Johnston interviewed Moore when he declared he was taking his name off all future film adaptation. He lives in South-West London, works from Blacks on Dean Street, shops at Piranha Comics, is a political cartoonist, and a father of two. Rich Johnston is the founder of the Bleeding Cool website, is the longest-serving digital news reporter in the world (since 1992), and is author of The Flying Friar, Holed Up, The Avengefuls, Doctor Who: Room With a Deja Vu, The Many Murders of Miss Cranbourne, and Chase Variant. How Edgar Wright might have contributed to The Show finished film Īnd why the proposal of its prequels, feature, and five seasons (with a pilot written by and those seasons plotted by Moore), leads to the promising prospect of Moore (and Jenkins) mastering the film medium. Why The Show’s funny world-building works better with subtitles and rewatches How, by the way of Watchmen’s flashback influence on Lost, Moore influenced all modern American television Why his best adaptation might be a Justice League Unlimited episode Īnd yet, why a string of insultingly stupid adaptations, ones that often completely ignored the source material, soured him on the medium for such a long period, leading to him taking his name off V for Vendetta, the Watchmens, and The Killing Joke. What early projects, like his Fashion Beast screenplay, may have taught him of writing for film How Moore’s influence from film helped his innovative comics work from his career’s outset On this episode, I’m joined by comic book/film/TV/pop culture writer Rich Johnston to discuss: After a cycle of hometown prequel short films, some of which were gathered in the anthology feature Show Pieces, Moore’s collaboration with Northampton director Mitch Jenkins was finally released in cinemas and VOD this fall: The Show.
Though comic book writer Alan Moore has officially finished his final projects and begun a well-deserved retirement from the medium of sequential art, he has also full turned his eye to, among other mediums, film - which, at least in adaptations, has treated him poorly. The new three-part documentary Get Back, made from the same footage (restored and given VFX sweetener), is now streaming on Disney+. Let It Be is not commercially available, though versions can be found online. (should they have made more an effort to integrate Harrison’s eventual All Things Must Pass songs he offered?) (did Yoko Ono hang around way too close to Lennon during rehearsals?) (does she deserve to carry that weight she - still - gets from Beatles fans?) Īnd where these films stand on all-time behind-the-scenes music docs. How its Thanksgiving release relitigates all questions of the Beatles’ 50-year-old breakup Why Get Back is such a treasure for completists even if it’s only played as background noise
Or did Let It Be just need a subtitle track? Whether or not Jackson and WETA’s restoration work on the footage was overcooked Misremembering all that Let It Be did not include of such a dramatic session When the second volume Mark Lewisohn’s mammoth All These Years three-volume Beatle biography might see the light of day Beatle lovers Ted Haycraft and Aaron Smith are on this episode as we discuss: Out of print for decades, a long-promised restoration plan for that film morphed into the recently released three-part Get Back, directed by Peter Jackson, and clocking at 468 minutes - but without ever releasing the original film. The footage didn’t show until well after the band’s breakup, in 1970’s 80-minute Let It Be, directed Michael Lindsay-Hogg.
Which is your favorite Beatle(s’ documentary about making their last released album, one that ultimately documented simmering tensions that would lead to the band’s breakup within a year)? The Beatles originally planned on following up their White Album recording sessions by getting back to their roots, recording without studio trickery or overdubs, and film the proceedings from January/February 1969 for a TV special.