| Posted: 14 Feb 2006 22:22 |
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Warner Bros was nice enough to give us some pics and info on their latest movie V For Vendetta
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| Posted: 04 Mar 2006 16:51 |
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it looks wierd wuts it about
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| Posted: 22 Mar 2006 20:00 |
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this is long, but interesting
The Vendetta Behind 'V for Vendetta'
By DAVE ITZKOFF
Published: March 12, 2006
THE most vivid characters in Alan Moore's graphic novels are antiheroes of ambiguous morality and identity: costumed avengers like Rorschach, the disturbed street vigilante of "Watchmen," or the crusader known only by the letter V, who commits catastrophic acts of terrorism in the dystopian tale "V for Vendetta."
Alan Moore created V, the avenging hero of the comic book and graphic novel "V for Vendetta" (drawn by David Lloyd), which has been adapted into a movie.
With inventions like these, and a body of writing that spans nearly three decades, Mr. Moore, a 52-year-old native of Northampton, England, distinguished himself as a darkly philosophical voice in the medium of comic books — a rare talent whose work can sell solely on the strength of his name. But if Mr. Moore had his way today, his name would no longer appear on almost any of the graphic novels with which he is most closely associated. "I don't want anything more to do with these works," he said in a recent telephone interview, "because they were stolen from me — knowingly stolen from me."
In Mr. Moore's account of his career, the villains are clearly defined: they are the mainstream comics industry — particularly DC Comics, the American publisher of "Watchmen" and "V for Vendetta" — which he believes has hijacked the properties he created, and the American film business, which has distorted his writing beyond recognition. To him, the movie adaptation of "V for Vendetta," which opens on Friday, is not the biggest platform yet for his ideas: it is further proof that Hollywood should be avoided at all costs. "I've read the screenplay," Mr. Moore said. "It's rubbish."
Mr. Moore has never been shy about expressing himself. With "Watchmen," a multilayered epic from 1986-87 (illustrated by Dave Gibbons) about a team of superheroes in an era of rampant crime and nuclear paranoia — and again with "V for Vendetta" (illustrated by David Lloyd), published in America in 1988-89, about an enigmatic freedom fighter opposing a totalitarian British regime — Mr. Moore helped prove that graphic novels could be a vehicle for sophisticated storytelling. "Alan was one of the first writers of our generation, of great courage and great literary skill," said Paul Levitz, the president and publisher of DC Comics. "You could watch him stretching the boundaries of the medium."
But by 1989, Mr. Moore had severed his ties with DC. The publisher says he objected to its decision to label its adult-themed comics (including some of his own) as "Suggested for Mature Readers." Mr. Moore says he was objecting to language in his contracts that would give him back the rights to "Watchmen" and "V for Vendetta" when they went out of print — language that he says turned out to be meaningless, because DC never intended to stop reprinting either book. "I said, 'Fair enough,' " he recalls. " 'You have managed to successfully swindle me, and so I will never work for you again.' "
Mr. Levitz said that such so-called reversion clauses routinely appear in comic book contracts, and that DC has honored all of its obligations to Mr. Moore. "I don't think Alan was dissatisfied at the time," Mr. Levitz said. "I think he was dissatisfied several years later."
Mr. Lloyd, the illustrator of "V for Vendetta," also found it difficult to sympathize with Mr. Moore's protests. When he and Mr. Moore sold their film rights to the graphic novel, Mr. Lloyd said: "We didn't do it innocently. Neither myself nor Alan thought we were signing it over to a board of trustees who would look after it like it was the Dead Sea Scrolls."
Mr. Moore recognizes that his senses of justice and proportion may seem overdeveloped. "It is important to me that I should be able to do whatever I want," he said. "I was kind of a selfish child, who always wanted things his way, and I've kind of taken that over into my relationship with the world."
Today, he resides in the sort of home that every gothic adolescent dreams of, one furnished with a library of rare books, antique gold-adorned wands and a painting of the mystical Enochian tables used by Dr. John Dee, the court astrologer of Queen Elizabeth I. He shuns comic-book conventions, never travels outside England and is a firm believer in magic as a "science of consciousness." "I am what Harry Potter grew up into," he said, "and it's not a pretty sight."
Actually, he more closely resembles the boy-wizard's half-giant friend Hagrid, with his bushy, feral beard and intense gaze, but those closest to Mr. Moore say his intimidating exterior is deceptive. "Because he looks like a wild man, people assume that he must be one," said the artist Melinda Gebbie, Mr. Moore's fiancée and longtime collaborator. "He's frightening to people because he doesn't seem to take the carrot, and he's fighting to maintain an integrity that they don't understand."
After he left DC Comics, he spent the 1990's working his way from one independent publisher to the next, ultimately arriving at Wildstorm Studios, owned by the comics artist Jim Lee. There, Mr. Moore was given his own imprint, called America's Best Comics, where he continued to write such pioneering and popular titles as "The League of Extraordinary Gentlemen," about a proto-superhero team of Victorian literary characters including Allan Quatermain, Captain Nemo and the Invisible Man.
(Page 2 of 2)
DC Comics purchased Wildstorm, in 1998, expecting that Mr. Moore would not tolerate the arrangement. "We did the deal on the assumption that Alan would be gone the day it was signed," said Mr. Levitz. But Mr. Moore's loyalty to his artists trumped his aversion to his former employers, and he stayed put. "It seemed easier to bite the bullet meself," he said.
In 2001, the first film adaptation of one of Mr. Moore's graphic novels arrived in theaters. "From Hell," distributed by 20th Century Fox, was based on his extensively researched account of the Jack the Ripper murders, a 572-page black-and-white title illustrated by Eddie Campbell. Mr. Moore had no creative participation in the film, and happily so. "There was no way that I would be able to be fair to it," he said. "I did not wish to be connected with it, and regarded it as something separate to my work. In retrospect, this was kind of a naïve attitude."
Two years later, when 20th Century Fox released a movie version of "The League of Extraordinary Gentlemen," the screenwriter Larry Cohen and the producer Martin Poll sued the studio, charging that elements of the film had been plagiarized from their work. Though the film, which was one of the year's costliest flops, differed drastically from the graphic novel, the lawsuit nonetheless claimed that the "Extraordinary Gentlemen" comics had been created as a "smokescreen" to cover up the theft.
Mr. Moore found the accusations deeply insulting, and the 10 hours of testimony he was compelled to give, via video link, even more so. "If I had raped and murdered a schoolbus full of retarded children after selling them heroin," he said, "I doubt that I would have been cross-examined for 10 hours." When the case was settled out of court, Mr. Moore took it as an especially bitter blow, believing that he had been denied the chance to exonerate himself.
Since then, he has refused to allow any more movies to be made from work he controls. In the case of work whose rights he does not control, he has refused credits on any film adaptations, and has given his share of option money and royalties to the artists who illustrated the original comic books. That position is so radical that though his colleagues say they respect his position, few in the film industry can understand it.
"It's very simple, but they don't seem to hear it," said John O'Neill, the illustrator of "The League of Extraordinary Gentlemen." "They just gravitate towards offering more money."
Last year, when Mr. Moore received a phone call from Larry Wachowski — who, with his brother, Andy, had written and directed the "Matrix" movies — to discuss the "V for Vendetta" film that the Wachowskis were writing and producing for Warner Brothers, Mr. Moore felt he had made it clear that he did not want to be involved in the project.
"I explained to him that I'd had some bad experiences in Hollywood," Mr. Moore said. "I didn't want any input in it, didn't want to see it and didn't want to meet him to have coffee and talk about ideas for the film."
But at a press conference on March 4, 2005, to announce the start of production on the "V for Vendetta" film, the producer Joel Silver said Mr. Moore was "very excited about what Larry had to say and Larry sent the script, so we hope to see him sometime before we're in the U.K." This, Mr. Moore said, "was a flat lie."
"Given that I'd already published statements saying I wasn't interested in the film, it actually made me look duplicitous," he said.
In a telephone interview, Mr. Silver said he had misconstrued a meeting he had with Mr. Moore and Dave Gibbons nearly 20 years ago, when Mr. Silver first acquired the film rights to "Watchmen" and "V for Vendetta." (Mr. Silver no longer owns the rights to "Watchmen," though Warner Brothers is still planning an adaptation.) "I had a nice little lunch with them," he said, "and Alan was odd, but he was enthusiastic and encouraging us to do this. I had foolishly thought that he would continue feeling that way today, not realizing that he wouldn't."
Mr. Silver said he called Mr. Moore to apologize for his statement at the press conference, but that Mr. Moore was unmoved. "He said to me, 'I'm going to hang up on you if you don't stop talking to me,' " Mr. Silver recalled. "It was like a conversation with a tape recording."
Through his editors at DC Comics (like Warner Brothers, a subsidiary of Time Warner), Mr. Moore insisted that the studio publicly retract Mr. Silver's remarks. When no retraction was made, Mr. Moore once again quit his association with DC (and Wildstorm along with it), and demanded that his name be removed from the "V for Vendetta" film, as well as from any of his work that DC might reprint in the future.
The producers of "V for Vendetta" reluctantly agreed to strip Mr. Moore's name from the film's credits, a move that saddened Mr. Lloyd, who still endorses the film. "Alan and I were like Laurel and Hardy when we worked on that," Mr. Lloyd said. "We clicked. I felt bad about not seeing a credit for that team preserved, but there you go."
DC, however, said it would be inappropriate to take Mr. Moore's name off of any of his works. "This isn't an adaptation of the work, it's not a derivative work, it's not a work that's been changed in any fashion from how he was happy with it a minute ago," said Mr. Levitz.
Still, some DC editors hope that Mr. Moore might return. "He remains a good friend, and I would work with him again in a heartbeat," said Karen Berger, the executive editor of the DC imprint Vertigo, in an e-mail statement.
But Mr. Moore does not seem likely to change his mind this time. For one thing, his schedule is almost entirely consumed with other comics projects, including a new volume of "The League of Extraordinary Gentlemen," to be released in late 2006 or early 2007 by the American publisher Top Shelf Productions. This summer, Mr. Moore said, Top Shelf will also be publishing "Lost Girls," his 16-years-in-the-making collaboration with Ms. Gebbie, a series of unrepentantly pornographic adventures told by the grown-up incarnations of Wendy Darling of "Peter Pan," Alice of "Alice's Adventures in Wonderland" and Dorothy Gale of "The Wizard of Oz." "I refuse to call it erotica, because that just sounds like pornography for people who've got more money," Mr. Moore said. "It would seem to be possible to come up with a kind of pornography that was meaningful and beautiful, not ugly."
Ms. Gebbie said she was more excited to see Mr. Moore finish his novel "Jerusalem," another years-long project that he estimates will total 750 pages when complete. "It's his story, his heritage, his blood ties and his amazing, wonderful system of beliefs," Ms. Gebbie said. "This book for him is an unfolding of his real, deep self."
But Mr. Moore suggested that his comic-book writing has already defined his identity. He recalled an encounter with a fan who asked him to sign a horrific issue of his 1980's comic "The Saga of the Swamp Thing"; the admirer then disclosed that he was a special effects designer for the television series "CSI: NY." "Every time you've got an ice pick going into someone's brain, and the close-ups of the little spurting ruptured blood vessels, and that horrible squishing sound, that's him," Mr. Moore said. "So that's something I can be proud of. This is my legacy."
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| Posted: 22 Mar 2006 20:01 |
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at first i really wanted to see the movie, but when i heard he called it rubbish, i didnt, but at the end i realized he's just a weird crybaby that has oppurtunitties, misses them, and complains later. for instance, the wachowski bros. asked him to give his input, but he refused, and now is complaining that the script sucks. frank miller, was happy with sin city cuz he worked with them on it. and taking this guys name off of his books, would be stupid, thats like saying, since i dont have the rights, you cant sell it, becuz you cant sell a book without saying who wrote it.
nothing against his writing talents though
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| Posted: 22 Mar 2006 23:57 |
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Creative types are sometimes very eccentric. 
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| Posted: 08 Jun 2006 19:02 |
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i wen tto see it wen it 1st came out i've read the graphic novel b4 hand i thought it was brilliant i thought it would be slow but it was gr8 hugo weaving was brilliant as "V"
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| Posted: 08 Jun 2006 22:08 |
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i never seen it. but i will.
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| Posted: 08 Jun 2006 22:29 |
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best movie of year so far, (i still havent seen x3 though)
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| Posted: 09 Jun 2006 04:55 |
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i think when you see x3 you will find your new number 1.
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| Posted: 09 Jun 2006 14:58 |
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If you are a fan of the X-men at all I think you'll love the X3 movie.
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| Posted: 09 Jun 2006 22:41 |
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DONT SCROLL DOWN IF U HAVENT SEEN X3! IMNPORTANT DETAILS GIVEN!!!
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| Posted: 09 Jun 2006 22:47 Last Edited By: SuperDude |
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IT WAS AWESOME!!! I CANT BELIEVE scott DIED THOUGH IS THAT IN THE COMICS? I THINK HE'S STILL ALIVE, AND DIDNT SEEM AWESOME THAT IT WAS LIKE THE LEFTOVER X-MEN FIGHTING? AND DID YOU WATCH PAST THE CREDITS? YOU SEE XAVIER, AND HE'S IN THAT BODY THAT THEY'D SAID DIDNT HAVE A MIND, BUT AMIND COULD BE TRANSFERRED TO. honestly it's awesome how at the end of each movie they give a hint of a sequel. and they also got all of the people back that had cameo in the 2nd one, like kitty(who's hotter than rogue) and collossus.
i give it a 9.7!!!!!!!!!!!!!!!!
AWESOME!!!!!!!!!!!!
WORDS CANNOT DESCRIBE HOW GOOD IT IS, I LIKE THIS DIRECTOR EVEN BETTER THAN SINGER I THINK.
and if not for storm, wolverine would be the only xman left living from the first movie. i think scoot and xavier are coming back though, and beast was cool too.
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| Posted: 09 Jun 2006 22:49 |
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cyclops play a very minimal roll in the movies i've noticed.
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| Posted: 10 Jun 2006 01:49 |
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I told you it was good!
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| Posted: 10 Jun 2006 15:00 |
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i didnt say it wasnt
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| Posted: 10 Jun 2006 16:43 |
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I know, but I told you it was good!
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| Posted: 10 Jun 2006 18:32 |
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yeah, amazing effects, and the director added a relaistic quality i liked in the scene where it showed the boy angel cutting off his wings. also, it managed to surprise me, when i tyhoguht they couldnt surprise me. i thought v was gonna be better cuz it was original, but then xmen had twists and turns to equal that of vfv.
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| Posted: 11 Jun 2006 21:41 |
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I liked the Beast and Wolverine the best. Angel was interesting character addition to the story.
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| Posted: 12 Jun 2006 18:10 |
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yeah, he did a great job and the Beast fight scenes at the end were great.
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| Posted: 12 Jun 2006 21:31 |
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yeah, fast and smooth
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| Posted: 13 Dec 2006 09:15 |
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looks rubbish to me
__________________i have the IQ of 1000000000000000000(iforgot the negative
all the roads we have to take are winding,and all the lights that lead us there are blinding
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| Posted: 13 Dec 2006 09:18 |
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wait no wats goin on two conversations
i didnt see the xavier bit at end 
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all the roads we have to take are winding,and all the lights that lead us there are blinding
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