Daily Archives: April 21, 2008

Hank Dog is on the scene. He wants Joba Chamberlain to start.

From the New York Times:

“I want him as a starter and so does everyone else, including him, and that is what we are working toward and we need him there now,” Steinbrenner said Sunday by telephone. “There is no question about it, you don’t have a guy with a 100-mile-per-hour fastball and keep him as a setup guy. You just don’t do that. You have to be an idiot to do that.”

…”The mistake was already made last year switching him to the bullpen out of panic or whatever,” Steinbrenner said. “I had no say in it last year and I wouldn’t have allowed it. That was done last year, so now we have to catch up. It has to be done on a schedule so we don’t rush him.”

…”The starting rotation is not what I would have chosen at the beginning of the year, but that is not a big news flash to anyone,” Steinbrenner said.

Discuss.

A few weeks ago, Joe Posnanski ran a fun comparison at his site: Roberto Clemente vs. Al Kaline. I was talking to Jay Jaffe about it and Jay hit the nail on the head when he said, “Clemente the Icon dwarfs Clemente the player.” With that in mind, and since the Yanks have the night off, please consider checking out the Clemente American Experience on PBS this evening. I hope it’s a good one.

When Pat Jordan told me that he still uses a typewriter to write his stories instead of a computer I wasn’t surprised. He’s so old school, why would he change? His wife calls him a trogliodyte, kicking a screaming into the 19th century. A few years later, I visited Pat at his home in Florida and looked through hundreds of manuscripts and drafts. I saw his tools of ignorance: an old Hermes 10 typewriter (he buys old machines on ebay for the parts), yellow second sheets (discontinued), stubby corrective pencils, a glue-pot, a pair of sissors, and even a bottle of yellow white out (also discontinued). Having come from a fine arts background, I could immediately relate to the tactile nature of Pat’s writing process.

And in fact, if I’ve learned anything from Pat, it is how important thinking is to good writing. Jordan is a deliberate and meticulous writer. When he has a magazine assingment, he first researches the subject, reading as many articles as his researcher can find, then composes his own questions before he conducts interviews and takes notes. Then he transcribes those interviews, orgainzes them with his notes and then he begins to make outlines. If afforded the time, he’ll review the notes, the transcribed interviews and his outlines, and revised outlines, over and over before he starts writing. He might not stick to his outlines, might alter them as he goes, but he always has them as a safety net, a way to organize and structure his thinking. When he finally does begin to write, he goes sentence-by-sentence. If he writes two pages a day–a productive day for him–when he starts again in the morning, he’ll review what he wrote, revise anything that needs fixing, and then proceed.

The tools Pat uses to write are antiquated but they are an essential part of his thinking and his writing. When I worked in post-production, I was fortunate enough to be on jobs with Ken Burns, Woody Allen, and the Coen Brothers, who all still cut on film when I was with them (mid-90s). The physical nature of the medium forced the editor and director to make hard, clear descisions. For instance, if you made a cut on Tuesday, it would take a lot of time and man-power to fix it by Thursday. And even after Joel and Ethan had previewed a reel on their KEM flatbed, it would take five, six minutes to rewind the reel to the head, during which time they would sit and contemplate what they had just watched. I learned to value this down-time, how productive it was for them to be able to think things through.

All three filmmakers cut on computers now. Last winter I spoke with Paul Barnes, Burns’ longtime editor, and asked if he’d ever go back to cutting on film. “Not in a million years,” he said. But he doesn’t need to. He got his chops the old fashioned way, so the new technology is simply a dream. However, for a younger generation, who didn’t grown up cutting on film, there can, at times, be too many choices, so many options that the creative process is overwhelmed by possibilites.

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