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jerryking : comic_books   6

(1) Is Joker a villain or anti-hero? - Quora
The Joker is not an anti-hero. He is a Villain.

This is The Joker beating Robin to death.

There is a HUGE difference between a Villain and an anti-hero. The definitions in modern times get blurred a lot. People often seem to think that because they find a villain endearing or charismatic, they are an anti-hero. This is incorrect.

Villains can be rich, interesting characters and even sympathetic characters but that does not erase the line between good and evil; at least not in works of fiction. The line between good and evil still exists.

It also seems like a trend for people to get the meaning of the term wrong and think that anti-hero means opposite of a hero; It does not mean that.

An anti hero has qualities that sometimes cross a line a traditional hero would not cross. They might have moral failings but the defining characteristic is that they DO have a moral code.

It's not the same as a psychopath who will not kill on a Sunday. That is a modus operandi (m.o.) not a moral code. Having a moral code means they have an inner set of rules or a single rule that in some way desires to serve the greater good.

An Anti-Hero MUST have this quality.

A likeable character who doesn't ever care one lick about the greater good is not an anti-hero and can never be described as such.

The Jok
anti-hero  comic_books  moral_codes  villains 
5 weeks ago by jerryking
The financiers who struck it rich on ‘Joker’
February 7, 2020 | Financial Times | by Anna Nicolaou in New York and Alex Barker in London

The movie "Joker" has been one of the most profitable comic book movies ever ($1.1bn in box-office sales on a modest $55m production budget).....Warner Bros was not the only one cashing in on the unlikely blockbuster. Other beneficiaries include: Canadian pension funds, mutual funds, insurance companies — and a pair of former investment bankers.....that external financiers were able to extract a lucrative share of the Joker’s profits underscores the timidity in parts of Hollywood, where major studios shy away from taking big risks — essentially anything that falls outside the universe of sequels and well-established franchise films. What Hollywood once derided as “dumb money” is, to an increasing extent, bankrolling some of Hollywood’s most daring creative bets.......Joker's director, Todd Phillips, was only able to gain Warner Bros' participation to back the film by signing on two co-financiers, Bron Creative and Village Roadshow, each chipping in about 20% of the production budget, thereby sharing the risk......Outside investors have been bankrolling films for a century, dating back to tycoon Howard Hughes in the 1920s. But within the business, are perceived as naive and spendthrift dupes, enamoured by Hollywood, who underestimate how unpredictable movie sales are......The major studios are making fewer movies, and even fewer ones that are not tied to existing franchises. They do not want to allow outside investors in on those movies, because they want to keep their expected riches. But for other films, such as adult dramas, studios are keen to hedge their risk.......Toronto-based, Jason Cloth, a former investment banker, runs Creative Wealth Media (CWM), which sources money from institutional investors such as pension funds and mutual funds.  CWM and production company Bron Studios, formed a joint venture in 2016 called Bron Creative.....who in turn, signed a $100m deal with Warner Bros in 2018 to finance a slate of films, which was how it got involved in Joker......Joker’s other financier, Village Roadshow, which has funded Warner Bros films for decades, is controlled by Vine Alternative Investments, a New York-based asset manager focused on the entertainment industry, and private equity group Falcon. Vine’s chief executive James Moore, a former investment banker for JPMorgan, said he noticed “there was a high correlation between how [entertainment] assets worked and how other assets in financial markets work”.........“They were long term durable cash flows that could be measured with a high degree of precision, and you could manage the risk if you managed them properly,”........Vine buys up libraries of old films and TV shows, which Mr Moore said are attractive because consumer demand for entertainment is “not terribly affected by recessions, capital market events or other exogenous factors”........the vast majority of the time when studios seek co-financing partners, sharing the risk is the right strategy......“Films based on new and unproven intellectual property carry significant financial risk that studios prudently share with outside financing partners,” Mr Ara said. “When it comes to predicting whether a picture will be a hit, as William Goldman famously said: ‘Nobody knows anything.’”.......James Cameron spent years trying to convince Fox to bankroll his futuristic science fiction movie featuring computer-generated aliens. Fox, which had been frustrated by Mr Cameron’s ballooning spending on their previous collaboration, Titanic, eventually agreed to finance Avatar. But only with the help of two private equity groups — Mr Mnuchin’s Dune Entertainment and Ingenious Media — which took on a reported 60 per cent of the financial risk. Avatar went on to break the record for global box-office sales.
asset_management  blockbusters  comic_books  entertainment_industry  films  filmmakers  financiers  financing  funding  Hollywood  investors  joint_ventures  movies  private_equity  producers  producer_mindset  risk-aversion  risk-sharing  sequels  Steven_Mnuchin  studios  timidity  Warner_Bros. 
5 weeks ago by jerryking
Opinion | Martin Scorsese: I Said Marvel Movies Aren’t Cinema. Let Me Explain. - The New York Times
By Martin Scorsese
Mr. Scorsese is an Academy Award-winning director, writer and producer.

Nov. 4, 2019

Martin Scorsese is an Academy Award-winning director, writer and producer. His new film is “The Irishman.”
Cinema is an art form that brings you the unexpected. In superhero movies, nothing is at risk, a director says.
Many franchise films are made by people of considerable talent and artistry. You can see it on the screen. The fact that the films themselves don’t interest me is a matter of personal taste and temperament. ......For me, for the filmmakers I came to love and respect, for my friends who started making movies around the same time that I did, cinema was about revelation — aesthetic, emotional and spiritual revelation. It was about characters — the complexity of people and their contradictory and sometimes paradoxical natures, the way they can hurt one another and love one another and suddenly come face to face with themselves.

It was about confronting the unexpected on the screen and in the life it dramatized and interpret.....cinema is form. There was some debate about that at the time, so we stood up for cinema as an equal to literature or music or dance.......Many of the elements that define cinema as I know it are there in Marvel pictures. What’s not there is revelation, mystery or genuine emotional danger. Nothing is at risk. The pictures are made to satisfy a specific set of demands, and they are designed as variations on a finite number of themes...When I watch a movie by any of those filmmakers (e.g. Paul Thomas Anderson or Claire Denis or Spike Lee or Ari Aster or Kathryn Bigelow or Wes Anderson ), I know I’m going to see something absolutely new and be taken to unexpected and maybe even unnameable areas of experience. My sense of what is possible in telling stories with moving images and sounds is going to be expanded.......So, you might ask, what’s my problem? Why not just let superhero films and other franchise films be?......In many places around this country and around the world, franchise films are now your primary choice if you want to see something on the big screen. It’s a perilous time in film exhibition, and there are fewer independent theaters than ever.......the fact is that the screens in most multiplexes are crowded with franchise pictures.....It’s a chicken-and-egg issue. If people are given only one kind of thing and endlessly sold only one kind of thing, of course they’re going to want more of that one kind of thing.....In the past 20 years, as we all know, the movie business has changed on all fronts. But the most ominous change has happened stealthily and under cover of night: the gradual but steady elimination of risk. Many films today are perfect products manufactured for immediate consumption. Many of them are well made by teams of talented individuals. All the same, they lack something essential to cinema: the unifying vision of an individual artist. Because, of course, the individual artist is the riskiest factor of all...... certainly not implying that movies should be a subsidized art form, or that they ever were. When the Hollywood studio system was still alive and well, the tension between the artists and the people who ran the business was constant and intense, but it was a productive tension that gave us some of the greatest films ever made....Today, that tension is gone, and there are some in the business with absolute indifference to the very question of art and an attitude toward the history of cinema that is both dismissive and proprietary — a lethal combination. The situation, sadly, is that we now have two separate fields: There’s worldwide audiovisual entertainment, and there’s cinema. They still overlap from time to time, but that’s becoming increasingly rare. And I fear that the financial dominance of one is being used to marginalize and even belittle the existence of the other....For anyone who dreams of making movies or who is just starting out, the situation at this moment is brutal and inhospitable to art
Yun Kim
VirginiaNov. 5
Times Pick
Product that sells to all ages and backgrounds is difficult to make therefore not risk free. But society only exposed to repeat formula product is indeed at risk.
art  artists  blockbusters  cinema  comic_books  creativity  cri_de_coeur  entertainment_industry  films  filmmakers  hits  Hollywood  independent_viewpoints  Martin_Scorsese  Marvel  movies  originality  original_content  risk-taking  sequels  soulless  studios  super-hero  unexpected 
december 2019 by jerryking
Comic Book Publishers, Faced With Flagging Sales, Look to Streaming -
July 22, 2018 | The New York Times | By Gregory Schmidt

Comic book publishers are facing a growing crisis: Flagging interest from readers and competition from digital entertainment are dragging down sales.

Hoping to reverse the trend, publishers are creating their own digital platforms to directly connect with readers and encourage more engagement from fans.

The goal is to reach readers who may not live near a comic book shop but want to keep up with the Avengers and the Justice League. Experts say the direct-to-consumer model also helps compete with streaming services like Netflix and Amazon’s Prime Video.
publishing  comic_books  streaming  platforms  direct-to-consumer 
july 2018 by jerryking
Michael B. Jordan Takes On His First Blockbuster Role—as a Villain - WSJ
By Jason Gay
Jan. 17, 2018

Our second cover star, actor Michael B. Jordan—the villain in Marvel’s winter release Black Panther—has been winning over audiences since his breakout role as a teenager in HBO’s The Wire. He followed that performance with acclaimed parts in Friday Night Lights, Fruitvale Station and Creed, imbuing each character with emotional depth. Now with his own production company and an enterprising slate of projects, he’s following the advice of his mentor Peter Berg: “How do you control your own destiny? By creating.”
actors  African-Americans  Black_Panther  comic_books  creating_valuable_content  Michael_B._Jordan  The_Wire  villains 
february 2018 by jerryking
Brussels Sprout: The Story of Tintin -
MAY 29, 2007 | Wall Street Journal | by FARHA SAIT.
Commemorating the 100th anniversary of the birth of Belgian cartoonist,
Georges Rémi who was known by his nom de plume, Hergé (derived by
reversing his initials to R.G., which are pronounced in French as
"air-zhay"). Hergé create the character of the intrepid young reporter,
cartoons  cartoonists  comic_books  collectors  Spielberg  anniversaries 
april 2009 by jerryking

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