The auto-generated captions on that video are in Portuguese and auto-translating them to English makes for a great mistranslation that looks absolutely nothing like what he’s saying.
“In rotation remember they do not have All Trades ie determined the data April Ricardo Faustino Marta ahead everything to lose It took if not formed by professionals another pioneering police suspicion of robbery or theft…”
What is he saying after “and the Sun is the biggest selling newspaper…?”
“…and the Spice Girls got to number one.”
I hope you don’t want the rest of the video transcribed.
Thanks. I got used to the accent for the rest of the video, but I just couldn’t parse that line.
And remember, no matter how much you’re paid for the movie rights for the graphic novels you write using characters originated by other people, it’s morally abhorrent for anyone to actually make movies out of them.
If this happens, refuse to cooperate in any way other than cashing checks.
alternatively accept the cheques for film options because you genuinely think that they won’t actually ever get made, then when they do and turn out to be a bit pants and you get dragged into a specious lawsuit that’s little more than a waste of your time decide that you’re better off out of it and you’re not interested in the money partly because it amuses you trying to explain that kind of thinking to Hollywood execs is akin to explaining calculus to dogs, but may be you should know better from a group of people that think the greatest work of formal experimentation in one medium can translate to other media.
Combine this with some moronic comment from one of the producers about your alleged excitement for a forthcoming adaptation that the media conglomerate that owns your work refuses to retract you make the decision that you don’t want your name on any future adaptations of your work and that the media conglomerate gives your portion of any future monies from adaptations to your artistic colloborators, knowing that you’re famous for not going back on your word.
All of which is a round about way of saying that Moore didn’t think the films were morally abhorent, more that they are not any good artistically and are made by morally compromised people & organisations that over a period of 30 years or so have consistently demonstrated contempt in their interactions with him for anything but an obsession on the basest of bottom lines(e.g. the use of his relationship with Watchmen artist David Gibbons).
Moore, realising that he contributes a vanishingly minor fraction of 1% of their revenue so anything he does isn’t going to change what they do seems to have made the realisation that he could minimise his contact with them and just walk away.
Even worse than taking the checks and cashing them while screaming about artist integrity is the fact that most of the characters he’s used have been created by others and reappropriated without consulting the original authors.
I have determined to release my first novel early next year. Anyone here like fantasy?
I’ve been away for a bit, but I’d gladly read your book.
Because those original authors were dead, and so beyond contact, even with England’s greatest wizard.
Yay. I am doing the last edit right now, when the infant lets me, then I need to do a wee bit of research to work out the best way to release.
He changed the characters in Watchmen twice. First trying to use standard characters from the DC world, told this wasn’t going to happen, and then took characters from ANOTHER comic company that DC had bought and let the characters lapse, and then CD had another change of heart and asked him to change the names…while pretty much keeping the characters intact.
He had no problem re-appropriating the characters twice…it just happened that someone wouldn’t cash the check that he was writing them because they didn’t want their characters re-appropriated. And he complained about this in detail.
It’s been awhile since I dived into Fantasy, but I would love to read it!
Then he was attempting to do something that nearly every writer for DC has ever done, write for pre-existing characters? And this is a bad thing, how? Are you saying everybody that’s written for Superman since Siegal is a hack, for example? Gaiman took existing DC characters and wrote them into Sandman; is he as bad as Moore by your lights?
Not in the slightest. However, Moore is the one that rants constantly that no one should EVER use his characters or stories and transpose them to any other medium or be rewritten by other authors.
Were you not following the thread?
I don’t know what you’re refering to with respect to reading this thread.
As to Moore and rants, the only rants I see associated with him these days are from anti-fanboys such as yourself insisting that he’s done something wrong or hypocritical, and being obscure about what that’s supposed to be.
He’s spoken out against some pretty poor adaptations from Hollywood, which I think he’s entitled to, and about DC reusing his characters from Watchmen after insisting that he not use characters they had clear ownership of for the title, which I think is more arguable but not automatically wrong. When I’ve seen him live and on video, as here, he seems affable, benign, and slightly loopy, but I don’t recognise the ranter and hypocrite that some describe.
self-publish, because publishing is fundamentally broken
Almost, but not quite. Self-publish, because publishing is fundamentally self-publishing.
To clarify, I wasn’t saying he had to like them, or that he had to be involved with them. I thought the League of Extraordinary Gentlemen movie was terrible, and I thought Watchmen was pretty good on the screen, but that’s just, like, my opinion, man. And his opinion is his. If he wants to hate on the movies other people makes, that’s cool.
What’s not cool is complaining about how you were somehow screwed because someone didn’t agree with your opinion about the supposed unfilmability of your work. What’s also not cool is talking as though you have a moral claim on the work, even when (to take the two examples above) they’re either based on public-domain characters or ones that you paid to license yourself in the first place.
Moore’s talented. He may even be as talented as he seems to think he is (“greatest work of formal experimentation” and all that). But he’s not a suffering Prometheus and he’s not the Last Honest Man. He’s just a dude who signed a contract and got rich in the process. If he wants me to shed a tear for him, he can draw up a contract and pay me money to do it.
‘rants’ is a rather loaded word, more like he’s explained (often in patience and at great lengths) that his work was produced in one medium, using that medium’s features so transposing those stories to other media would loose several vital aspects of the work, subsequently it would be hypocritical of him to take money for adaptations that are made of the characters & stories he doesn’t own, so he’s changed his stance from taking the money and not been involved in the creative process of these adaptiond to declining the money, requesting it go to the artists & his name be removed from the adaptions.
The rant aspect is invariably from people reading articles on the internet without any context (as a speaker he’s insistent but pretty much the antithesis of ‘all caps’) often written by entitled people angry that he’s a bit annoyed about a company that he stopped worked for over 25 years ago (and then brought another company that he’d announced he was going to work with, and Moore felt obliged to honour the contract he’d agreed to, so as not to put out the artists he’d started working with untill their intereference got too much and he left again) metaphorically ferriting around his rubbish bins for the smallest dreg of an idea that they can reverse-alchemise into some dross and that’s all they appear to be interested in rather than creating anything new.
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