Alan Moore is refusing all Hollywood money for his work. He's not
making a dime from the upcoming Watchman adaptation, so even if they
did offer him money for stealing his bits, he'd just turn it down.
On Wed, Jul 23, 2008 at 10:42 AM, William <firstname.lastname@example.org> wrote:
> I was a little dazzled that the "disappearing pencil" trick got past
> censors in a film that was guaranteed to attract kids (I saw
> 5-year-olds at my showing).
> I think Batman has always been superhero noir. The character's roots
> are a mish-mash of gothic novel tropes with a Dick Tracy rogue's
> gallery. Then the works that redefined him in the 80s-90s (Dark Knight
> Returns, Year One, Killing Joke, Arkham Asylum, The Animated Series)
> were all heavily influenced by classic crime fiction and existentialism.
> That's a pretty good noir pedigree if you ask me and Nolan has been
> very smart at pulling all this together.
> The exploration of the Joker's motives was definitely the most
> compelling part of the film and Nolan made his world view dominant by
> giving him that final up-is-down, right-is-wrong levitating soliloquy.
> It's good that Ledger was such a force in the film because without him
> the movie is basically a Sharper Image(™) Death Wish 3.
> Hopefully (though I doubt it) Alan Moore got a paycheck because the
> best Joker moments were all from Killing Joke.
> --- In email@example.com, "Nathan Cain" <IndieCrime@...> wrote:
>> Has anyone else seen The Dark Knight? Would anyone else say it's a
>> superhero noir? This was a rather surprising movie, especially for a
>> summer blockbuster because of the villain's utter lack of motive
>> beyond a desire to cause chaos and because (Spoiler Ahead):
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This archive was generated by hypermail 2b29 : 24 Jul 2008 EDT