Tagged: movie

GEORGIA MUSEUM OF ART TO CELEBRATE ILLUSTRATOR JACK DAVIS WITH FALL EXHIBITION

  • Uncategorized
  • September 22, 2012

The Georgia Museum of Art is planning an exhibit of famed illustrator for MAD Magazine, comic books, movie posters, record album covers, and more, Atlanta native, and University of Georgia alum, Jack Davis to run from November 3, 2012 until January 6, 2013 in Athens, Georgia.

For Immediate Release

Contact: Michael Lachowski, 706-542-9078, mlachow@uga.edu

Georgia Museum of Art to celebrate illustrator Jack Davis with fall exhibition
Athens, Ga.—The Georgia Museum of Art (GMOA) at the University of Georgia will present the exhibition “Beyond the Bulldog: Jack Davis” from Nov. 3, 2012, to Jan. 6, 2013. Organized by guest curator Patrick Dean, a cartoonist himself, who sits on the board of the Jack Davis Foundation, the exhibition goes deeper into Davis’ career than the sports and caricature work for which he is best known, focusing on his black-and-white drawings in particular. This exhibition is also part of UGA’s Spotlight on the Arts festival, to be held Nov. 3–11.

Perhaps best known in Georgia for his depictions of Southeastern Conference mascots tussling, Jack Burton Davis Jr. (b. 1924) has had a lengthy career in illustration and cartooning, with an immediately recognizable style and an influence that extends far beyond his home state. Having published his first cartoon at the age of 12, Davis studied with the artist Lamar Dodd in the University of Georgia’s art school, which he attended on the G.I. Bill, and honed his skills drawing for the Red and Black (the student newspaper) and Bullsheet, an Athens humor publication. After graduating, he moved to New York, where he attended the Art Students League before landing work with William Gaines at EC Comics.

Famed in particular for his speed and a tendency to create images overflowing with colorful characters, he was one of the founding artists of Mad magazine, supplied covers for Time and TV Guide and designed album art and movie posters aplenty. Davis created his first art for UGA’s athletics program in 1948, when he drew Coach Wally Butts for the front and back of that year’s media guide, and the relationship has lasted ever since.

Dean said, “Davis’ prolific career goes further back than most people realize. Some of this exhibition displays his work from EC Comics, including two complete comic stories for museum visitors to read. These pages show his skill as a sequential artist, with an emphasis on people’s pained and terrified faces and hand gestures. Still, even in these comics, his familiar style hints at his trademark humor and warmth. There’s also something particularly southern in his work of all eras, like his running figures with clumps of red clay stuck to their feet.”

This exhibition attempts to show Davis’ range by bringing together a selection of his original work that demonstrates his breadth of subjects and his skills as an artist focusing on American popular culture.

Dean continued, “The point of the show isn’t to shun his more popular sports drawing, but to bring attention to his work that may not be as well known to the general public. Visitors may recognize some of these images, but I hope they appreciate the level of detail Davis put into his work. Some of that detail gets lost when the images are shrunk down and printed on paper stock of varying quality. Studying Jack Davis’ crosshatching and brushwork will be a real treat to anyone who’s admired this man’s work.”

Dean will speak on Davis’ career Sunday, Nov. 4, at 3 p.m. at the museum, with a reception to follow.

This exhibition is sponsored by the W. Newton Morris Charitable Foundation and the Friends of the Georgia Museum of Art.

For high-resolution images, reply to this email or contact Michael Lachowski at 706.542.9078 or mlachow@uga.edu.

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About the Georgia Museum of Art
Partial support for the exhibitions and programs at the Georgia Museum of Art is provided by the Georgia Council for the Arts through appropriations of the Georgia General Assembly. The council is a partner agency of the National Endowment for the Arts. Individuals, foundations and corporations provide additional museum support through their gifts to the University of Georgia Foundation. The Georgia Museum of Art is located in the Performing and Visual Arts Complex on the East Campus of the University of Georgia. The address is 90 Carlton Street, University of Georgia, Athens, Ga. 30602-6719. For more information, including hours, see www.georgiamuseum.org or call 706.542.GMOA (4662).
Mailing address:
Georgia Museum of Art
90 Carlton Street
Athens, GA 30602
706.542.GMOA (4662)
www.georgiamuseum.org

Copyright (C) 2012 Georgia Museum of Art, University of Georgia All rights reserved.

The Point Radio: You Are Warned – Don’t Miss LAST RESORT


Shawn Ryan (THE SHIELD) is back on TV, and with what might be the most unique premise of the season. LAST RESORT is not your standard drama, and Shawn explains why plus Clint Eastwood & Amy Adams talk about making the first fun baseball movie in years, TROUBLE WITH THE CURVE and more on why DREDD 3-D will be exceeding most fan’s expectations.

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Tarantino XX: 8 Film Collection Coming for Christmas

This has us deliriously happy because Quentin Tarantino is one of the great stylists, who can deliver action, humor, and moments you have never seen before. He has a great ear for music so his soundtracks sing, and his casting is always brilliant. Go ahead and read the following then begin writing to Santa Claus.

SANTA MONICA, CA (September 17, 2012) – Celebrating Quentin Tarantino’s legendary filmmaking, Lionsgate and Miramax are proud to present the Tarantino XX: 8-Film Collection, arriving on Blu-ray Disc November 20th.

Tarantino XX contains eight films chosen by Tarantino to illustrate the first 20 years of his career, featuring the films that helped define his early success, including Reservoir Dogs, True Romance, Pulp Fiction, Jackie Brown, Kill Bill Vol. 1, Kill Bill Vol. 2, Death Proof and Inglourious Basterds.  To complete the stunning high definition 10-disc set, the Tarantino XX: 8-Film Collection also features two discs with five hours of all-new bonus material, highlighted by a critics’ retrospective on Tarantino’s groundbreaking catalog of films and  “20 Years of Filmmaking” that contains interviews with critics, stars and other masters of cinema.

Tarantino XX: 8-Film Collection showcases one of the most innovative filmmakers of our time and is a must-have for serious film fans, as Tarantino’s highly-anticipated new film, Django Unchained, prepares to hit theaters.  Honoring the 20th anniversary of Reservoir Dogs – the cultural milestone that brought Tarantino to the forefront as a cinematic legend – the collection is highlighted by recurring appearances from celebrated actors including Uma Thurman (Pulp Fiction, Kill Bill), Samuel L. Jackson (Pulp Fiction, Jackie Brown, Kill Bill), Tim Roth (Reservoir Dogs, Pulp Fiction) and Steve Buscemi (Reservoir Dogs, Pulp Fiction), and also includes starring performances from iconic actors such as Brad Pitt (Inglourious Basterds), Pam Grier (Jackie Brown) and Robert Forster (Jackie Brown).

Tarantino XX on Blu-ray also features striking, original artwork designed and illustrated by MONDO (www.mondotees.com).  Housed in collectible packaging, the Tarantino XX: 8-Film Collection will be available for the suggested retail price of $119.99.

CONTENTS SUMMARY

BLU-RAY SPECIAL FEATURES – 2 Discs*

  • Critics Corner: The Films of Quentin Tarantino – In-depth critics’ discussion piece exploring Tarantino’s films that redefined cinema and the impact of one of the most influential writers/directors of our time.
  • 20 Years of Filmmaking – Take a look at Tarantino’s career from the beginning, with interviews from co-workers, critics, stars and master filmmakers alike as well as a tribute to his greatest collaborator, Sally Menke.

RESERVOIR DOGS

Quentin Tarantino’s directorial debut, nominated for the Grand Jury Prize at the Sundance Film Festival (1992) and awarded the International Critics Award at the Toronto International Film Festival (1992), is raw, violent and unforgettable.  Four perfect strangers are assembled to pull off the perfect crime, but when a botched robbery reveals a police informant among them, their simple robbery explodes into a bloody ambush.

Blu-ray Special Features*

  • Pulp Factoids Viewer
  • Playing It Fast and Loose
  • Profiling the Reservoir Dogs

TRUE ROMANCE – DIRECTOR’S CUT

Runaway lovers Clarence and Alabama (Christian Slater and Patricia Arquette) play a dangerous game with a stolen suitcase containing $5 million worth of cocaine.  They head for Los Angeles, where they’ll sell the goods and begin a new life, but both sides of the law have other ideas.  This dark comic web of crime, murder and mayhem from writer Quentin Tarantino and director Tony Scott (Top Gun, Spy Game), features an ensemble cast including Dennis Hopper, Val Kilmer, Gary Oldman, Brad Pitt, James Gandolfini and Christopher Walken.

Blu-ray Special Features*

  • Audio commentary by Christian Slater and Patricia Arquette
  • Audio commentary by Tony Scott
  • Audio commentary by Quentin Tarantino
  • Scene selective commentaries by Val Kilmer, Dennis Hopper, Brad Pitt and Michael

Rapaport

  • Deleted/Extended Scenes with Optional Director Commentary
  • Alternate Ending with Optional Director and Writer Commentary
  • Original 1993 Mini-feature
  • Behind-the-Scenes Interactive Feature
  • Animated Photo Gallery
  • Theatrical Trailer

PULP FICTION

Pulp Fiction has been hailed by critics and audiences worldwide as a film that redefined cinema.  A burger-loving hit man (John Travolta), his philosophical partner (Samuel L. Jackson), a drug-addled gangster’s moll (Uma Thurman) and a washed-up boxer (Bruce Willis) converge in four tales of violence and redemption. The film was honored with an Academy Award® for Best Original Screenplay (1994) and earned seven total nominations, including Best Picture and Best Director.  It has also been listed as one of the best films of all-time by Time and Entertainment Weekly.

Blu-ray Special Features*

  • Interviews with Cast
  • Critics’ Retrospective on the Movie’s Place in Film History
  • Behind-the-Scenes Footage
  • Pulp Fiction: The Facts
  • Production Design Feature
  • Siskel & Ebert At the Movies – The Tarantino Generation
  • Independent Spirit Awards Footage
  • Cannes Film Festival Footage
  • Charlie Rose – Tarantino Interview
  • Stills Galleries
  • Trivia Track
  • Deleted Scenes

JACKIE BROWN

Quentin Tarantino’s acclaimed adaptation of Elmore Leonard’s Rum Punch follows a cash-smuggling flight attendant (Pam Grier) who is busted by an ATF agent (Michael Keaton) and a cop (Michael Bowen).  When pressured to help with their investigation, she agrees to do one last run for a ruthless arms dealer (Samuel L. Jackson).  Mistrust and suspicions arise when Jackie plays the opposing forces against each other in an effort to walk away with the dough.  Robert Forster earned a Best Supporting Actor Oscar® nomination for his role as Max Cherry, a bail bondsman who falls for Jackie and becomes embroiled in the scheme.

Blu-ray Special Features*

  • Breaking Down Jackie Brown
  • Jackie Brown: How It Went Down – Retrospective Interviews with Cast and Crew
  • A Look Back at Jackie Brown – Interview with Quentin Tarantino
  • Chicks with Guns Video
  • Siskel & Ebert At the Movies – Jackie Brown Review
  • Jackie Brown on MTV
  • Marketing Gallery
  • Stills Galleries
  • Trivia Track
  • Deleted and Alternate Scenes

KILL BILL VOL. 1

In the first volume of this gritty revenge saga, an assassin (Uma Thurman) is shot at the altar by her ruthless employer, Bill (David Carradine), and other members of his Deadly Vipers Assassination Squad.  In this epic tale of survival The Bride sets out to bring justice to all those who wronged her, including a reformed suburban mother (Vivica A. Fox) and the Japanese Yakuza crime-lord (Lucy Liu).

Blu-ray Special Features*

  • The Making of Kill Bill Vol. 1
  • The 5.6.7.8’s Bonus Musical Performances
  • Tarantino Trailers

KILL BILL VOL. 2

The murderous Bride (Uma Thurman) mercilessly continues her vengeance quest against her ex-boss, Bill (David Carradine), and his two remaining associates: Bill’s degenerate younger brother (Michael Madsen) and a vicious one-eyed swordswoman (Daryl Hannah).

Blu-ray Special Features*

  • The Making of Kill Bill Vol. 2
  • Damoe Deleted Scene
  • Chingon Musical Performance

DEATH PROOF

Kurt Russell stars as a tough-talking, psychotic serial murderer who transforms his stunt car into an indestructible killing machine, then climbs behind the wheel to stalk and terrorize a group of women on the road.  What he doesn’t realize is that he’s picked the wrong babes to mess with.

Blu-ray Special Features*

  • Stunts on Wheels: The Legendary Drivers of Death Proof
  • Introducing Zoe Bell
  • Kurt Russell as Stuntman Mike
  • The Uncut Version of Baby, It’s You performed by Mary Elizabeth Winstead
  • The Guys of Death Proof
  • Quentin’s Greatest Collaborator: Editor Sally Menke
  • Double Dare Trailer
  • Death Proof International Trailer
  • An International Poster Gallery
  • BD Live

INGLOURIOUS BASTERDS

A Jewish cinema owner in Nazi-occupied Paris is forced to host a movie premiere for the Third Reich, where a radical group of American soldiers, The Basterds, led by Lt. Aldo Raine (Brad Pitt), plan to roll out a score-settling scheme.  The film was honored with an Academy Award® for Best Performance by an Actor in a Supporting Role (2009, Christoph Waltz) and earned seven total nominations, including Best Motion Picture of the Year for Lawrence Bender and Best Writing, Original Screenplay for Quentin Tarantino.

Blu-ray Special Features*

  • Extended and Alternate Scenes
  • Roundtable Discussion with Quentin Tarantino, Brad Pitt and Elvis Mitchell
  • The Making of Nation’s Pride
  • A Conversation with Rod Taylor
  • Nation’s Pride – the film within the film
  • The Original Inglorious Bastards
  • Quentin Tarantino’s Camera Angel
  • Film Poster Gallery Tour
  • Rod Taylor on Victoria Bitter
  • Hi Sallys
  • Killin’ Nazis Trivia Challenge
  • Trailers

Dennis O’Neil’s Autumnal Time Warp

The sunshine is warm, but the air carries a tiny bite of chill. The trees are still green, except for a pioneering dogwood in the front yard, which is in the process of color changing. And our teacher friends are back at work. So is fall about to glorify the geography? Indeed.

What are we waiting for? Bundle the crowd into the car and let’s go down to he Chevy dealer’s to inspect next year’s models and after that we can go to the Ford dealer and we’ll still have time to visit the Chrysler showroom before supper. Then maybe we can stop at the soda fountain for a malt and wonder if the St. Louis Browns will ever climb out of the American League cellar…

Oooops. Time warp. I’ve been revisiting my childhood. The debut of new cars is no big event, not anymore. Oh, savvy shoppers may be aware that September is a good month to hunt the elusive bargain, but there’s not much hoopla attached to auto shopping, no balloons, no clowns, no big red signs. (The Edsel Is Here!!!) New sleds are just something that happens.

Same with television. Sure, (like a lot of you?) I scan the TV listings and make a mental note of premiers of shows I might want to sample. If we again time warp, we’ll see an era when the three networks (not counting the occasional wannabe) presented their wares pretty much simultaneously in early autumn like the car guys, and it was pretty darn stimulating to meet the folks who would keep is entertained while the snow fell. But with the coming of King Cable, shows pop up throughout the year, and some of our favorites are limited series that run in the summer. (Has anything recent been better than Newsroom?)

In the land of comics, back when comics cost maybe fifteen cents, the big moments tended to be in early summer when the oversize publications known as “annuals” graced the newsstands because, the wisdom went, readers weren’t busy during the warm months and had more time, and maybe more disposable income, for the funny books. At summer’s end, well… we got the things out and expected a slight dip in circulation. Later, when hardcover graphic novels became a factor, we had to have them almost done by September because, again nodding to conventional wisdom, we had to have the in stores by Thanksgiving to catch customers who might want them for Christmas gifts. If they weren’t ready for the printer by October, trouble was looming. In any case, autumn equaled doldrums.

I’d better quit blathering because I’ve got to get this to Mike so I can free the evening for television watching and… wait! What’s this? An unfamiliar vehicle in my driveway? What has that wife of mine been up to?

RECOMMENDED VIEWING: When Mike Gold and I initiated the Recommended Reading feature in The Question, lo those many years ago, most of my good information came from books. That’s less true now. So instead of recommending a book, let me direct you to a movie which you can rent from Netflix: Carbon Nation. Everyone should see this.

FRIDAY: Martha Thomases and Living Better in Reality

20th Century Fox Introduces Digital HD

LOS ANGELES – Sept. 18, 2012– Twentieth Century Fox Home Entertainment today announced the launch of DIGITAL HD™ — a new initiative that allows consumers to download or stream their favorite Fox movies on a variety of connected devices. Customized for today’s digital lifestyles, more than 600 Fox films can now be enjoyed anywhere, anytime in amazing high-definition immediately in the U.S. from Amazon, CinemaNow, Google Play, iTunes, PlayStation, VUDU, Xbox Live and YouTube.

The epic sci-fi thriller PROMETHEUS is also available today on DIGITAL HD™ for less than $15, arriving three weeks before Blu-ray, DVD and video-on-demand (VOD).

Digital HD™ combines four key benefits into one offering with earlier access to new releases, attractive pricing, cloud storage and availability across multiple devices.  Whether the plan involves watching Fox movies on connected HDTVs in your living room, or on your tablet or smartphone on the run, Digital HD™ offers up versatility and convenience.

“With almost 800 million broadband connected devices globally, and millions of people accessing entertainment on those devices, we feel the medium’s time has come,’’ said Mike Dunn, President Worldwide, Twentieth Century Fox Home Entertainment. “DIGITAL HD™ redefines digital ownership in a way that presents consumers with a full range of benefits in a coherent way, and it allows them the chance to build digital movie collections that can literally be carried in the palms of their hands. ”

“Available in more than 50 countries, DIGITAL HD™ is a brand that will define the convenience and selection that digital ownership brings,” added Mary Daily, President of Worldwide Marketing and Chief Marketing Officer, Twentieth Century Fox Home Entertainment. “Over time, DIGITAL HD™ will embody the benefits of HD quality and the ultimate all-access pass to the best in entertainment.”

Today’s launch will coincide with the most extensive all-digital media campaign to date for digital movies that will reach over 100 million active movie viewers across online retailer sites and through the No. 1 sports, music and gaming sites.

PROMETHEUS on DIGITAL HD™ is also Fox’s first UltraViolet-enabled title. Additional DIGITAL HD™ new releases this year include ABRAHAM LINCOLN: VAMPIRE HUNTER, ICE AGE: CONTINENTAL DRIFT, THE WATCH and DIARY OF A WIMPY KID: DOG DAYS.

REVIEW: Cabin in the Woods

Sitting around brainstorming a movie sounds like a great way to spend a few days. According to Joss Whedon and Drew Goddard, they fell into their fever-pitch pace after years rewriting episodes of Buffy the Vampire Slayer. As a result, they concocted the screenplay for Cabin in the Woods over little more than a weekend. And just the hit series turned tropes and stereotypes on its head; this fright fest also explored, celebrated and inverted the conventions of countless horror films, making for a fresh, funny, original thriller.

You have to pay attention to the film because its smart and do not be lulled by expectations, as is evident from the opening sequences as Bradley Whitford and Richard Jenkins appear to be going to work at some high tech underground bunker and then we swiftly cut away to your central casting collection of college kids clearly marked for gruesome deaths. As they drive away and a cameo from Nathan Fillion turns up, this is evidently a very different kind of film.

 

Unfortunately, after it was financed and filmed, the movie languished, a victim of the MGM bankruptcy until it was rescued by Lionsgate which finally released it this spring. Unfortunately, their marketing department didn’t adequately tell the world and most missed it. Thankfully, the home video edition is coming out this week and is well worth your time and attention.

 

The quintet is made up of comely Kristen Connolly, Anna Hutchison, Jesse Williams, Chris Hemsworth, and Fran Kranz. Williams was already a regular on Grey’s Anatomy, Hutchison was an Australian star, and Kranz was known for Whedon’s Dollhouse, but this was a pre-Thor Hemsworth and seeing this, it’s hard to see anything godly in his studly athlete. Yet, he impressed Whedon during filming and he recommended him to Marvel, which proved wise. Still, the five friends go to cabin for a vacation and as one would expect, horrible things happen and secrets are uncovered.

 

All along, they are monitored and manipulated by the guys in the underground bunker, overseen by Whedon stalwart Amy Acker. There are hints that their work ethic may smack of Office Space but their mission is a serious one and as we shift into the final act, we’re treated to an assortment of nightmares and monsters that echo every horror movie you’ve seen since birth. The CGI effects ran rampant throughout as several of the quintet defy the odds and survive. Worse, they find the bunker and go exploring to learn why they were targeted and some surprise news spells survival or global. Just when you think you know what’s happening, they cleverly toss in a twist, be it a story point, a visual, or some stunt casting to keep you alert.

 

It’s tremendous fun and doesn’t take itself too seriously at all, which is just fine with me. The movie looks fabulous with the screen transfer and it sounds nifty, too.

 

The Special Features some engaging commentary from Whedon and Goddard as we learn about the travails of shooting in Canada. They appear in awe of how game Hutchison was for her various spotlight moments and talked about everything from writing to special effects and time sitting around the sets waiting for something to happen. Whedon apparently shot second unit work which meant he did more than script and produce.

The remaining pieces on both the Blu-ray and DVD are pretty much what you have come to expect these days, including “We Are Not Who We Are: Making The Cabin in the Woods” (28:33) which covers the basic behind the scenes info; “The Secret Secret Stash” (13:07) featuring “Marty’s Stash” with Kranz talking about his stoner character, and “Hi, My name is Joss and I’ll be your guide”; the Wonder-Con Q&A with Joss and Drew (27:30), ‘nuff said; “An Army of Nightmares: Make-Up & Animatronic Effects” (12:10) is about the cool effects; “Primal Terror: Visual Effects” (12:07) focuses on the developmental aspects of the effects; “It’s Not What You Think: The Cabin in the Woods” Bonus View Mode (Blu-ray exclusive). You can also access online the “It’s Not What You Think: The Cabin in the Woods Bonus View Mode”, which is sort of interesting but offers little new.

Kudos to Lionsgate for giving this a spiffy lenticular sleeve, showing some TLC the film deserved.

John Ostrander: Indy in de Imax!

As I’ve said before, I enjoy movies most in the theater, on the big screen, where they were meant to be seen. Yeah, you run the chance of having rude fellow audience members who are talking or have their heads buried up their electronic asses with their cell phones, but I minimize that by going to a lot of matinees. One of the (few) perks of being self-employed and, besides, it feels like I’m playing hooky.

Since I like the big screen experience, I like the Imax experience. That’s a big big screen and usually great sound as well. My Mary and I went to see The Dark Knight Rises there. Imax costs more but I felt it was really worth it.

I also like to see old movies on the big screen and have seen a number, including Casablanca and The Searchers. In upcoming months, there will be one-night showings in movie theaters of The Bride of Frankenstein, E.T.  and To Kill a Mockingbird. I know all of them well but the chance to see them in a movie house will be a treat.

Recently, to celebrate the arrival of Raiders of the Lost Ark on Blu-ray, the film was issued in the Imax theaters, initially for one week only but since extended. Did I and my Mary go to see the first and best of the Indiana Jones movies? Oh, you bet! This is the film that, far more than Star Wars (IMO), made a star of Harrison Ford.

One of the things I really wanted to see was that giant marble that chases Indy during the opening sequence. Yup, it looked every bit as cool as I thought it would. The other great set pieces looked great in Imax as well – the fight around the plane that’s supposed to fly the Ark out of Tanis, Indy going after the truck (“Truck? What truck?”) and that whole action sequence inside, outside, and below that truck.

I also saw things I didn’t appreciate before. The landscape surrounding Indy and the others where he threatens to blow up the Ark was in greater detail, as was the climatic sequence where the Ark is opened.

It still has all the great lines and tropes “I don’t know. I’m making this up as I go.” Shooting the scimitar-wielding thug. “Trust me.”

And, of course, it still has Marian, Indy’s romantic foil and partner. What the next two films largely lack is Marian. She’s his equal and she brings him down to Earth. Indy’s pursuit of the Ark can make him an asshole; his pursuit of Marian makes him human. The best part of the most recent film was re-uniting him with Marian. Lots of dopiness in Kingdom Of The Crystal Skull but bringing back Marian was worth the price of admission, as far as I’m concerned.

While the film was a fine transfer, there were some problems. Some of the close ups in dark rooms were hard to see and muddy and, for me, not all the characters were always as sharp and clear as I might have liked. Part of that, I’m sure, is that the film was never meant for Imax and that film technology has really improved since Raiders was first made.

One thing I didn’t expect and was really impressed by was the sound. Imax generally has amazing sound and I was hearing incidental sounds all around me that I had never heard before. I don’t know if that will be part of the Blu-ray package but I hope so.

Of course, intact were some of the things that never made sense. Our intrepid hero gets over to the Nazi sub and climbs on to the conning tower. If it submerges, however, he drowns. And if it stays on the surface, the sub’s captain should be up on the conning tower. The sub travels quite a ways according to the map in the movie so this always strained my credulity. And how does Indy get himself, Marian, and the Ark off the Nazi island towards the end? Never addressed.

However, this is all more than counterbalanced by the fact that this is just a plain fun movie. One of the best action adventure movies out there with one of John Williams best scores. Lots of humor, top notch performances, and it just grabs you by the eyes and doesn’t let go.

As my Mary and I were leaving the theater, another couple – in their thirties – were also leaving. The young woman said she really enjoyed it and then said she had never seen it before. I was envious. What a great way to get introduced to a great movie.

MONDAY: Mindy Newell

 

Marc Alan Fishman: Whedon’s S.H.I.E.L.D. Has Already Been Canceled!

OK, no it hasn’t. But I bet I sure got your attention. Let’s have a quiet chat here, nerds, shall we?

Joss Whedon, Emperor of the Nerds, has ascended to the top of the mountain in Hollywood. Who knew all it took was a couple billion bucks behind the largest franchise film in history to get there? With that being said, Disney / ABC / Marvel has officially dropped the proverbial “dump-truck of money” at Joss’ gilded doorstep. And with it comes his triumphant return to television. And every geek in America (and parts of Europe and Asia, I suppose) holds its breath in anticipation.

The S.H.I.E.L.D show, as we’ve gleaned from what few words have graced us from St. Serenity, will take place in the Marvel Movieverse, but will not be sequel to The Avengers. Aside from that? Well, there’s not much else being said. So what are we to do? Speculate of course! Consider this my open air wish list for the show itself. What it could be, and what it shouldn’t.

First and foremost? I want continuity. I want the show to play in not just New York. I want weekends in Wakanda, layovers in Latveria, as well as trysts in the Triskelion. Marvel has a rich tapestry to explore, and a series that gets too many kicks in a single environment ends up becoming predictable. I’d like to think of the helicarrier as our Serenity, and the 616 provides us a new and cool place to explore every week.

And while we’re on that topic, who, prey-tell, should be doing the exploring? If I had my way, I’d free Colbie Smulders from How I Met Your Mother (which I truly love) in lieu of a permanent station as the show anchor. Whedon is known for his strong portrayal of female characters. Sadly, the movie was too pumped full of testosterone to really have much for Maria Hill or Black Widow to do beyond get a little scuffed, and pouty. I say play to your strengths, Master Joss. Maria Hill would not only be recognizable to the masses, but she (Ms. Smulders) has the depth and chops to carry a show on her shoulders with ease. And beside her? Well, I want all the S.H.I.E.L.D. stalwarts. Dust off Falcon, Quartermaine, and the offspring of Dum Dum Dugan (since I believe he was in the Cap movie and is quite not-amongst-the-living).

And what good guy is good without a bad guy to combat? Marvel’s bench is deep with cool villains perfect for the silver screen. Obviously no spy-based show in the 616 would be worth its’ salt without the perfunctory associations of ne’er-do-wells: Hydra, AIM, the Hand, etc. Heck, bonus points if they incorporate “The Ten Rings” from the Iron Man franchise. But aside from the machinations of large criminal organizations comes a bevvy of singular baddies that S.H.I.E.L.D. could be responsible for removing from the picture. Who here wouldn’t giggle a little if they saw the Purple Man, Baron Zemo, or dare I suggest the Hood making their way onto the teevees? No one, that’s who.

And would it be too much to ask for an occasional cameo? Yes, we know that all the Avengers are going to have full dance cards for a while. But nothing, and I mean nothing keeps fans (casual and crazy) coming back for more than the off chance the real Dr. Banner, Dr. Stark, or Captain America shows up to shoot the breeze. And if not for our “actual” movie stars, maybe a secondary cameo from Dr. Selvig, General Ross, or Agent Coul – err… never mind. The point remains the same. After five-plus feeder movies? There’s a metric ton of characters in the toybox that will help keep the show fresh.

And if I have only one wish fulfilled for this show-to-be… it’s all in the presentation. Smallville started strong, but quickly degraded into predictable schlock. The tendency for all TV (dramas and sci-fi shows alike) is to become machines of procedure. S.H.I.E.L.D. can’t bode well if it quickly becomes “case of the week.” Same could be said if it goes the direction of Lost or Heroes… and becomes obsessed with serialization. The key is, was, and will always be balance. Have an overarching storyline peppered with great single episodes to chew on. With an ensemble cast in place, this will all fall in line.

Ultimately, Whedon’s return to the medium that has raised him up as much as it’s let him down stands to be a great reckoning for our king-nerd. Where Firefly and Dollhouse were quickly dispatched due to poor schedule placements and too-small-of-a-fanbase-to-keep-it-on-the-air, S.H.I.E.L.D. stands the most promise to succeed if only for it’s parent franchise feeding the masses now hungry for more Marvel. You know, all those people who loved the movie(s) but were way too afraid of going to a comic shop to read about their new favorite characters. So long as the show can walk the line between “cool spy adventures” and “snarky fan-service”, and Marvel backs the show up with continually successful movies… the sky is the limit. And in that sky? A gleaming CGI set for the Triskelion.

Marc Alan Fishman and fellow ComicMixers Emily S. Whitten, Mike Gold, Glenn Hauman and Adriane Nash will be at the Baltimore Comic-Con today and tomorrow, mostly hanging around his Unshaven Comics booths, selling his wares to the unwary, and screaming obscenities at nearby Yankees fans. Drop by and say hello.

SUNDAY: John Ostrander and George Bernard Shaw, Shakespeare, Del Close, and Stan Lee.

 

Michael Davis: Be Careful What You Wish For… If You Suck

Ever see a movie or read a comic book that just sucked? Ever wonder how that god-awful piece of shit came to see the light of day?

I have. Not only have I wondered how something so terrible can get made, I’ve done stuff and wondered how in the hell I managed to pull it off something so bad and someone paid me for it.

I vowed never to make that mistake again, which is why all my current projects are at least two years in the making. I just signed a deal to write another novel and my first novel has yet to come out. I could write any book in three months but I’m smart enough (now) to take the long road when it comes to content. My latest book deal calls for me to deliver the first draft in a year. Do I need a year? Nope. Will I take the year? Yep.

I’ve learned the hard way that just because you can do a thing in five minutes does not mean you should do that thing in five minutes. Ask any woman, if you get my drift.

Some creative people do as much as they can as fast as they can for a variety of reasons, chief among those reasons, particularly for new creators, is money.

Money is the reason, in my humble opinion, that some new creative people find themselves with a wonderful opportunity and completely fuck it up. Case in point…

Some time ago someone called and told me of the sweetheart deal he had made with a major entertainment company. Frankly I was very surprised because the idea (in my opinion) was just horrible and all the work this person had done that I knew of was just not professional enough to warrant the sort of deal he was talking about. But what do I know?

I have no right what so ever to judge what anyone creates or what some company wants to pay for. My opinion as to what is published or made into a TV show or movie means nothing except to me in reality.

But… as a person who is in the position of green lighting projects for the various production and publishing companies, my opinion matters if you bring something to me. Even then I may not the final decision maker depending on the type of deal I’m in with what company. All that said, the project I’m talking about I would not pitch to anyone I have a relationship with. Besides, the person who has the project somehow secured a deal with a major player and they don’t need me anyhow.

The way the project is being handled it’s only a matter of time before the company writing the check will either pull funding or replace the creator who brought it to them. The project is ripe with production problems and personalities that will cause the funding company to bail or take away all the decision making from the creator who sold his rights to the funding company.

Why has this not happened already? Because the company writing the checks is new to the comic book business and they don’t know what’s bullshit and what’s not. But no one can keep up a smoke and mirror con job forever, eventually someone in the funding company will not give a fuck about the potential of the idea. They will start to wonder why the creator and his team have missed every deadline and call someone outside of the creator’s team to see what the fuck is up.

Sensing he was in trouble, the creator called me and asked me to be involved. I listened to the pitch because the company they had the deal with is huge. After the pitch I took a meeting with the team putting it together and realized that these guys were way out of their league. I explained to them where I saw real problems and cautioned them that the funding company would eventually see the same problems as I and grasp that the business plan and projections the creator and his team presented were unattainable at best and just bullshit at worst.

My comments were met with scorn and disbelief. Who was I to criticize them? They were the people with the deal. They were the people who were now in business with a major entertainment company. Who was I to rain on their parade?

I was the guy the entertainment company called a few weeks later and asked to take over the project.

I declined. It’s just too much trouble, I don’t have the time and working with the creator whose days are numbered would be a nightmare.

This really is a dream project for the creator and rather he listened to me or not I do so wish it works out. I hope that the funding company does not get to a point of no return and decide because they already spent X amount of money they have to publish to recoup at least some of that money back.

That, by the way, is one of the reasons you see shitty product in the entertainment marketplace. Corporate decides that although the product is shit someone will buy it and instead of losing one million dollars they lose nine hundred thousand.

I hope I’m wrong and as bad as the project is it does gang busters in sales. I hope if that happens and the creator is still involved with the project he will count his blessings and not make the same mistakes again.

I also hope for a threesome with Salma Hayek and Angelina Jolie while Jennifer Lopez makes me a egg sandwich and Kim Kardashian feeds it to me. I think that has a better chance of happening.

WEDNESDAY: Mike Gold Takes On The Fish… Again

 

 

Mindy Newell: The Sexual Preferences Of Wonder Woman, or… Whatever Floats Your Boat

Last week’s column engendered a conversation with Bill Hannigan. Now Bill and I don’t exactly see eye-to-eye politically, and my belief that “Wonder Woman, considering her upbringing, would most likely look to her own sex for an adult relationship before venturing into anything heterosexual” seemed to create a Rubicon that neither of us would or could cross. Bill responded to my statement as follows:

“…while it’s not unreasonable that WW would explore a same sex relationship, I’d hope any writer would save that for another character – it plays straight (ha!) into the hands of those who would like to have us believe that being raised by gay parents (or even gay-tolerant parents) will make kids gay. If, as I think, it is far more nature than nurture, it should not matter if she were raised on Paradise Island, Fire Island, Monster Island or Long island.”

My first reaction: annoyance that Bill had missed the most important part of the paragraph, which ended “meaning she needs to discover just where her sexuality lies.”

… and I wanted to zoom off an angry missive in return.

But having spent mucho bucks for therapy over the years (which, for the most part, has helped me to successfully understand myself a little better – though some people I know may disagree with that, and you know who you are), I held off the angry missive and gave both of us a break on the tête-à-tête back-and-forth. In other words, cooler heads prevailed:

“Regarding Wonder Woman – I’m not saying that she must be gay. I’m saying that I believe her first inclination, given her upbringing, would be to seek love with her own sex. And, in fact, I think it would be interesting for Diana to discover that she is drawn to men – and then feel like there’s something wrong with her. This would parallel what so many young people who know they are gay go through in this society. although I do think its getting better out there.”

Bill’s answer was right on the mark, IMnot-so-HO:

“And I think you would be attacked without mercy if you tried to do a story like what you describe – the homophobes would, of course, lose their shit over you making WW gay in the first place and you would catch holy hot hell when you had her become attracted to a man. There is no doubt in my mind. You can hear the complaints now. “Newell chickened out!” “Oh right, that’s what every lesbian secretly wants, the right man to show here the true path!” “I finally found a character that I could identify with and now you’ve wee-ooh, wee-ooh!” It would be brutal.

“The worst part about creating groundbreaking characters, it seems to me, is that you lose control of them. Joss Whedon makes Willow gay and from that point on every time something bad happens to her (and [since] it’s a Joss Whedon show, bad stuff happens to you!) people start bitching and bitching; “Oh right, another gay relationship that ends badly.” As though anyone on Buffy was likely to have a happy ending, relationship-wise.”

Oh, yeah, Bill, I remember the uproar that the problems between Willow and Tara created in the homosexual community. And when Warren killed Tara, I was among the thousands screaming at the television set, “oh, no, you didn’t, Joss Whedon!” It didn’t matter that I’m straight. Their relationship was the most honest representation of a healthy, interactive, grown-up relationship between lovers, homosexual or heterosexual, I’d ever seen – and still not matched – on a television series, or for that matter, in a movie. Brokeback Mountain, despite all the hoo-hah about Jake Gyllenhaal and Heath Ledger getting it on, was not about a good relationship. Willow and Tara did not say, “I wish I knew how to quit you.” Willow and Tara were just two people who loved each other. Period. No “a very special episode announcement” bullshit, no “look how daring we’re being!” crap, no big deal – well, except for Oz.

Although I seem to remember Whedon saying he was “surprised” at the amount of angry letters and hate mail he received, I also believe he didn’t give a shit. Because, as I replied to Bill:

“[as for] the bullshit Whedon got for killing Tara…was a necessary dramatic action for where Whedon was going [i.e., the “Dark Willow” storyline.]

“[and] like Whedon, I don’t give a shit.  If it serves the character(s) and his/her/their story, I write it.”

So, yeah, I think that Diana of Themiscrya would be very confused about her sexuality. And I would write her that way. But, like I told Bill:

“Not that DC would ever let me do something like that.”

Continued Next Week!

TUESDAY MORNING: Emily S. Whitten and Where Must Be Dragons?

TUESDAY AFTERNOON: Michael Davis Hurls Hand-Grenades!

 

 

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