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Posts Tagged ‘Guillermo Del Toro

The Shape of Water vs. “Let Me Hear You Whisper”

  1. When I first heard the Estate of Paul Zindel was claiming the makers of The Shape of Water plagiarized Zindel’s one act play, “Let Me Hear You Whisper,” I was annoyed. I was annoyed because I’ve already picked Shape to win the Best Picture Oscar in a pool. But I was also annoyed because I want it to win because it’s fucking great. But then I watched the PBS version of the play on Youtube and my annoyance changed to delight. Why? The Estate has set up a foil for Del Toro’s masterpiece, that is, something to compare it to, that highlights what makes it great. The opposite, or is it inverse, is also true: comparing Shape with Whisper shows what a minor work Zindel’s play is.
  2. Watch the 1969 PBS version of the Zindel play here.
  3. Ironically, the case filing accusing Shape of plagiarizing Whisper is itself plagiarized. Compare the section “Examining the details” here, with section 43 of the complaint, here.
  4. Here is an example of the lawyer taking wordings from the “examining the details section” of the Hollywood Nerd article and using substitution and rearranging to try to make it “original.” 
  5. This is the lawyer’s wording:
  6. Whisper, contrary to what the Estate claims, is not an original work. It’s almost certainly based on human-animal communication experiments in the 1960s with dolphins by John C. Lilly.
  7. The Estate’s filing says Whisper was written in or around 1969. Well, a 1967 French novel (Un animal doué de raison), translated into English in 1969 as The Day of the Dolphin, was also based on these events. Wikipedia: “The plot concerns dolphins that are trained to communicate with humans, and their use in warfare.” This is the plot of “Let Me Hear You Whisper.”
  8. There’s enough similarity between Whisper (1969) and Dolphin (1969) to hypothesize an influence. You might even say Zindel “derived” his work from the novel. Even if that is not the case, he could have derived it from the real events surrounding John C. Lilly. The point is that Whisper, one way or the other, is derived and not entirely original.
  9. Of course, the Estate’s filing cannot prove writers of The Shape of Water were aware Zindel’s work. The biggest similarity is story POV, that is, both stories are told from the POV of a cleaning lady. However, I do not think you can copyright the idea of telling a story from a  cleaning lady’s POV. It that were the case, Zindel’s story would violate the copyright of the TV show Hazel.
  10. The Estate’s filing is worded to make the two works sound as similar as possible. However, let’s suppose we ask people who are not lawyers to describe the two stories. I doubt their descriptions would end up as similar as the Estate’s. I’ve already offered one alternate description (“The plot concerns dolphins that are trained to communicate with humans, and their use in warfare”) which would set it up for its own plagiarism case because it’s so similar to The Day of the Dolphin.
  11. The Estate does not want to mention Creature from the Black Lagoon or its sequels. Those are the true inspirations for Shape. If anyone had cause to sue, it would be the creators of those films. However, Shape is obviously different enough that such a case would not prevail in court. The same is true for Whisper.
  12. Superficially, Shape and Whisper start of similarly, especially if you play tricks with the words describing their plots as does the lawyer in the filing. But ultimately, they are very different. Whisper is a critique of those who go along to get along. The main conflict in the play is between the cleaning lady and her immediate supervisor. The supervisor describes the cleaning lady several times as “nice.” This is less a description than a proscription. By nice she means someone who does what they are told and does not cause trouble. In other words, someone who does not put sand in the wheels of progress, which is what the experiments are said to be. The cleaning lady cannot remain silent. The title of the play, Let Me Hear You Whisper, alludes to the act of speaking up and the cleaning lady even yells at the dolphin, after she learns it’s been able to talk all along, for not speaking up. She tells off the scientists and threatens to inform the ASPCA. Experiments on dolphins are not the only ones conducted as this lab. Other animals are involved, too. The cleaning lady’s supervisor speaks of a cat she loved that was killed. She didn’t like it, but in order to keep her job she learned that she must not become attached to the animals, to care. She learned to go along to get along. The new cleaning lady, in contrast, does not. She may need the job, but quits because she thinks the work is immoral, even if she is not the one doing the experiments. In other words, the play is about a the birth of a whistleblower. Daniel Ellsberg would approve, and it’s probably useful to remember this play was written at the height of the Vietnam War.
  13. The Estate’s filing reads like a junior high student’s compare and contrast English assignment that forgot the contrast part. For example, the cleaning lady in Whisper may be less talkative than her co-workers, but she isn’t hesitant to talk or ask questions. Shape’s cleaning lady is mute, so she cannot literally talk, but she can still communicate with sign language but she doesn’t, at least at first. Whipser’s cleaning lady is not the brightest bulb on the tree. When the dolphin says, “Ham-per,” she has no idea what it’s saying and has to ask her co-worker: “What is a ham-per.” Her co-worker immediately knows. Shape’s cleaning lady only appears to be stupid. In fact, every one of the workers in the film are undervalued by their superiors. They are all prevented from fulfilling their true potential. Except Elisa, the cleaning lady. Having lived her entire life as a fish out of water, she fulfills her true potential and becomes a fish in water. I hope she meets up with Mr. Limpet.


Written by pronountrouble2

February 24, 2018 at 1:25 pm

Comic-Con 2012: the Geek Brigadoon

This is the front of the line on Friday night for the Saturday programming in Hall H. The first panel, Quentin Tarrantino and his film Django Unchained, was scheduled for 11:30 AM, more than 12 hours from the time this photo was taken.

Everyone knows that when you go to San Diego Comic-Con, you spend a lot of time standing in line. You stand in line to get your ticket. (Luckily, this is a process that has speeded up quite a bit the last few years.) Then you stand in line to get in. Then you stand in line at booths for signings, merchandise, swag, whatever. And a big part of all of this is knowing that just because you stand in line for hours does not mean that the thing you are standing in line for will still be there when you get to the front of the line.

By the time we got in line Saturday morning just before 7 AM (the line was moved to this location, and we’re still moving in this photo), we were more than a mile from the front of the line. This was not the earliest we have gotten on line, but it’s by far the longest line we’ve seen at Comic-Con. It was also the first time we’ve seen people say, “I give up,” and leave the line. Our prospects did indeed appear grim at this point, but we stayed in line, and those who left the line may have made the difference.

Standing in line for hours to see someone present what amounts to nothing more than a promo for something that they want you to buy tends to put you in a philosophical mood. It certainly makes you more conscious than you ever were of lines outside of Comic-Con. Is there any place where we don’t find ourselves standing in line: waiting for the bus, waiting at the bank to withdraw or deposit; waiting in the checkout line at the grocery store; we stand in line at the traffic light. Wasn’t it Socrates who said: “Life is just one fucking long line to the graveyard?”

A few hours later we had gotten close enough to begin to hope that we might get under the tents before the sun broke through the haze, and when we finally crossed the road that separated our line from the Convention Center and entered the tented area, it was like crossing Bifrost, the Rainbow Bridge, to get into Asgard. Yes, we got into Hall H, which should be known as the Hall of the Gods, where the gods of pop culture deign to address us mere mortals, but it was a very close call.

But it also makes you more aware of something else: that there are many, many people who do not even have the privilege of standing in line. The truth is that many people never get into Comic-Con. Most because they don’t have the money, but many simply because there aren’t enough tickets. In other words, there’s a shortage of resources at Comic-Con. There’s just not enough to go around. But isn’t this true everywhere we look? We live in a society of scarcity.

However, the mother of all lines is the line for Hall H. This is a relatively new development at Comic-Con. I believe Hall H opened for the first time in 2006, and it was built mainly because of the demand for certain panels which were relatively new to Comic-Con: movie panels where directors attempt to generate buzz for their latest films. I say directors because most of the time the directors are there. The first ones I remember seeing at Comic-Con came before Hall H was built, and the big one was Sam Raimi for Spider-Man. He was all by himself. I don’t even remember him showing any footage. All he did was answer questions. That was in 2001. This year Raimi returned to Comic-Con with Oz, the Great and Powerful.

I don’t go to panels to see footage. I go to panels to see the people behind the products, whether comics, films, TV; and I go especially to be entertained. This year any panel that was hosted by Chris Hardwicke fulfilled the entertainment quotient, but there were no panels (if you don’t count Trailer Park) where I was thinking, “I wish I was somewhere else.” They were all at least a little entertaining or of interest in some way. However, there were still a handful of panels that stood out. Here are the best ones I attended. (Everyone talks about how much Comic-Con has changed since its origin as a comic book convention. The fact that most of the best panels I attended were not comic book related suggests that the time has come to change the name of this convention. The most obvious? Nerd-Con or Geek-Con.)

  • The Campaign. This had the ideal combination: great host in Chris Hardwicke, entertaining panelists Will Ferrell and Zach Galifianakis, and entertaining footage. They didn’t just show a trailer; they showed footage; and it was fucking hilarious. So, I’ll be first in line to see the movie, right? Nope. Why ruin the Comic-Con experience by seeing the film? And why ignore “The Comic-Con Effect, the scientifically proven psychological effect whereby all crap looks great at Comic-Con? (The people who line up to ask questions also help make panels entertaining. I felt sorry for the guy who said he was a failed stand-up comedian. They skewered him. Hopefully, he was a studio plant being paid to be humiliated.)
  • The Expendables 2. We saw the first Expendables panel two years ago, and were entertained enough to be looking forward to this year’s version. Stallone and his friends did not disappoint. If only he could bottle the spirit that comes through on these panels and put it in a film, we’d really have something. (We were saddened to hear about the death of Mr. Stallone’s son on Friday.)

Schwarzenegger is telling Stallone how much he loves him. Sly doesn’t look too happy about it. Arnie also joked that Stallone was his English instructor when he first came to this country.

  • Kevin Smith. There were a few dead stretches, but considering that this was mostly one man going non-stop for 90 minutes, it was amazing. Smith manages to be entertaining in a gut laughing kind of way without being a stand-up comedian. How does he do it? Perhaps it has something to do with his obsessions: body functions and fluids.

Did Kevin Smith tone down his language when he hosted a DC Nation panel the next day? The answer, according to my son? “Nope.” (A note to the future: what appear to be three bright dots at the bottom of the pic are, of course, phone screens.)

  • Jackie Chan. I loved it when he used his mouth like a jazz musician to make sounds describing what he said should be the rhythm of an action scene. (Unfortunately, the panel ended on a dull note when Chan introduced someone he brought in from France.) This was the only panel I heard anyone discuss later on when I overheard the owner of Giant Robot talking to Matt Groening about the panel. Groening’s reaction? “Jackie Chan was here?!” That was probably the reaction of many people when they heard the news. Sorry you couldn’t be there.
  • Marvel’s movie panel. Three words: ROBERT DOWNEY, JR. ‘Nuf said. But just in case it wasn’t enough, there was also Edgar Wright with the Ant-Man test footage we had heard about (the footage apparently was designed to answer the question: Can a ant-sized man still kick ass? A more interesting question: Would the Comic Con guards have been able to keep an army of ant-sized aliens out of Hall H? Of course, Wright should have shown his footage again); and Jon Favreau giving advice to new Iron Man director Shane Black (and Edgar Wright, wherever he was): “If you want to connect with the fans, you have to show your footage twice.” Black took the advice. (Is stuff like this scripted or truly impromptu? In any case, watching the footage again enabled me to confirm my first impression: it’s boring.)
  • The Hobbit: An Unexpected Journey. If you’re going to live or die with your footage, this is the way to do it. Peter Jackson came all the way from New Zealand with more than 10 minutes of footage from The Hobbit. Bonus: we didn’t get to see Benedict “Sherlock Holmes” Cumberbatch on a Star Trek 2 panel because Paramount decided they didn’t have anything to show, but we did get to see  Martin Freeman, Cumberbatch’s Watson in the BBC series Sherlock, who, of course, plays Bilbo Baggins in The Hobbit.

Inside Hall H for The Hobbit. Does the “H” in “Hall H” stand for heaven or hell?

  • The other Warner Bros./Legendary panels. Zack “Awesome” Snyder and Man of Steel; a Godzilla concept trailer with narration by J. Robert “I am become death” Oppenheimer; and Del Toro and giant robots. What more do you want?

One of the fans who enlivened the panels. Could this one be asking Zack Snyder a question about Man of Steel? Awesome!* (*see below)

  • I was entertained just watching the hands of the directors as they talked.

Zack Snyder: his favorite word appears to be “awesome.”

Someone just asked Guillermo Del Toro: “Just how big are those giant monsters and giant robots in Pacific Rim?” (Not really. But if someone had asked, he’d probably have said something like, “Fucking gigantic!”)

Quentin Tarrantino said Django Unchained was influenced by Sergio Corbucci. But who influenced his fashion sense?

Sam Raimi demonstrated his low-key, but effective style while answering questions about his film, Oz: The Great and Powerful.

But Tim Burton remains the master of gesticulation. Behold the master at work.

There was a great exhibit at the convention of the props and puppets used in Burton’s film, Frankenweenie.

We were disappointed that there was no Entertainment Weekly Visionaries panel this year. Hope they weren’t implying that there were no visionaries in attendance.

A note on the Firefly panel, which shows up on some lists as among the best of the show: I’ve never seen Firefly and I didn’t even try to get into that panel, but I have to wonder if all those people trying to get in were there as fans of the show or primarily as fans of the post-Avengers Joss Whedon. I’ve seen Whedon in action before, and I doubt he made his panel as entertaining as any of the panels on my list. Even though we passed on the panel, we did have a Firefly related moment Thursday morning. While in line for Hall H, we happened to end up immediately behind a friend of my wife who happens to be the wife of one of the crew members on the Firefly panel the next day. We hadn’t known she was going to be in Hall H, and we never saw her again at the show. Weird coincidences like this happen a lot at Comic-Con. Why not? It is, after all, a magical place, a Brigadoon for geeks and nerds.

A note about the first panel of the show, the Twilight panel. As most everyone knows, Gisela Gagliardi, who had been camping out with other Twilight fans, was killed after being hit by a car earlier in the week. David Glanzer, who I had heard of, but never seen till then, came out and said a few words about it, then the show started as if nothing happened. The truth is that what Glanzer said, or the way he said it, was a bit distasteful. Perhaps it would have been better if nothing had been said.

On Wednesday night, comic book legend Neal Adams signed ThrillKill: Artist’s Edition (if you blinked, you probably missed him) and Darwyn Cooke signed the latest entry in his Parker series at the IDW booth. I asked Mr. Adams if ThrillKill had been published in a fanzine prior to its Warren mag appearance. Why? Because I keep confusing it with another Adams story that I think is called “A View from Without” which appeared in Phase #1. Why does my brain want to betray me? (Scott Dunbier, the man behind the Artist’s Editions, is in the top right corner of the photo, sitting next to Cooke.)

Gilbert Shelton came all the way from France just to make the sketch below of Fat Freddy’s Cat for me at the Fantagraphics booth on Friday. He was also inducted into the Eisner Hall of Fame.

Fat Freddy’s Cat by Gilbert Shelton

Eddie Campbell, coming all the way from Australia, returned to Comic-Con for the first time in three years to sign our copy of Alec: The Years Have Pants.

Here’s Sergio Aragones signing my copy of Groo: Artist’s Edition.

Friday night we visited the Batmobile exhibit and was surprised to see Kevin Smith. He and Jason “Jay” Mewes had just recorded an episode of Smith’s “Fat Man on Batman” podcast, about the Batmobile.

Matt Groening talks to Brecht Evens (who came all the way from Belgium just for this convention) while getting his copy of Evens’ beautiful (or, as Zack Snyder would say, awesome) new book, Making Of, signed at the Drawn & Quarterly booth on Friday. Tom Devlin looks on.

On Friday we found ourselves standing in line next to Matt (Life in Hell/The Simpsons/Futurama) Groening. Here’s a making of video for the painting Brecht Evens did for Matt Groening. (I could have put up the video of Evens making the watercolor sketch he did below, but isn’t it more fun to use the one with Groening? Hopefully, Mr. Groening agrees.) Don’t expect to hear much talking – the audio mostly gives you an idea of how noisy it can get on the convention floor.

Brecht Evens and Matt Groening at SDCC 2012 from David Kilmer on Vimeo.

Here are some of the sketches that artists were kind enough to do for me:

A watercolor painting by Brecht Evens

John Carter by Ramón K. Pérez, who won an Eisner at the show for best penciller/inker on Jim Henson’s Tale of Sand. This is actually the only sketch I got myself. Kelly got the others.

Black Lightning by Trevor Von Eeden

You should be reading Superman Family Adventures by Art Balthazar and Franco which Art said should really be thought of as being Tiny Titans Vol. 2.

You should be reading Superman Family Adventures by Franco and Art Balthazar.

Roger Langridge won an Eisner at the show for Snarked, published by Boom! Studios.

The Image Comics 20th Anniversary panel was our last panel. I was at the first Image Comics panel at Comic-Con, which must have been in 1992. Robert Kirkman was not with Image back then and joked that he was filling in for Todd McFarland, who also was not on the panel in 1992. I only remember Liefeld, Valentino, and Silvestri from that panel, but it’s also possible that Jim Lee, whose name was not mentioned during this year’s panel, was there twenty years ago as well as Larson and Portacio.  I hadn’t seen any of these guys since that panel 20 years ago. They’ve aged better than most.

What a surprise it was to find Richard Kiel, who played Kanamit in The Twilight Zone episode, “To Serve Man,” signing at the Entertainment Earth booth on Sunday.

Kanamit from The Twilight Zone

If you want to win something big next year at the Marvel booth, here’s a hint: remember that Paul Bettany is the voice of Jarvis in the Iron Man movies.

Another Comic-Con has come and gone. Kelly tagged this setup for a photo near closing time, Sunday.

Every year people complain about this or that about Comic-Con. Some say they will never come back. I’m sure there are legitimate complaints to be made, but my only complaint was that it had to end.

But at least we know when the Geek Brigadoon will appear again: July 18-21, 2013. The countdown has already begun.

Brigadoon is a musical about two American tourists who stumble upon Brigadoon, a mysterious Scottish village that appears for only one day every hundred years. (revised slightly from the Wikipedia entry)


1. Every year people lose their badges. It even happened to me a few years ago. But there’s something you should do that will make it more difficult to lose your badge. This tip I comes from my wife’s friend.

When you register you get a badge and a badge holder. The reason most people lose their badges is because the badge holder falls off of the lanyard. But you can make the connection more secure by attaching the hook to the badge holder so that it goes through the hole in the holder AND through the metal latch/pin, as shown in the picture below.

2. My wife, Kelly, has more words and pictures about SDCC 2012 here.

UPDATE: JULY 19, 2012:

3. Even though I said above that I have no complaints, recent developments have led me to write this. My son desperately wanted a My Little Pony figure from the Hasbro booth. He stood in line for hours Saturday morning only to find it sold out when he got to the front. (He also wanted a Bruticus, which was also sold out, but that’s another story.) Not only was it sold out for the day, it was sold out for the convention. But somehow Hasbro has dug up some more and has been putting them on their site the last couple of days, but they sell out within minutes. The problem is that many of the people who buy these “exclusives” are not buying them because they want them. They are buying them to sell them on ebay. This Pony figure, for example, is going for more than $200. Even at the Convention you will see booths selling the “exclusives” at inflated prices. Hasbro has limits on the number anyone in line can buy. For Pony, it was three. Why not one? At least for the first couple of days to give everyone who wants one a chance to get one. (Image sold a collection of Walking Dead comics that could only be bought after winning a lottery. But they stopped using the lottery after the first two days.) And why not scan badges so that the same people cannot get in line again and again?

But this has been the status quo for years about which many have been complaining for an equal number of years. Therefore, I will not be holding my breath in expectation of any change in this system for the better.

4. I’ve heard that some vendors did poor business this year. This doesn’t quite jive with my experience of finding so many sell-outs, but in any case vendors should obviously note what does sell at Con: exclusives, or at least the perception that you are getting something rare and wonderful. The easiest way to do this is with a personal appearance by an artist who signs the book. Exclusive means rare. Habro’s Con exclusives turned out not to be exclusive to Con. As I said, they are selling some of them on their website. But they remain hard to get and rare. Vendors who come to Con with nothing more than what Amazon offers, especially if it’s at a higher price, than what Amazon charges, are unlikely to attract much interest at a show like this. We go to see things that we can’t see elsewhere. This includes toys, books, comics, as well as panel events and even swag. We don’t want to be reminded of our ordinary lives before and after Con. It all has to be special. Offer me something special, and I will not only buy it at Con, I will line up hours in advance just to get a ticket that gives me a chance to buy it. If you are not offering me some kind of magic for my cash, you might as well stay home.

5. I might as well mention this, too: we had problems connecting to the internet with our Droid this year. This was a new development. We ran into at least one other person who had the same problem, but someone with the same carrier, Verizon, did not have the problem. He suggested that it was because he had 4G whereas our phone used 3G. Who knows? But the problem was real and persisted throughout the show. Hopefully, the cause will have vanished by next year.

Outer Limits: The Mutant

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Warren Oates as "The Mutant" in an episode of Outer Limits

According to The Golden Labyrinth: The Unique Films of Guillermo Del Toro by Steve Earles:

[Del Toro’s] fascination with horror films began when he stayed up late without his parent’s permission to watch The Outer Limits episode “The Mutant.” He got terrified by the make-up that was created for Warren Oates in that episode, and he went to bed really scared. His older brother put two plastic fried eggs over his face and his mother’s stocking over his head and crept into Guillermo’s room, further scaring him.

Did this episode merely scare Del Toro or scar him for life?

Written by pronountrouble2

September 23, 2011 at 1:03 pm

Growing a Backbone: Guillermo Del Toro’s The Devil’s Backbone

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A lesson learned in Guillermo Del Toro’s The Devil’s Backbone

Are revenge narratives merely the means to provide the hero with a circumstance in which he or she can kill with impunity and justification? The above scene is from The Devil’s Backbone, a film which evinces sympathy for leftist causes, but it could just as easily be from a film such as Lord of the Flies, which draws upon a conservative view of human nature. No matter what the story, no matter the ideology of the producers, the end product is the same: murder!

UPDATE 1/16/12

My father mentioned that he’d seen Fincher’s version of The Girl with the Dragon Tatoo. This film is a good example of a revenge fantasy, and what I ask above applies to it as much as any film. Some may think that this kind of thing is limited to low budget horror films, but this is far from the case.

Written by pronountrouble2

September 5, 2011 at 7:31 am

Lorenzo Mattotti on Monsters

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Art by Lorenzo Mattotti from The Raven

In this excerpt from an interview with Lorenzo Mattotti, one of my favorite comic book artists, Mattotti gives Guillermo Del Toro a run for his money in the Cool Quotes About Monsters Department. The interview was posted on the Fantagraphics Books blog site in conjunction with Fantagraphic’s release of The Raven by Lou Reed and Mattotti, a book that adapts works by Edgar Allan Poe.

Eric Buckler: The book is full of creatures. Can you talk about where some of these come from, how you craft those creatures?

Lorenzo Mattotti: Creatures are always our insides. It’s part of a long work that I have always done in my sketchbooks. I think in 30 years, I’ll continue to make drawings like that in my sketchbook. They are always drawings about my insides, so they are metaphor, they are symbols, symbols of our natural inside. So, I don’t think they are different creatures from us, they are not animals, they are us. They are our brains, they are our ideas. The drawing gives us the possibility to change the form to make signs that interpret the reality. They are the concretization of our imagination. So, maybe sometimes they explain much better than a realistic image would. So, the creature from inside you. You may think that they are creatures of another world but they are creatures of our world; the spider, the monster, the stranger, the character. The distortion is the distortion of our brain.

Buckler: So, you lent the creature inside of yourself to this work to help translate it?

Mattotti: To what?

Buckler: You said that the creatures were a concretization of the creature inside of you?

Mattotti: They are a concretization of ideas, of sensations, of emotions. I don’t have an animal in my brain, I have emotion, contradiction, tension, pieces of sensation and emotion. And when I draw, my creatures are the concretization of emotions. I do not know before I draw what will happen on the paper, they go out in a very natural way. They are the symbol of sensations that I have inside.

For What It’s Worth Department:

My USC Film School adaptation of Poe’s “The Masque of the Red Death” can can be viewed here.

Written by pronountrouble2

August 16, 2011 at 8:36 am

Favorite Quotes

Even though I call this post “Favorite Quotes,” these quotes are really  best described as examples of the detritus that my head has accumulated throughout the years and which swirls and drifts through my mind, day after day, much like the increasingly large amount of debris, left over from spent satellites and space shuttle missions, that orbits the Earth.

Ronald Reagan, 1988 Republican National Convention

St. George and the Dragonet, Stan Freberg’s parody of Dragnet

Octave, played by Jean Renoir, in La règle du jeu (The Rules of the Game)

Abbas Kiarostami

Yi Yi (A One and a Two)

Puck in A Midsummer Night’s Dream by Shakespeare

William Goldman, Adventures in the Screen Trade

Dario Argento (watching an especially bad film?)

Charlie Chaplin

Major Amberson in The Magnificent Ambersons

Henri Langlois

Theodore Sturgeon formulating what’s become known as Sturgeon’s Law

“Bartleby the Scrivener” by Herman Melville

John Donne

John Ivan Simon

Adolfas Mekas told me this. I wish he’d have said something like, “A script is not a film,” which would have made me happy, but I have to work with what’s given.

William Blake

Paraphrasing Bill Morrison, Simpsons comics writer, at a recent Eisner Awards ceremony at San Diego Comic-Con

Guillermo Del Toro (NOT an asshole!); San Diego Comic Con 2011

Guillermo Del Toro, San Diego Comic-Con 2011

“To his coy mistress,” by Andrew Marvell

Francois Truffaut, Los Angeles, 1980

From Journey Beyond Tomorrow by Robert Sheckley

Grant Morrison in a 2011 Rolling Stone interview

Who pumps the Batmobile’s tires?

Jeff Goodman, editor for Myron Fass


Connecticut Governor Dannel P. Malloy

Peter Bogdanovich and Orson Welles on the set of Catch 22

Studs Terkel

This is actually from a BBC article (click on the picture), not an Einstein quote.

Pierre Rissient

Mike Mignola



Written by pronountrouble2

January 20, 2010 at 2:47 pm