theron clashed repeatedly in thebrutal Namib Desert, and Miller’s crew engineered death-defying action scenes that were among themost dangerous ever committed to film. Even accomplished Hollywood figures are flummoxed by theaccomplishment: As the director Steven Soderbergh has said, “I don’t understand how they’re not stillshooting that film, and I don’t understand how hundreds of people aren’t dead.”Kyle Buchanan takes readers through every step of that moviemaking experience in vivid detail,from Fury Road’s unexpected origins through its outlandish casting process to the big-studio battlesthat nearly mutilated a masterpiece. But he takes the deepest dive in reporting the astonishing factsbehind a shoot so unconventional that the film’s fantasy world began to bleed into the real lives of itscast and crew. As they fought and endured in a wasteland of their own, the only way forward was tohave faith in their director’s mad vision. But how could Miller persevere when almost everythingseemed to be stacked against him?With hundreds of exclusive interviews and details about the making of Fury Road, readers will be leftwith one undeniable conclusion: There has never been a movie so drenched in sweat, so forged byfire, and so epic in scope.=====================================================================As a young writer, my naiveté about the publishing process nearly led me to financial ruin.Here’s how to avoid my mistakes.The first thing I tell debut authors is this: Assume nothing.If just one person had sat me down when I signed my first book contract and explained howpublishing works, how nothing is guaranteed, and how it often feels like playing RussianRoulette with words, I would have made much sounder financial and creative decisions. Iwould have set a foundation for a healthy life as an artist, laying the groundwork to thrive inuncertainty, to avoid desperation, panic, and bad decisions that would affect me for years tocome.How would my life be different if a fellow writer or someone in the industry had told me thatthe money I’d be receiving for my advances was absolutely no indication of what I couldmake on future book deals? What pain could I have avoided if they had advised me not to
spend that money as though there would be more where that came from? I suspect I mayhave avoided a near nervous breakdown and not come so perilously close to financial ruinand creative burnout. But no one came forward.Let me back up. One of the most respected publishing houses in the world gave me$100,000 to write two books, one of which was already finished, and I was feeling… well,fancy.As a kid who’d once stood in line with her mother to get food stamps, I could not believe thefigures in my bank account.Now, I want to acknowledge the inherent privilege that I hold as a white, educated,middleclass American. The problems I write about here are “struggles” many people wouldlove to have. They are good problems. Lucky, even. Growing up with a lack of financialliteracy didn’t mean there weren’t opportunities for me out there because of my positioningin the world. I had a leg up, even when it felt like I was in the trenches. Access equalsprivilege, and I understand that. I try hard to acknowledge my privilege and not be part ofthe problem, but didn’t do so explicitly in the original version of this article. Revising is myfavorite part of the writing process, and clearly a big part of my personal life. In fact I wish Icould go back and revise the past six years.I did play it smart, though: I didn’t quit my day job, and wrote a larger-than-usual check tomy student loan company when the advance came through. I didn’t know if this was aonetime thing or not.Each new book is like a weekend in Vegas: Maybe I’ll get lucky, maybe I won’t.But when I sold a trilogy to another publisher the following year for over $250,000 dollars(even now I cannot believe I wrote that sentence and, furthermore, that it’s true), I reallythought I had made it — forever, not just for a moment. Not for this one book deal. Forever.Otherwise, I reasoned, they would never have paid me such enormous sums. Thesepublishers must be investing in me for the long run. I was one of their own.It had happened twice in a row, these six-figures: Surely I had somehow become one of thechosen few. After years of research and struggle to break out in such a ferociouslycompetitive industry, I’d somehow come out ahead.But in that process, I’d somehow missed several critical aspects of the business, and thatwas on me (to some extent). Surely there were writers who had gotten the memo abouthow advances worked, and the ins and outs of publishing. But so much of an aspiringwriter’s life — and so many of the resources available to them — is focused on getting thatfirst book deal. What came after was beside the point.It would also be fair to say that the same energy and drive that had landed me a book dealin the first place guided much of my decision-making process in ways that weren’t alwayshelpful. I reasoned that if I’d achieved the impossible once, why not again? Someone has tobe on the bestseller list, win the National Book Award, have the big movie deal.Did anyone working with me — agency, publishing team — tell me that a sumptuousadvance was not something I should depend on or get used to? Or that, in fact, it’sextraordinarily common in the publishing industry for untested debut writers to be paid largesums that they may never see again? No. Did anyone in the publishing house take me
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