Skip to main content

My Salt Lake Comic Con Schedule

Hot on the heels of Dragon Con last week, I'll be at Salt Lake Comic Con this week.

Both conventions have kept me very busy, and I'm looking forward to Salt Lake. I'll be sharing a booth with the rest of the guys from Big Shiny Robot! and some other great artists. I'll have plenty of books and will be signing them, including The Serpent's Head.

For those interested, here's my panel schedule:

Thursday

  • 4:00 pm - An Hour With Sam Witwer
  • 5:00 pm - Room 250a - What we know and what we think we know about Episode VII (Moderator)
  • 7:00 pm - Room 255c - Salt Lake Comic-Con Film School Part 1: Development, Screenwriting, and Pre-production
  • 8:00 pm - Room 255b - The Big Shiny Geek Show Pub Quiz
Friday
  • 1:00 pm - Room 250a - Star Wars Rebels (Moderator)
  • 2:00 pm - Room 151g - The Future and Legends of Star Wars Canon (Moderator)
  • 8:00 pm - Room 255f - The Cinema Behind Star Wars (Moderator)

Saturday
  • 2:00 pm - Room 255b - Nerds vs. The News
  • 3:00 pm - Room 255c - Salt Lake Comic Con Film School Part 3: Post-Production, Marketing, and Distribution
  • 4:00 pm - Room 255c - How to Create and Run a Successful Kickstarter Campaign
  • 5:00 pm - Room 251a - Star Wars Roundtable: An in-depth discussion of Film, Comics, Television, Novels, Toys and more (Moderator)
  • 6:00 pm - Room 151d - Full of Sith podcast recording
  • 8:00 pm - Room 255e - The Princess Bride, John Carter, and other movie marketing failures (Moderator)
This is all still subject to change. I've heard tell they want to add some things to the schedule, but we'll see. In the meantime, I'd say your best bet to get a book signed will be on Friday, which is my lightest panel day.

I also promise I'll be updating this space more often. I've just been writing. A lot.

Comments

Popular posts from this blog

Anatomy of a Scene - City Lights

We're going to break down another scene this week, and it's one of my favorites in cinema history. It comes from the ending of City Lights by Charlie Chaplin, which I think is the greatest romantic comedy ever made.  It's a touching film from 1931 and I would make it mandatory viewing for anyone who wants to learn to tell a story. The scene we're going to be breaking down comes from the very end of the film, so if you haven't seen it, I don't want to spoil it for you. Go watch the film. You can rent it for $3.99 in HD on Amazon  or for free on Hulu with a free trial or plus subscription. You should just buy the Blu-ray, though. You're going to want to revisit it. For those of you familiar with the movie, or for those of you who are going to ignore my pleas to watch it and go ahead with this post anyway, I'm going to set this clip up a bit before you watch it. City Lights tells the story of Chaplin's Tramp and how he falls in lov

Anatomy of a Scene: The Third Man

It's time again to break down a classic scene. One that's well-written and, in my view, a fine example of excellent craft. I've done some of these articles from books (like The End of the Affair   and Starship Troopers ) and other movies (like Citizen Kane , City Lights , Raiders of the Lost Ark , and Butch Cassidy and the Sundance Kid ), but now it's time to take a look at a scene from The Third Man . It blends the best of Orson Welles (as he's in the film and drives this scene) and Graham Greene, who wrote this particular screenplay. Before we get to the scene, we need some context. The Third Man is a tale of the black market in Vienna, just after World War II. It's about a cheap, dime-store Western novelist named Holly Martins (played by Joseph Cotton) and his friend Harry Lime (Orson Welles.) Lime offered Martins a job in Vienna, so Martins leaves America and arrives, only to find that Harry Lime is dead. Penniless, without a friend or reason to be

The Missed Opportunities of Days Gone By

“Hello?” I said into the phone, accepting the call from a number I didn’t recognize. “Hey,” the feminine voice on the other replied, as though I should know the sound of her voice. At a loss, I said, “Can I help you?” “It’s Brooke.” Her name stopped me. It couldn’t possibly be her. We hadn’t spoken in years, a decade perhaps. “Brooke?” “Yeah, Brooke Baker. This is Mark, right?” Jesus Christ. It was her. “Yeah, it is Mark. Brooke. Wow. How are you? It’s been a long time since… well… since anything.” “I know.” “So, how are you doing?” “Okay, I suppose…” Her voice belied her words, though. Something was up. “I… It’s just been so long and I guess I wanted to hear your voice.” “I don’t think I had a number for you. Ever. I offered a couple of times, but…” “I was a brat back then.” And that’s how a random phone call turned into a two-and-a-half hour catch-up session. We spoke of everything under the sun: people we still knew, how different we were, h