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Messages - JOE SOAP

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General / Re: Missionary Man - Anyone want to see him return?
« on: 23 June, 2017, 09:45:57 pm »
I loved Missionary Man and dispite Gordon, particularly during Alex Ronald's time on the strip. His art was just glorious and perfectly suited Gordon's tight, dark series.

I like that particular run of Missionary Man a lot and Alex's art is glorious – my favourite interpretation of Texas-City Judges.

Film & TV / Re: Han Solo: A Star Wars Story (2018)
« on: 22 June, 2017, 07:20:27 pm »
Now I'll being watching the film thinking who shot what first.

Film & TV / Re: Han Solo: A Star Wars Story (2018)
« on: 22 June, 2017, 04:02:27 pm »
Richie Cunningham is taking over.

Film & TV / Re: Han Solo: A Star Wars Story (2018)
« on: 21 June, 2017, 03:07:57 am »
It was bad enough having River Phoenix playing IJ

That worked quite well.

Film & TV / Re: Han Solo: A Star Wars Story (2018)
« on: 21 June, 2017, 02:58:00 am »
They should fuckin kick this into the long grass.

That can't happen now and they've enough money to salvage it.

Film & TV / Re: Han Solo: A Star Wars Story (2018)
« on: 21 June, 2017, 02:16:51 am »
Tá sé fucked.

Film & TV / Re: Han Solo: A Star Wars Story (2018)
« on: 21 June, 2017, 12:49:58 am »
 ...everything's perfectly all right now. We're fine. We're all fine here now, thank you.

'Star Wars': Han Solo Film Loses Directors

“Unfortunately, our vision and process weren’t aligned with our partners on this project."

Books & Comics / Re: Whats everyone reading?
« on: 20 June, 2017, 09:12:37 pm »
Instead of the world getting a Jack Kirby theme park Ben Affleck got an Oscar.

Film & TV / Re: Wonder Woman 2017
« on: 12 June, 2017, 04:43:25 pm »
While I knew Thewlis was the big baddie from the moment I saw him, I was actually pretty happy with the moment when Diana kills 'Ares' and nothing changes: the idea of Ares as a corrupting influence rather than a muscled bruiser was fine by me

The point of 'the evil in all men' would've hit harder and more truthfully had she realised it after defeating actual Ares – or, yes, even just left with the death of the General. It's a backward decision that undercuts the point purely in the service of some lesser plot twist of Thewlis as Ares and an escalation in action.

When the speechifyin' Ares is finally brought in after Diana's recognition of false victory he's reduced to being an obligatory and superfluous monster to fight – his introduction is anticlimactic when it should've been Diana's belief in her singular quest that is left feeling anticlimactic: that simply defeating the big baddie would end the war. Diana's disillusionment and restoration of faith would be more powerful as a post battle realisation that Steve's sacrifice (strong shades of Steve Rogers and Peggy Carter's goodbye date) helped save the fate of the Armistice.

It's a strange, unnecessary blunder that leaves the point of the end blurred, and possibly because of some over cautious decision to prevent the idea that the audience might be left with the feeling WW is not be the ultimate hero in her own film.

Off Topic / Re: The Political Thread
« on: 10 June, 2017, 11:55:44 pm »
It just goes to show that May and her cadre care not for the stability of the UK and especially the delicate politics of NI – seriously, siding with the DUP is a political disaster for everyone – but only for their own political survival.

Books & Comics / Re: Whats everyone reading?
« on: 08 June, 2017, 12:49:11 pm »
And Chaykin's American Flagg! (which I loved, and coincidentally had just ordered the Image hardcover collecting of the first 14 issues, a week ago) always seemed a little influenced by (or maybe "a reaction to" would be more accurate) Judge Dredd to me.

The influence of Dredd is acknowledged, if I remember correctly, in an op-ed/letter published in the first or at least one the early issues of American Flagg - as is both Flagg and Dredd's influence on RoboCop by Howard Chaykin:

Howard Chaykin: Conversations excerpt 1

Howard Chaykin: Conversations excerpt 2

It's funny you use the example page you've shown, because that really doesn't resemble the way the media breaks appear in Robocop -- but they DO resemble the way Frank Miller drew the media commentators in TDKR.

In American Flagg! the media commentary focuses on the interviewees, not the broadcasters, reducing the latter to tiny heads almost like what you traditionally see in comics where a sequence is being narrated through captions by another character.

On the contrary, Flagg's FasFax inserts clearly resemble the media breaks in RoboCop and they function with the exact same intention of using news media and ads as diegetic disruptions: mixing the idea of trashy commercial TV with cinematic/comic drama, yet also forming a significant part of the narrative whole.

As an influence on RoboCop, American Flagg was also more than likely an influence on Frank Miller - there's similarity between the design of the Go-Gangs and The Mutants in TDKR - so it's swings and roundabouts in the mid 1980s zeitgeist but American Flagg got there first and was clearly in the minds of the writers of RoboCop when they were writing the script between 1984-1986. TDKRs later influence was more a compounding of those ideas formulated in Flagg.

The fourth draft of RoboCop was done by 10 June 1986 and contains interstitial segments titled 'Media Breaks' - TDKR was concurrently being published as individual issues.


Film & TV / Re: Wonder Woman 2017
« on: 07 June, 2017, 07:37:34 pm »
Would it be fair to say that I sense a strong anti-Zack Snyder under current?

On my part, I wouldn't call a discussion on the arcane and often unfair nature of Hollywood accreditation that. I'm really suggesting it's more a Patty Jenkins film than Zack Snyder's and it's the film it is mostly because of how the director managed to turn it around in the long process from script to screen. If you feel a need to defend Zack's honour in this regard, so be it, but I'm not a 'DC universe' fan, so I don't really have a dog in this race – though I like both Dawn of the Dead and 300.

Truth is, we don't have the first clue who wrote what, so it isn't even remotely fair or even to suggest that he probably had no hand in "the good bits".

No, we don't, but it's more a matter of proportional credit for me. We know he didn't write the screenplay, so what might've been early ideas for a story hashed-out between Snyder, Fuchs and Heinberg, weren't actually scenes until Heinberg wrote them and Jenkin's rewrote and directed them – so I don't think it's fair to suggest Snyder might've 'wrote all the best bits', either, when others knocked it into something that could work as a shootable script. At the end of the day the person most responsible for the film's success is the director and apart from mimicking Snyderesque speed-ramping in the action scenes, the storytelling doesn't feel particularly 'Zack Snyder' to me – so take from that what you will.

Paraphrasing what veteran Producer Charles Roven has said – of all the films he's ever worked on, it's the one with the most writers.


Film & TV / Re: Wonder Woman 2017
« on: 07 June, 2017, 02:18:19 pm »
Then, I discovered a couple of months ago, that Boam's screenplay was the subject of an extensive, uncredited re-write by Tom-frickin'-Stoppard. Baffling…

...and then Stoppard and Carrie Fisher did some doctoring on the prequels. A good wage, I'd say.

The arbitration on the 1995 Judge Dredd film went back as far as 1985 to the very first writer to have worked on it, comic writer Jan Strnad:

Roger Ebert's Questions to the Answer Man – Reno Gazette, 20th July 1995

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