editor's note: First, I want to apologize to Jim Carrey. I didn't mean to make an example of him in so many cases.
An oddity of film school turns out that you can wind up sitting through lectures on stuff like "The Star System". It's kind of goofy to study something anyone who has ever had an Entertainment Weekly subscription basically gets, and you can point out a million logical fallacies around the concept, but you're talking about an industry that thinks the logical lesson to learn if a documentary about penguins is a surprise hit is to flood the market with penguin movies for two years because PENGUINS ARE HOT!!!
The Star System is basically what you might think: Hollywood believes that people will pay big money to see a particular actor, no matter what junk they put on screen. And, in the 1990's, this certainly seemed to be true. Sure, we were seeing the end of the Action Star era, where guys like myself didn't really care what the plot was to the latest Schwarzenegger movie, all we knew was that Arnie in a movie meant fireballs and mayhem, and that was worth $6.00.*
But the 90's also saw the rise of folks like Julia Roberts commanding vast salaries and Jim Carrey taking down a whole studio when they agreed to pay him $20 million for the less-than-hit, The Cable Guy.
Because the movie industry seems to base decisions upon fear and a train of logic that's a circular roller coaster, the studios loved the star system. No more guessing whether a story, effects, marketing or other factors would draw in an audience. Just point a camera at Jim Carrey mugging and flailing, and then print yourself some money.
The idea was, of course, horrendously flawed. It basically suggested that audiences were looking to see the same actor/ character in film after film. But, you also had stars taking on vanity projects that nobody wanted to see (any non-comedy project by Jim Carrey**), and Hollywood trying to create insta-stars (see: the tragic rise and fall of Alicia Silverstone).
By 2002, things were already starting to get a little shaky. Then, movies like Spider-Man, which featured semi-known actors like Tobey Maguire were suddenly raking in lots and lots of money and the star system started to give way to "what existing commodity can we adapt?" and who was actually playing The A-Team or Ghost Rider really didn't matter so much. Studios would rather try to sort out what's the next Spider-Man and keep the dough in their own pockets rather than give it to some unpredictable talent. That said, The Matrix caused some confusion and Keanu Reeves was considered for virtually any role he liked for a brief while there.
If I had to guess, kids under 18 might go see a movie based upon the talent, but these days, it seems they're mostly following Hannah Montana from TV to the movies (to paying thousands for live show tickets). But I'm guessing the older than high school set is far more likely to follow concepts, rather than "stars". After all, in the age where everyone is one good YouTube clip away from being semi-famous as "the guy who falls off the roof", how big of a deal can many of the "stars" really seem to be? Tom Cruise is the couch jumping guy. He's in the same category as the "Chocolate Rain" fellow. Why would you pay for that? And success in one film doesn't necessarily translate (see Kristen Stewart's box office in Twilight versus The Runaways).
So what the hell is going on that Hollywood can't seem to let go of Tom Cruise? And why do articles keep appearing with the writers fake-surprised that Cruise didn't have a boffo opening weekend in his 90's-looking, by the book action flick (Jesus, Tom. Give us a robot or something we can look at.)?***
From the amount of coverage Cruise and folks like Angelina Jolie get in the tabloids, you'd assume that the projects these people worked on had much higher viewership and ticket sales. But that certainly doesn't appear to be the case (name two people you know who are looking forward to Jolie's summer film, Salt.) These actors are in some bizarre twilight fame, where they can move tabloids, but nobody actually cares about their day job.
Fame is ephemeral. The stars of yesterday are rarely the same folks people line up to see today. And, honestly, unless you're one of a very select club (let's call it The Sean Connery Club), most stars weren't able to command box office until they chose to retire or wind things down. See: Sunset Boulevard. Does the machine need to believe it can control itself enough that it so desperately wants for Cruise to continue to reign the box office after doing so since I was in middle school?
At some point the gradual decline of popularity hits everyone in Hollywood. So why the ink over Cruise's flop?
And at what point do you quit writing articles asking why people aren't going to see a movie by a guy who people kind of quit going to see in movies before the whole couch incident? And maybe start asking why you'd spend money on a guy who hasn't had a big hit since Mission Impossible II in 2000?****
Like everyone else, I absolutely have actors I like. The presence of one of these trusted actors in a movie will help get me in the door much more than having no idea what to expect out of an actor I've never heard of, or seeing an actor who has built up a resume of work I'm no longer willing to take a chance on (Robin Williams). And I can sort of guess that a movie is less likely to suck if Catherine Keener is going to appear rather than, say, Paris Hilton. But I am not rushing to see a Keener movie just because she's in it. And I'd suspect that's largely true of how things operate for most folks these days.
Somehow, like all bubble economies, the star system bubble burst. And trying to put Tom Cruise back up on the wall seems like the scrambling of a part of the decaying Hollywood that (a) is unwilling to let go of a system that sorta used to work, and (b) has absolutely no idea why people go to the movies in 2010.***** But why can't the press quit asking questions to which we know the answer? Or is it that they really want to know: what happened to the star system?
It would seem that people just no longer care if they see a movie featuring Tom Cruise. There's nothing in the water. The guy had a good run. We saw his range. We even sort of laughed at his crazy movie producer schtick in Tropic Thunder (it was funny but... don't milk it, Tom). It's okay. At some point we quit caring much if all kinds of actors were in movies (have you seen what Harrison Ford is willing to do these days? Yeesh.). Go gracefully, sir. To a generation of people, you were cool in Top Gun, and then, you know, okay in other stuff, for, like, 20 years.
Hollywood: Please stop trying to save Tom Cruise's career. He is done. I'm sorry. That's how it is.****** And your little ads suggesting that everything else this summer was dumb kid stuff, but Tom Cruise doing that "let's win over the Moms" smile and riding on the hood of a car is for adults, suggesting this thing is classier than A-Team? It's not. And @#%$ you.
I am sure Tom Cruise a nice man when he isn't making a jack ass of himself to Matt Lauer, but if he can't live with what he has now, I can only shrug. Perhaps it is time for Mr. Cruise to live through the narrative of Top Gun/ Days of Thunder/ Cocktail. He was the best he was at what he did, but now he's fallen on hard times. Maybe hitting bottom will make him realize what's important and propel him into winning the big jet fight/ car race/ booze slinging that is making it in Hollywood.
*No, seriously. I saw everything I could starring Arnie until I had to admit that, despite the addition of Vanessa Williams, Eraser had broken me. (I have even seen Jingle All the Way, a movie so oddly awful it passes into that very special category of Christmas Movies of the Damned.)
** yes, Eternal Sunshine is good, but compare its take to Liar, Liar. People want to see the wacky.
***And is it just me, or do you get the same feeling looking at this movie that you did when you saw the trailer for Six Days, Seven Nights? Or, worse, this summer's Ashton Kutcher/ Katherine Heigel action vehicle, Killers. Both movies hoping that we really, really want to see these actors, when... not so much.
****Upon reflection, its not too hard to guess that Cruise was following some bad advice on how to rebuild his career when he went haywire on Oprah. It just went very, very badly.
*****to see crazy crap that TV shows can't afford to do.
******he was technically done about ten minutes into "The Last Samurai".
Film. Comics. Sci-Fi. Superheroes. Pulp. Noir. History. Superman. 20th Century Archaeology.
Tuesday, June 29, 2010
Monday, June 28, 2010
Point Blank vs. The Hunter
Because I think Darwyn Cooke is a good drawer, a while back I picked up his graphic novel adaptation of Richard Stark's (aka: Donald Westlake's) crime thriller The Hunter.
ironically, the cover image of the novel is stolen from a scene in the movie The Big Combo. Great movie, by the way.
I didn't know anything about The Hunter other than that people seemed pretty keen about Westlake's work, and I picked up on the fact that the Parker books seemed to have a cult following.
The first installment in the Parker series is a fairly slim pulp read, a form of book you don't see much anymore, but that used to be a fairly popular consumer product. A lot of books like this used to get published, and every once in a while something would work better than expected, and you could wind up with the next Doc Savage, The Shadow or other pulp favorite on your hands.
Anyway, long story short, I was blown away by Darwyn Cooke's adaptation, and convinced I'd need to read the actual book. Long story short, I did read the book, and it was just as good on a second read, even without the power of Cooke's illustrations.
It's also notable that Cooke stuck as close as possible to the actual novel as possible, meaning that the adaptation is certainly its own entity in a way, but it also had the approval of Westlake who had previously allowed the story of The Hunter to be sold and adapted at least twice before that I know of, but had required that Parker's name be changed in both instances.
You can read about the adaptation and see pages here.
I'd not seen either filmic adaptation, Mel Gibson's Payback or the Boorman directed, Lee Marvin starring Point Blank, and so decided to check out a Boorman movie before I broke my self-imposed Mel Gibson hiatus (excluding Mad Max films).
If you were going to cast Walker (as he's named in Point Blank), Marvin is as good a fit as you were likely to get in 1967. And, John Boorman as good a director. That's high praise, by the way.
I'm not clear on whether Westlake asked that Parker's name be changed before or after reading the script, but I'm sort of glad that Westlake did so. Parker can remain Parker, and Point Blank is not Parker's story from The Hunter. They changed just enough details, and the studio didn't know how to tell the story without adding in a girl and dialing down Parker's anti-social/ sociopathic character.
a scene from Darwyn Cooke's graphic novel adaptation of The Hunter. I think Dickinson's character was an expansion on this character.
That said, Point Blank is a great piece of that span of cinema that lasted from the mid-60's to almost 1980. For a bit there, they were actually following the "show, don't tell" school of thought when it came to storytelling. That whole concept was pretty much chucked by the time Arnie was a major star and you had to hear about how awesome "Dutch" or "John McLargehuge" from his colleagues before Arnie had so much as an entrance.
This movie is about a hand, a gun, Lee Marvin's head , a tiny Angie Dickinson and the Doppler Effect.
In some ways, Marvin's portrayal of Walker must have been a bit of a surprise to audiences used to a hero rather than following a protagonist. As in the actual two Parker books I've read (waiting on the third, btw), Parker is more of a protagonist rather than anybody's ideal of a "hero". He's just the perspective we're following the story through. So, when we see Walker beat the holy hell out of a couple of guys, shoot before asking and accidentally send a key character to his doom... its not with any sense of moral vindication, false or otherwise. That's just what's going to happen with Walker.
While I'm a huge fan of characters like Superman and think part of what makes Superman nifty is his conviction to a higher moral ideal, its just as fascinating to see a character just as fully realized who has a completely different steering mechanism in place, and not one made of false bravado or BS machismo.
Anyhow, I actually highly recommend Point Blank as a movie, and am choosing to think of it as a separate entity from its source material. As a stand alone movie, Point Blank is a good, gritty crime drama.
An emotional and primitive man? They kinda did take a different direction from The Hunter.
I'm so out of the loop, I feel a bit awkward talking about direction, but I do like how the film hangs together, so I suppose Boorman did a pretty darn good job. The tension is right, and while I felt the urgency of Walker's hunt was a bit different from Parker's, it's pretty strong stuff. And you have to love some of the opening exposition, and how that's put together.
Also, Angie Dickinson.
Dickinson could have been just eye-candy (and how!), but her part, which is mostly made up for the movie and seems loosely based on a minor character in the book, is an interesting addition, and Dickinson is given some interesting scenes. It's an odd departure as it dilutes Parker's reflections on Lynne from the book, and gives him a new point of interest, which is one of those places where you realize the filmmakers were just going to make their own movie.
Dickinson and Marvin worry about crime during the swinging sixties
Anyhow, recommended. Check it out.
ironically, the cover image of the novel is stolen from a scene in the movie The Big Combo. Great movie, by the way.
I didn't know anything about The Hunter other than that people seemed pretty keen about Westlake's work, and I picked up on the fact that the Parker books seemed to have a cult following.
The first installment in the Parker series is a fairly slim pulp read, a form of book you don't see much anymore, but that used to be a fairly popular consumer product. A lot of books like this used to get published, and every once in a while something would work better than expected, and you could wind up with the next Doc Savage, The Shadow or other pulp favorite on your hands.
Anyway, long story short, I was blown away by Darwyn Cooke's adaptation, and convinced I'd need to read the actual book. Long story short, I did read the book, and it was just as good on a second read, even without the power of Cooke's illustrations.
It's also notable that Cooke stuck as close as possible to the actual novel as possible, meaning that the adaptation is certainly its own entity in a way, but it also had the approval of Westlake who had previously allowed the story of The Hunter to be sold and adapted at least twice before that I know of, but had required that Parker's name be changed in both instances.
You can read about the adaptation and see pages here.
I'd not seen either filmic adaptation, Mel Gibson's Payback or the Boorman directed, Lee Marvin starring Point Blank, and so decided to check out a Boorman movie before I broke my self-imposed Mel Gibson hiatus (excluding Mad Max films).
If you were going to cast Walker (as he's named in Point Blank), Marvin is as good a fit as you were likely to get in 1967. And, John Boorman as good a director. That's high praise, by the way.
I'm not clear on whether Westlake asked that Parker's name be changed before or after reading the script, but I'm sort of glad that Westlake did so. Parker can remain Parker, and Point Blank is not Parker's story from The Hunter. They changed just enough details, and the studio didn't know how to tell the story without adding in a girl and dialing down Parker's anti-social/ sociopathic character.
a scene from Darwyn Cooke's graphic novel adaptation of The Hunter. I think Dickinson's character was an expansion on this character.
That said, Point Blank is a great piece of that span of cinema that lasted from the mid-60's to almost 1980. For a bit there, they were actually following the "show, don't tell" school of thought when it came to storytelling. That whole concept was pretty much chucked by the time Arnie was a major star and you had to hear about how awesome "Dutch" or "John McLargehuge" from his colleagues before Arnie had so much as an entrance.
This movie is about a hand, a gun, Lee Marvin's head , a tiny Angie Dickinson and the Doppler Effect.
In some ways, Marvin's portrayal of Walker must have been a bit of a surprise to audiences used to a hero rather than following a protagonist. As in the actual two Parker books I've read (waiting on the third, btw), Parker is more of a protagonist rather than anybody's ideal of a "hero". He's just the perspective we're following the story through. So, when we see Walker beat the holy hell out of a couple of guys, shoot before asking and accidentally send a key character to his doom... its not with any sense of moral vindication, false or otherwise. That's just what's going to happen with Walker.
While I'm a huge fan of characters like Superman and think part of what makes Superman nifty is his conviction to a higher moral ideal, its just as fascinating to see a character just as fully realized who has a completely different steering mechanism in place, and not one made of false bravado or BS machismo.
Anyhow, I actually highly recommend Point Blank as a movie, and am choosing to think of it as a separate entity from its source material. As a stand alone movie, Point Blank is a good, gritty crime drama.
An emotional and primitive man? They kinda did take a different direction from The Hunter.
I'm so out of the loop, I feel a bit awkward talking about direction, but I do like how the film hangs together, so I suppose Boorman did a pretty darn good job. The tension is right, and while I felt the urgency of Walker's hunt was a bit different from Parker's, it's pretty strong stuff. And you have to love some of the opening exposition, and how that's put together.
Also, Angie Dickinson.
Dickinson could have been just eye-candy (and how!), but her part, which is mostly made up for the movie and seems loosely based on a minor character in the book, is an interesting addition, and Dickinson is given some interesting scenes. It's an odd departure as it dilutes Parker's reflections on Lynne from the book, and gives him a new point of interest, which is one of those places where you realize the filmmakers were just going to make their own movie.
Dickinson and Marvin worry about crime during the swinging sixties
Anyhow, recommended. Check it out.
Sunday, June 27, 2010
Signal Watch Watches: Toy Story 3
Likely you've already seen Pixar's latest in Toy Story 3, or you've read about it somewhere already, so there's really no need for me run down the plot, or, likely, to tell you that Pixar knocked it out of the park.
Once again, kids will enjoy the funny characters of a Pixar film and adults will revel in some of the strongest storytelling the studios have to offer.
I'm a fan of Buzz and Woody, too. And after three movies, I think we can expect that Toy Story will carve out its own little niche of the pop landscape for a couple of generations, unlike the pop-culture junk food Disney has turned to since their 90's-era renaissance, between forgettable features (and blaming CG for taking them down? Bad show, Disney.) and utterly disposable direct-to-video sequels to stories that needed no follow-up, resulting in Disney going from the premier creator of all-ages entertainment to a sausage factory of mediocre, ultimately forgettable cookie-cutter movies.
What's curious is how Toy Story 3 truly turns the movies into a sort of saga, expanding upon the premise without diluting what made the prior movies work, and without straying from the core of the characters. As a final chapter in the series, it works very, very well. And it will be a shame if anyone tries to exploit the characters and their story beyond this very neat finishing point.
As an aside: You know who I really like?
Jessie the Cowgirl. I have no idea why, but I think Jessie is pretty rad.
that cowgirl cracks me up
Anyhow, we're definitely recommending this one for all audiences, although I'd think hard before taking really small kids. And if you get a chance, try to see it in 3D. There's not a lot of extra 3D stuff, but it works amazingly well in the opening animation, too.
There's a snake in my boot!
Friday, June 25, 2010
Superman meets Jerry Lewis
My life was improved 150% today when I stumbled across this comic in the bin at Half-Price books for $3.00.
If only there were a "Batman meets Cary Grant" or "Tony Stark drinks heavily with Frank" comic I could buy. Heck, I'd take a "Ant Man shares a cab with Joey Bishop" or "Red Tornado gets stranded at the airport with Norman Fell" comic.
Unfortunately, I don't believe any of these great ideas ever happened. It doesn't mean that they shouldn't have happened.
Also, sadly, today's celebrities do not lend themselves particularly well to meeting superheroes. "Wonder Woman meets Snooki" doesn't do much for me.
But maybe "Ray Palmer meets The Mythbusters...?" Call me, publishers. I am full of ideas.
Dressing for Success
upcoming Mister Miracle shirt with Kirby art from issue #1
I am going to buy this shirt. Oh yes. I will.
Happy Burfday to Randy
In honor of Randy's birthday, we are giving Randy the things he likes best.
Computers
Baptist Bears (who, tragically, are forbidden from dancing)
Pop stars
useful code
comics with monkeys
That girl from "Transformers"
Houstonians
machine guns adorned with Hello Kitty
Peanut butter. Peanut butter all for Randy.
This guy.
Gadgets.
Mrs. Randy, AKA: The Mysterious M
his daughter, Lil M
Computers
Baptist Bears (who, tragically, are forbidden from dancing)
Pop stars
useful code
comics with monkeys
That girl from "Transformers"
Houstonians
machine guns adorned with Hello Kitty
Peanut butter. Peanut butter all for Randy.
This guy.
Gadgets.
Mrs. Randy, AKA: The Mysterious M
his daughter, Lil M
Weekly Watch Wind: 06/25/2010
Scott Pilgrim/ Me: hey, look! Its my personal Scott Pilgrim Avatar. I'm really skinny!
Batman/ Dr. Who!: This is just funny.
Webcomics: A list of ten webcomics. I am adding all of these to my list for the time being.
Tron/ Jeff the Cat: I have found a new way to drive my cat insane. New Tron toys can drive up walls.
Comics Business: In case you missed it (what with all the announcements about digital), music and media retail chain, Hastings, is looking to become a chain of comic shops. There hasn't been a Hastings in Austin that I can remember since the location on Guadalupe closed when I was in high school. But the shops still exist in mid-size towns across my part of the US of A. Lawton, Oklahoma gets listed! I am unsure how this will shake out, but it looks like they're going to give it a real try, versus the half-baked efforts I've seen from Tower and other media retailers.
Having a chain involved is GOOD. It gives a wider outreach to untapped audiences, but it also means someone on the retail side of the table might actually have some bargaining power. And if print comics want to survive, they need to escape the direct market model and return to locations where the public will find them.
Superman/ Don't Ask, Just Buy It!: DC Comics has released Chip Kidd's intro to the upcoming "All Star Superman, Absolute Edition". It's one hell of a sales pitch for one of my favorite comics of all time.
Superman/ Contest: In the upcoming Superman series, Superman is walking America from East to West Coast. You can nominate your town to be one of the spots Superman wanders through during his journey. He's staying north of Texas, so, alas, I can't pitch Austin. I think DC was focusing on a path through the US that's a bit more populated that the southern route, which... once you pass Austin, its a long walk between towns when you're headed west.
Sweet/ Horsies!: An adorable moppet of a girl is setting out to make her life amazingly ready for adaptation into a made-for-TV movie. She loves a really homely horse, and that is going to save this pony's life. Apparently, being an ugly horse will get you executed.
Superman/ Theatre! #1: Our non-existent readers in New York should go to the Upright citizens Brigade theater to see So, I Like Superman: A One Nerd Show.
Superman/ Theatre! #2: Dallas-dwelling Superman fans can catch the revamped Superman musical! Just head on down to the Dallas Theatre Center!
Disney/ Lifestyle: Now you can just up and live at Disney World. Pretty nuts. Especially as all the animals in your yard will be able to wear clothes, emote and sing. No more glue traps for mice, I suppose.
DC Comics/ Politics/ Editorial: Oh, geez, Didio. Even when I sort of agree with you, you manage to botch things. Recently DC came under fire when character "All-New Atom", Ryan Choi, featured in the Batman: Brave and the Bold cartoon and who was the featured star of his own comic for more than two years, was unceremoniously killed off in a 3rd tier series. In responding to questions about criticism regardng DC's treatment of non-anglo/ white characters, Didio insisted that it isn't us, it's you, you stupid readers.
It's a complicated issue as DC relies on legacy characters developed during a far WASPier past, and its not just minority characters who don't seem to sell. Its anything introduced after 1965. At some point, DC sells what people buy. Unfortunately, DC is a company that relies upon nostalgia, and newer characters can't seem to get much of a foothold. So, in many ways, you kind of have to point the finger back at the fanbase and what they seem willing to support.
I suspect that's what Didio is trying to say, but... you know, he doesn't always do great when challenged in an interview.
And, Dan... that peer sitting next to you? Your co-publisher sharing the interview? He's Asian-American. Let him answer the "did DC kill Ryan Choi because you hate Asians?" questions next time. Schniekies.
Batman/ Dr. Who!: This is just funny.
Webcomics: A list of ten webcomics. I am adding all of these to my list for the time being.
Tron/ Jeff the Cat: I have found a new way to drive my cat insane. New Tron toys can drive up walls.
Comics Business: In case you missed it (what with all the announcements about digital), music and media retail chain, Hastings, is looking to become a chain of comic shops. There hasn't been a Hastings in Austin that I can remember since the location on Guadalupe closed when I was in high school. But the shops still exist in mid-size towns across my part of the US of A. Lawton, Oklahoma gets listed! I am unsure how this will shake out, but it looks like they're going to give it a real try, versus the half-baked efforts I've seen from Tower and other media retailers.
Having a chain involved is GOOD. It gives a wider outreach to untapped audiences, but it also means someone on the retail side of the table might actually have some bargaining power. And if print comics want to survive, they need to escape the direct market model and return to locations where the public will find them.
Superman/ Don't Ask, Just Buy It!: DC Comics has released Chip Kidd's intro to the upcoming "All Star Superman, Absolute Edition". It's one hell of a sales pitch for one of my favorite comics of all time.
Superman/ Contest: In the upcoming Superman series, Superman is walking America from East to West Coast. You can nominate your town to be one of the spots Superman wanders through during his journey. He's staying north of Texas, so, alas, I can't pitch Austin. I think DC was focusing on a path through the US that's a bit more populated that the southern route, which... once you pass Austin, its a long walk between towns when you're headed west.
Sweet/ Horsies!: An adorable moppet of a girl is setting out to make her life amazingly ready for adaptation into a made-for-TV movie. She loves a really homely horse, and that is going to save this pony's life. Apparently, being an ugly horse will get you executed.
Superman/ Theatre! #1: Our non-existent readers in New York should go to the Upright citizens Brigade theater to see So, I Like Superman: A One Nerd Show.
Superman/ Theatre! #2: Dallas-dwelling Superman fans can catch the revamped Superman musical! Just head on down to the Dallas Theatre Center!
Disney/ Lifestyle: Now you can just up and live at Disney World. Pretty nuts. Especially as all the animals in your yard will be able to wear clothes, emote and sing. No more glue traps for mice, I suppose.
DC Comics/ Politics/ Editorial: Oh, geez, Didio. Even when I sort of agree with you, you manage to botch things. Recently DC came under fire when character "All-New Atom", Ryan Choi, featured in the Batman: Brave and the Bold cartoon and who was the featured star of his own comic for more than two years, was unceremoniously killed off in a 3rd tier series. In responding to questions about criticism regardng DC's treatment of non-anglo/ white characters, Didio insisted that it isn't us, it's you, you stupid readers.
It's a complicated issue as DC relies on legacy characters developed during a far WASPier past, and its not just minority characters who don't seem to sell. Its anything introduced after 1965. At some point, DC sells what people buy. Unfortunately, DC is a company that relies upon nostalgia, and newer characters can't seem to get much of a foothold. So, in many ways, you kind of have to point the finger back at the fanbase and what they seem willing to support.
I suspect that's what Didio is trying to say, but... you know, he doesn't always do great when challenged in an interview.
And, Dan... that peer sitting next to you? Your co-publisher sharing the interview? He's Asian-American. Let him answer the "did DC kill Ryan Choi because you hate Asians?" questions next time. Schniekies.
Thursday, June 24, 2010
Dinosaur Comedy
Do you have a favorite dinosaur? Sure, we all do! (Triceratops is the Mad Max vehicle of dinosaurs.) This dude explains why your favorite dinosaur is lame.
However, he uses lots of naughty language. Beware.
This may be the nerdiest thing I've ever laughed at.
However, he uses lots of naughty language. Beware.
This may be the nerdiest thing I've ever laughed at.
Wednesday, June 23, 2010
New Trailer for "Red" confirms Helen Mirren with a machine gun is awesome
I've never read the comic book, but this movie looks kind of up my alley.
Also, Helen Mirren seems awesome in this.
Also, Helen Mirren seems awesome in this.
Subscribe to:
Posts (Atom)