Monthly Archive: August 2008

White Viper: Deep Background

White Viper: Deep Background

In today’s brand-new episode of White Viper, by Erin Holroyd, Dick Giordano and Frank McLaughlin, we learn the secret origin of Ta Moa, his training in Japan and his first job on his own.  Was he able to fulfill the hopes and dreams of his father?  Was his training successful?  And why doesn’t he live in Japan?  

 

Credits: Erin Holroyd (Writer), Dick Giordano (Penciller), Frank McLaughlin (Inker), Lovern Kindzierski (Colorist), John Workman (Letterer), Mike Gold (Editor)

 

Fox sues to block Watchmen movie from opening

Fox sues to block Watchmen movie from opening

Uh-oh. Nikki Finke broke the news last night that a federal judge has denied a Warner Bros. motion to dismiss 20th Century Fox’s legal battle over the rights to develop, produce and distribute a film based on Watchmen. Fox was seeking to enjoin Warner Bros from going forward with the project, and U.S. District Court Judge Gary Allen Feess on Friday refused to dismiss the lawsuit filed by Fox on February 12th, 2008.

Fox had the rights to Watchmen back in the late 80’s– I have a copy of the first draft of the script by Sam Hamm (writer of the Tim Burton Batman) dated September 9, 1988. Here’s Finke’s chronology of what’s happened since:

1986-90: Fox acquires motion picture rights in The Watchmen.
1990: Fox enters into a domestic distribution agreement with Largo Entertainment, a joint venture of JVC Entertainment Inc., Golar (Larry Gordon), and BOH, Inc. The “Largo Agreement” established Fox’s domestic distribution rights, through a license from Largo, in “subject pictures” as defined in the agreement.
June 1991: Fox enters into a “Quitclaim Agreement” with Largo International, through which Fox “quitclaims to Purchaser all of Fox’s right, title and interest in and to the Motion Picture project presently entitled Watchmen, which included specifically described literary materials. Notably, the agreement provides that, “if Purchaser elects to proceed to production, the Picture shall be produced by Purchaser and shall be distributed by Fox as a Subject Picture pursuant to the terms of the Largo Agreement …” In consideration for the rights to Watchmen, Fox was to be reimbursed for its development costs ($435,600) plus interest plus a profit participation in the worldwide net proceeds of any Watchmen picture.
Nov. 1991: The Largo Agreement was amended; Watchmen was listed as a project quitclaimed to Largo.
Nov. 1993: Larry Gordon, through Golar, withdraws from the Largo Entertainment joint venture; Largo conveys any rights it has in Watchmen to Gordon/Golar. Based on the 1991 quitclaim, the Court may infer that Gordon now stood in the shoes of Largo with respect to Watchmen and held whatever rights it acquired through the 1991 Quitclaim, which left Fox with the distribution rights it retained through that agreement.
1994: Fox negotiated a “Settlement and Release” agreement with Gordon which contemplated that the Watchmen project would be put in “perpetual turnaround” to Lawrence Gordon Productions, Inc. The “turnaround notice” gave Lawrence Gordon Productions “the perpetual right . . . to acquire all of the right, title and interest of Fox [Watchmen] pursuant to the terms and conditions herein provided.” The turnaround notice then described the formula for determining the buy-out price in the event that Gordon elected to acquire Fox’s interest. Thus, the document suggests that Gordon acquired an option to acquire Fox’s interest in Watchmen for a price. In fact, the notice obligated Gordon to pay the buy-out price on the commencement of any production of a Watchmen film. The notice also provided that the agreement was personal to Gordon and that, “prior to payment of the Buy-Out Price,” he could not assign rights or authorize any person to take any action with respect to the project.
May 2006: Warner Brothers, allegedly with knowledge of the 1991 Quitclaim, entered into a quitclaim agreement with Gordon under which it claims to have acquired the rights to the Watchmen project. Fox alleges that these facts demonstrate that, at the very least, it retained distribution rights in Watchmen, that it performed all of its obligations under the relevant agreements, and that while it granted Gordon what amounted to an option to acquire its rights, neither Gordon nor his successors ever fulfilled their contractual obligations to Fox. Indeed, Fox contends that Warner Bros either knew or turned a blind eye to the fact that Fox had retained distribution rights in the project, and that Gordon had not perfected his interest in the Watchmen project before quitclaiming it to Warner Brothers. In any event, Fox now contends that it presently holds rights in Watchmen and that Warner Brothers’ production of the Watchmen film infringes on those rights.

The really bad news, according to Variety, is that Fox has no interest in settling and would rather kill the movie outright. Quote: "When you have copyright infringement, there are some damages you never recover," said a source close to the litigation. (No one’s asked Alan Moore about copyright violation here, strangely, either here or with Fox’s League of Extraordinary Gentlemen.) This makes great sense to Fox, who spent more than $1 million developing Watchmen and can now force competitors Warner Bros and Paramount to eat tens of millions in sunken costs of making the movie and cripple their spring.

Blog@Newsarama points to all the legal documents: the Fox complaint, Warner Brothers’ response, the disputed legal documents and the judge’s order.

“Julius” Latest Graphic Novel Targeted For Film

“Julius” Latest Graphic Novel Targeted For Film

Variety is reporting that the Oni Press graphic novel Julius, written by Antony Johnston with art by Brett Weldele, is the latest project optioned for feature film treatment. According to the report, Mandalay Pictures has purchased the rights to Julius, with F. Gary Gray (Friday, Be Cool) named as director.

Mandalay prexy Cathy Schulman said that Gray "has a vision for this adaptation that will satirize obsessive consumerism while providing a thrilling ride for audiences."

Eric Gitter of Closed on Mondays Entertainment, the producing arm of Oni Press, will produce; Oni’s Peter Schwerin and Joe Nozemack exec produce. Schulman, David Zelon and Jonathan Krauss will oversee the project for Mandalay.

Confession time, folks: I’ve never even heard of Julius. However, with the rate at which projects are being released and optioned these days (with some projects optioned well before they’re released), this has become a far more frequent occurrence with me. Has anyone else out there read this one and/or feel inclined to comment on it?

Etch-A-Sketch Comic Art

Earlier this year I discovered the blog of the Etch-A-Sketchist. An artist whose medium is incredibly complex and heartbreakingly temporary: the Etch-A-Sketch. The child’s toy that is simple to learn but next to impossible to master. The Etch-A-Sketchist’s topics are heavily pop-culture influenced but breathtaking in their detail.

When I first discovered his site, I wrote him and asked if he ever did any comic book based images. He wrote back that he only had done a black costume Spider-Man, but I should check back at the end of the summer after all the superhero movies were released.

I made a note on my calendar program and, sure enough, there are lots to see now. I’ve posted a few after the jump.

Enjoy…. but don’t shake your screen.

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ComicMix Radio: Delay For Watchmen?

ComicMix Radio: Delay For Watchmen?

That’s the downside to today’s "good news/bad news" scenario. The upside? The Banana Splits are back in a big way, plus:

  • Kick Ass moves closer to film
  • Twilight moves up the schedule
  • We rundown the new comics and DVDs and this time, step out on the limb for our own ComicMix Radio Best Bets

Yes we even play The Banana Splits theme and you can be singing along if you just Press the Button


 

And remember, you can always subscribe to ComicMix Radio podcasts via iTunes - ComicMix or RSS!

 

Which Batman Film Was Most Successful?

Which Batman Film Was Most Successful?

Now that The Dark Knight has been displaced from the top of the box office and its ticket sales are finally beginning to slow down, we can finally start looking to see how it did.

Box Office Mojo, a website devoted to movie grosses, compared all modern Batman movies in one handy dandy chart. Be forewarned. There’s enough numbers and stats to make even the Batcomputer’s cursor change into the hourglass icon. Some of the more interesting figures (but keep in mind that The Dark Knight numbers aren’t finalized yet):

Biggest Domestic Gross: The Dark Knight $471,082,150

Biggest Production Budget: The Dark Knight $185 million

Best Second Weekend Retention: Batman -25.7%

Chart Ranking of All Time Movies (Adjusted for Inflation): The Dark Knight at #39

So there you go. Christian Bale beats down Michael Keaton, Val Kilmer, and George Clooney easily. Though Rhett Butler still kicks Bruce Wayne’s ass as the #1 movie of all time.

“Punisher: War Zone” Buzz: Ratings and More…

“Punisher: War Zone” Buzz: Ratings and More…

It seems as if there’s as much chaos going on behind the scenes of the upcoming Punisher: War Zone film as a typical Frank Castle firefight these days. Earlier this year, various sites reported that the Lionsgate Studios project had its release date pushed back to December, but now that change appears to be just the tip of the iceberg when it comes to problems with the highly anticipated film.

Over on the website for the film’s director, Lexi Alexander, all references to Punisher have been deleted — including her praise for the ultra-violent "red band" trailer release that we linked to back in June. Beyond that, the Latino Review recently reported that the studio is pushing for a PG-13 rating for the film due to the success of the The Dark Knight, igniting a massive backlash among fans of the character, the trailer and, well… just about everything related to the project. Luckily, that rumor was later semi-squashed in a follow-up report on Latino Review.

Meanwhile, Heidi MacDonald points us to even more rumor-mill chatter about the film, its potential rating and whether Alexander still has a role in it.

So what’s the real story? No one really seems to know anymore — but everyone seems to have a source "close to the project" with an opinion.

Heck, my source tells me that they might scrap the project entirely and bring back Dolph Lundgren to play the character. After all, he did tell one of the villains in the 1989 Punisher film, "I’m Batman." Coincidence… or a return to the character almost a decade in the making?

Oh, and if you have a chance, be sure to check out the "Punisher vs. Punisher" video I came across on YouTube, comparing the 1989 and 2004 films.

Robert Downey Jr: “F*ck DC Comics”

Robert Downey Jr: “F*ck DC Comics”

Sure, we know that actors occasionally lose themselves in the role and start acting like their characters in real life. Robert Downey Jr. may have been concentrating too much on his Tony Stark role from this summer’s Iron Man movie in this interview with Moviehole.com.

What’s got everyone buzzing? Well, here’s an excerpt:

"My whole thing is that that I saw ‘The Dark Knight’. I feel like I’m dumb because I feel like I don’t get how many things that are so smart. It’s like a Ferrari engine of storytelling and script writing and I’m like, ‘That’s not my idea of what I want to see in a movie.’ I loved ‘The Prestige’ but didn’t understand ‘The Dark Knight’. Didn’t get it, still can’t tell you what happened in the movie, what happened to the character and in the end they need him to be a bad guy. I’m like, ‘I get it. This is so high brow and so f–king smart, I clearly need a college education to understand this movie.’ You know what? F-ck DC Comics. That’s all I have to say and that’s where I’m really coming from."

Yeah. Don’t be expecting a call to play the Riddler anytime soon, Bob.
 

Interview: Greg Weisman on “The Spectacular Spider-Man” Animated Series

Interview: Greg Weisman on “The Spectacular Spider-Man” Animated Series

Early in July, I spoke with Greg Weisman about the acclaimed Gargoyles animated series he created and the new comics that continue the storyline of that project (and feel free to check out that interview, by all means). Afterward, I had the opportunity to speak with him about the Kids WB animated series The Spectacular Spider-Man, which I reviewed a few weeks ago. Weisman developed this new cartoon series for television along with Victor Cook (Hellboy: Blood and Iron, Darkwing Duck) and which features voice talents such as Josh Keaton, Lacey Chabert, Josh Lebar, John Dimaggio, Phil Lamarr, Robert Englund, Clancy Brown, Jeff Bennett and Vanessa Marshall.

Taking place a few short months after Peter has gained his powers and learned that "with great power there must also come great responsibility," the cartoon showcases a 16-year-old superhero who is still learning the tricks of the trade when folks like the Green Goblin, Electro and Dr. Octopus start showing up. When he’s not web-slinging, Peter spends his days trying to change how people at his high school view him, since his super-abilities have given him the confidence to stand up for himself rather than just be the nerd who’s picked on. But it’s not easy — and even when he’s surrounded by people who love him, like longtime friend Gwen Stacy and his doting Aunt May, Peter still feels alone, unable to trust anyone with the secret of his double-life.

Here’s what Weisman, the series’ Story Editor and Supervising Producer, had to say about the first season of the series.

COMICMIX: As Story Editor, how did you approach the development of the series and the character himself?

GREG WEISMAN: When I got the job, I went and bought the first seven volumes of The Essential Spider-Man and re-read them. I’d read them as a kid, I grew up on Stan Lee and John Romita, Sr. and later went back and read the original Stan Lee, Steve Ditko stories. So, I re-read them and took copious notes and tried to get the voice of those early stories.

COMICMIX: Of course, you’re still putting your own spin on some of the origins and the costume designs.

GREG WEISMAN: Right. With the new series, we wanted to create something that was coherent, cohesive, contemporary and classic. Those are the four Cs we always go back to. We’re retooling and redesigning things for the modern day but we want the characters to still be iconic. We want you to see our updated version of the Vulture and still say “yep, that’s the Vulture” and “yeah, that’s the Green Goblin.” It’s a contemporary version but the changes aren’t there just for the sake of making changes. It’s still true to what Lee, Ditko and Romita did.

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Oh, by Dennis O’Neil

Oh, by Dennis O’Neil

Sunday, August 17: 155 days left.

Our man the brush clearer is back in Crawford, taking it easy. Having already set a record for presidential vacation days, he’s obviously trying for a record that no future chief executive can possibly hope to break. This may not be how everyone would like to be remembered.

Back when I occupied the celestial throne that is the sinecure of all those noble beings known – here you may genuflect – as editors … make that Editors – this was the time of year when life got calmer. Big travel was done – no trips to distant cities to attend conventions – and the increased summer publishing load completed. We put out fewer issues in the fall because, conventional wisdom had it, the kids were too busy with school concerns to bother with funny books. The same logic dictated that during the summer we cram the newsstands because, presumably, the nation’s youth had nothing better to do with their long, humid days than to laze around getting massive four-color fixes and, besides, since they didn’t have to buy crayons or switchblades or whatever school kids bought, they had disposable income to spend on our productions. Which, of course, was why late spring and early summer demanded industriousness from editorial types. Those printing presses out there in the Midwest were maws…

All that was probably true once. But because the ways comics are marketed, and to some extent read, I doubt that it is true now. But I don’t know. Any editors – working editors, that is – care to enlighten the old man?

The point is, though I was a comics editor at the two major companies for about 23 years… I don’t know. I have a sense that the business has changed a lot in the seven years since I occupied the celestial throne mentioned three paragraphs ago (seven years already?). My skills might be more-or-less okay (though I’m not even sure of that), but my attitudes and assumptions would need work.

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