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COMICS GO
Storyboards
for DCs
THE NEW
FRONTIER
The following preview is by the editors of
THE JACK KIRBY COLLECTOR BACK ISSUE ALTER EGO
ROUGH STUFF DRAW! WRITE NOW and
TWOMORROWS PUBLISHING
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THE
JOKER:
From
Comics
To Film
JEPH LOEB
on writing
for HEROES
and MARVEL
The unseen
X-MEN FILM
JACK KING
KIRBY IN
HOLLYWOOD
art gallery,
and more!
TABLE OF
CONTENTS
COMICS GO
HOLLYWOOD
STORYBOARDING THE
NEW FRONTIER . . . . . . . . . . 1
by Mike Manley, editor of Draw! magazine
JOHN MORROW
Publisher
ING
have to say, most days, drawing comics is a pretty cool job, and its also great training; very demanding in
not only disciplines like composition, drawing, and inking, but also storytelling. You also have to get up to
speed if you are drawing a monthly comic and produce a consistent volume of workits great crosstraining. Since the late 90s, Ive worked in animation doing storyboards, bringing to life the exploits of some
of the same characters I drew in comicsonly now in the medium of animation. It seemed like a natural
step to go from drawing comics featuring Batman and Superman into animation, doing storytelling in the
medium of film.
In late October 2006 I got a phone call from an old animation buddy, Dave Bullock, who was leaving
working on Clone Wars for LucasFilm to head back down to Los Angeles to direct the adaption of the 2004
DC Comics mini-series The New Frontier by Darwyn Cooke, which was being produced by Warner Brothers.
The project was also being headed by Bruce Timm and Stan Berkowitz, part of the dynamic team behind
most of the great DC cartoons from Batman, Superman, and Batman Beyond to the recent Justice League. I
had worked as a storyboard artist for
Warners in the past on Batman and
Superman and did background work on
Batman Beyond. Both Dave and I worked
on several other shows together as well,
like Kim Possible, but this was the first
time we had really gotten to work closely
together.
One of the things I always find interesting about adapting stories from comics to TV or movies, is how
the writers have to work to compress, eliminate or rework entire chapters to make the story flow better as
film, and the restrictions we face in that medium due to the budget, the length of the movie/show, and
issues like the infamous TV censors. One of the first notes I received before I started boarding on The New
Frontier was that the word came down to eliminate all of the smoking by the characters. It seemed Warners
didnt want to promote smoking even though there were plenty of characters lighting up in the comic. You
can also see where, as often as possible, we tried to match the set-ups Cooke had in his panels. In this case
there was a scene I boarded that was pretty close to what Cooke did in the comic featuring John Jones and
Slam Bradley in Jimmys bar having a few drinks, and watching the Flash withdraw from public life as the
crowd in the bar turns ugly in their comments. The designs of the bar came right out of Cookes drawing,
but the sequence was also slightly expanded and a bit longer than in the comic to help play up John Jones
decision to leave the Earth and return to Mars.
The next section I worked on featured John Jones meeting Batman in the Batcave and informing him
that hes going to leave Earth and return home to Mars. This sequence is not in the comic but expands much
more the difference between the two detectives/crime fighters attitude toward the changing public opinion
against the superheroes.
Above: The rough and the final character design for The Martian
Manhunters natural form.
Right: More storyboards. Here I really tried to push the acting,
even though I didnt have a voice track to listen to, to nuance the
acting and catch the actors vocal performance.
LOEB IS A MANY
SPLENDORED THING
Jeph Loeb interviewed by Danny Fingeroth, editor of Write Now! magazine
Conducted via e-mail, October 29, 2008
Copyedited by Danny Fingeroth, Robert Greenberger, and Jeph Loeb
eph Loeb writes comics, he writes and produces television, he writes and produces
JA Superman
movies, he writes and produces animation. He does material like Batman: Hush and
for all Seasons that mine heroes classic mythos for neglected gems.
From his days at Columbia University film school, where he studied with the likes of
Paul Schrader (writer of Taxi Driver and writer/director of American Gigolo and
Affliction) and Milos Forman (director of Amadeus and One Flew Over the Cuckoos
Nest), to his work in Hollywood with people like Arnold Schwarzenegger and Michael J.
Fox, to his much-lauded run as a supervising producer and writer on Smallville, to his
time as a writer/producer on Lost, to his current gig of Co-executive Producer and writer
of Heroes, Jeph has worked constantly since leaving film school.
The fact that in addition to his screen work, his comics work, both in quality and
quantity, rivals that of anyone who has ever worked in the industry is simply astonishing. The X-Men, The Avengers, Superman for All Seasons, Spider-Man: Blue, the sales record-setting Batman: Hush,
the deeply personal Fallen Son: The Death of Captain America, and his latest much-anticipated series, Ultimates and
The Hulk, are just part of his comics resume. Tim Sale, Jim Lee, Ed McGuinness and Michael Turner are just some of
the superstar artists he has been paired with. Jeph has won four Eisner Awards and five Wizard Fan Awards.
Jeph has devised a career for himself where he has a variety of options in a variety of media, which for a working
writer is the best of all possible worlds. Here, he speaks, among other things, about his role in and his feelings about
the runaway success that is Heroes.
DF
DANNY FINGEROTH: Jeph, do you or Tim Kring (or anyone
else) come to a writers meeting at the beginning of a season
with an agenda/outline for that season?
JEPH LOEB: We have a pretty good idea where we are going
for the next three seasons. Obviously, year three is clearer than
four, etc. But, as were doing this interview, only the fifth
episode of year two has aired and were working on episode
17. So the lead-time is pretty fantastic. The biggest change
this year was Krings idea of incorporating the volumes into a
season. So now the viewer isnt waiting for 23 episodes to
find out who killed Hiros Dad. It will all be cleared up and
dealt with by Episode 11. The next volume begins with 12
and ends with 18. The last podwhich we are talking about
now, is 19-24. More like arcs in comics that become trades.
Its working great.
DF: Was there a bible for the series before you started writing
it, or did the bible come about as you were writing?
JL: There were lots of notes and pages of meetingsand
that all got incorporated in a bible that is constantly being
updated. The truth is that the folks at Heroes Wiki
(http://heroeswiki.com/Main_Page) are about as good a
source as we are!
Hayden Panettiere was one of Heroes breakout stars, playing Claire, the indestructible cheerleader. The catchphrase, Save the cheerleader, save the world,
helped propel the series into the forefront of pop culture. In the new season,
shes once more a cheerleader, now in California, and still gaining new understanding of how her amazing abilities work.
[2008 Universal Studios. All rights reserved.]
DF: Youre
Co-executive
Producer as
well as a
writer on
Heroes. What
exactly is a
Co-Executive
Producer, at
least as far as
Heroes is
concerned?
JL: The same
thing as
everybody
elseI work
to make the
best show we
can. That
starts with an
idea, then the break, the outline, the script, the production meetings, the casting, the production itself, post
with music and f/x and finally delivery. Kring has set up
a system where while everyone works on every script,
the name of record (the credit) takes it through every
step of the way. Its an enormous responsibilitybut a
terrific chance to work your craft.
Masi Oka portrays Heroes Hiro Nakamura, a fan of American comic books and
science fiction, who embraces his newfound powers. Hiro recognizes that his
power comes with responsibility, and that awareness inspires his actions.
[2008 Universal Studios. All rights reserved.]
JL: Please. Im the worst. Call Geoff Johns. Hes the only
one Ive ever met who can come to the office, sit down,
say hes writing this much today and do just that. Me? I
just wait until the last minute and flush it out of me!
Gah! That sounds awful!
DF: How is
working on
Heroes similar
to working on
a big comics
crossover
story? How is it
different?
JL: Its not
really similar.
Big crossovers
are still trying
to get the
monthly book
to follow a
single plot.
Heroes has at
any given time
six-to-eight stories going. Eventually they will collide, but
at first its mosaic storytelling. I like the differences.
JL: Well, that its not a graphic novel! Ive tried to get
this clarified, but the media just took off with it. Its a
collection of the stories that were done online. But
theyve been all digitally remastered by Aspen (Mike
Turners company) and the book has covers by Jim Lee
and Alex Ross. Its like 400 pages long. Ive seen an
unbound copy and while I didnt have a great deal to do
with it, Im really proud of the work. Aron Coleite and
Joe Pokaski really ran that showand with JG and Rich
at Comicraft, Aspen, WildStorm, Nanci Quesada and
Chuck Kimit all came together pretty sweet.
DF: Heroes has a very elaborate web presence. Can you
discuss the overall web strategy for the series a little?
JL: Its tied together from Day One. Tim and Jesse
Alexander hatched it and weve all tried to keep up with
it. Since online material is a flashpoint for the WGA
[Writers Guild of America] right now (this interview is
being done on the eve of what might be a writers
strike), its hard to be very positive about the work since
it is so fantastic... but it pays very little or nothing at all.
I brought Mark Warshaw over from Smallville and he
runs transmedia [the usage of material in a variety of
outlets] initiative. Its an enormous undertakingeverything from action figures to Christmas ornaments to
novels to the online experience, that falls now to Mark.
AN X-RATED MOVIE
ep, thats right. The X-Men screenplay
Gerry Conway and I wrote in 1984 for
what couldve become a major Hollywood
movie a decade-and-a-half before the 2000
big-budget blockbuster might easily have been
rated X for: extraordinary exciting
exuberant excessive exaggerated
exasperating exceptional expressive
explosive
Execrable? We hope not.
And, finally exterminated. Cause, like
the vast majority of screenplays written
even purchased, as this one wasby motion
picture producers, it never got made.
Between 1981 and 1985, Gerry and I cowrote eight screenplays for a variety of
production companies and studios. Only two
of those were filmed in any form: the animated
Fire and Ice (1982), produced by Ralph Bakshi
and Frank Frazettaand Conan the Destroyer
(1983), starring Arnold Schwarzenegger and
Grace Jones, for which we scripted the first
five drafts and received Story by screen
credit. We two veteran comic book writers/
editors found the experience (another X!)
of writing an X-Men script to be all the above
adjectives, at one time or another all over a
period of a few months in 1984. Still, as a
snapshot of what it was like, in the midTop: Gerry Conway and Roy Thomas in the 1970s. Above: The entire
1980s, to be working on the screenplay of a
run of Neal Adams-drawn X-Men issues from 1969-70 was reprinted in
potential studio movie at a time after most of
the 6th volume of the Marvel Masterworks: X-Men series. Heres an
the Christopher Reeve Superman films, but
early-80s poster by Mr. A. of the New X-Men.
before Tim Burton took on Batmanand in
[2008 Marvel Characters, Inc.]
an era when Marvel had had zero success in
waves, destructionand the birth of a new island.
getting any of its properties transmuted to the big
Meanwhile, as Prof. Charles Xavier (who is not wheelscreenwe thought you might enjoy listening in on
chair-bound in this film) is being interviewed on TV about
Gerrys and my recent phone conversation. You can read
the coming emergence of a new, special-powered race,
more about our X-Men screenplay in Alter Ego #58. Now:
young teenager Kitty Pryde suddenly discovers she is
one of those mutantswhen she angrily kicks the TV and
X-MEN: A BARE-BONES SUMMARY
her foot phases through the screen without harming
OF THE 1984 SCREENPLAY
it. Her friend Bernie is amazed.
by Gerry Conway & Roy Thomas
In the Pentagon, Presidential scientific advisor Dr.
Danielle Cross persuades Xavier to gather a team of
A ray of light from a pulsating green crystal rips a
mutants to investigate the menace which the recent
vast trench in the Pacific Ocean floor, causing tidal
11
This was while our first draft of the second Conan movie
was still floating around Hollywood, and producers
were seeing that script and asking us why Dino
[DeLaurentiis] didnt make the movie based on our
script instead of the 18th draft written by Stanley
Mannand we couldnt answer them, because we very
much agreed with them.
CONWAY: Even Arnold [Schwarzenegger] asked us that.
Charles Xavier and his X-Men in the second film. Patrick Stewart (once
Captain Picard, of course) as Professor X; Famke Janssen as Jean Grey; James
Marsden as Cyclops; Halle Berry as Storm is there anybody we missed?
[Photos: Kerry Hayes/TM & 2008 20th Century-Fox. All rights reserved.
X-Men character likenesses TM & 2008 Marvel Characters, Inc. All rights reserved.]
14
Okay, so its a crude joke. But Gerry and Roy still love the scene of Carmilla (who
was named after Sheridan le Fanus female vampire in his 1871 pre-Dracula novella
of that name) spewed out through the left nostril of the mammoth new head on
Easter Island. At top of page is artist Mark Gliddens rapturous rendition of same
juxtaposed with the page of the lads screenplay on which the scene occurs.
[Art 2008 Mark Glidden; screenplay 2008 Gerry Conway & Roy Thomas; X-Men TM & 2008 Marvel
Characters, Inc.]
JACK KIRBY IN
TINSELTOWN
by John Morrow, editor of
The Jack Kirby Collector magazine
ack Kirby (1917-1994) is known as the King of comics due to his amazing
output during a 50-year career as a comic book artist. Hes the creator or cocreator of Captain America, the Boy Commandos, Romance comics, Kid Gang
comics, the Marvel Comics Universe (including the Fantastic Four, X-Men, Hulk,
Thor, Silver Surfer, and more), the New Gods, and many others. But he began
his career in the 1930s, working on Popeye and Betty Boop cartoons, and after
leaving the comics field in 1978, he returned to a career in animation, working
on such TV series as Thundarr the Barbarian and Super Friends. But Kirby also
had numerous opportunities to work on Hollywood-related projects over the years. Heres just a few examples of
the impact he had on the entertainment industry.
18
19
20
21
27
2008 DC Comics.
28
29
V.5: GARCA-LPEZ
V.8: WALTER
SIMONSON
V.9: MIKE
WIERINGO
V.10: KEVIN
MAGUIRE
V.11: CHARLES
VESS
V.12: MICHAEL
GOLDEN
V.13: JERRY
ORDWAY
V.14: FRANK
CHO
V.15: MARK
SCHULTZ
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