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Messages - JOE SOAP

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Books & Comics / Re: Toxic
« on: 14 January, 2019, 07:41:07 pm »
Like Kingdom of the Blind, the Marvel piss-take was also a one-shot.

General / Re: John Wagner topic - can we have some more, please?
« on: 13 January, 2019, 07:33:01 am »

Film & TV / Re: Game of Thrones prequel
« on: 11 January, 2019, 10:16:33 pm »

Did they sail all the way to Westeros like that?  Didn't they get cold?  Hadn't they been on a ship before?  What are they looking at?  "It's only a model" etc.

They have dragons.

Film & TV / Re: DUNE rights acquired by Legendary Films.
« on: 11 January, 2019, 10:28:59 am »
It doesn't really address the theme of extremism and the way that religion gets distorted by power. It's at least 20 years since I've read the books, though.

It’s been about 25 years since I’ve read the books but as far as I can recall, from Dune Messiah onwards, and with the later introduction of the Honored Matres, that’s a distinct theme.

News / Re: RIP Ron Smith
« on: 10 January, 2019, 07:39:19 pm »
Okay, I'm going to say it: Ron Smith was the best Dredd artist.

We've been lucky to have so many great ones that there's no desire or need on my part to argue with that.
In this merry court of great and individual talents, Ron is the Jester to Carlos's King.

Links / Re: Youtube Gold
« on: 10 January, 2019, 04:49:27 am »
He's box-office.

Film & TV / Re: DUNE rights acquired by Legendary Films.
« on: 09 January, 2019, 12:29:15 am »
...I can't resist letting you know what's in your most private thoughts when you get drunk is a f#@king unicorn!’” Right? So, I love Beavis and Butthead, so what should follow that is “Duh.” So now it will be revealed [in the sequel], one way or the other.

That interview will always be the best.

Film & TV / Re: Current TV Boxset Addiction
« on: 08 January, 2019, 11:15:41 pm »
Sadly things take a turn for the worse with the second Robin. Wish they'd gone with Neil Morrissey, back then the absolute image of Michael Praed, instead of the gimmicky choice of Sean Connery's wee lad.

My favourite Hood is the big lad himself playing the old and knackered version in Robin & Marian.

Film & TV / Re: DUNE rights acquired by Legendary Films.
« on: 08 January, 2019, 07:40:33 pm »
Ridley claimed a lot of stuff was his in that film. He even tried to influence how it was being directed, but Villeneuve told him to do one (obviously in a more polite manner, but the hint was the same).

I'm sure some of it is his (like the farm sequence being a leftover from the first film) but he was obviously feeling unloved/regretful after Convenant critically bombed and BR2049 was getting so much praise – or he'd just had a few sherries before the interview – either way the central premise of the film, the child, was Hampton Fancher's

Film & TV / Re: DUNE rights acquired by Legendary Films.
« on: 08 January, 2019, 06:45:56 pm »
Well, Ridley Scott was executive producer for BR2049, and he didn't have much, if any, influence on that...

Apart from the directing, he doesn't seem to see it that way.

What did you make of the way Blade Runner 2049 was received?

[Whispers] I have to be careful what I say. I have to be careful what I say. It was fucking way too long. Fuck me! And most of that script’s mine.



The story, or the script?

I sit with writers for an inordinate amount of time and I will not take credit, because it means I’ve got to sit there with a tape recorder while we talk. I can’t do that to a good writer. But I have to, because to prove I’m part of the actual process, I have to then have an endless amount [of proof], and I can’t be bothered.

[Editor’s note: Spoilers for Blade Runner 2049 follow in the next paragraph.]

But the big idea comes from Blade Runner. Tyrell is a trillionaire, maybe 5 to 10 percent of his business is AI. Like God, he has created perfect beings that, for all intents and purposes, there is no telling the difference from humans. Then he says, “You know what? I’m going to create an AI. I’ll have a male and female, they will not know that they’re both AIs, I’ll have them meet each other, they will fall in love, they will consummate, and they will have a child.” That’s the first film. The second film is, what happens to the baby? You’ve got to have the baby, you can’t have the mother, so the mother has to inexplicably die four months after she breastfeeds. The bones are found in the box at the foot of the tree — that’s all me. And the digital girlfriend is me. I wanted an evolution from Pris, who is inordinately sexy in the original, right?

I would say iconically so.

I shouldn’t talk. I’m being a bitch.


Books & Comics / Re: Alan Moore thinks you're a prick!
« on: 21 December, 2018, 02:19:47 pm »

The BFI’s Ten Biggest Production Awards Of 2018:

£900,000: The Show

Graphic novel supremo Alan Moore’s (Watchmen) latest creation stars Tom Burke (War And Peace), Siobhan Hewlett (Show Pieces) and Ellie Bamber (Nocturnal Animals). Mitch Jenkins (Show Pieces) is directing from Moore’s script. The Gothic fantasy follows Fletcher Dennis (Burke) who has been hired to track down a stolen artefact, an investigation that brings him into contact with the most unusual and dangerous elements in Moore and Jenkins’ hometown Northampton.


Film & TV / Re: The Trailer Thread
« on: 20 December, 2018, 05:15:00 am »
I get all that, just not why this... If the trailer gives an accurate impression, and who's to say it does,  no-ones going to be happy. Why make it at all?

Either the trailer people are seriously misrepresenting a more gothic, Mignolaesque R-rated film that doesn’t feature songs like the least good Billy Idol choon -or- the Producers who bought the resurrected rights just wanted del Toro’s quippy Hellboy as a continuing franchise in the age of the comic-film bonanza and thought everyone would be happy to go along with that - but of course, as we all know, you don’t get del Toro’s Hellboy without the man himself, and Perlman.

Film & TV / Re: The Trailer Thread
« on: 19 December, 2018, 10:55:06 pm »

It's a halfway house. According to Mike Mignola it was originally intended as a lower budget sequel to the del Toro films but not with del Toro's more expensive conclusion story, so both de Toro (as Producer) and Perlman jumped ship.

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