Word: comic-book
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...other axiom 300 proved to Hollywood is one the comics industry has known for decades: "The audience for comic-book movies is overweight guys in their mid-30s," says director, comic-book-store owner and overweight guy in his late 30s Kevin Smith. Actually, the average age of a comic-book buyer is 23, but Smith's point--that there are fans aplenty to support R-rated comics franchises--has been digested. Even PG-13 comic-book movies are maturing. Batman keeps getting darker scripts, like Nolan's The Dark Knight, starring Christian Bale and Heath Ledger (in his haunting...
Times weren't always so flush in Toontown. In 1997, "George Clooney killed comic-book movies," says Millar. Joel Schumacher's joyless Batman & Robin, in which Clooney legendarily donned a bat suit complete with rubber nipples, left fans feeling abused. Studios turned their attention to fantasy literature like Harry Potter and The Lord of the Rings. But when Spider-Man bested two wizard movies and a Star Wars prequel in 2002 and X-2: X-Men United broke $200 million at the box office in 2003, hand-drawn heroes swung back into favor. The joke in Hollywood now is that...
...case of 300, the hand audiences felt was really Miller's, since whenever Snyder made a creative decision, he asked himself, What would Frank do? Comic-book-movie directors like Snyder, who see themselves as stewards of another person's vision rather than architects of their own, have made comic-book creators Hollywood's latest big-budget auteurs. Because they work with such low overhead compared with moviemakers, comic writers and artists can take many more creative chances than directors. "You don't have endless development meetings that turn your brain into milk," says Miller. "You get to at least...
...they like by thumbing through publishers' catalogs, they'll create it themselves. In May, Disney announced that Ahmet Zappa, son of Frank, will head up its new Kingdom Comics, a publisher with the express purpose of developing graphic-novel film projects for the studio. This month TokyoPop, a Los Angeles-based manga publisher, announced the creation of a comics-to-films unit. Though it may be good news for any comic-book writer with a mortgage to pay, all those carnivorous studios make some comic-book fans nervous. "As soon as you start reverse-engineering the process, it's broken...
...Sixth Sense (1999) was a triumph of O. Henry-suspense and also an essay on the solitude of grief. Unbreakable (2000), a comic-book superhero battle told at an art-film tempo, was nearly as good and had another terrific, weighed-down performance by Willis. Signs (2002) was a letdown on the alien-invasion front, but it had Mel Gibson playing his own form of domestic desolation. The Village (2004), a sort of Amish retelling of Shirley Jackson's The Lottery, was the first of his films to test - and break - the viewer's patience. And The Lady...