The huge corporations, business interests, have so much money they can produce these gigantic blockbusters of one sort or another that will dominate their markets. I can see that changing, and perhaps for the better.
These times might be an opportunity for genuinely radical and new voices to come to the fore in the absence of yesteryear. I am talking in the long-term. There is going to be an awful lot of economic pain for everybody before this is over.
When that was attained I hope we might see a very different landscape culturally. What about something a bit offbeat, like Joker? You wrote a key Batman comic book…. All of these characters have been stolen from their original creators, all of them. They have a long line of ghosts standing behind them. In the case of Marvel films, Jack Kirby [the Marvel artist and writer]. But if you try to make them for the adult world then I think it becomes kind of grotesque.
We have a kind of superhero character in The Show but if we get the chance to develop them more then people will be able to see all of the characters have quite unusual aspects to them. But they can be used for something other than escapism. Think of all the films that have really challenged assumptions, films that have been difficult to take on board, disturbing in their messages. The same goes for literature. But these superhero films are too often escapism. With The Show , it could very well be argued that it is actually set in a dystopia, in that Northampton is the first British town in something like 35 years to collapse into an economic blackhole.
We went into special measures in the early months of We can only afford skeleton services. The Show is an observed fantasy on a number of levels, but an awful lot of it is true.
The town really is that odd-looking. What we have got a problem with is us losing our rights to the ownership of the material, and having the work interfered with in any way. Along with Frank Miller's The Dark Knight Returns , which was also published to great fanfare in , Watchmen ushered in an era of "serious" comic storytelling, which can be traced all the way to recent box-office-conquering blockbusters like Logan or Joker.
Along with FX's now-concluded mind-fuck Legion and Amazon's foul-mouthed satire The Boys , HBO's Watchmen is part of a recent mini-wave of television shows seeking to bring a more "adult" touch to the genre. Now retired from comics , Moore hasn't been actively talking down HBO's Watchmen in the press -- Gibbons has spoken positively about the interpretation -- but that hasn't stopped Lindelof from saying he thinks Moore might have placed a " magical curse " on him.
Moore's antipathy for Hollywood is legendary and justified. When you consider some of the adaptations, like 's League of Extraordinary Gentlemen starring Sean Connery or director Zach Snyder's bombastic version of Watchmen , it's easy to see why he might be frustrated. Snyder's Watchmen , with its ridiculous sex scene set to Leonard Cohen's "Hallelujah" and its slow-motion bursts of kinetic violence, remains an odd artifact of the '00s: It's obsessively faithful to the plot and look of the comic, going so far as to recreate specific frames and images, but it mostly misses the tonal richness of Moore's writing and Gibbons's art.
Even if Snyder has argued that it should be viewed as a " satire ," his movie is lumbering and grating in ways that the comic simply never is. Unsurprisingly, Moore refused to have his name attached to the film. At the same time, he was complimentary of writer David Hayter's original screenplay, telling EW in an oral history of the comic from that the script was "as close as I could imagine anyone getting to Watchmen.
Still, he quickly clarified he wouldn't be going to see it. A comic book. I for one am sick of worms. As well as this screenplay, and decades of comics, Moore has written prose fiction, history, protest songs and pornography.
Reading on mobile? The only people prospering are the plasterboard manufacturers. Yet he never expects to leave, even as enthusiasm for his fictions grows in the wider world. When in he was asked to appear in an episode of The Simpsons , a producer flew to the Midlands from Los Angeles so that Moore could record his dialogue in a ramshackle studio near to his home. Keeps me focused. This dystopian graphic novel continues to be relevant even 30 years after it ended.
With its warnings against fascism, white supremacy and the horrors of a police state, V for Vendetta follows one woman and a revolutionary anarchist on a campaign to challenge and change the world.
Moore's quintessential Superman story. Though it has not aged as well as some of his work, this comic is still one of the best Man of Steel stories ever written, and one of the most memorable comics in DC's canon. This introspective, stream-of-consciousness comic follows a successful ad man who begins to have a midlife crisis after realising the moral failings of his life and work. A love letter to the silver age of comics that nods to Buck Rogers and other classics of pulp fiction.
Tom Strong embodies all of the ideals Moore holds for what a superhero should be. One of Moore's best known comic series, The League of Extraordinary Gentlemen is the ultimate in crossover works, drawing on characters from all across the literary world who are on a mission to save it.
Why make a film now, after so many years of squirming resistance? Every film is a remake of a previous film, or a remake of a television series that everyone loved in the s, or a remake of a television series that everyone hated in the s. I love films that are made with almost no budget. Moore has a complicated relationship with money.
But then the films came out, and somewhere along the way Moore developed such a distaste for what he saw on the screen, and the revenue accrued from it, that he asked for his name to be taken off the credits; then he started turning down production money. Moore gave his share of the Watchmen fee to Dave Gibbons, the artist with whom he conceived the series.
This is it: I am horrified by the budgets of these films, almost as much as I am by the films themselves. But beyond that, the world inside my head has always been a far richer place than the world outside it. I suppose that a lot of my art and writing are meant to bring the two together. This would have seemed an unlikely outcome, in , when he was hauled out of an art class at Northampton School for Boys by the deputy headmaster.
Their subsequent chat could only have been tenser if Moore had not discreetly emptied his pockets of low-grade marijuana en route. His family lived in a part of west Northampton called the Boroughs, a poor neighbourhood that was generally avoided, Moore says, by others in town.
He was unusually bright. Moore started writing and drawing his own strips, inventing an early superhero called Ray Gun secret identity: Raymond Gunn and loaning his efforts to friends for a small fee. Profits went to Unicef, or Save the Children. Cartooning ran in the family. His paternal great-grandfather, a legendary Northampton rake called Ginger Vernon, used to trade caricatures for pints in the pub.
He was, adds Moore, a ferocious alcoholic.
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