SUPERMAN RETURNS - THE COMPLETE SHOOTING SCRIPT (TITAN BOOKS)

The complete shooting script of the much anticipated return of the most illustrious icon of US Pop Culture is now available with scenes cut from the final version of the movie, exclusives interviews and a very interesting selection of storyboards. An instructive and useful look at Superman returns, the movie directed by Bryan Singer.

« But I always had a notion for a Superman film - that Superman would be gone somewhere and then would return... » (Bryan Singer, interviewed by David Hugues, Superman returns - The complete shooting script)

RETURN OF THE CLARK

« There's a Superman for every generation. » (Michael Dougherty, co-writer, interviewed by David Hugues)

The process of producing a Hollywood blockbuster is as painful than thoughtful (or at least should be... Thoughtful, we mean) and there's no reason for the return of the Man of Steel on the big screen to be the exception to this rule. Especially when the last opus of the franchise to date was Golan & Globus's Superman IV - The Quest for peace (1987). With the triumphant rise of the dvd and the internet as an essential marketing tool the most intimate stages of a movie production are no secrets anymore for the cinema buff. And long after the on-screen release of the finished product, « Special-exclusive-alternative-director's cut-collector-de luxe » dvd editions allow easily to play to the What, if? Game.

But the most effective tool to understand the complexity of the art to deliver a blockbuster remains the movie script, remember The Avengers (1998), written at a time where movies and tv's addicts didn't have the slightest notion of what a dsl internet connection would be and where VHS was the king of the world.

« ... and that's what's great about publishing the full script. The return to Krypton is not in the movie, for example. » (Dan Harris, co-writer, interviewed by David Hugues)

TO HAVE AND HAVE NOT (KRYPTON STYLE)

« There are a lot of scenes in the script which have not made into the movie, because the movie would have been three and a half hours long...» (Dan Harris)

One cannot help to be perplex in front of the current propension of the movie industry to devise blockbusters of more than two and a half hours then stories would do with 90 minutes or 120 maximum (with a great deal of patience and without poker). The final version of Superman returns is 154 minutes long, a length which implies a lot of crucial if not drastic choices from Bryan Singer and his team from the very beginning of the film, particularly with an estimated budget of 270 millions of US dollars. A notable case of editorial sacrifice comes just after the opening credits with the abandon of the travel of Superman to his native Krypton - replaced in the movie by the cynical but funny scene of Lex Luthor (with a wig) in Vanderworth Estate.

«... and all good men deserve a second chance » (Gertrude Vanderworth, woman of faith)

Let's face it. The differences between a shooting script and what comes to the screen are always fascinating. From the conversation between Martha Kent - our man in red and blue's adoptive mother - and her friend Ben Hubbard (who said « a little less conversation, a little more action »?) to details like Lex whistling Sympathy for the Devil soon after the last breath of Gertrude, or lines from the scene of the foreign news bulletins. Or how Lex managed to send Superman away in search of the ghosts of Krypton (« Oh yeah. All these photos? These stories about Krypton still existing? It was me »).

These elements and more make of Superman returns - The complete shooting script not one more book related to a movie franchise but an amazing and revealing travel into the core of a blockbuster production. It's a production diary in its own respect.

WAG THE DOG (SORT OF)

« Lex, we only have six of those. » (Kitty, lost... with the other)

Superman returns is a very long movie but the complete script, as proposed by Titan Books, attests of the sincerity of Mr Singer and Warner Brothers, as the final result is the fruit of complex editorial decisions and not of a kind of a « pre-complete edition dvd » spoiler syndrom. Superman returns - The complete shooting script is an essential companion of the film.

But that's not enough for Titan. After exclusive interviews of Bryan Singer, Michael Dougherty and Dan Harris and the script itself comes an interesting selection of scenes from the storyboard: Lex gets funded (Lex with Gertrude Vanderworth), The Bank Robbery and Catching the Daily Planet Globe. The Bank Robbery looks as spectacular on paper than on screen and Lex gets funded deserves a particular attention. Note specially how Bryan Singer dropped the idea of Lex kicking the dog but had no objections about the concept of Kitty's pet as a lunch a la Survivor (Scooby snacks revisited?)

A Hero's welcome, A Man of Steel returns...

« In the tradition of films past, Superman flies into the heavens. He smiles at us, then turns and soars toward the sunrise. »

V FOR VENDETTA (VERTIGO/TITAN BOOKS)

To Amandine

Vertigo and Titan Books invite us to discover and rediscover the cult-classic dystopian visions of Alan Moore and David Lloyd. «V» and his vendetta are back. This is the future, this is V for Vendetta and this is now. This is not one of your darkest nightmares... this is worse.

« London calling to the faraway towns. Now war is declared - and battle come down. » (The Clash, London Calling)

The balance between the different forces composing British society relies on an implicit and fragile deal between those who rule and those who are ruled on a subjective basis of common interests. And numerous thinkers, authors or artists, conscient almost at a level of prescience of how much the deal is fragile, regularly asked themselves what would happen - in a country with a non-written constitution - if the deal was broken by a government with nothing more to often than an excessive exercise of the attributes of its regalian functions: police, justice, and army forces.

THAT WAS THEN, THIS IS... NOW

« Necessity is the plea for every infringement of human freedom. It is the argument of tyrants. It is the creed of slaves » (William Pitt)

Numerous are the British books, television or movie productions who dare to go « five minutes into the future » (like the subtitle of the Max Headroom tv-series) in order to speculate on the idea of an England ruled by a dictatorship: George Orwell's 1984 (1950), of course - and its adaptations of 1954 (by the BBC) and... 1984, and tv-serials like the forgotten The Guardians (1971), 1990 (1977), or the underestimated Knights of God (1987).

This political and artistical catharsis found its expression not only in England but also in the United States (It can't happen here, the novel by Sinclair Lewis - writtten years before 1984, or the miniseries V by Kenneth Johnson) or in France (Les Hordes, 1991). But V for Vendetta is to us the closest of this reflection. Because the future is in five minutes...

« It was horrible. Nobody knew if Britain would get bombed or not. » (Evey Hammond)

V for Vendetta is published for the first time in 1982 by Warrior, the independant British magazine home of Dan Dare (the English Buck Rogers). Alan Moore brings his true writing talents and his political preoccupations of the moment: Margaret Thatcher is the Prime minister of the conservative British government. David Lloyd, an artist who worked for Marvel Comics UK, illustrates the dark horizons out of the brilliant mind of Moore. They give to the main character a decisive element of his mythology: the costume and the mask of Guy Fawkes (« Remember, remember the fifth of November... ») V for Vendetta stops three years after its start, with the interruption of Warrior before the publication of an episode just completed.

In 1988, DC Comics, house of Batman and Superman, publishes in colour (with the assistance of colourists Steve Whitaker and Siobhan Dobbs) the episodes de V for Vendetta from Warrior and goes on with a new material deeply awaited. Tony Weare joins David Lloyd and Alan Moore on two episodes and draws a full episode. The complete series is finally reunited in a magnificent graphic novel by Vertigo, a subsidiary of DC.

THE FUTURE HAS A SILVER LINING

« Me, I'm the king of the twentieth century. I'm the bogeyman. The villain... The black sheep of the family. » (V)

In his introduction of the DC Comics run of V for Vendetta, republished in the present edition by Vertigo and Titan Books, Alan Moore confessed what he called « a certain amount of political inexperience » but this self-judgment may be quite harsh as the efficiency of his visions remain years after the launch of the series and the first edition of the graphic novel.

1997, United Kingdom is ruled by Norsefire, a fascist party, after a « nuclear winter » and a long string of riots and other dramatic events. Evey Hammond, 16, is caught during a stake-out of The Finger - the party's militia - while she was attempting to prostitute for the first time (« That's the clumsiest piece of propositioning I've ever heard. You've not been doing this very long, have you? ») She is saved from the Fingermen by a mysterious anarchist in costume who calls himself « V » and wears a mask of Guy Fawkes, the man behind the Gunpowder plot in 1605.

« Just His Master's Voice every hour on the hour. » (V)

The everyday life of everyone in the country is monitored by « The Ears » and « The Eye ». « The Eye » is headed by Conrad Heyer, a weak man manipulated by his wife, Helen. Helen Heyer wants her husband to be the next ruler of the government... and to pull the strings (« I'm going to be like Eva Peron, you know »). The chief of « The Finger » is Derek Almond, abusive husband of Rose Almond, whom he likes to threat with his revolver (« Don't worry, Rose. I didn't load it. Not tonight. »)

The legitimate police is « The Nose », and its chief is Eric Finch, a sincere by the book copper (« Although personnally I don't go much for this “New Order” business. It's just my job, to help Britain out of this mess »). Finch investigates the « V » case and reports to The Leader (« That you are still alive is a mark of my respect for you and your craft »), Adam J. Susan. Susan is meant to be the strongest man of the regime but he heavily relies on a computer system named « Fate » (« Please give me a sign »).

« Fate » has the voice of Lewis Prothero, former commander of the Larkhill concentration camp and doll collector (« He collects dolls, you know. Wouldn't think it would you? Big man like that collecting dolls. He's sensitive, you see. You can tell by his voice »). Prothero is on the top of « V »'s hit list. The mayhem of Norsefire can begin...

FEAR IS THE KEY

« We shouldn't have to live like this. Should we? » (Evey)

« Naiveté can also be detected in my supposition that it would take something as melodramatic as a near-miss nuclear conflict to nudge England towards fascism » wrote Moore in 1988. « The simple fact that much of the historical background of the story proceeds from a predicted Conservative defeat in the 1982 General Election should tell you how reliable we were in our roles as Cassandras » he added. But does the reliability of Alan Moore and David Lloyd as disciples of Cassandra really matters?

« This is chaos. » (V)

After all lizards from outer space in orange uniforms never visited the United States... And the side effects of national socialism, fascism, communism or even hyper-capitalism to its extremity are more or less the same (« You couldn't be expected to know they have eradicated culture... tossed it away like a fistul of dead roses », V). Even readers who reasonably don't expect anarchy to be the solution to fascism will be amazed by the ability of Lloyd and Moore to invite us in an effective dystopian exercise of everyday terror. The destructions of the Houses of Parliament (in the beginning of the book), of Jordan Tower and PO Tower or the assault of « V » on the NTV television channel as answers to the dictatorship, demonstrate visually that it can happen everywhere no matter the accuracy of their « five minutes into the future ».

« Hormone research is almost useless when rats or rabbits are used. » (Delia)

Now that in some ways our present is at risk to look more and more like the future described in the great dystopian movies produced by MGM during the seventies, like Soylent Green or Logan's run, the fears in V for Vendetta are universal and timeless both on a big scale - tyranny, perversion of science, terrorism,... - and on a smaller scale - loneliness, lack of love, hostility, etc... The originality of the creation of Alan Moore and David Lloyd lies there: their interest is focused at the same time on the fall of dominos and on each of the dominos falling.

A TALE OF ONE CITY AND LOST SOULS

« Become transfixed... Become transfigured... Forever. » (V)

V for Vendetta, the graphic novel, is rich of these destinies of characters, penned with great humanity and clearness (by definition not excluding cruelty), and an indisputable litterary virtuosity by Alan Moore. Lost characters with their wounded souls in search of an exit in a London which doesn't belong to them anymore: Love for the Leader, Power for Mrs Heyer, Hate for Almond (« Apparently he had forgotten to load it » - his death has a bitter taste of irony), Identity for his wife, explanations for Finch, Vendetta for « V », Father figure for Evey (« ... or perhaps I'm your father? »), etc...

« I shouldn't have taken the LSD. » (Eric Finch)

David Lloyd and Alan Moore have largely contributed to help the recognition of comics as a form of Art. V for Vendetta is essential and accessible to a wide audience, should this audience not agree with the messages of Alan Moore (through themes like anarchy, drugs, religion...) The perfect demonstration of that accessibility is that the power of the graphic novel remains intact, even beyond some of the messages of its scribe, in a movie adaptation updated to the context and the anguishes of the 21st century. « Ideas are bullet proof » says « V ».

V for Vendetta - the movie and V for Vendetta - the graphic novel are complementary. The movie is a wonderful tribute to the comics even with its differences. Perhaps Warner Brothers will consider someday the idea of a lavish miniseries for television that would stick to the book, miniseries being the ideal format to adapt a novel, graphic or not. But for the moment, watch the dvd and read the graphic novel.

Vertigo and Titan books give you the keys of your future. London doesn't belong to The Leader, London doesn't belong to Norsefire, London doesn't even belong to Evey Hammond or to « V ». London belongs to YOU.

« He tried to squeeze out some childhood memory that should tell him whether London had always been quite like this. » (George Orwell, 1984)

JAMES BOND 007 - THE SPY WHO LOVED ME (TITAN BOOKS)

James Bond is back in action again... And so is S.P.E.C.T.R.E. when the nefarious Horst Uhlmann - one of 007's deadliest foes - resurfaces in Canada, blackmailing a test pilot of the Royal Canadian Air Force to obtain information on a new military stealth jet. Bond survives a fatal trap devised by Madame Spectra, the mysterious masked new mastermind of S.P.E.C.T.R.E., and crosses the border to report to C.I.A.

On the way to Washington, James saves a damsel in distress from two determined thugs in a soon to be closed motel. Later, back in London, he is assigned to the trail of a dangerous gang of flying female criminals called « The Harpies ». The investigation of secret agent 007 leads him to Simon Nero, a powerful industrialist and contractor in aeronautics for the British and US governments.

« Height: 183 centimetres; weight: 76 kilograms; slim build; eyes: blue; hair: black; scar down right cheek and on left shoulder; signs of plastic surgery on back of right hand (see Appendix « A »); all-round athlete; expert pistol shot, boxer, knife-thrower; does not use disguises. » (Ian Fleming, From Russia With Love, 1956)
FOR SPECIAL SERVICES

« Where all other Bonds end, this one begins... » said the tagline on the poster of Moonraker (1979), the 11th official James Bond adventure for the big screen. Before becoming the longest and the most profitable franchise of the film industry, the litterary creation of Ian Fleming was adaptated for television (Casino Royale, 1954 - an episode of the anthology Climax! with US actor Barry Nelson as Bond), then for a series of daily comic strips first published in 1958 by the London Daily Express newspaper.

Fleming was almost reluctant to see his character in a daily cartoon strip and sold the rights to the Express only with some assurances that it would be top-notch and with what would be called today a « final cut » over the strips before publication. From 1958 to 1966, artist John McClusky illustrated the adaptations of Fleming's novels (and of a novela, Risico) by faithful writers Anthony Hearn, Peter O'Donnell (Modesty Blaise) and, above all, Henry Gammidge.

« It's a new world. With new enemies. And new threats. But you can still depend on one man... » Thus was introduced the Pierce Brosnan era of the James Bond franchise in the teaser of GoldenEye (1995) but this catch phrase is also the perfect sum up for the difficulties encountered by the successors of Gammidge and McClusky: illustrator Yaroslav Horak and writer Jim Lawrence.

« It can't be an easy job » (James Bond - Ian Fleming, From a view to a Kill, 1960)

NOBODY DOES IT BETTER

Ian Fleming died in 1964, leaving unfinished what is considered as the weakest of his books: The Man with the Golden Gun. Sustained by the hard lines and the dark tones of Horak (in a style reminiscent of Alex Raymond's Rip Kirby), Lawrence added new elements to the original novel for the comic strip adaptation, paving the way to further 007 graphic triumphs.

The Spy who loved me (first published in december 1967 by the Daily Express) is the prototype of the tremendous work delivered by Jim Lawrence and Yaroslav Horak to expand the boundaries of the 007 universe on a daily basis beyond the shadow of Ian Fleming. But this farewell to Fleming's canon is based on its least « bondian » (See the explanations of Paul Simpson in the present edition for more details).

« The Mounties have identified a spy operating in Toronto as your old enemy - Horst Uhlmann! » (M)

In a very smart move, Jim Lawrence uses the source material of the novel only in the second half of the story. The comic strips version begins with the re-introduction of the evil organisation S.P.E.C.T.R.E. after the brutal demise of its founder, Ernst Stavro Blofeld, in You only live twice (the novel plus the comic strip).

After the name of Horst Uhlmann, one of the most dangerous agent of S.P.E.C.T.R.E., emerges in an affair of blackmail relating to a new canadian airforce jet, Bond goes to Toronto with mandate to bring back the man alive to London in order to obtain information about the current activities of the organisation. But the masked Madame Spectra, new head of S.P.E.C.T.R.E., seeks for revenge...

EVERYTHING OR NOTHING

« S.P.E.C.T.R.E. has a long score to settle with Mr Bond - And tonight we shall put paid to his account » (Uhlmann)

Horak and Lawrence succeed in creating a quality alternative to the books and the movies with distinctive elements such as the regular covers used by 007 (for example, the corrupt ex-inspector Mark Hazard) and an environment between the first seasons of The Avengers with Ian Hendry or Honor Blackman, and an episode of The Man from U.N.C.L.E. This Napoleon Solo atmosphere is obvious in the incredible corridor gunfight between Bond (helped by the canadian intelligence) and the assassins of S.P.E.C.T.R.E. with their customized weapons à la THRUSH.

But tradition is not neglected with a typical first apparition of James Bond in his appartment with a lovely creature (« Queensberry Rules, dear - the bell between rounds! »).

« ... But I'll never, ever forget the spy who loved me! » (Vivienne Michel)

After this clash in Canada, Lawrence pays his last respects to Ian Fleming. The Spy who loved me goes on with a story more familiar to the readers of the creator of James Bond. In a motel in the New York's Adirondack's mountains, Vivienne, the employee, must spent the night alone waiting for the proprietor to close definitely the establishment. But the man has an hidden agenda and he sends « Insurance adjusters » in order to get rid of his property and of the girl.

Fortunately, Bond stops at the place and - knowing his Simon Templar perfectly - saves the lady in distress from the two thugs. Almost a silhouette in Fleming's book, 007 here fulfil his duties hard-boiled in great action sequences far from the usual business of espionage but nevertheless visually impressive, thanks to Yaroslav Horak.

DOUBLESHOT

With The Spy who loved me, british publisher Titan Books goes on with the rediscovery of the Daily Express comic strips initiated in 2004 by the release of The Man with the Golden Gun. And as Bond always live twice, Titan offers us a second story, The Harpies: when a scientist of the Cambridge University is about to tell if he will give a death ray (the Q-Ray!) of his invention to Her Majesty's government, he is kidnapped by a group of female criminals called The Harpies (« The Harpies - which as you doubtless know may soon rival SPECTRE or the Mafia! »)

A trail leads 007 to womanizing scientist and industrialist Simon Nero. Posing as former corrupt C.I.D. inspector Mark Hazard, he infiltrates Nero's company as the new security officer, but he must deal with Barry Kemp - his sadist assistant (whose favourite pet is a vicious genetically modified stoat) and Nero's Second in Command: Odile Cazan, french scientist and leader of the Harpies (...)

« On the contrary - with the Q-Ray generator, I can blackmail her Majesty's Government into accepting any terms I choose! » (Simon Nero)

It's Bond, it's Bold, its Back... The style is a perfect fusion between Ian Fleming's books and the movies, served by the inspired writing of Jim Lawrence (« Deadlier than the male, they say ») and the art of Yaroslav Horak. Action (the Harpies attack, the fight between Bond and Brunski, the assault on Nero's factory), humour - « Our job is just to guard you Sir - The end of the world is someone else's department! » - intrigue, love, and Moneypenny on the field, are the ingredients of this original adventure of everyone's favourite spy.

Caroline Munro, yes, Naomi in the Spy who loved me movie herself, introduces this back-to-back classy Titan Books edition of The Spy who loved me/The Harpies (£12.99 or $17.95). In bonus, articles and strip introductions by the erudite Paul Simpson worth our attention.