Tagged: movie

Weekend Window-Closing Wrap-up

A bunch of things that have been open on my browser, but may not deserve a full post of their own…

  • I have no idea where this Power Girl image came from, but I’m thinking that there’s a fan film out there that I don’t know about. Can anybody help me out?
  • Digital drawing tutorials in a Lackadaisical style.
  • Bobby Crosby says it really wasn’t an April Fool’s joke: Last Blood, a story about vampires protecting the last humans on Earth from zombies, is being adapted for the screen.
  • Finally, you can scan your comics without cracking the spine! As somebody who occasionally has to do this when we don’t have the original film to reproduce from, this is a godsend. Now if only somebody had a cheap tabloid scanner for the Mac…
  • Neil Gaiman gets around– here’s an article by Yvette Tan about meeting him in a Phillipine magazine.
  • The ten sexiest cartoon women…? Uh, not quite. No animated Zatanna? (Might be NSFW, depending on your workplace.)
  • Ian Gibson! (For you young ones in the audience, he did Secret Invasion 20 years ago for DC.)
  • One of these panelists is not like the others… one’s wearing a hat.
  • Dan Grauman?
  • And finally, the comic movie premiere we were all waiting for this weekend– Super Ninja Bikini Babes! …what, there was another comic book movie premiering this weekend?

Ian Shaughnessy Emerging, by Michael H. Price

shaughnessy-book-cover-2446541From V.T. Hamlin in the 1920s and Etta Hulme during the mid-century, through the Superman books of Kerry Gammill in times more recent, Tarrant County, Texas, has long yielded a wealth of storytelling artistry to the comics industry at large.

An ambitious new representative of that regional-breakout scene is graphic novelist Ian Shaughnessy, of Arlington, Texas. Shaughnessy’s books for Portland, Oregon-based Oni Press – including an edgy comedy-of-errors called Shenanigans, with the Canadian illustrator Mike Holmes – bespeak a childhood fascination with comics, filtered through a lifelong love of language and an interest in taking the words-and-pictures medium to provocative literary levels more commonly associated with the present day’s independent filmmaking sector.

“I find myself writing under the direct influence of Billy Wilder,” says Shaughnessy, 24, invoking the name of a great screenwriter-director whose career spanned from 1929 into the 1980s. “I discovered Wilder during the 1990s with The Apartment [1960], then with Double Indemnity [1944], and found myself very inspired – in a lasting way.

“With Shenanigans, I found myself attempting to honor the spirit of Billy Wilder – that mastery that he had of romantic tensions, with finding the humor in awkward situations – as a key influence.”

Any such talent needs a practical springboard. With V.T. Hamlin, the creator of a famous comic strip called Alley Oop that has survived him by many years, the springboard was a cartooning job at the Fort Worth Star-Telegram. Hamlin spent much of the 1920s at the daily paper, generating such local-interest attractions as a serialized feature about a formidable minor-league baseball club, the Fort Worth Cats. (A retrospective collection of Hamlin’s Oop-prototype Panther Kitten cartoons is in preparation, along with an earlier Hamlin gag strip called The Hired Hand, whose booklet edition has been out of print since the 1920s.)

For Etta Hulme, the Star-Telegram’s signature opinion-page cartoonist since 1972, an early breakthrough lay in a post-WWII comic-book series about a cowboy critter named “Red” Rabbit. Graphic designer and Web publisher Kerry Gammill spent the 1980s and earlier ’90s as an illustrator with Marvel and DC, then moved into motion-picture conceptual art on such productions as 1998’s Blues Brothers 2000 and 1999’s Storm of the Century.

(more…)

The Comics-to-Film Review: How ‘Iron Man’ Matches Up

If you read fellow ComicMixologist Matt Raub’s review of Iron Man, you already know the new Marvel Studios movie is a relentless blast of entertainment. Even for those who’ve never picked up an [[[Iron Man]]] comic, it’s a top-rate summer film.

But there are also those of us who have picked up an issue (or a few hundred) of Iron Man over the years, and for us the movie is a different experience, as we can’t help but compare and contrast it to the comics that have come before. So, in that respect, how does the film hold up?

Tony Stark is the place to start, as he’s always been the real draw of any Iron Man tale (though the costume is plenty cool). In the comics, Stark is a calculating man both as a hero and in the business world. He enjoys his wealth at times, but is more taskmaster than playboy.

Robert Downey Jr.’s take on the character is much more like the raconteur persona that Bruce Wayne takes on, only for the movie version of Stark, it’s no act. Much like Johnny Depp in Pirates of the Caribbean, Downey Jr. offers a weird riff on his role that’s entirely new and impossible not to enjoy. Count that as a win for the film.

The film’s plot, meanwhile, is essentially an updating of the classic Iron Man origin story, and the modernization is handled quite well. There’s nothing directly lifted from the comics, and instead the comic references come in an array of winks and nods (S.H.I.E.L.D., War Machine, Nick Fury, Tony’s drinking, etc).

My main problem with the movie is a fault it shares with the comics, in how the plot tries to incorporate real-world issues without really delving into them. Comic books regularly feature stories set in vague, war-torn countries in the Middle East, and the Iron Man film follows suit with its shallow usage of terrorism and Afghanistan.

But those are forgivable defects, and Iron Man easily makes a successful transition from page to screen, thanks to a director and cast that know what elements to take from the books, and which to leave behind.

Interview With Larry Fong, Cinematographer for ‘Watchmen’

  • News
  • April 28, 2008

While much of the hubbub over the movie adaptation of Watchmen has related to director Zack Snyder’s thematic and narrative choices, questions also remain over how the movie will visually reflect Dave Gibbons’ work on the seminal comic.

In answering some of those questions, Larry Fong, who is the cinematographer on the film, spoke with ComicUS (scroll down for the English version). Fong, who also worked on 300, said Watchmen will use less green screen than that film and will try to hew closely to Gibbons’ art.

There isn’t an underlying template on the movie per se. In fact one of the most exciting things about it is that it’s kind of all over the place, visually. We had so many opportunities to explore different looks and there’s even a few scenes that pay homage to other films…I won’t give anything away just yet, of course. …

In Zack’s storyboards, there are frames that are very similar to those in the graphic novel. But photographically, it was more important for me to capture the spirit of Watchmen. That’s more of an intuitive process.

Fong also hinted at Snyder’s next project:

Zack is planning to make another film next year based on an original story he’s had in his head for a long time. It’s crazier and wilder than all his films put together… hopefully I’ll be working on it too!

Amos ‘n’ Andy ‘n’ Independents (sic), by Michael H. Price

  • News
  • April 27, 2008

andycalhoun-9466253An earlier installment of this column had examined a 1931 gorillas-at-large movie called Ingagi as an unlikely long-term influence upon the popular culture as a class. Ingagi, a chump-change production built largely around misappropriated African-safari footage and staged mock-jungle sequences, tapped a popular fascination with apes as a class even as it fostered a generalized anti-enlightenment toward natural history and racial politics.

Strange, then, that the film should have inspired a sequel (unofficial, of course, and certainly in-name-only) from a resolutely Afrocentric sector of the motion-picture industry. The production resources behind 1940’s Son of Ingagi stem from white-capitalist niche-market corporate interests – but the screenwriter and star player, and his supporting ensemble cast, all represent a trailblazing movement in black independent cinema.

From momentum that he had developed beginning with Son of Ingagi at Alfred Sack’s Texas-based Sack Amusement Enterprises, Spencer Williams, Jr., attained recognition that would lead him to a role-of-a-lifetime breakthrough in 1950, with his casting as Andrew Brown on a CBS-Television adaptation of a long-running radio serial called Amos ’n’ Andy. Though created by white-guy talents Freeman Gosden and Charles Correll, Amos ’n’ Andy needed black artists for its on-screen representation. (Gosden and Correll had gotten away with blackface portrayals in 1930’s Check and Double Check – the tactic would not have borne repeating by 1950.) The partners hired a pioneering showman of the pre-Depression Harlem Renaissance period, Flournoy E. Miller, as casting director for the CBS-teevee project, and Miller came through with such memorable presences as Williams, Tim Moore as George “Kingfish” Stevens and Alvin Childress as Amos Jones, Andy Brown’s business partner. (more…)

Prowling for “Sh! The Octopus,” by Michael H. Price

  • News
  • April 20, 2008

octopus-01-title-card-1-3254172In his frank and provocative “Writing under the Influence” commentary at ComicMix, John Ostrander speaks of imitation as “the starting point for what you eventually become” as a storyteller: “Nothing is created in a vacuum,” John avers.

Writing may often seem the loneliest of professions – and certainly so, if one lacks a reality-check communion with one’s customers and kindred souls in the racket – but who has the time to wallow in loneliness when besieged by the insistent Muses of Narrative Influence? Derivative thinking can make for an ideal springboard, given an ability to narrow the onrush of influences and a willingness to seek new tangents of thought and deed.

I have spent the past several months – with a stretch yet ahead – on a 20-years-after return to a comic-book series called Prowler for ComicMix, starting with a digital-media remastering of the original Eclipse Comics stories (1987-1988), moving into a short-stack file of unproduced scripts and raw-material ideas from that period, and settling in at length with a new novel-length Prowler yarn that will tie up some raveled plot-threads from the Eclipse episodes and then head off in other directions.

The reunion of the primary creative team (Timothy Truman, John K. Snyder III, and Yrs. Trly.) re-summons the influences with which we had sought to develop 4Winds Studios’ 10 Prowler books as a Mulligan Stew of such persistent interests as ancient Hebraic Law and American frontier vigilantism; the Deep Southern blues and gospel-music traditions as a response to repressive social and economic conditions; the now-horrific, now-heroic irrationalities of Depression-era pulp fiction; and the bizarre extravagances of Old Hollywood’s low-budget horror-movie factories.

Tim Truman and John Snyder had defined two vigilante Prowler figures, each representing a distinct generation of indignant humanity, by the time I signed on with the project, late in 1986. While Truman and I were sharing a bookstore tour to promote our respective titles at Eclipse – Tim, with Scout and Airboy, and my ownself with the movie-history book Forgotten Horrors – Tim came up with the idea of twisting the plots of some of those 1930s-period Forgotten Horrors titles to accommodate the early-day exploits of the Prowler. (more…)

NYCC: Steve Gerber Memorial

  • News
  • April 19, 2008

The memorial panel for the late great writer Steve Gerber was about as eclectic as he was.  The panel began with a slideshow tribute to Steve’s work, set to the tune of the Beatles’ “Revolution.” Moderator Mark Evanier and Steve’s friends and relatives made sure Gerber’s spirit was as much in attendance as it could possibly be — his ashes were present on the panel table:

Mark even made a joke about how appropriate it was that the box bearing the ashes had gotten a little cracked.

Gerber may have had a cracked sense of humor, but what emerged from the anecdotes told about him by those who knew him well and those he inspired was his tremendous generosity.  Mark recalled an incident when the two of them had heard a scream coming from outside, and in the few seconds Mark began to act on that sound Steve was already outside hoping to help the situation.  While the noise turned out to be a false alarm, Mark pointed out how it was indicative of Steve’s “immediate compassion for a stranger.” (more…)

NYCC News: The Scoop on the ‘Iron Man’ Videogame

  • News
  • April 19, 2008

To coincide with the start of the New York Comic Con, Sega released the demo for the Iron Man movie videogame over Xbox LIVE. Marvel had the demo running at their booth. Watching the attendee reaction was Michael McHale, Senior Producer for the game. He took some time out to give us some new info.

When asked about the long list of videogames based on movies that fail to live up to the hype, he simply responded, "I don’t think anybody sets out to make a bad game."

To prevent the curse of bad movie-based games, Sega took advantage of the fact that Marvel was producing Iron Man themselves and got access to the materials earlier to allow for a longer development cycle than is usual for licensed games. For instance, early on they got the suit CGI models Industrial Light and Magic created for the movie — so the suits in the game are the same ones in the film.

The challenge for the game was, since Iron Man is pretty versitile, they had to make huge maps for him to fly around in but make them detailed enough so when he hovered or landed it still looked decent.

"You get to take on the mission objectives in any order you want," said McHale. And his abilities also make the game unique. Asked what games it compared to, McHale briefly mentioned the Superman Returns game, but the speed reminded him more of the Ace Combat jetfighter series. "I don’t think there’s another game like it to be honest."

"We definitely go beyond the film," he continued. "About 30-percent of the content is based on the film. The rest is drawn from the Marvel Universe. You battle aganst guys like Titanium Man, Whiplash and other famous villains. We’ve got factions like A.I.M. and the Maggia involved. Lots of fun things drawn from the comic books."

Sci-Fi Summit Report: More on ‘Star Trek’ and a Tale of Two Spocks

  • News
  • April 16, 2008

[EDITOR’S NOTE: You’re about to read our special ComicMix report on the Star Trek panel and Q&A at this year’s Grand Slam: Sci-Fi Summit in Burbank, CA. If you’d like to know more about the convention, we also have a general roundup of the Sci-Fi Summit and a special report on the James Marsters panel and Q&A session with the Buffy the Vampire Slayer actor. -RM]

2-spocks-3-tm-6878406Last Sunday, Sci-Fi Summit attendees were treated to one half of the writing team behind the upcoming Star Trek film and the recent live-action Transformers movie, as writer Roberto Orci kicked off the grand finale of the show. After the writer apologized for the absence of Alex Kurtzman, his associate of 17 years, the fans were treated to a screening of the Star Trek trailer and some photos that Orci took on set.

The trailer didn’t feature any new footage, and included shots of the U.S.S. Enterprise’s construction, apparently on Earth. When a fan expressed his displeasure at this, Orci assured him, “Just because they start building it on Earth, doesn’t mean that it can’t be finished in space.”

Orci’s slideshow also failed to reveal any spoilers, with the possible exception of a photo of an inedible-looking craft service table marked “Romulan’s Only,” confirming the appearance of the alien race in the film

When the recent writer’s strike ended, Orci said he and Kurtzman spent nine weeks writing Transformers 2 and handed in their first draft this past Friday. When asked what new Transformers fans could look forward to in the film, the writer answered, “Maybe Soundwave.”

Orci also hinted that there are Star Trek references in both of his previous films, The Island and Transformers, and there will be more references in Transformers 2. He also confirmed that the writing team did a polish on the script for Watchmen.

According to Orci, famed director Steven Spielberg played a large role in J.J. Abrams’ decision to direct Star Trek. Abrams had agreed to produce the film, but was not sure if he wanted to direct. Spielberg read the script and convinced Abrams to helm the project. Orci also recalled a set visit where the Close Encounters of the Third Kind director sat on the bridge of the Enterprise and helped block out an action sequence. (more…)

Interview: Zak Penn on The Grand, X-Men Fans and Co-Writing Hulk

  • News
  • April 15, 2008

ctonymark-com[UPDATE: After posting this interview, a representative of Zak Penn contacted ComicMix to state that Penn is not attached to a Captain America film at this time, despite the timing of his response during this interview (and our accurate transcription of the interview as it occurred). -RM]

In Hollywood, where "overnight success" can often take many years, writer/director Zak Penn is one of those exceptions that proves the rule. Rocketing to A-list screenwriter status right out of college with his first script, Last Action Hero, Penn has had a varied and successful career during the intervening years.

Since his first sale, Penn has written or contributed to screenplays for films such as Inspector Gadget, X-Men 2, X-Men: Last Stand, The Mask of Zorro, Men In Black, Fantastic Four and the soon-to-be-released Incredible Hulk. In addition to writing, Penn has also taken turns behind the camera and directed two films. His latest directing effort, the improv comedy The Grand, opened last month in Los Angeles and New York — with a wider release to come later this month. 

Recently, ComicMix caught up with the talented Mr. Penn to get all the latest news on The Grand, Incredible Hulk, X-Men, as well as his thoughts on dealing with fan reaction to his work and the comic book movie he really wants to make someday.

COMICMIX: Zak, thanks for taking the time to talk. How are you doing?

ZAK PENN: Good, man. Hectic as usual.

CMix: You’ve got a movie you directed that’s just come out in L.A. and New York and opening wider this month. Tell us a little about it.

ZP: The Grand is an improvisational ensemble comedy, set against the backdrop of a World Series Of Poker-type tournament.  It’s basically Woody Harrelson, David Cross, Richard Kind, Chris Parnell, Cheryl Hines, Dennis Farina, Ray Romano, Werner Herzog, Gabe Kaplan . . .

CMix: So, a bunch of unknowns, then…

ZP: Yeah, a bunch of nobodies. [Laughs] And Gabe Kaplan and Werner together… So good. I did it like I did my last movie, using an outline and just [improvising] off of it. We shot it and it premiered at Tribeca last year and now its out and expanding to 20 cities this month.

CMix: That’s great. So as a screenwriter, obviously you’ve written a lot of movies, so why improv?  Why not write a script?

ZP: I think it kind of forces me to get away from the stuff that I do, you know? I’ve kind of gotten used to writing in a certain style and falling back on certain types of scenes and this forces me out of it. I can’t do those things.  So I think part of it is to kind of create a new discipline for myself to get something different done.

One of the things I liked about this movie is, I never would have written this script.  If I sat down, I wouldn’t have thought of going in the same directions this movie does, so it’s new to me and fresh to me. It’s almost like having an entire cast of co-writers.

CMix: Because you’re creating it as you go along, basically, with all of your actors?

ZP: Yeah.
 
CMix: Did you get into screenwriting with a plan to direct someday?

(more…)

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