See, also, Robert Gottlieb, editor to Caro, le Carré, and Catch 22, who famously avoided the spotlight (until he agreed to participate in “Turn Every Page” a fabulous documentary that delves into his remarkable influence on so many masterpieces).
Have you ever wondered what would happen if advertising had followed the publisher model? Instead of creative directors, largely people promoted away from their core talents and skill sets now told — sans training beyond working for other’s — to “direct” the work, we’d have creative editors, who’s real role is ti nurture, shepherd, and bring out the purest version of the creative team’s idea.
It wouldn’t be a step down or a marginalization by any means: look at Ezra Pound’s handwritten edits of Elliott’s “The Wasteland” and you can’t help but be blown away by the editor’s profound contribution.
love this. maybe Perkins should have had been a minor character in "Midnight in Paris".
Lol!
Never heard of him. Love this series.
See, also, Robert Gottlieb, editor to Caro, le Carré, and Catch 22, who famously avoided the spotlight (until he agreed to participate in “Turn Every Page” a fabulous documentary that delves into his remarkable influence on so many masterpieces).
Have you ever wondered what would happen if advertising had followed the publisher model? Instead of creative directors, largely people promoted away from their core talents and skill sets now told — sans training beyond working for other’s — to “direct” the work, we’d have creative editors, who’s real role is ti nurture, shepherd, and bring out the purest version of the creative team’s idea.
It wouldn’t be a step down or a marginalization by any means: look at Ezra Pound’s handwritten edits of Elliott’s “The Wasteland” and you can’t help but be blown away by the editor’s profound contribution.