Posts Tagged ‘Quarry’

Quarry Yesterday, Today and Tomorrow

Tuesday, February 10th, 2015

Last week’s update was written before the news of the HBO/Cinemax pick-up of the QUARRY series (we ran a kind of news bulletin last week).

I have received a lot of public and private congratulations for QUARRY making it to TV. A few people who’ve got in touch are surprised that I’m not jumping up and down in elation, but the truth is that the feeling is more one of relief.

You see, we (I refer to Barb, Nate and me) have known that QUARRY was picked up for series for over six months. At least, I was told it had been picked up, and assured it was picked up, but was also told not to say anything about it in public. I know enough about disappointment in the TV/movie game to realize that until an official announcement is made, anything can happen. And that “anything” is usually bad.

I didn’t tell anybody about ROAD TO PERDITION the movie until Barb and I had been to the set and seen Tom Hanks and Paul Newman standing in front of a 35mm camera.

So it’s been nerve-racking – especially considering that the pilot was shot in August 2013.

The TV project I mentioned (without naming it) a while back was the writing of my script for QUARRY – episode 5, although my understanding is that elements of my script may appear in other episodes. I have done my rewrite and I have been paid. That was when this started feeling really real. The two writers who adapted the novels into a TV format – Graham Gordy and Michael D. Fuller – have been wonderful to me, and great to work with. Everybody attached to the show has first-rate credentials. QUARRY is in good hands.

Fans of the novels need to understand, however, that the concept of this eight-episode run (this may change if another season comes along) is to look at the start of Quarry’s hitman career. Aspects of Quarry that have been chiefly back story in the novels are the focus of the eight episodes, which start with Quarry’s return home from Vietnam and includes the Broker recruiting him into crime.

Also, the Southern setting – the show takes place in Memphis and will shoot in Louisiana and Tennessee – gives it a flavor of its own. Initially, that setting had more to do with finding an economically feasible location, but that region’s richness (particularly in the world of music) has found its way into the series.

Of the novels, the first one – QUARRY (originally THE BROKER) – seems to have had the greatest impact on the TV series. But that novel charts the ending of Quarry’s personal and working relationship with the Broker, while the TV series explores its beginnings. Those of you who follow the novels likely know that in the more recent Hard Case Crime books, I’ve gone back and explored the Quarry/Broker story in THE FIRST QUARRY and QUARRY’S CHOICE (also the short story, “Quarry’s Luck”).

The most ironic thing about the TV series is also one of the most gratifying: it’s a period piece, concentrating on the Vietnam aspect of Quarry’s background (that Quarry was a PTSD Vietnam vet and a sniper has taken on new resonance, thanks to Clint Eastwood). I say “ironic” because when the series began, it was decidedly contemporary and the Vietnam theme could not have been more current.

For the record, Quarry was created in the fall of 1971 when I was attending the University of Iowa’s Writers Workshop, where the first several chapters were discussed in class and mostly disliked (though those who liked it really liked it). On December 24, 1971, I got word that the Nolan novel BAIT MONEY had sold, and two weeks later that the Mallory novel NO CURE FOR DEATH had sold (both written at the Workshop, under Richard Yates). I put QUARRY away, at about the half-way point as I recall, and wrote sequels to both those books. I’m fuzzy on when I completed QUARRY – whether I returned to it, after the Nolan sequel (BLOOD MONEY) and the Mallory sequel (THE BABY BLUE RIP-OFF) were completed, or if I waited till I’d written three more Nolan novels that were contracted by Curtis Books. But I believe by 1974, it was finished and sold maybe a year later, finally published in 1976. I was again asked for three more books (from Berkley Books) and the first four Quarry novels appeared and disappeared without much notice. (Only EQMM reviewer Jon L. Breen noticed them, and saw potential in their author. He’s been a booster of mine ever since, bless him.)

Then the books began to gather steam as a cult-ish thing, leading to one more novel in the ‘80s (QUARRY’S VOTE, originally PRIMARY TARGET) and three short stories in the ‘90s. So while there hasn’t been a steady stream, Quarry has been active in every decade since his creation.

The short story “A Matter of Principal” got a lot of attention, appearing in several anthologies and leading to an award-winning short film of the same name from my screenplay and then the feature film THE LAST LULLABY, which I co-wrote. The novel THE LAST QUARRY reflected my screenplay (minus the co-writer imposed upon it) and was presented as contemporary, with Quarry a man in his fifties. It was intended as the most perverse ending to the series possible: a happy one.

The unexpected success of THE LAST QUARRY led me to head back in time and do what we call in the comics business “continuity inserts”…although I don’t pretend the continuity is flawless. What the hell – Rex Stout couldn’t keep track of Nero Wolfe’s address and phone number.

The last thing I ever expected to be doing was writing a new Quarry novel in 2015, let alone doing that with a Quarry TV show casting its pleasant shadow. I have, incidentally, completed that book, QUARRY IN THE BLACK, which is another story about Quarry in the Broker years. I should say “completed,” because I have to sit down today and probably tomorrow and read it again and do tweaks and catch typos and continuity glitches.

Anyway, to all of you who expressed your thanks and/or delight about this QUARRY series happening, thank you very much.

* * *

The TV news was all over the Internet last week. You don’t have time to read all of the stories and I don’t have the inclination to post all of the links (actually Nate does that, and he won’t have that inclination, either). But here are some of them.

Comics Mix is the rare place that puts the emphasis on the creator of Quarry (you know…me).

Here’s another.

And another.

Here’s a local one from the Quad Cities, which doesn’t even rate as the columnist’s top story (a prophet in his own town kind of thing).

Some, like this one, hit the Vietnam aspect harder.

The AV Club, not surprisingly, gets somewhat snarky about it. I remember when I was young and smart…well, I remember some of it.

The “American Sniper” connections led to this kind of coverage.

And finally…what’s this doing here? A really sweet review of THE MILLION-DOLLAR WOUND!

M.A.C.

Note From The Bunker #2

Tuesday, February 3rd, 2015

[Nate’s note: Before we get to the regularly scheduled Update, we have some breaking news:

QUARRY ON CINEMAX

Cinemax today officially announced an eight-episode series order to drama pilot Quarry. Production will begin March 30 on location in New Orleans and Tennessee. Created and executive produced by Graham Gordy & Michael D. Fuller. Based on the novels of Max Allan Collins, the show will be directed and executive produced by Greg Yaitanes (Banshee), along with executive producer Steve Golin (True Detective).

Quarry tells the story of Mac Conway (Logan Marshall-Green), a Marine who returns home to Memphis from Vietnam in 1972 and finds himself shunned by those he loves and demonized by the public. As he struggles to cope with his experiences at war, Conway is drawn into a network of killing and corruption that spans the length of the Mississippi River. Jodi Balfour, Peter Mullan, Nikki Amuka-Bird and Damon Herriman co-star, along with Jamie Hector, Edoardo Ballerini and Skipp Sudduth. “This nuanced and dynamic show marks an exciting moment in the evolution of Cinemax programming,” said HBO’s Michael Lombardo.

An HBO Entertainment production in association with Anonymous Content, the series is also executive produced by Matt DeRoss, David Kanter, Max Allan Collins and Ken Levin. Additional writers on the series include Jennifer Schuur and Max Allan Collins.

Cinemax has been making strides in original programming with dramas Banshee and The Knick, the latter earning the sister HBO network its first awards nominations.

And now, back to the Update….]

* * *

Here’s the first major review for the upcoming Mike Hammer novel, KILL ME, DARLING – and it’s a great one from Publisher’s Weekly no less:

Kill Me, Darling

Set in 1954, Collins’s seventh posthumous collaboration with Mike Hammer creator Spillane (after 2014’s King of the Weeds) is one of his best, liberally dosed with the razor-edged prose and violence that marked the originals. The New York City PI has hit the bottle hard after his longtime assistant and love, Velda Sterling, abandoned him with a one-word note. Then Mike’s friend on the NYPD, Pat Chambers, tells him that Velda has surfaced in Miami, on the arm of Nolly Quinn, a notorious mob-connected pimp. Mike cleans himself up and heads south to rescue Velda from Quinn, only to find that she doesn’t want to be rescued. Collins faithfully follows Spillane’s successful formula, including frequent gunplay, menacing thugs, and betrayal. He even matches Spillane’s colorful turns of phrase (e.g., “My bullet shattered his smile on its way through him and out of the back of his head”). Agent: Dominick Abel, Dominick Abel Literary Agency. (Mar.)

* * *

I am still working on the new Quarry novel and might finish this week, if all goes well. But a writer never knows. I often say that I never get writer’s block, which is the kind of boast than can catch up with you. No writer’s block, that’s true in its way, but I do have bad days.

A typical bad writing day for me happens as follows. I have a very good writing day, turning out more pages than usual, and I am floating on a cloud of genius. Then, that night, going to bed around midnight, having gone blissfully and quickly asleep, I wake up at 1:30 a.m. Wide awake. I do my best to get right back to sleep, but no go. I go downstairs, read something until I get sleepy, which takes an hour to two hours. Then I sleep in my recliner for a while, wake up after a while and trudge back to the bedroom, where I get to sleep right away. But I wake up at the usual time, after a very disrupted night’s “rest.”

The writing day that follows is almost always a disaster. I do write. But I am not my usual nimble self. What’s normal for me is ten to fifteen pages of finished draft. Last week, after my rocky night, I spent all day on four pages.

Some of that has to do with the research that is now required of a Quarry novel, now that they have become historical books themselves, in their quirky way. I spend as much time chasing details on Google or in reference works as I do writing – not that different from the Heller process.

But the way I do a Quarry novel is much different than a Heller. Because of the historical crimes involved, a Heller novel is tightly plotted, with each chapter detailed in at least a paragraph in a document that can be anywhere from ten to thirty pages long. With Quarry, my chapter outline reverts (not surprisingly) to the approach of my early career, with each chapter indicated by a sentence or two. For QUARRY IN THE BLACK, my outline says for chapter one: “Quarry gets job from Broker.” Another says: “Quarry and Southern gal connect at club.” That’s it. The rest is done on the fly.

That really works for Quarry, but if I’m having an off day? He is just not himself. Like I am not. Sometimes I can power through it. Sometimes I can come back in the evening (which I did with the four pages mentioned above, which turned into seven) but not always. Being older doesn’t help.

And there’s that other thing that writers never talk about – that as writers we change from day to day. Make that second to second. Back in the ‘80s, before word-processing programs automatically saved every now and then, I lost an entire chapter of the Eliot Ness novel, THE DARK CITY. It was devastating. When I knew the chapter was gone, really really gone, I started over and did my best to remember it.

Of course, I couldn’t. The chapter, as it now exists, covers the same ground. But it’s not as good as the one I lost. If I were to lose this little essay and start over, it would be substantially different and none of the phrasing would be replicated. In the mid-‘80s, I lost a chapter of PRIMARY TARGET (aka QUARRY’S VOTE) and the same process happened: I tried to remember it and only came up with a shadow of what it had been.

If a writer starts working on a story or chapter in a novel on Monday morning, even working from a detailed outline, it will be substantially different that if he waited till Tuesday afternoon. We, like what we write, are works in progress. We hope it’s progress, anyway.

A number of people lately have asked me what order to read the Quarry novels in. Chronological would seem to make sense, like starting with THE FIRST QUARRY, moving to QUARRY’S CHOICE, then QUARRY aka THE BROKER, sliding the later-written books into continuity. But THE BROKER was written when I was in my early twenties; THE FIRST QUARRY and QUARRY’S CHOICE were written by a man in his sixties. Do you understand why my advice would be to read the books in the order I wrote them? Because the writer who did the first four Quarry novels was a very different one.

* * *

Here’s an okay review of SEDUCTION OF THE INNOCENT, but the reviewer doesn’t quite get it….

Here’s a fun review of DAMNED IN PARADISE.

And now, with the blessing of being snowed in, I will head back to the bunker. Only I’m already there.

M.A.C.

Note from the Bunker

Tuesday, January 27th, 2015

As I’ve indicated in an earlier update, I am really up against it in the first half of this year. With only about a week’s break after finishing BETTER DEAD (the new Heller), during which a lot of other business was conducted, I got right on the next Quarry novel, QUARRY IN THE BLACK. I am about a third-of-the-way in, writing one chapter a day, final draft. I took one day a week off, generally.

I don’t mind working hard, and I feel my novels – particularly those in first person – benefit from the intensity and speed of the process. Right now two of my collaborators, my lovely bride Barb and my good buddy Matt Clemens, are preparing their rough drafts of the next ANTIQUES and Reeder & Rogers novels. They make my life and my job much easier, and the resulting novels will be better than I could have made them on my own.

But the writing may mean for some scattered and occasionally, well, grouchy updates. This report from the bunker includes a few stray thoughts.

First, few comments have come in about my favorite and least favorite movies of 2014 list. Probably I was too belligerent in presentation. Whenever you sense that in one of these updates, you’ll know the writing is rubbing up against me hard, trying to make a pearl.

Birdman

Second, I have now seen both BIRDMAN and FOXCATCHER. Both are very good (Barb agrees) and I was especially impressed by BIRDMAN, which is the rare film that is as driven by dialogue as it is visuals; the cast is outstanding, especially Michael Keaton and Ed Norton, who is spoofing himself to some degree. BIRDMAN would have gone on my Favorite lists.

FOXCATCHER suffers from a sluggish pace and some poor narrative choices, but it is nonetheless worthwhile with excellent performances from Steve Carrell, Tatum Channing and Mark Ruffalo. It would not be on my favorites list.

Keaton is now my Best Actor “Oscar” pick.

By the way, I never watch the Academy Awards. I find the show dull and embarrassing, and many of the movies being honored do not interest me. Is this like a sports fan skipping the SuperBowl? I wonder. In any case, we always watch a movie instead.

Third, a good number of readers misunderstood my rant about getting hit on for free advice. I was specifically talking about my home town and people who don’t really have an interest in me or my work, other than sucking information out of me at a social occasion. On the other hand, with very rare exceptions, I can’t give blurbs anymore because I don’t have time to read the books. Too much research to plow through, and when I’m writing a book, I tend not to read fiction.

I am pleased to report that QUARRY’S CHOICE is racking up some great reviews. Here’s one.

And it’s a thrill to get reviewed at Bookgasm; here’s their QUARRY’S CHOICE rave.

M.A.C.

Favorite and Least Favorite Films of 2014

Tuesday, January 20th, 2015

Here’s just what nobody was waiting for – my (sometimes) annual listing of my favorite and least favorite movies, this time for 2014. Among my least favorites are Academy-Awards “Best Picture” nominees, BOYHOOD and SELMA, both of which rate my Emperor’s New Clothes Awards, the former because it’s a gimmick in search of a narrative and the latter because it transforms compelling history into a smeary slow-motion bore. The fuss over the lack of Best Director and various acting nominations for SELMA should be replaced with outrage that it got a politically correct nomination.

The black actor who deserved a nomination – in my opinion, the actor period who deserves to win the Best Actor Oscar – is Chadwick Boseman for his spellbinding portrayal of James Brown in GET ON UP. And Brandon Smith’s snapshot of Little Richard in that same film is easily worthy of a Best Supporting Actor nomination.

Keeping in mind that I prefer to praise filmmakers and films than condemn them – having some experience in just how terribly hard making a movie is – I am nonetheless sharing the names of the films that made my frequent movie-going a blessing and those that made it curse.

FAVORITE MOVIES

1. GRAND BUDAPEST HOTEL – Wes Anderson hitting on all eccentric cylinders. Nothing else I saw last year came close.
2. EDGE OF TOMORROW – Tom Cruise and Emily Blunt are first-rate in this wonderful s-f spin on GROUNDHOG DAY.
3. THE RAID 2 – A mindblowing sequel to a mindblowing action film.
4. THE IMITATION GAME – Intellectual thriller both life-affirming and tragic. Benedict Cumberbatch deserves his Oscar nomination and probably should win (but won’t).
5. INTO THE WOODS – Surprisingly good if slightly watered-down film version of Sondheim’s daringly dark take on fairy tales. Haunting music and genius lyrics.
6. THE INTERVIEW – Boldly tasteless but genuinely biting satirical comedy, with both Seth Rogen and James Franco fearlessly self-mocking.
7. GUARDIANS OF THE GALAXY – Worst trailer for a comic-book movie shockingly turns out to belong to the best comic-book movie of recent years; funny and exciting.
8. 22 JUMP STREET – Inspired self-aware sequel.
9. VERONICA MARS – It exists and therefore appears here. You see, a long time ago we used to be friends.
10. THE JUDGE – Traditional Hollywood storytelling at its old-fashioned best. Critics hate that.

Honorable mention in no special order: HORRIBLE BOSSES 2; THE EQUALIZER; JOHN WICK; DAWN OF THE PLANET OF THE APES; EXPENDABLES 3 (surprisingly); NEED FOR SPEED (in 3-D on imported blu-ray); NEIGHBORS; GET ON UP; BIG HERO 6.

LEAST FAVORITES:

1. BOYHOOD – A stunt that does not hold together; no story, flimsy to nonexistent characterization, rife with meandering non-scenes – an endurance test for all but the easily fooled.
2. NIGHT AT THE MUSEUM: SECRET OF THE TOMB* – Shoddy sequel with (despite a co-scripting credit) no indication of the work of Thomas Lennon and Robert Ben Garant, the gifted RENO 911 boys who created the franchise. Shameful, but the place to go for seeing a monkey piss on Ben Stiller.
3. SELMA* – Slow, self-important, unevenly acted, incompetently shot (I suggest a crossing-the-axis drinking game), full of speeches (though none written by MLK). It earns a 99% rating on Rotten Tomatoes…for liberal guilt.
4. DIVERGENT* – A laughable imitation of THE HUNGER GAMES, itself a laughable imitation of the great BATTLE ROYALE.
5. HOW TO TRAIN YOUR DRAGON 2* – Slow, irritating, politically correct sequel to a much better film.
6. BOXTROLLS – Unfunny and unpleasant; makes one long for the elegance of the Garbage Pail Kids.
7. A HAUNTED HOUSE 2 – The original kinda funny spoof of found-footage horror films gives birth to this painfully laugh-free sequel.
8. SEX TAPE – Jason Segel, whose work I usually at least like (he’s a FREAKS & GEEKS cast member, after all), joins a particularly irritating Cameron Diaz in an embarrassing shambles of a supposed comedy; an idea for a movie, not a movie.
9. GONE GIRL – Spoiler alert: the victim is the audience and the culprit is the book author’s interminable screenplay.
10. ANNABELLE – A prequel to the much better THE CONJURING, lacking the leads of that picture…and its chills.

* = means that Barb and I walked out. We always gave the movie at least forty-five minutes and sometimes an hour or more. Also, full disclosure: we walked out of BOYHOOD, two-and-a-half hours in. It felt like we’d seen the whole thing. Twice.

FOR THE RECORD: I have not yet seen BIRDMAN, AMERICAN SNIPER, FOXCATCHER and several other Academy Award-nominated films that might have made one of these lists.

Also, for those of you who are going to write in to point out how wrong I am about this film or that one, you are absolutely invited and even encouraged to do so – but do remember this is not a “best” and “worst” list, but a “favorites” and “least favorites” list.

– – –

Here’s a terrific and very smart review of QUARRY’S CHOICE, with some interesting reader comments.

It’s always cool to receive a good review from the UK for something as inherently American as QUARRY’S CHOICE.

Finally, that first-rate writer Ron Fortier likes QUARRY’S CHOICE. Check it out.

M.A.C.