The brainchild of writer Alan Moore ("Swamp Thing," "V for Vendetta," "From Hell") and artist Dave Gibbons ("Rogue Trooper," "Doctor Who," "Green Lantern"), "Watchmen" was originally published by DC Comics in twelve issues in 1986-87. Moore and Gibbons won the Best Writer/Artist combination award at the 1987 Jack Kirby Comics Industry Awards ceremony. The central story in "Watchmen" is quite simple: apparently someone is killing off or discrediting the former Crimebusters.
The remaining members end up coming together to discover the who and the why behind it all, and the payoff to the mystery is most satisfactory. But what makes "Watchmen" so special is the breadth and depth of both the characters and their respective subplots: Dr. Manhattan dealing with his responsibility to humanity given his god-like powers; Nite Owl having trouble leaving his secret identity behind; Rorschach being examined by a psychiatrist. Each chapter offers a specific focus on one of the characters, yet advances the overall narrative.
Beyond that the intricate narrative, Moore and Gibbons offer two additional levels to the story. First, each chapter is followed by a "non-comic" section that develops more of the backstories, such as numerous excerpts from Hollis Mason's autobiography "Under the Hood" or Professor Mitlon Glass' "Dr. Manhattan: Super-Powers and the Superpowers," an interview with Adrian Veidt, or reports from the police files of Walter Joseph Kovacs. Second, almost every issue has scenes from "Tales of the Black Freighter," a comic-book being read by a kid near a newsstand, which offers an allegorical perspective on the main plot line.
"Watchmen" certainly nudged the comics industry in the right direction towards greater sophistication and intelligence, although a full appreciation of its significance is always going to be lost on the bean counters. The Book Club Edition of "Watchmen" offers the teaser: "He's America's ultimate weapon... and he's about to desert to Mars." As a representation of the work as a whole that description is simply stupid, especially since it is followed by a glowing recommendation by Harlan Ellison that concludes "anyone who misses this milestone event in the genre of the fantastic is a myopic dope."
If you ever spent time reading and enjoying any superhero comic book, you will appreciate what you find in "Watchmen."
Escrito por Eduardo Lorenzo às 15h08
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TELEMARKETING
Atendimento telefônico ao consumidor será gratuito
Os serviços telefônicos de atendimento ao consumidor brasileiro terão que ser obrigatoriamente gratuitos para receber pedidos de informação, reclamações ou solicitações de cancelamento de contrato. Essa é uma das medidas anunciadas ontem (29/07) pelo Ministério da Justiça. As novas regras serão publicadas em decreto presidencial que será assinado amanhã (31/07) pelo presidente da República.
“A mudança fundamental é que acaba o jogo de esconde-esconde e empurra-empurra. O fornecedor tem que estar 24 horas por dia, sete dias por semana, à disposição do consumidor”, afirmou a secretária de direito econômico, Mariana Tavares.
No atendimento telefônico, a primeira opção do menu para o consumidor deverá ser "falar com o atendente". As empresas não poderão mais manter números distintos para os atendimentos referentes ao mesmo pacote de serviços. Isso significa que, se uma mesma empresa presta serviços de telefonia, internet e tv por assinatura, ela terá que manter um único número gratuito para atendimento ao consumidor.
Outra mudança que será estabelecida pelo decreto que se refere ao momento em que o contrato perderá a sua eficácia. Os efeitos de um cancelamento solicitado pelo consumidor serão imediatos a partir do contato telefônico.
As novas regras serão aplicadas aos serviços de telecomunicações, instituições financeiras, companhias aéreas, transportes terrestres, planos de saúde, serviços de água e energia elétrica. Estes são os setores responsáveis, atualmente, pelo maior número de queixas dos consumidores.
As empresas terão prazo de 120 dias, a partir da assinatura do decreto, para se adaptar às novas regras. O descumprimento dessas normas acarretará em penalidades previstas no artigo 56 do Código de Defesa do Consumidor, que prevê multas de R$ 200 a R$ 3 milhões.
Para informações completas sobre as novas regras
clique AQUI e
AQUI.
Escrito por Eduardo Lorenzo às 15h07
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Escrito por Eduardo Lorenzo às 18h02
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ARNALDO JABOR ANALISA O NEO-CORINGA
O Coringa de Heath Ledger nos fala do futuro
Não haveria Obama
e nem esse Batman
sem Osama Bin Laden
by Arnaldo JaborFui ver o Batman, claro. É impossível ignorar esta oitava arte que surge em Hollywood: os efeitos, os computadores criando odisséias tecnológicas homéricas do século XXI. O filme é espantosamente constelado, "
risômico", explodido, até difícil de acompanhar para um linear tropical como eu. Pensava em ver mais um show tipo "
Missão Impossível", mas não é. É mais.
Os filmes-catástrofes ou as aventuras dos efeitos especiais pareciam dizer: "Nós somos a America, nós temos a cultura da certeza! Aqui tudo tem princípio, meio e fim. Aqui, tudo está sob controle e termina como nós queremos. Aqui há a competência!"
Mas, aí, um belo dia, os aviões se chocaram com as torres em NY. E dá para ver que a queda do WTC está ali, como uma cicatriz na dramaturgia norte-americana. O 11 de Setembro criou uma era de ambivalência para o cinema. Acabaram mocinhos X bandidos.
O sintoma fica claro com a extraordinária interpretação de Heath Ledger (O neo-Coringa), que gira isolado criando uma obra-prima rara no cinema, uma ilha de cinismo contemporâneo, misturando bem e mal, misturando horror e simpatia, matando com um sadismo sofisticado e, depois (plano inesquecível), saboreando o vento fresco da noite na janela de um carro, com sua cara de palhaço desenhada por um Pollock ou Rauchenberg. "Escolhi o caos" - ele diz para o Batman. Heath, de certo modo, faz uma crítica ao próprio filme. Heath é quase uma paródia do "grande espetáculo", é um marginal dentro do elenco.
Ele nos aponta para um outro filme que poderia existir, alem das raízes moralizantes e aristotélicas deste, bem escondidas, sem dúvida, mas que estão lá. Heath lembra Johnny Depp em "Piratas do Caribe", lembra também a genial presença de Anthony Hopkins em "Silêncio dos Inocentes". Os três atores estão adiante dos filmes que lhes pagam. Os três, Hannibal, the Canibal inclusive, nos fascinam porque parecem estar mais além de uma moral antiga, que eles contemplam, do outro lado do Bem. Hannibal e Heath parecem saber mais do que nós, que vivemos ainda mergulhados em dúvidas morais e culpas.
Nada mais atraente que a psicopatia elegante. No mundo cruel de hoje, todos queremos ser como Hannibal, longe de uma arcaica compaixão.
O Coringa nos apavora e nos atrai, e não conseguimos odiá-lo completamente porque ele é extremamente contemporâneo. É como se ele dissesse: "Nenhum saber, nem ética, nada vai apagar o animal feroz que nos habita. Eu sou uma vanguarda". Ele diz para um perplexo Batman: "Eu não quero te matar; você me completa". E completa: "Não sou um monstro; estou além da curva..." Heath é apavorante porque não tem motivo claro para agir. Sua única regra é mostrar o absurdo de querer impor ordem no caos. Ele encarna os impulsos destrutivos humanos inexplicáveis. Como Hannibal. Ou, na vida real (se ela ainda existe), como o Muhamed Atta, o chefe dos terroristas do 9/11.
Ele não tinha religião, não cria em Alá, não tinha ideologia política, era químico na Alemanha, não tinha motivos. Ele queria fazer o impensável, o inominável, acima de qualquer crime, queria conhecer aquela fração de segundo entre a vida e a morte, com a parede do WTC tocando o nariz do Boeing.
E aí, pensamos: para que praticar o bem se ele não é mais possível? Quando pedimos o bem, falamos como de uma harmonia perdida. Será que ela já houve? Invenção platônica, iluminista neste mundo sujo? Pensamos com o corpo, queremos que o mundo seja um "todo harmônico", como o nosso organismo. A idéia de "fragmentário" gera angústia porque lembra a morte.
E o mal?
O mal virou uma necessidade social. Não dá mais para viver sem praticar o mal. O mal é um mecanismo de defesa. Ao denunciar o mal, vivemos dele. Eu lucro, sendo um cara legal que denuncia o mal e assim escapo da fome, comendo a comida de quem lamento. O bem não dá filme. Já os psicopatas estouram bilheterias. Se não há um mal claro, como seremos bons? O mal é sempre o outro. Nunca nós. Ninguém diz, de fronte alta: "Eu sou o mal!" Ou: "Muito prazer, Diabo de Oliveira..." Como inventar uma "praxis" do bem? O que é o bem hoje? Será lamentar tristemente uma impotência, um negror melancólico?
Heath Ledger, o Coringa, nos lembra inevitavelmente o Osama Bin Laden. Ele também veio sem motivo, do nada, e fez o maior filme-catástrofe da história. Não haveria esse Batman sem Osama; não está no enredo - está no ar.
Achávamos que haveria um futuro confortável no século XXI. Mas Osama não está em nosso tempo. Osama nos fala de fora do tempo, da história. Osama mora na eternidade. Queremos desesperadamente explicá-lo à luz da razão, mas ele é imune a interpretações. Osama nos fez ver a grande montanha de lixo que se escondia sob o progresso, a razão do Ocidente.
Desmoralizou a América, nosso mito de competência, e dirigiu, comandou todos os erros pavorosos da vingança norte-americana. Nunca a América errou tanto como sob esse estafermo do Bush. Toda a trapalhada ocidental, o mal ocidental escondido sob o "bem", apareceu no eixo ocidental do mal.
E Obama? Agora ele surgiu, prometendo o bem. Obama é uma antítese simétrica do Osama. Será? Será que, depois de uma década do que Norman Mailer chamou de "tempestade de merda", a história deseja um espasmo de mudança para o "bem"?
Pode ser que Obama encarne uma tendência histórica, não da América apenas, mas do mundo. Não é o messias, claro. No entanto, mais importante que sua eleição, é o fato de que ele pode eleger uma nova consciência na América. Pode ser que descubramos que o mundo atual não é só esta bosta que os reacionários criaram. O mundo tem mil possibilidades de riquezas, de milagres científicos e culturais, que estão esmagados pela estupidez endêmica dos fundamentalistas dos EUA. Uma vitória do Obama, depois de Osama, depois de Batman, pode não apenas combater o mal do mundo, mas restaurar um bem perdido.
O Coringa genial de Heath Ledger é o sintoma de um mal ridículo que tem de acabar.
Escrito por Eduardo Lorenzo às 18h02
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BATMAN, O HUMANISTA
by LFV
Poderes
O Batman é um super-herói sem super-poderes. Não voa, não enxerga através do aço, não faz o globo girar ao contrário. O único outro exemplo da espécie que me ocorre é o Fantasma, mas o Fantasma ficou datado. Há algo de irremediavelmente antigo na sua figura, vivendo aquela fantasia de onipotência colonial entre os pigmeus. O Batman, ao contrário, é um herói metropolitano. Só é concebível num cenário urbano onde o gabarito foi liberado. E fica cada vez mais atual.
Cada nova versão do Batman no cinema é mais sofisticada do que a anterior. Começou como gibi filmado, já foi comédia pós-moderna estilizada, agora - pelo que leio, ainda não vi - é uma tragi-comédia com sombrias referências às paranóias do momento. Batman é reincidente e nunca fica datado porque nunca fica bem explicado, tem sempre uma conotação a mais a ser explorada, um lado da sua personalidade e da sua legenda a ser descoberto e dramatizado. E acho que o fato de não ter super-poderes tem muito a ver com a sua permanência através de todos estes anos, que não foram piedosos com os outros super-heróis clássicos, massacrados pela paródia e o esquecimento.
Desde o momento em que foi matar uma mosca e demoliu a mesa o Superhomem conhecia seus poderes. Os poderes definiram o homem. Ele não poderia ser outra coisa além de Superhomem, sua vida estava decidida já nas fraldas. Batman escolheu ser Batman. Nada determinava a sua escolha. Não tinha nem a carga genética para guiá-lo, como o Fantasma, que pertencia a uma dinastia de Fantasmas. Se a legenda do Super-homem é uma parábola sobre a predestinação, a do Batman é uma reflexão sobre o livre-arbítrio. A única coisa que une os dois é a obsessão em fazer o Bem - o que torna a escolha do Batman ainda mais misteriosa.
Ele decidiu ser um homem-morcego. Logo o morcego, bicho hemofágico e ruim, cuja única antropomorfização (com perdão do palavrão) conhecida antes do Batman foi o Drácula. Escolhendo um símbolo do Mal para fazer o Bem, Batman enfatizou seu livre-arbítrio. Nada determina as suas ações, nem a Natureza que fez o Superhomem super e o morcego asqueroso. Sua obsessão pelo Bem é uma escolha moral, desassociada de qualquer imperativo externo. Ele não é um herói para melhorar a reputação dos morcegos nem porque veio de outro planeta predestinado a ser bom, ou porque gosta de usar malha justa. O que a sua legenda nos diz, e talvez por isso dure tanto, é que o ser humano é cheio de imperfeições e maus impulsos, limitado pela biologia e condicionado por mitos e tradições, mas é livre para escolher o que quer ser. E decidir ser justo.
Está aí, um super-herói do iluminismo. Longa vida para o Batman.
Escrito por Eduardo Lorenzo às 18h02
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ENTREVISTAS DO DIA:
Escrito por Eduardo Lorenzo às 18h01
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I know, where have I been. Long story. I was scheduled to fly home Sunday night and my flight got cancelled, yadda, yadda, yadda… I couldn’t update my blog.
So, what happened Sunday?
Well, there was a great Dave Gibbons panel where he told the story of his entire career and premiered some new motion comic footage from chapter 2.
At the end of the panel, after everyone had gone, I got some “alone time” with the maestro. Let me say this, the man is very nice, very gracious and impossible not to like.
When I sheepishly asked him to sign my trade paperback, he asked me if I wanted him to also draw Rorschach in there as well...
Uh, yeah!
So that’s it for my Comic Con blog. Look for a whole shitload on new articles and photos on the site soon. New stories, interviews and panel details will be posted all this week so keep checking the home page for updates.
I’d like to take the time to thank, Dave Gibbons, the folks at WB publicity, and everyone else who made this trip a really great experience.
Oh, and JetBlue? You suck.
And, in case you’re interested, here’s the page Dave signed for me…
Escrito por Eduardo Lorenzo às 02h21
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Terremoto atinge sul da Califórnia
Um terremoto de 5,4 graus na escala Richter atingiu o sul da Califórnia nesta terça-feira, fazendo prédios tremerem e provocando a retirada por precaução das pessoas de algumas construções. Não há informações sobre vítimas ou danos materiais.
O tremor foi sentido de Los Angeles a San Diego e, de forma leve, em Las Vegas.
Anteriormente, o Instituto de Pesquisas Geológicas dos EUA (U.S. Geological Survey) havia informado que a intensidade do tremor era de 5,8 graus na escala Richter. Seu epicentro foi localizado a 47 km a leste-sudeste do centro de Los Angeles, perto das montanhas Chino, no Condado de San Bernardino.
Pessoas aguardam do lado de fora de prédio
em Los Angeles pouco após terremoto;
não há registro de feridos ou de danos
Dez tremores secundários foram sentidos nos minutos seguintes, incluindo três com intensidade estimada em 3,8 graus, e a agência dos EUA estimou que o epicentro estava a 13 km abaixo da superfície.
O porta-voz dos bombeiros de Los Angeles Brian Humphrey afirmou que não há informações sobre feridos ou danos em Los Angeles. Um comunicado do Condado de San Bernardino também não registra danos.
O terremoto ocorreu às 11h42 (15h42 em Brasília). Edifícios no centro de Los Angeles tremeram por diversos segundos. Funcionários rapidamente esvaziaram alguns edifícios de escritórios.
"Foi dramático. O prédio todo se moveu e isso durou um tempo", disse Steve Whitmore, porta-voz do xerife de Los Angeles.
"Big One"
O Estado da Califórnia, situado sobre falhas tectônicas --entre elas as mais ativas do mundo -, vive sob o temor do "Big One" - sismo devastador previsto para ocorrer sobre a falha de San Andreas.
Cientistas estimam que há 70% de riscos de que ele possa se produzir nos próximos 30 anos.
Especialistas afirmam que a linha de falhas na região provoca um tremor de grande intensidade uma vez a cada 150 anos. A última grande tragédia ocorreu em 1857.
Em janeiro de 1994, um tremor de magnitude de 6,7 graus em Northridge, perto de Chatsworth, causou a morte de 72 pessoas e deixou 10 mil feridos.
No Condado de Orange, cerca de 2.000 membros da polícia americana participavam de uma conferência sobre gangues em um hotel em Anaheim quando o tremor chacoalhou a sala de conferências.
Mike Willever, que estava no hotel, declarou: "Primeiro, ouvimos o teto balançando, então o lustre começou a balançar e, então, houve um movimento repentino no chão".
Chris Watkins, de San Diego, disse ter sentido vários outros tremores, mas esse "foi um dos piores".
Escrito por Eduardo Lorenzo às 02h21
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ENTREVISTA DO DIA:
Matthew Goode, ator que interpreta o personagem Adrian Veidt (Ozymandias) em Watchmen
Escrito por Eduardo Lorenzo às 02h20
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NADA COMO TER UM "DINDO" COMO ESTE...
Jolie e Pitt convidam Bono para ser padrinho dos gêmeos
Após dar à luz os gêmeos Knox Leon e Vivienne Marcheline, Angelina Jolie e Brad Pitt passaram uma semana como hóspedes do líder da banda irlandesa U2, Bono, em um vilarejo no sul da França.
Em gratidão, o casal convidou o cantor para ser padrinho dos gêmeos. Ele teria aceitado. A informação é do jornal inglês "The Mirror".
Brad e Angelina são grandes fãs de Bono. O ator é fã da banda irlandesa e teria grande admiração pelo cantor desde que o conheceu em uma festa alguns anos atrás. Desde então, são amigos.
Já Jolie é inspirada pelo trabalho humanitário desenvolvido por Bono e é bastante amiga da esposa dele, Ali Hewson. Ali chegou a presentear Angelina com roupas de sua grife, Edun.
Os pais ainda não decidiram se as crianças terão uma madrinha. Jolie já falou que gostaria de convidar sua ex-amante, Jenny Shimzu, mas a proposta ainda não obteve um sinal positivo da parte de Pitt.
Escrito por Eduardo Lorenzo às 02h19
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ESPECIAL COMIC-CON SAN DIEGO 2008
Escrito por Eduardo Lorenzo às 01h22
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Se a fantasia já é difícil
de engolir como fantasia,
imaginem apresentá-la
como "documental"
NADA TENHO contra vigilantes. Contra? Minha adolescência cinéfila não foi só Bergman, não foi só Bresson, não foi só Renoir. Nos intervalos, escondido de meus amigos intelectuais, eu gostava de assistir a Clint Eastwood limpando as ruas de San Francisco. "Do you feel lucky, punk?" converteu-se para mim em mantra espiritual, tão emblemático como o "Play it again, Sam" que Ingrid Bergman (nunca) disse em "Casablanca".
Para não falar de prazeres menores, ou maiores, como Charles Bronson em "Desejo de Matar". Que será feito de Bronson? Divago. Recordo apenas uma seqüência de um dos filmes da série: Bronson, caminhando lentamente nas ruas do bairro, com câmera fotográfica sobre o ombro e tomando sorvete em pose turística. Subitamente, o bandido entra em cena, pega a câmera de Bronson e foge como um galgo de competição.
Bronson não corre atrás. Com a mesma displicência com que tomava o sorvete, joga-o fora, saca da arma (a inevitável Magnum 44), aponta sem pressa e atira no bandido, como quem atira em um animal. O bandido tomba. Bronson recupera a câmera (mas não o sorvete). Só quem nunca teve uma câmera roubada em plena rua é que não entende o prazer de assistir a essa cena.
Nada tenho contra vigilantes, repito. Mas também acrescento que os vigilantes têm de cumprir dois requisitos básicos.
Em primeiro lugar, só podem existir na tela, não na vida real. Na vida real, continuo a preferir o Estado de Direito, em que existem leis, polícia e tribunais, e não loucos ou beneméritos que gostam de fazer justiça com as próprias mãos.
Mas mesmo os vigilantes das telas têm de cumprir um segundo requisito: não podem usar collants, máscaras, pinturas ou capas supostamente voadoras. Dizem-me que Batman, ou Super-Homem, é uma metáfora profunda sobre a nossa condição solitária e urbana; heróis derradeiros da pós-modernidade. Não comento. Exceto para dizer que morro de rir quando vejo um ator, supostamente adulto e racional, enfiado num pijama colorido e disposto a salvar a humanidade das mãos maléficas de um vilão tão ridículo e tão colorido quanto ele.
Sem falar dos fãs: homens feitos, alguns casados, que continuam a acreditar que um super-herói em pleno vôo compensa todas as ereções falhadas.
E foi assim que assisti ao último Batman, "O Cavaleiro das Trevas", dirigido por Christopher Nolan. Não vale a pena apresentar o filme: durante meses e meses e meses, uma máquina publicitária que não pára tentou convencer o mundo de que "O Cavaleiro das Trevas" era o melhor da série e, juro que ouvi, um dos maiores filmes de toda a história do cinema. De acordo com os promotores, Nolan trocara a fantasia sombria de Tim Burton e o espetáculo adocicado de Joel Schumacher por um realismo digno de Michael Mann: desde "Fogo contra Fogo" ninguém filmava assim uma cidade, cruamente e no osso.
E os atores? Os atores seriam exemplos de um realismo ainda mais brutal, com destaque para o Coringa, papel que pode valer a Heath Ledger o Oscar póstumo. Alguns, mais ousados, ainda acrescentam que Ledger morreu de overdose precisamente por causa das exigências do papel.
Não tenciono polemizar com a sabedoria dos críticos, mas suspeito de que Heath Ledger morreu de overdose porque, depois de assistir ao resultado, não agüentou a vergonha. E quem o pode censurar?
Eu não, rapazes. E confesso que entrei na sala com boa vontade: "O Cavaleiro das Trevas" apresenta o herói (Batman) em luta final contra o mestre da anarquia (Coringa), um lunático que não deseja dinheiro nem poder como os vilões tradicionais, mas sim pura destruição. Na cabeça dos criadores, essa oposição simplória entre civilização/caos seria uma metáfora sobre o mundo pós-11 de Setembro: um mundo em que o terrorismo niilista não deseja um objetivo político preciso, mas simplesmente mergulhar o Ocidente num clima de paranóia destrutivo e autodestrutivo.
Infelizmente para os criadores, a narrativa não é apenas infantil em sua pretensão política e filosófica; é incongruente quando Batman ou Coringa entram no enquadramento. Razão simples: se a fantasia já é difícil de engolir como fantasia, imaginem apresentá-la em tom "realista" e até "documental".
Confrontado com Batman e Coringa, nenhum adulto equilibrado vê um super-herói e um super- vilão. Vê, simplesmente, dois dementes em pijamas que fugiram do asilo da cidade.
Escrito por Eduardo Lorenzo às 01h19
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ENTREVISTAS DO DIA:
ALAN MOORE - Clique AQUI.
ZACK SNYDER - Clique AQUI.
Escrito por Eduardo Lorenzo às 01h17
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MÓDULOS DE RPG PARA WATCHMEN:
Saiba tudo clicando AQUI.
Escrito por Eduardo Lorenzo às 01h16
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While waiting in front of the meeting room to get checked in by WB for the panel, I met a bunch of journalists covering the event including one video team from Malaysian television and some of the guys from G4. Once they all found out who I was, they all grilled me for the latest Watchmen news, and the names of the actors they were going to interview… I was like a Watchmen information booth.
A bunch of us were ushered into the bullpen in Hall H to the right of the stage to wait for the panel to begin, and I was right up front. This is when we found out Internet was down, so my plan was to phone in details back home and have one of my staff do the updates.
One surprise guest on the panel was Dave Gibbons, who was asked about how he felt when he visited the set during the shooting of Watchmen. He said that standing in the Owlship, smelling The Comedian's cigars and having Morgan walk up to him in full costume, slap him on the back and show off his guns to was like he was inside a dream, and that he felt like if he was pinched he would wake up.
He explained that during the whole time he was there he felt “like a kid at Christmas.” He even described a graffiti “G” with a small square which the crew tagged on the backlot — Gibbon's symbol. Another easter egg you can look for when the film comes out.
When asked about Alan Moore, Gibbons quipped "I see there is an elephant in the room." He explained once again how Moore still didn't want to be a part of the film in any way and that would never change, although he certainly wishes his partner could have been involved.
Then the footage was shown, with the sounds of Phillip Glass' “Koyanaskatsi” behind all of the scenes. Again, no dialog, just like in the trailer, but the music was very impactful. I was told later by a WB rep that they are pushing to keep that music in the film.
The footage killed. So much, they showed it twice at the actors request, who were seeing it for the first time as well. More than the trailer, it was the graphic novel on screen. For this footage, Zack chose scenes whose comic counterparts contain some of the big iconic panels. Even Rorschach's leap from Moloch's window was there. The rest are all listed below so I won't repeat them here.
Some cool facts were revealed during the Q&A session with the audience. First, Jackie Earle Haley admitted that when he was gearing up to play Rorschach, he hit the forums and the blogs to read what all the fans had to say about the character.
When the moderator from the panel asked Matthew Goode about the controversial German accent that he added to his character Adrian Veidt, he look mortified and exclaimed, “Oh God, now I'm going to get mauled.” He explained that it was just something that he did the help him flesh out the character, and that it would be subtle and only be heard when Veidt is not doing a commercial, or an interview in public.
He mentioned a scene Veidt has with Lee Iacocca where he would have a perfect American accent, but then when he's with the heroes, his voice reverts back to a hint of German in it. The audience seemed satisfied with his explanation, mostly because of the adrenaline rush from seeing the footage.
One interesting development was that when asked by a fan who heard a rumor that the DVD would have a special feature chronicling the long troubled journey Watchmen made to finally make it to the screen, which would cover Gilliam's, Greengrass' and Aronofsky's attempts, complete with old concept art, Zack Snyder said, that it was just a rumor. Then, he admitted that it was a very cool idea and he would look into getting that done.
Escrito por Eduardo Lorenzo às 21h37
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Here's some quick info of the footage they showed during the panel. Some of the scenes they showed:
- The R rated version of Dr. Manhattan pointing at and exploding North Vietnamese soldiers. Very gory.
- Laurie pulling the tarp off of Archie with a look of amazement in her eyes.
- Rorschach at Blake's apartment, discovering the hidden closet filled with The Comedians weaponry and costume.
- The Minutemen photo shoot showing Sally Jupiter rubbing her eyes after the flash.
- Dollar Bill on the floor, cape caught in the revolving door with bullet wounds in his chest
- The Comedian's smiley face badge getting that first drop of blood on it during the fight with Adrian.
- Nite Owl's nightmare when he is kissing Silk Spectre as the nuclear blast goes off behind them.
- The Comedian's face slashed with the broken bottle at the bar in Vietnam.
- Dr. Manhattan's hand breaking through the ceiling at Karnack as Ozymandias ducks for cover.
- Dan sitting sullenly, in front of his costume closet, holding the Comedian's bloody badge.
There was no dialogue, just music. From a fan's perspective the movie looks to be so well done, no complaints here. Some of the scenes looked exactly like the comic, it was phenomenal! More later.
Escrito por Eduardo Lorenzo às 21h26
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High above the exhibition hall at Comic-Con, Warners was conducting interviews Thursday for Watchmen in advance of their anticipated Hall H show-and-tell on Friday. Zack Snyder is currently battling with Warners over the ultimate running time of the movie, which is three hours. He's trying to cut it down, but doesn't want to lose a character like Hollis, a guy who gets murdered about half way through.
""I'm not ready for that yet. If Dark Knight got two and a half hours, Watchmen should get fifteen minutes more," he pleads. "I'm trying to be reasonable." Snyder is caught between the Scylla and Charybdis of the studio's commercial demands and the fans who love the comics. A movie has to reach beyond the faithful, remaining accessible to mainstream moviegoers.
Thanks to his success with 300, Snyder was able to sell Warners on a faithful adaptation of the Alan Moore mid-80s classic graphic novel. All the previous adapters changed something fundamental, he points out, like updating it to the war on terror. He sets his in the 80s, cast unknowns, and insisted on an R rating. "I wouldn't know how to do it otherwise," he says. "Fans should thank 300 because there's no way they would let me do it, no way, I've taken full advantage."
But the studio still thinks Watchmen is too "too long, too sexy, and too violent," says Snyder. For him, "that's a reason to go. That's the why. If you take that out you take out the why." Otherwise it'll just be another "watered down version of Watchmen, and then you might as well make another superhero movie. There's a million characters out there you could do instead."
On the amazing maturation of comics-based cinema, Snyder says, "People are interested in comic book movies because they represent mythology and adventure heroes. They allow fantasies to exist in our world. That worked with a great movie like Dark Knight, which took it over the top. You look at Iron Man and you have the same thing, a serious actor like Robert Downey Jr. in a serious portrayal of a guy and then you have this cool fantasy aspect that makes for a great time at the movies. That's what comic books allow us to do, they live in our world but they also allow us to experience some sort of mythological connection to gods or whatever you want to call them, and that's archetypal and everyone can relate to it."
Watchmen "deconstructs those same mythological ideas," he says. "Watchmen says, 'you know what? Look at your heros, what are they really? They're us dressed up.' The cool thing about Watchmen is it allows the story and the characters to comment on our world, comment on ourselves. It's a modern superhero movie, modern in the sense that it is slightly intellectualizing the concept of superheroes. People have to come to Watchmen, Watchmen can't go to them. If I've done it right the movie will get more people into the graphic novel Watchmen itself so they could read it and say, 'wow, this is what a superhero could be!'"
When he put the looks and costumes together, Snyder used the book, he says, "it works. Why would you change it? The film has to exist for a cinema audience the way the comics existed for comic book fans in 1985 and 1986. It's got to be able to comment on how cinematically people relate to superheroes. The cool thing about Silk Spectre is her outfit is overtly sexual. You can't put that outfit on a Fantastic Four. If I was making a PG 13 movie everybody would be up in arms. This girl is clearly using sexuality as a weapon. That's the point. It's nipply. It's like a dominatrix utfit. That's the fetishistic aspect of it. You have to go all the way."
Escrito por Eduardo Lorenzo às 21h22
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DC
Alan Moore has also had disputes with DC Comics, which led to his decision in the late 1980s to no longer work with them. Among the reasons reported for this rift were DC's plan to institute a "mature readers" label for certain books they published; the publisher keeping Watchmen and V for Vendetta in print beyond their original serialization, which prevented the rights from reverting to Moore and Gibbons; and DC's refusal to pay Moore and Gibbons royalties on merchandise the company considered "promotional items" for Watchmen.[27] (As a result of this, Moore and Gibbons managed to block Watchmen Action figures being produced for the comics' 15th Anniversary (in 2000),[28] as well as an anniversary hardcover. Subsequent to the latest falling-out between Moore and DC - and the comics' 20th anniversary - the oversize Absolute Watchmen was released in 2005.)
Moreover, it has been widely noted that it was Moore's disputes with DC over the perpetual publication rights to Watchmen and V for Vendetta which allowed those authors that followed him (e.g. Neil Gaiman) to negotiate more knowing deals; Moore's perceived ill-treatment therefore being addressed in contracts signed between other parties, but not retroactively dealt with to his personal satisfaction between himself and DC.[29]
Subsequent to his earlier disputes with DC and his stated intention to not work for them, DC's purchase of Jim Lee's WildStorm studios found Moore working for DC by proxy. Unhappy by the situation, it has been reported that Lee and editor Scott Dunbier flew to England personally to reassure Moore that he would not be affected by the sale, and would not have to deal with DC directly:[30] In an interview with comics magazine Wizard, Moore quantified this as including "No DC advertisements in ABC comics. No checks written to him from DC. No communication with DC editors whatsoever."[31].
Although it has been suggested that he considered breaking his contract with WildStorm after the buyout, reports cite his unwillingness to deprive his artistic collaborators of work.[32] Moore's hope that DC would not interfere with his ABC work was dashed when sections of two of his comics (The League of Extraordinary Gentlemen #5, cover dated June 2000, and Tomorrow Stories #8, January 2001) were altered both after and before going to press. (See ABC, above) Promethea #22 also saw slight friction, when a couple of panels were censored, but these were reinstated for the collected edition.[33]
Escrito por Eduardo Lorenzo às 21h11
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Dave Gibbons speaks about Alan Moore's
choice to distance himself from Hollywood
Watchmen artist Dave Gibbons seems to have no trouble riding the wave of popularity his work has received thanks to Watch-Mania here at Comic-Con.
In a press conference immediately following the panel discussion where clips of the film were shown, Gibbons and the cast seemed awestruck after seeing many of the images for the first time. One figure is notably absent from the frenzy surrounding the forthcoming film, the graphic novel’s author Alan Moore.
When asked about the apparent schism between Moore and Hollywood, Gibbons said, “It is very simple. Alan doesn’t take the moral high ground on this at all. There’s been some implication that [Alan has said], ‘Hollywood is impure, you really shouldn’t go there, Dave.’ No, it’s nothing to do with that at all. The fact is that Alan has had some very bad experiences with Hollywood, and he doesn’t care to repeat them. Now Alan is not a man who does things in halves.
You or I might go, ‘Oh, well, if they want to make a film, that’s alright.’ Alan said, ‘No, I don’t want my name on it, and I don’t want any income from it. I don’t want anything to do with it at all.’ So, consequently he asked me to ask the movie company to send him a piece of paper that he could sign that would make both of those things happen. Which I was happy to do.
That’s what he wanted. He was extremely happy, he said, ‘Now I’ve had the piece of paper signed, I don’t care, I’m indifferent.’ I do speak to him from time to time, and occasionally I’d start to talk about Watchmen, and he’d say, ‘Well, I’m pleased you’re enthusiastic Dave, but I can’t really share it.’”
If Watchmen turns out to be as good as it seems to be (or as good as its source material), it would be a shame for Moore to not be a part of its success. Gibbons went on to say, “My personal feeling, and this is my first real involvement with Hollywood, [is that] it’s bad timing, because I think this is the one where they are going to do Alan justice, where they are going to give his work the respect and the reverence it deserves. And so I think that’s unfortunate. He may well have a change of heart about it. He’s a man of principle, and I admire him for that.”
Escrito por Eduardo Lorenzo às 00h32
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VOCÊ É MESMO UM FÃ DE WATCHMEN SE...
- Usa uma lata de lixo como principal meio de correspondência;
- Sempre que acontece algo de ruim com alguém da sua turma, logo começa a suspeitar de uma grande conspiração comandada por um colega seu;
- Esquece, de propósito, relógios dentro de casacos para que possa pegar o casaco numa câmara de subtração de campo intrínseco, ser desintegrado e voltar alguns meses depois totalmente reconstituído;
- Esconde aquela antiga foto de sua turma numa parte altamente secreta do seu guarda-roupa;
- Quando vai visitar alguém e esse alguém não está, você arromba a porta e espera na cozinha comendo feijão cru;
- Adora pegar açúcar escondido na casa dos outros e guardar no bolso pra comer depois;
- Não usa artigos ao falar;
- Ao escrever um diário, guarda uma cópia debaixo do chão para a polícia não encontrar quando revistar seu apartamento;
- Lê revistas em quadrinhos encostado num hidrante, em frente à banca de jornais;
- Sempre que vê uma carinha amarela sorridente, irrita-se pois não encontra a marca de sangue respingado à esquerda;
- Quando vai a um restaurante, costuma pegar guardanapos, fazer um desenho com catchup numa das metades e depois dobrar para criar imagens simétricas;
- Picha "who watches the watchmen?" em todos os lugares possíveis;
- Um de seus maiores sonhos é criar uma linha de bonequinhos com a sua imagem;
- Começa a escrever um livro com a coisa mais triste que puder imaginar;
- Costuma quebrar dedos mindinhos se não consegue o que quer;
- Perambula pelas ruas com uma plaquinha escrito "o fim está próximo";
- Seu principal meio de transporte tem o nome de um bicho de algum desenho da Disney;
- Sempre que é submetido a um teste psicológico com borrões, a primeira coisa que vem em sua mente é "cão com cabeça rachada ao meio";
- Sempre que chega alguém em sua casa, a primeira coisa que você faz é servir um cafezinho e colocar um disco da Billie Holliday na radiola;
- O lugar onde você passa o fim-de-semana (como casa de campo, casa de praia, sítio, chácara) tem o apelido de Karnak;
- Quando irritado, costuma jogar garrafas de perfume contra a parede;
- Faz contagem regressiva dos segundos que faltam para uma fotografia cair da sua mão;
Escrito por Eduardo Lorenzo às 00h31
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COMIC-CON: OS 300 DE SAN DIEGO
San Diego pára para ver a Comic Com. Literalmente. A cidade, que segundo alguns de seus habitantes é tranqüila, enfrenta congestionamentos e superlotação quando a data da convenção mais importante de cultura pop se aproxima. Conseguir hospedagem nessa época do ano é difícil, assim como andar de carro pela cidade: várias ruas ficam fechadas para o trânsito perto do Convention Center, o que causa um certo caos nessa cidade que lembra Miami.
A feira teve sua primeira edição em 1970, quando 300 fãs alugaram uma sala em um hotel da cidade para se conhecerem melhor e trocarem informações sobre quadrinhos. Se num primeiro momento não havia nenhuma presença especial, com o passar dos anos essa realidade mudou. Hoje, Hollywood olha a Comic Con com outros olhos e reserva para os quatro dias de feira seus lançamentos que prometem ser estouros de bilheteria, além de oferecer aos fãs a oportunidade de ver ao vivo seus ídolos e conversar com roteiristas, diretores e produtores.
Os canais de TV seguem a mesma cartilha, e a feira costuma ser um termômetro do sucesso ou não de uma futura atração. Consta que assim como o público pode mostrar que vai gastar todo o seu dinheiro com uma produção, como "Iron Man", também pode destruir um projeto, como no caso de "Stealth".
Por conta do sucesso de público (este ano são esperadas pelo menos 130 mil pessoas durante o evento) e interesse crescente da indústria pop, a Comic-Com teve pela primeira vez uma preview night, com duas apresentações do episódio piloto da nova série "Fringe", de J.J. Abrams.
Escrito por Eduardo Lorenzo às 00h29
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PQ ALAN MOORE É TÃO RANZINZA:
Alan Moore: So I decided to use this to political effect by coming up with a projected Fascist state in the near future and setting an anarchist against that. As far I'm concerned, the two poles of politics were not Left Wing or Right Wing. In fact they're just two ways of ordering an industrial society and we're fast moving beyond the industrial societies of the 19th and 20th centuries. It seemed to me the two more absolute extremes were anarchy and fascism. This was one of the things I objected to in the recent film, where it seems to be, from the script that I read, sort of recasting it as current American neo-conservatism vs. current American liberalism. There wasn't a mention of anarchy as far as I could see. The fascism had been completely defanged. I mean, I think that any references to racial purity had been excised, whereas actually, fascists are quite big on racial purity.
The Beat: Yeah, it does seem to be a common element.
Moore: It does seem to rather be a badge they wear.Whereas, what I was trying to do was take these two extremes of the human political spectrum and set them against each other in a kind of little moral drama, just to see what works and what happened. I tried to be as fair about it as possible. I mean, yes, politically I'm an anarchist; at the same time I didn't want to stick to just moral blacks and whites. I wanted a number of the fascists I portrayed to be real rounded characters. They've got reasons for what they do. They're not necessarily cartoon Nazis. Some of them believe in what they do, some don't believe in it but are doing it any way for practical reasons. As for the central character of the anarchist, V himself, he is for the first two or three episodes cheerfully going around murdering people, and the audience is loving it. They are really keyed into this traditional drama of a romantic anarchist who is going around murdering all the Nazi bad guys.
At which point I decided that that wasn't what I wanted to say. I actually don't think it's right to kill people. So I made it very, very morally ambiguous. And the central question is, is this guy right? Or is he mad? What do you, the reader, think about this? Which struck me as a properly anarchist solution. I didn't want to tell people what to think, I just wanted to tell people to think, and consider some of these admittedly extreme little elements, which nevertheless do recur fairly regularly throughout human history. I was very pleased with how it came together. And it was a book that was very, very close to my heart.
(...)
At this point, I said that's it I'm not working for DC again and also I still want my name off this film, if they don't take my name off this film, I will be taking my name off the books, because it means that much to me to sever my connection with this whole painful business.
The Beat: But, Alan, isn't that throwing out the baby with the bathwater?
Moore: Well, I don't own the baby anymore, Heidi! The baby is one I put a great deal of love into, a great deal of passion and then during a drunken night it turned out that I'd sold it to the gypsies and they had turned out my baby into a life of prostitution. Occasionally they would send me increasingly glossy and well-produced pictures of my child as she now was, and they would very, very kindly send me a cut of the earnings. This may sound melodramatic, but I've been writing for 25 years and I think that the passion with which I write is probably evident—it's not faked. I really do feel intensely passionate about nearly everything I write. Obviously, it's going to vary, but I try to be passionate about everything I write. In some cases I succeed. V for Vendetta was one of those cases. It's that—I mean for 20 years since then, it's been a kind of a dull ache that the regular paychecks of our cut of the money don't really do an awful lot to assuage.
Para mais, clique AQUI.
Escrito por Eduardo Lorenzo às 00h29
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Director Zach Snyder and stars Malin Akerman, Billy Crudup, Matthew Goode, Carla Gugino, Jackie Earle Haley, Jeffrey Dean Morgan, Patrick Wilson feed a packed, ravenous crowd a taste of WATCHMEN.
We knew the Watchmen panel was going to be insane, but this is… insane. Packed house, hordes of people in costume, the first panel this year where masses of people were turned away.
Highlights:
–Dave Gibbons, co-creator of Watchmen, addresses the Alan Moore “elephant.”
–The extended trailer is way more hard-R than the trailer that appeared before Dark Knight. Includes a glimps of Richard Nixon and the obliteration of the Viet Cong. Shot-by-shot sum-up inside.
–There will be stuff in the film that wasn’t in the comic book.
–Real women, according to Malin Akerman, can neither kick ass nor fight crime.
–Hearing C-list stars describe what it “feels” like to make a comic book character “come to life” is exactly as boring as it sounds.
Full live blog transcript after the jump.
12:56 - Now they’re showing the footage again, to a huge amount of cheering.
The fan question onslaught:
12:55 - Last question, someone is asking about the DVD, and asking about including all of the preproduction materials from Greengrass and Terry Gilliam and everyone who has worked on the project over its 20 year history.
Zack: “I hadn’t heard that, but I’d buy it. I think someone should write a book. I charge someone to write a book about it.”
12:54 - The fanboy follows up the question with “Thank you, you’re all very attractive.” Wow.
12:53 - Carla Gugino “Well, my character is this kind of exhibitionist crime fighter… 1940s Vargas girl pinup, and that was fun to play.”
“Being a 67 year old alcoholic mother who is very controlling and still wants to be in the spotlight isn’t something I’ve played before.”
12:51 - Malin Akerman is talking about how “real” the characters all seemed, even though this was a script based on a graphic novel. “We’re all real people who have our good sides and our bad sides. Laurie is a real woman, besides the fact that she can kick ass and fight crime.”
She won’t stop talking. Fanboys are looking uneasy.
12:49 - Two twins wearing “Peter the Hut” shirts from Family Guy’s Star Wars episode get up and ask if there’s anything new in the movie that’s not in the graphic novel.
The whole answer was “yes.”
12:46 - A rabid fan gets up and tells everyone that “You guys are blowing my nervous sytem! A distant high-five to all you guys. And Carla? You were the BOMB in Son in Law. Yeah!”
12:45 - Matthew Goode is literally still talking, and rambling on and on. Everyone around me has tuned out, is playing games on their cell phone, or are reading the program.
12:42 - Matthew Goode is playing Ozymandis, who he’s playing as a “slightly ambiguous homosexual,” which he says with a slight lisp. Someone Wikipedia-ed the character for Matthew when he was offered the role, and told him “Well, looks like you’re playing another gay… but he’s a stoner!”
12:40 - Q: For Jeffrey Dean Morgan, “So what was it like playing The Comedian? I mean, he’s not really a funny character.”
A: Jeffrey: “I thought he was hilarious! I mean, like Dan’s character, I think everyone pulls for The Comedian…” laughter…which is creepy because he’s basically a woman-beating molester. Ouch.
12:37 - Q: “What was it like working with so much green screen?”
A: Carla Gugino, “Well, we didn’t really work much with green screen…” Billy Crudup chimes in with “Well, on Mars we did.”
Zack: Yeah Billy and Malin had to do a lot of green screen for that scene.”
Carla: “This is just such a phenomenal group of actors, and when they dive into their characters it’s really inspiring.”
12:35 - Now someone dressed up like Rorschach is asking “Do you think that comic book movies will keep being more mature, like The Dark Knight?”
“I love that you’re asking about mature movies while you’re wearing that outfit. That’s great.”
Oh, and to sum up, Zack’s answer is a very long winded, “Yes.”
“One day I’d like to see Frank Miller’s Dark Knight adapted into a movie. I think there’s a new wave of superhero movies coming. Maybe. I don’t know.”
12:34 - Snyder is talking about the challenge of condensing a 12 part miniseries and graphic novel into a 3 hour movie. “We had to cut out some bits.”
12:30 - Next up, the Joker asks a question. Did Warner Bros. characters get preferential Q&A line treatment?
The Joker, ironically enough, wants to know if they ever thought the movie was too dark.
According to Snyder, “it’s a reflection on all of us. There are hopeful characters in this movie, but there’s no real answer. It becomes up to you. It also becomes… what is darkness in a movie? If someone does something that’s maybe not morally correct, is it a metaphor, or is it real? I think that’s the question.”
12:28 - Patrick Wilson, who plays the Night Owl, had to put on some extra pounds in for his role, and when asked what that was like he said “Well, I could just kick back, have a carton of Haagen-Daas, pop open a beer and kick back. I’m done.”
“Everyone pulls for Dan (Night Owl), you feel for him, you just do. He wants it so bad, the relationship he has with Hollis, you just pull for the guy the entire film. Every day that I got in that suit, man, was a gift.”
12:25 - San Diego weird dude Bob Stencil gets up and asks a question. “For Billy Crudup, what was it like being a blue man, and was the rest of the Blue Man Group upset that you got the part and not them?”
“Well, we’re not on speaking terms anymore. So, I don’t know. I had to work out a lot and try to look as good as I could.”
12:23 - Next up, Batman –– literally Batman in costume –– asks “For Zack Snyder, who’s your favorite Watchmen character?”
“Uh, nice question, Batman.”
“I like them all for different reasons!” the crowd boos — “Okay, fine. Everyone like Rorschach the best, so that rules him out. Everyone likes the Comedian because he’s like, a badass, and is morally… you know. So there’s those two that I can’t vote for. You have the girls, which I think… awesome! But, also a copout. That seems obvious, doesn’t it? Man, okay you know what? I like the girls best. Fine.”
“Thank you, Batman.”
12:22 - First up: “What was it like to bring Rorschach to life?”
Jackie: “Where do I start with that one? It was a blast, it was challenging, it was mind-numbing… this character, there’s a lot to him. I studied the script and the book. I even spent a lot of time on the websites and blogs reading what you guys were saying about who Rorschach is.”
The post-video afterglow
12:20 - Jeff starts asking Billy Crudup a question, and he responds with “I know what you’re going to ask already” - a little inside nod to Dr. Manhattan’s character, who is omniscient.
“Well, I have no frame of reference for Dr. Manhattan in anything I know. How do you pretend to be a 6′4″ master of matter when you’re a 5′9″ jackass?”
12:19 - Snyder said “it just seemed wrong” when asked why they didn’t try to update the project into modern times.
The video
12:17 - The crowd goes pretty damned nuts. Extended cheering and woo-hoos.
12:15 - As promised, Dr. Manhattan obliterating the Viet Cong. Rorshach finding the Comedian’s secret weapons and costume cache. Owl Manstaring at the Comedian’s button with blood on it and slumping to the floor. Shots of the Minutemen back in the 1950s. Dr. Manhattan’s huge glass fortress on Mars rising into the sky. Silk Spectre unveiling Archie, the Owlship. Billy Crudup being obliterated. Spectre and Owl Man making out in front of an atomic bomb, President Nixon reacting. Manhattan disintegrating thugs in a bar. The Comedian being tossed out the window, with the bloody smiley face button following him down in slow motion.
Build up to the video crack
12:13 - Zack is setting up the clip now. Some people said he should just bring the trailer that ran on The Dark Knight, “But haven’t all of you seen that?” *cheers*
“These are some of the shots from the trailer, that we’ve extended to show a bit more of the… non-PG aspect of the movie…You’ll see Dr. Manhattan marching through Vietnam blowing things up, and it’s not quite as friendly as it is in the trailer.”
12:13 - Jeff: “But Dave, didn’t you ever try to go overseas and talk to Alan Moore and get him excited about this movie?”
Dave: “Well, I can tell there’s an elephant in the room, and I wish Alan hadn’t had a bad experience in the past… because I’m having the time of my life on this.”
12:12 - Dave: “What really blew me away was that they had extreme detail, down to the fact that there’s a “Judomaster” class in the background, and Judomaster was one of the original Charlton heroes, who were going to be the Watchmen. Someone knew that and paid attention to that, and that’s great.”
12:11 - Dave Gibbons: “It’s the stuff of dreams to have something come to life out of your head and appear in front of you. When I was standing on the Owlship, that did it for me. Getting to smell the Comedian’s cigar, that’s amazing.”
12:10 - “They were trying hard to get the trailer on The Dark Knight, and in the marketing meetings they were trying to figure out what to do and one guy was like ‘I know! It’s the word WATCHMEN, and then the date! And that’s it!’ But I didn’t want that, so we worked hard to get that trailer together. And we’re going to show you even more in a minute.” *massive cheers*
12:08 - Snyder’s talking about last year’s Comic-Con when he didn’t have anything to show except a poster. “Last year people were like ‘Show us footage!’ but we literally hadn’t shot anything yet.”
Origins of the project
12:07 - “We shot the movie in Vancouver, and…” yadda yadda yadda. Already people are restless and ready for whatever video they’re going to show us.
12:06 -Zack Snyder is talking about being in post-production on 300, and being asked if he wanted to do Watchmen. He was overwhelmed at the time, but didn’t want to say no, because he “felt responsible” even if he would have passed on it. I’m not quite sure how that works.
“I’m trying to get as much of the graphic novel into this movie as we can, and the cast has been very helpful in doing that. Some of them have even said ‘My character’s supposed to say this thing that’s in this little bubble here, see?’ - Okay, if you think that’s right!” *laughter*
It begins…
12:04 - The special guest is Dave Gibbons, co-creator of Watchmen. A lot of people expected Alan Moore, but there’s no way in hell he’d come to something like this.
Intro
12:02 - Zack Snyder is one of those fans who loves the comic book, and he’s brought all of his Watchmen with him today, including one very special extra guest.
Here comes the cast, one by one. “YOU’RE HOT” shouts one guy near me at Malin Akerman.
12:01 - “How many of you have seen the trailer?” Cheers.
“How many of you liked it?” More cheers.
“How many of you want to see more?” Thunderous applause.
12:00 - Here comes Jeff Jensen from Entertainment Weekly to moderate the panel. He’s giving a capsulized version of the impact that Watchmen has had on the comic book world.
The Pre-show:
11:59 - “Please don’t record the video and stick it up on YouTube.” Blurgh. Give me a break.
11:58 - Here we go, Eddie Abrahim, Comic-Con director comes out to intro everyone. He’s hobnobbing with the crowd, asking “Who’s new here? Who’s planning on being here tomorrow? All right!” Okay Eddie, you don’t need to pitch us. We’re already here.
“We actually have true HD in this room this year.” Woot. Is it 5.1 surround sound? I wanna know.
11:57 - People are starting to clap, as in the whole “we want the show!” thing. It sounds like thunder in here.
11: 53 - They keep advertising “Text the word WATCHMEN to 58671 to win a special WATCHMEN themed Xbox 360.” They’re giving away 5 of them and people are going nuts with the texts. I feel like I’m in Asia.
11:52 - This is the most packed I’ve seen this room. It only holds 6500 people, but it feels like twice that many.
Escrito por Eduardo Lorenzo às 18h38
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