Ahoy, squirts! Quint here Buddy-L's con wrap-up. I'm not sure what he's talking about with the last report missing pieces. They were there when I posted the piece. Curious. Anyway, tons of information below, mostly concerning Mr. Frank Miller's current slate of projects, both film and comic book! Enjoy!!!
Hiya Harry, Morry, Quint.
Buddy-boy here for my third and last update for SF WonderCon 2006. It's been a hell of a weekend. First off, I wanna clarify a few things: it seemed that my last post got kinda scrambled or something with words mixed into one another and some things weren't clear. I dunno if that was AICN or something on my end. A few things that happened on Day 2 that seem to be missing from that report are: 1.) Gary Sassman is the big guy at ComicCon Int'l, Joseph Gordon Levitt didn't show, but the played the BRICK trailer ("credit where due" is for seeing AICN's quote in the trailer), then played the clip where he gets the call; 2.) a clip a clip was played from THE OMEN (which stars Liev Schreiber and Julia Stiles as the parents) that was a spot-on recreation of a scene from Donner's original ("Look at me, Damien ! It's all for you !")--very cool--and the stuff with birds and crosses was from the two tv spots; 3.) in Pixar's CARS, the cars have human personalities relative to the people who'd drive them (Cheech Marin is a low-rider with flame decals... I shit you not) and two scenes were played--a.) a mini-van couple stumbles into the town of Radiator Springs in a scene that plays out like the HILL HAVE EYES scenario, except funny, for kids, and no cannibalism, b.) the film opening, which is an evening race (this what looks like the Quidditch scene from GOBLET OF FIRE).
Now for the final day's events. I arrived early 'cause I knew this was the day Frank Miller was gonna have his spotlight @ 12:30 in rm. 20-14. Went into the main hall and walked around for a little while. Never did find Dave Stevens, oh well. An announcement came over the PA system that Frank's spotlight was moved back to 1:00 in rm. 20-00. Made my way back towards the front, near the Comic Book Legal Defense Fund (CBLDF) and View Askew booths, when I saw a line against the wall. I asked what it was for? "Kevin Smith signings." How 'bout that ? I'd given up hope that I'd get my stuff signed. Fortunately, I didn't take it out of my backpack since yesterday. I asked when it'd start? "1:00". Shit. I hopped in line as quick as I could, knowing I'd love to get his autograph, but would still have to make a mad-dash if I wanted to see Frank Miller.
Around 12:20, Kev himself shows up with daughter Harley, Jason Mewes (that's right, y'all) and his attractive wife, Jen. (Goddamnit. He's gotta hot wife. I saw Mike Allred the other day with HIS hot wife--what happened to the old story of comic creators being freaks who only attract ugly chicks and greasy fan-boys ? Someone lied to me.) He started signing a few minutes later. As close as I was, the line moved at a snail's pace. The Miller announcement came over the PA again and my watch was tickin' away. After taking helping the couple in front of me take a pic with them, Kev & Jay, it was my turn to have his name on my copies of the CLERKS/CHASING AMY screenplay book, DAREDEVIL: GUARDIAN DEVIL # 1 and 2, SPIDEY: BLACK CAT # 1-3, CHASING DOGMA, and my copy of SUPERMAN LIVES (yes, he still signs them with "Fuck Tim Burton". HA !).
As he and Jay signed, I told Jay how much my Dad--who discovered the flicks on cable--loves the guy. "Your Dad's cool." Kev recognised me from the Q & A yesterday and deduced that I was "the guy writin' for AICN." Yup, he's reading the site for these reports. He asked what I thought of M:I-3. I can't emphasise enough how friggin' cool that footage was and how hyped it's got me. I shook their hands, told 'em how much I love their work, and gotta outta their hair a very happy man. So happy, that as I was putting my books back, I accidentally happened to catch my watch and see that it was 1:10 ! I pretended my name was Barry Allen got my ass gone !
Luckily for me, there were running ten minutes late. Gary Sassman was on stage as I walked in and he introduced Charles Brownstein of the CBLDF, who then quickly introduced Frank Miller to a standing ovation. Frank was still bearded and still fighting a cold as his voice was hoarse and he popped "Halls" drops between his answers. The two are clearly old friends and had fun ribbing each other from time to time. For example, people have been wondering forever when new SIN CITY comics would come out, something Miller himself has apparently not solidified yet: Brownstein: Will there be new SIN CITY graphic novels. FM: Yes. (applause) Brownstein: (very direct) When ? FM[sly smile]: You dick. (laughter)
Brownstein asked what influenced Miller to choose his trademark urban settings for his work. Miller said that "cities are made out of people, not buildings. The buildings are just artifacts, extensions of us." He noted how during his DAREDEVIL run, he would just sit on the roof of his Hell's Kitchen building and sketch." He explained the difference between NY (DAREDEVIL) and LA (basis for SIN CITY): in NY, conflicts are out in the open. People don't drive, they bump into each other. That's what's great about it--people are constantly in contact with one another. [In LA], it's all isolation and people in their steel vehicle boxes not coming in contact. That's why you have race riots--because the people don't interact."
Brownstein noted how the DD work seems so much "like a young man's work. [It has] the arrogance and swagger of a man in his 20s. In hindsight, how does the work hold up to you ?" FM: "It's hard for me to review personally. I cherish the celebration of NY. I love the romantic element (DD & Elektra)... The 80s were an electric time for Marvel. Jim (didn't catch his last name) turned it around and put the energy into the story-telling. Back then, we didn't delay titles, you were replaced. It tought me that comics art not, but it's the story that counts. I couldn't have done SIN CITY (at my own pace) without first having experienced the monthly grind of Marvel." Brownstein: "Then what's gained or lost by having to wait for a title?" FM: "You tend to gain better artwork and writing."...
"[The romance in DD] is something I kept when I did SIN CITY--each SIN CITY story is a love story. 'That Yellow Bastard' is the most romantic thing I've done." Brownstein: "Why?" FM: "Because they're star-crossed lovers. They have something sacred. Hartigan not only refuses to consumate it, but he's willing to sacrifice his life, his dignity, and his reputation for it."
Brownstein then asked about the biting poli-satire of the DARK KNIGHT titles. "I love political satire. Every newspaper in America, except the NY Times, does it. I thought, why not us (comics)?" Brownstein: "What's the attitude toward the press?" FM: "[DK1] was during Reaganomics. No matter how silly I made them, they kept topping me ! I just played them like a Greek chorus. TV only gives us abriged versions of stories [with no meaning]--Monica Lewinsky ? People in this world wanna destroy us." Brownstein: "How did this inform [DK2]?" FM: "[DK1] was about cable tv. [DK2] was about the merging of all the media to where, in the future there will be no tv, no computers; just system from which we get info with briefer and briefer news."
Miller then went into the heavier media aspects that influenced DK2. FM: "I stumbled in 9/11. It happened before issue 3 was finished. Before, it was all about the silliness of it all. Then 9/11 happened, that's why there's such a huge tonal shift in the story. The guys at DC told me 'don't change anything unless you want to,' I had to." Brownstein: "What were you thinking?" FM: "Shock. There was no other way to address it. I wanted to show what it was like to live in NY and you're breathing in the dust of God-knows-what or God-knows-who. That's why I had that moment where Superman finds the picture of Lois Lane."
Brownstein: "Politics often shift you work. Your next work is blatantly political." FM: "It's called HOLY TERROR, BATMAN. I have 120 pages done so far, I expect to have 200 when I'm done. It's the best artwork I've ever done--" Brownstein: "I've seen some of it and I agree." FM: "It's blatant propaganda. It's Batman going to kick al-Qaida's ass. (applause) It's a reminder to people that we're against a ruthless foe. I just wish the entertainers of our time had the spine of the ones who faced Hitler." Brownstein: "What is it you hope to acheive ?" FM: "Superman punched Hitler, so did Captain America. It just seems silly to have Batman out there chasin' the Riddler when there's al-Qaida out there !" Brownstein: "What should people expect ?" FM: (creepy voice) Be afraid. (laughter) It's Pulp-y. It's my love letter to the city; it's Gotham under attack. Batman is in love with the city. It's emotionally raw; if you mean emotion between a man and a woman, a man and a city or a man kickin' al-Qaida butt." Brownstein: "Culturally, how does the use of superheroes help crises?" FM: "I don't know the effect, but I know it helps. The Greeks had the Gods. [In America] during the biggest urban crime wave, we had Dirty Harry. People always say 'Superman is an icon.' An icon of what ? The flag-bearer of WWII ? The Golem ? The confused guy of the 60s ? The glam guy of the 70s ? I figured him being so powerful had to make him on the bad guy's side."
Brownstein then moved on to Miller's current (controversial) work: ALL-STAR BATMAN AND ROBIN THE BOY WONDER, illustrated by Jim Lee. Brownstein: "Why is Batman (as Grayson calls him in one issue) 'a dick' ?" FM: "He's a Dick ! (laughter) He dresses like a bat and throws guys through windows ! He only talks to a cranky old butler and now he's got this 12-yr-old boy who he's trying to play Daddy for. He's the smartest hero on the planet, but he can't fly, he can't pick up cars. He thinks, 'if only I could do that !'" Brownstein: "Then why do we care about him?" FM: "Because he's OUR dick." (laughter and applause) "It's about Dick Grayson. This is Robin's right of passage. He's a smart kid and Batman sees he's smart." Brownstein: "Batman's pretty promiscuous in this series?" FM: "People say 'he's a hero, he shouldn't be promiscuous.' I say 'yeah, like all the cops and firefighters I know ?'" Miller went on to say how much he enjoys collaborating with Jim Lee and that there's not set number of issues; they'll just take it as long as they can.
The two then talked about SIN CITY, the comic and movie(s). Brownstein: "Whereas your superhero books are contemporary, SIN CITY is timeless." FM: "I wanted to have a grab-bag of all the cool things from every era--cellfones exist with 1940s cars and hookers wear Versace cause I say so." Brownstein: "How do you address critics who say it's a bad influence on kids ?" FM: "I don't believe in the whole 'monkey see, monkey do' thing." He elaborated by explaining that Frederic Wertham's famous writing of comic's "dangers" have scared everyone. "I'd say he should 'burn in hell', but what would be the point." The two then talked about how the SIN CITY movie came about with Miller again explaining how Rodriguez convinced him, due to the fact that Rodriguez "isn't Hollywood. Austin, Tx. is NOT Hollywood, thank God," and that he felt like "a kid in a candy-store" shooting the flick. He explained that part 2 would mainly focus on A DAME TO KILL FOR with an original story about Nancy, post-Hartigan's death, with a BABE WITH BLUE EYES story thrown in. When Brownstein asked what "49-yr-old elder-statesman" Miller ("You dick.") thought his generation's biggest acheivement was ? "We kept it alive. We made the voice of the author heard more clearly." And what he'd like to see from the next generation ? "Better comics."
Then came the Q & A where he again emphasised that he'd like to direct more and is definitely involved with the upcoming HARD BOILED movie. He said 300 has finished principal photography, but "has A LOT of special F/X... should be out by 2007." The final question: when does SIN CITY 2 begin shooting. This one was a head-scratcher. "May. Maybe June." (Jesus H. Christ--what is Rodriguez on that he shoots three flicks back-to-back-to-back ?!) He left to a standing ovation again.
After that, I stayed for Christ Knight's TRAILER PARK where we saw trailers for DAVINCI CODE, CLICK, MONSTER HOUSE, OPEN SEASON, ANT BULLY, HAPPY FEET, SUPERMAN RETURNS, ULTRAVIOLET, RUNNING SCARED, NACHO LIBRE, SLiTHER, THE FOUNTAIN, M:I-3, and V. Some cool (NACHO), some sucked (CLICK).
I went back downstairs and a final haul of major free swag. I was on my way out the door when I saw a line at the DC booth. "Who's this for ?" "Jim Lee." W-w-Whaaaat ?! And I had nothin' for him to sign ! Damn. I did get to shake his hand. He said he just decided to come today, not scheduled. He admired my V FOR VENDETTA mask (which people had still been trying to get from me all day) and asked where he could get one. Someone mentioned that another booth was selling theirs for $30 each. Jim: "But what about my kids? They'd like 'em." Bob Morgan of DC: "Yeah, your kids 'E' and 'Bay'." Just as I walked out the door, yet ANOTHER line formed. For who? Grant Morrisson. God hates me.
Well... that's gonna do it for me. Thanks to Harry, Morry & Quint for posting these ramblings based on scribbly notes that not even I could make out. Thanx to everyone who read 'em. Thanx to the WonderCon guys--it was a hell of a weekend. On behalf of the City by the Bay, I bid you all adieu.
Buddy-L
