Tag Archives: movies

As we know it

The universe has changed, it changed some time ago, yet the powers that be, be it in business, administration (read: government) or retail where all for the most are in denial. They deceive themselves through stories. One uses Tableaux to use the data to present the picture, a picture often based on incomplete or overly weighted data. The next one relies on dashboards like SAP to use spreadsheets to bedazzle the people with slice and dice numbers, looking pretty as a pie chart, yet not giving us the goods, because nowadays, these companies hire people who can sell a story, not drill deep on the results. The story is whatever the paying customer is willing to hear. They are all adopting the political need that has been in play for many years: ‘If the data does not match, change the question‘. That is the first part in a sliding scale of representation, and those representing the stories are running out of options (read: point fingers) to turn to.

The first part is seen in ‘At the time of year when queues usually form for popcorn and the money pours in, box office revenues are plunging. Where are the blockbusters?‘ (at https://www.theguardian.com/film/2017/aug/26/even-superheroes-may-not-save-hollywood-desperate-summer), here we see: “The true scale of the potential problem facing the industry can be seen in the precipitous drop in movie attendance this summer, down 52% year-on-year to 385 million at the time of writing. It is the lowest level of attendance since the summer of 1992“, in addition we get “Hollywood is stuck in a rut and it needs a safety net – superhero flicks fit that bill right now“. Two statements that might be the bill of the story, but in reality, the people are adhering to mismatched data and not properly investigated results as I see it. You see, the data is evident and it is out there, the games industry is taking 100 billion plus a year now and some of the other elements of gaming are taking a slice of that. In addition, providers like Netflix are now in much better control of their audiences that is mainly because they figured out what was wrong in the first place. You see, the gaming part is the first part of the evidence. People are now spending it on something else and they are no longer relying on the box office as Netflix gives then options. the second part is seen in the Business Insider (at http://www.businessinsider.com/us-cities-where-cost-of-living-is-rising-the-fastest-2017-6) where we see that on number 10 (New Orleans) the cost of living went up by 18%, on number one we see Nashville with a cost of living raise of nearly 30%, as we have not seen any actual economy increase from the United States, or better stated, the working people of the United States have seen almost no increase in wages and quality of life, those representing certain numbers decided to just ignore issues and evidence. Now, that top 10 list is a little skewed too, yet when we realise that for 3% of Americans their cost of living went up by 18% or more, how worried do we need to be with certain represented numbers? So consider that Los Angeles was part of that top 10, yet New York is not, there we get ‘Cost of living index in New York is 21.37% higher than in Los Angeles‘, which with close to 9 million is 2% of the US population, so now we see that the hardship and quality of life is hitting 5% of the American population and the numbers do still go up, so when we see “drop in movie attendance this summer” how can anyone be surprised? In addition, we should also realise that this gives rise to the fact that apart from people not going to the cinema, many are now spending it on something else and a $20 spend on 90 minutes is not considered when $55 gets them hours, sometimes hundreds of hours of gameplay. We are all getting more and more weary on the bang for our buck and the cinema can no longer deliver that value. No one denies that movies are just better on the big screen, but for many it is a trip only affordable a few times a year so the people are getting really picky on what they see on the big screen. Richard Cooper gives us part of the news, but also ‘forgets‘ to give the full picture. With “It is mid-budget films and their fans that have tended to suffer“, here he only gives us part of the story. As the Hollywood engine of greed and reselling remains on a steady course, we see the need for maximising results and as such the movie makers are closing the gap between cinema and digital release. Why spend on the cinema whilst within 26 weeks the movie will be out on Blu-ray? Basically it is the same price, Guardians of the Galaxy Vol. 2 is an excellent example in this case. People are becoming stingy because they have no other options. All the messages of a fake economy and how good it is might look nice on the news, but for the most, people in the US cannot afford any extras. Many in the USA need to work double jobs just to get by. The US census gives us that in 2015 13.5% of Americans were in poverty, I feel certain that this number has gone up in 2017, some sources give us that this has gone up to 14.5%, so one in seven is in poverty. Do you think that these people will be watching movies on the big screen? So the Hollywood moment of desperation is not to be resolved, not until the quality of life and cost of living for Americans is set to a much better status. Those who can might try to leech of the neighbour’s Netflix, those who cannot need to find affordable entertainment, if they get any at all.

In the second we see that this economy is also bolstering a new level of exploitation. Even as we all ignore certain elements, Uber has changed the game, with ‘Inside the gig economy: the ‘vulnerable human underbelly’ of UK’s labour market‘ (at https://www.theguardian.com/inequality/2017/aug/24/inside-gig-economy-vulnerable-human-underbelly-of-uk-labour-market) we see a new level where the people are sold a cheap story (read: Uber story) and as they are hiding behind what people should investigate, we see that desperation is exploited in other levels. It is not merely an American issue; it is becoming a global issue. With “Each passenger’s destination, however, will remain a mystery until they have been collected. And regardless of the considerable costs they might incur to fulfill that journey, the driver will have no say in the fare. Uber both sets the fare, then takes a hefty rate of commission from it“, we are shown that there is a dangerous precedent. As we see online needs explodes as people need cheaper solutions, Uber will weigh in on maximising its profit. As I see it: ‘the drivers having no other options to work to near death for scraps’. With “The driver knows that failure to accept these terms will result in an immediate loss of work: they will be blocked for a set period of time from accessing Uber’s online system that provides work” we see new levels of legalising slave labour. The ‘do it or else‘ approach is now strangling the freedom of people to death. We see evidence of my statements with “The companies themselves tend to talk about the freedom, independence, and flexibility with which self-employment is usually associated. But many of the couriers and drivers we have spoken with over the past year have had an alternative model of self-employment, and with it much financial insecurity, enforced upon them“, and the law is not offering any solution, not in the UK and not in the USA, being an entrepreneur tends to have long lasting benefits at times. They all voluntarily went into the contract and they can all walk away and starve. It is not an option for those with families to support and feed. Part of this crux is seen in “we have noted how companies are able to use the guise of self-employment to dump a whole series of obligations and liabilities onto their workforce, while depriving them of protections enjoyed by the rest of working Britain“, to be the entrepreneur comes with hidden dangers, especially when you work for other entrepreneurs. The age of exploitation is upon us and as we know it, we can no longer afford to go to the cinema, a side Mark Sweney seems to have ignored. Yes, he does give us the Netflix element and there was no way to avoid it. He does go in the wrong direction with “For film fans, theatres still have an allure for the launch of big movies, but in the new world, where all media is competing for eyeballs and time in the “leisure economy”, the Netflix threat is rising“, he is not incorrect, yet he is incomplete. He forgets that Netflix is all many can afford (and a fair amount cannot even afford that). So why go to the cinema for the next sequel? Box Office Mojo gives us part of the goods, in 2017 only 2 movies broke the 1 billion mark, Beauty and the Beast with Emma Watson (I personally do not think she was a beast in that movie) and the Fate of the Furious, which makes sense as Vin Diesel is stark raving nuts on most given days (in the fast and furious series) and who doesn’t enjoy a chase movie whilst we know that the driver is Looney Tunes. A movie with a good grasp on the desired quality of life time! So if we accept that the bulk of the Americans had to choose two movies these would be it. Yet, that number is not correct. You see Vin Diesel is attracting an audience, but 81% is not domestic, in the case of Miss Watson it is a 60% non-domestic audience. If we focus on the American market the Beauty and the beast was best, but only good for half a billion, if we focus on the domestic market, it is merely the Force Awakens that brings the goods for Americans. It makes sense with the following it has, but it is also deeply sad that decent movies are no longer bringing in the bacon. We cannot merely be blaming Netflix on this, we can surmise that the people can no longer afford the large screens in America, it is the most likely scenario, when we consider that only 3 movies got the domestic top 100 of gross revenue in 2017 and 11 in 2016, we cannot disagree with the view we get offered, but in retrospect, there is enough evidence that the US job market was worse last year. So with still 3 upcoming box office smashes, the big screen performance remains down, to what extent is harder to state, because there is enough indications that there is a lack of quality numbers, which makes my predictions not wrong, merely speculations and I accept that, yet the makers of the article and the presenters of the story of ‘Even superheroes may not be able to save Hollywood’s desperate summer‘ know that they were blaming the DC and Marvel Universe for not saving an economy that does not presently exist. The economy only exists on the Dow Jones index and that one is skewed towards the 1% of Americans that can afford a large apartment in New York and other places. What a shame that reality requires the 99% of Americans they give no consideration to. Yet it could be worse and there is every chance of that happening. As we see Mario Draghi and Janet Yellen warn against regulatory cuts, as we see “European Central Bank President Mario Draghi said protectionist policies pose a “serious risk” for growth in the global economy“, we could deduce that Draghi is soon depending on exploitation tactics to grow the economy, not only has his Quantative Easing failed, he will soon depend on legalised slave labour to get the economy the boost no one wants in such a manner. So as Draghi states: “To foster a dynamic global economy we need to resist protectionist urges“, which will not just end the filling of any quality of life if it was up to certain Uber approaches, it is also signaling the end of places like Hollywood, because they only get to exist when people can afford to go to the cinema, an display of ‘ingoranus totalicus‘ shown by these same people as they bolster the story that ignores the needs and plight of those in the lover 60% of the total income bracket in most of the modern western world.

We will see in the next 18 months what remains of the values we considered in the past. Life as we know it will change, that has always been the consideration of an evolving natural life. We merely forgot that those in charge are not in favour of change unless they could directly profit by it. I wonder if the people in Hollywood realise that part of the equation.

 

Advertisements

Leave a comment

Filed under Finance, Gaming, IT, Media, Politics, Science

About them copyrights

It’s all good and fine to get through the day, to read on how it is all ‘sooo’ virtual, so available. Yet, in the end, is this ‘the truth’? Consider when we see the article, again the Guardian (at http://www.theguardian.com/technology/2014/oct/15/taylor-swift-uk-itunes-out-of-the-woods), so we could say how it sucks to be Taylor Swift at this point. You see, when you use the ‘excuse’ “due to a new strategy my record label is working on in the UK“, we can safely assume that this is about something else. Likely commission, possibly ‘better’ kickbacks, or better margins, yet overall the fans will suffer and they are now looking at other means like uploaded records to get their music.

I wrote about such events in ‘The real issue here!‘ where I stated “So, almost 20% end up buying the discs (implying 80% will not)“, I had written about such issues in gaming, in movies and as Taylor Swift will soon learn in music too.

By playing for tougher deals, you end up losing a lot. And in this case, as I see it Team Swift only have themselves to blame. Just like the gamers of day old were ignored by the US at large, music fans will not tolerate delays on such events. That is the drawback of the digital age. When you offer it NOW, you better offer it to all. So when we see the quote “Out of the Woods is likely to be available for at least some of Swift’s fans in the UK soon, then. But many will have turned to other means to hear the track: for example, there are already a number of uploads of its audio to YouTube“, you better believe that fans will find another avenue. In the end, her real fans will buy it one way or the other, yet Taylor lost out on a vibe that could have gotten her a few hundred thousand, perhaps even a million additional downloads. She will miss out on that one this time.

So is this fair to Taylor? Does that matter? When you decide on a strategy that leaves one out, that one will either find an alternative or will move on to something else. Such is life. In gaming, when this happened in the 80’s, people had no choice but to copy or wait for outrageous prices. So, those with copied games got to play it, those who had no contacts ended up waiting in excess of one year. The digital age now has given us the option to get it ANYWHERE fast, usually at a base price and often as fast as day one. In the age where product outstrips demand by a lot, the digital age becomes a different field. An opportunity missed is a chance lost, not delayed. Music is exactly that to a massive group (the Taylor Swift fans will always buy), but that leaves a large group missed and it loses out to potential new fans, but is that a given?

No it is not, yet we see that the digital wave tends to attract the curious, those who get one song and then learn that the music is interesting to seek out more. Through Audio Galaxy in 2000-2001, I got to know the Corrs, Bond, and a few others. Now, I have almost all their albums, which I bought in the record store, it started with one simple song. That market relies on the new waves of songs, not anticipated waiting.

So, is this me changing my view on copyright? Not entirely, when a movie comes out, one should buy it. I have no issues with buying a movie or watching it in the cinema, so when I decide to buy a game, movie or album, when it is released, I expect it to be released. When we get an alleged form of discrimination where the consumer is discriminated against, should such injustice not be fought? I am not talking about a simple delay like we tend to see it in games, where movies tend to be out in the US one moment, and a few weeks later the rest sees it. That part I have no real issue with. Yet, in the case of Star Wars Episode 1, where the movie was released in May in many places, it would take 5 months until it was released in the Netherlands, for a movie like that, such a delay was just unheard of and as such an illegal download of the movie was circulating within a few days. Many would still see it on the big screen, but not all. Evidence of such events have been seen for decades, so why would the team of Taylor Swift be this ‘uninformed’ (ignorant might be a better word) in thinking that the fans would accept it, and beyond that the rest would just ‘wait’ for a girl named Taylor Swift?

Some might, most will not.

And if you want to consider alternatives, then think of the time, the line and the timeline. Our world is changing, it is less about the product that is convenient for us, it is more and more when it becomes convenient for them, not us (cinema and TV marketing has been all about that for far too long). We could read it as a form of maximised profit, yet overall it is about marketable momentum. That is seen as we see at present that ‘analysts’ already are stating that they predict ‘Star Wars: Episode 7’ will make $1.2 Billion at the Global Box Office. The movie is nowhere near release and these predictions are already made. As we see that this movie is coming out in 2015 as a summer release, so much can go wrong! And we are already been ‘tailored’ to fit a 6 week gap.

People are still in a financial depressed era. Even though it is now starting to pick up, the longevity of our economy is currently not a given, with the Tesco issues still  in play in a hardy way, there is a real issue in the UK, even though there unemployment is now down to 6%, yet overall the cost of living is still rising faster than most of the incomes correct for, so as such, income is still not in the level that we see where people en mass (especially those with family) can just go to the cinema. The last movie to really make it was Avatar in 2009; it was a unique wave not unlike Titanic, they are still the first two movies in the all-time box office records. So, at present SW7 is already ‘anticipated’ as one of the top 6 movies of all time. That, whilst the first Avengers movie, making 1.5 billion, took the cake in 2012 and the anticipation of the second movie is extremely high on many minds. Beyond that there will be Fantastic Four, Pan (with Hugh Jackman) and at least three additional movies are on the list for the summer of 2015. Now consider that until the economy is truly repaired families might have the option to see two of these movies. What are the chances that they choose Star Wars? There is no denying that Star Wars will be very high on the list of many, but then so are the Avengers. That is if nothing else happens, like new games, new records and shifting time lines.

So as we see the escalations of ‘needs’ and ‘options’, we will see a change on how people perceive copyright and translate this into the ‘right to copy’, welcome to the new economy of those who cannot afford it!

So as we see what team Swift thought would be and what Team analyst expects it to be. I would state that the truth is nowhere in the middle, and that the truth is revolving around two points of flexible perception, whilst a placement of either is not a given either positive or negative, but what will be, is not linearly in the middle of what would be and that what is expected to be, that what is, is not a given ever in marketable approaches!

But what ‘might be’, requires us to take another look at what we see that is currently done to us. As we are all reduced to ‘product to purchase’ and no longer regarded as ‘consumers to buy’, we see a changing market of expected anticipation.

Is this a negative evolution of marketable industries?

Leave a comment

Filed under Finance, Gaming, Media

FACT on piracy?

There is a newscast that got to me in the middle of the night (at http://www.bbc.co.uk/news/technology-25575298).

Now, let me start that I am not in favour of digital piracy in any way. I have had a fortunate live, so for the most, I could go to the cinema and enjoy the big screen. At times I got to buy a DVD/Blu-ray, so I could enjoy the quality of the movie at home.

What gets to me is this quote “A spokesperson for the Federation Against Copyright Theft (Fact) said that piracy puts jobs in the entertainment industry at risk and prevented future investment in entertainment.

This spokesperson needs to take a hard look at himself/herself in the mirror in regards to the ‘BS’ (as I personally see it) that is proclaimed by said spokesperson! Why?

The 25 most profitable movies represented in the US alone $5.2 billion dollars. At the top is Iron Man 3 which did $400 million in the US, but did an awesome $1.2 billion worldwide. So, there is no future danger to investments, there is a truckload of money to be made there and greed is trump. An additional interesting fact is that the second Hobbit movie is on that top 25 too. It made over 200 million in one week, so lighten up FACT!

Perhaps FACT needs to take a new look at the message they are proclaiming. What angers me is that this is pretty much the same BS Sony ‘voiced’ gave when all that music was shared in the early 90’s (when the US had similar poverty numbers) on how much damage they had.

These people do not realise that a large portion of the US and the EEC is in such a recession that the people cannot afford the luxury of going to the cinema (or buying a DVD for that matter). In the US the poverty line now hits 1 for every 7 Americans, so it is time for FACT to wake up! In the UK things are slightly better, but only 1.1% better, making it 1 in 7 as well. So, perhaps FACT would like to take that into consideration before blaming dangers to piracy?

Who downloads movies?

Well, the main group here in my view remains the student population (who can hardly make ends meet as school fees go up and up). In addition I must state that this does not OK the transgression, but consider that these people have little options to see anything. Prices go up, yet students end up with less and less. The second group is the poverty group, who likely have no internet, but rely on a friendly neighbour to burn them a DVD. I am not saying that this is good, legal or acceptable! I am just saying that perhaps setting the right dimension might help ‘comprehension’ for those who cannot afford any of it anyway.

the second quote that the BBC gave “Piracy threatens the livelihoods of over 1.5 million people whose jobs rely on the continued success of films, TV programmes and other forms of entertainment that are created in the UK.” reads a little better, but I fear that this is slightly disjointed. We dealt with films, but we did not deal with TV programs. There we see that the big ‘winner’ is Game of Thrones (HBO) the quote that another site gave me “It also seems that those involved in Game of Thrones are not too worried by the levels of piracy around their show.

This does not make it OK, but consider that these series can only be watched with a subscription and that in the UK and the US 1 in 7 is below the poverty line. The financial situation in many European countries is not that much better, then perhaps those involved should realise that they, for the most are not doing that bad. Forbes showed an additional side to the HBO dilemma (at http://www.forbes.com/sites/erikkain/2012/05/10/international-audiences-have-few-choices-to-legally-watch-hbos-game-of-thrones/). Consider that the three pirated TV series that truly jump out are all HBO series. Can FACT explain how these poverty driven families can shell out $50 a month for cable? And, even those making minimum wage (which is only marginally better than poverty) can often not afford any of the choices FACT would deem acceptable.

So, and your truly (meaning me!), did I ever watch an illegal movie version? (I never downloaded it!) Yes, I did once. It was Star Wars Episode One and I only watched it because the Movie was launched 4 months later in the Dutch cinema then in the US (an unacceptable time-lag for such a movie). I still watched it in the cinema, I bought the DVD and later the Blu-Ray and so they got more than their money’s worth!

So, is there a real issue?

Depends on how you look at it. From my point of view, the bulk of those downloading the movies and/or TV series cannot afford them in any way, which means that there would never have been a sale to begin with. Those who are above that mark are a decreasing population. As TV series and movies are offered via iTunes, consoles and other digital media for just a few dollars, getting the series (or movie) in that way would be preferable to many viewers, especially as those versions tend to be of better quality. The growth in sales as claimed by some (an increase of 40% in digital sales), means that the tide is shifting. The biggest group that remains has no way of buying it ever under the economic pressures they face.

Yes, you might have a case against these people, but consider how movies claim to make so many billions. Do they really want to go on a hunt for those who live below poverty? Has it truly come to this?

How about we use all that effort to get these people a ‘decent’ income?

1 Comment

Filed under Finance, Law, Media

About Entertainment

I stumbled upon an article by Gilbert Cruz called “The Lone Ranger Represents Everything That’s Wrong with Hollywood Blockbusters” (at: http://www.vulture.com/2013/07/lone-ranger-is-everything-wrong-with-hollywood.html). It is actually quite a nice read and the conclusions that I personally do not completely agree with are still well supported and seem to make sense.

His ‘unease’ with franchises are well accepted by many including me, as we read and have spoken out against these reiterations often enough. when addressing the origin story problem he states “Give us a story that works and then, if you’re lucky enough to earn a sequel, you can give us flashes of an origin tale down the road, as opposed to weighing down your first movie.” That is one view, yet it is the view of the director that counts. It should be about the vision of the director. Perhaps it is less about the origin story and more about having a visionary director. My view is supported by mentioning the hidden gem ‘Margin Call‘. I think that this is a movie any economic student should watch. It watches like a story, yet there are layers of events that give it all an actual strength. The fact is also about a story portraying the initial stages of the 2008 financial crises are set in a movie.
Can anything be more dull then that? And even though this movie is pretty much all star, it required a visionary director to pull it off. That is how I see the origin story as well, without vision it is a presentation. It does not matter whether we watch a movie containing a Wild Wild West version of Sparrow, or the start of the lone ranger. the same for Thor, Spiderman and so forth, how they ‘became’ is part of the movie, but how to address it?

This dilemma is approached within the slogan of TV channel ‘FX’. “The story is everything!” I think when it comes to TV channels; it is the most brilliant slogan ever. Yes, we remember the special effects, we see the stars we love and idolise, but without the story…. (Imagine the sound of a flop!).

This is also why (for now) I stayed away from the Hobbit. I loved the lord of the rings. I have been a fan of Tolkien since long before I was at the legal drinking age. So seeing the movie was a massive moment in my life for me. Like many fans I did mentally object loudly when the freeing of the shire was missing (as this is the moment the hobbits experience what those around them went through), yet to see the book on the big screen was a moment I loved. To see the Hobbit was indeed something I was looking forward to, yet to see a 320 page book in 3 movies of around 3 hours each is stretching it all a bit thin.

So as most might agree with, is the fact that a good story requires a visionary. Perhaps this is why James Cameron has been so successful? 2 movies bringing in almost 5 billion is just insane! We should not forget that timing is also extremely important. I feel that this is shown when looking at ‘Dances with Wolves’ and ‘a man called horse’, which was a shining moment for Richard Harris. Perhaps the world was not ready for the ‘going native’ view in the 70’s.

The article stamps out a side I actually never gave much notice of. He states “So in order to ensure sequels and appeal to the maximum number of people, it must be rated PG or PG-13. Good luck finding an R-rated summer blockbuster.” He makes a fine point here. I want to see a movie that is good; I am not all in favour of bloody or bloodless movies if they hinder a sense of realism. Although I was never a fan of zombie films, the ‘realistic’ view ‘the Waking dead’ brings, is why I am eye locked to the small screen. So, the ratings requiring certain lack of levels of gore would be counterproductive to me. I do not believe that it is about gore and blood-letting. This is why I enjoyed the movie ‘the A-team’, where with 17,000 bullet you see no one gunned down (keeping in pace with the original TV series), yet the opposite of ‘Act of Valor’ is a gem as it is about the efficiency of making every bullet count (Navy Seals apparently are not about wasting time). So my stance floats a little with the movie I am watching, again, the story makes it happen.

This is why the hammer on ‘The Lone Ranger’ feels a little harsh to me. If it is about entertainment, then the Lone Ranger provides, yet the points the article brings up should not be ignored either. This is a Disney movie and Disney factor is important as that brand has a following with an audience they need to protect. Consider that the (Grand) parents, with younglings on a day out will see the protection that the Disney logo brings and as such a gore driven Zombie film with a Disney logo is unlikely to ever happen.

The final part where I slightly disagree with the views Gilbert Cruz offers, is when he mentions The Phantom and The Shadow. These 90’s movies failed because there was a lack of vision (as I see it). The characters are well established through the radio shows and the comic books. If we consider the slogan of FX and if we consider a slightly more Frank Miller themed view, then consider Howard Chaykin’s ‘The Shadow: Blood & Judgment’. That was more than just a mere piece of comic book. That was graphic art on an entirely different level. As much as Baldwin failed to portray the Shadow, the blame should fall to the lack of vision the director showed (perhaps with a small degree of ‘technology lacking’ options). Consider what Tarsem Singh achieved with ‘Immortal’, now let him have a go at ‘The Shadow: Blood & Judgment’. The result could be a lot more than a cult movie that we will remember for a long time. The result could be a blockbuster R-rated movie. Again, it is about timing and for 2013-2015 the timing seems right to take these old ‘heroes’ off the shelves and give them to visionaries, not to the directors that come from the ‘Hollywood blockbuster template machine’. In that regard we all hope that Luc Besson will achieve to revive the French hero that should be seen as an international landmark. As he is remembered for the Fifth Element, this visionary could make the heroes Valérian and Laureline truly immortal. As franchises go, a trilogy of these two characters could reshape the way people see comic book heroes. The only sad fact is that this movie arrives almost 40 years after I read the comic books. Even now, I still remember the art of Jean-Claude Mézières. What is also intriguing is that the art you see in ‘The City of Shifting Waters’ had a lot of similarities that the TV-Series ‘Revolutions’ showed almost 35 years after the comic book came.

It is also interesting that, considering the success of the lord of the rings and the implied upcoming blockbusters that the Hobbit seems to become, that not a larger net was cast on the type stories that have this epic view. We all remember Flash Gordon. Some trough the view of Ted (a McFarlane sense of humour), some through the exquisite music by Queen, however I still think back to the comics as drawn in the 60’s and 70’s. In that same style there are the stories of the ‘Trigan Empire’. It seems so strange that these successful works of art still have not made it to the big screen.

So I believe that there are plenty of options out there, it just takes faith (and funding) in one visionary to take that step forward.

 

Leave a comment

Filed under Media