Comics Go Hollywood.pdf

Secrets behind your favorite on-screen heroes!

COMICS GO

Storyboards

for DC’s

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

THE

JOKER:

From

Comics

To Film

TWOMORROWS PUBLISHING

JEPH LOEB

on writing

for HEROES

and MARVEL

The unseen

X-MEN FILM

JACK “KING”

KIRBY IN

HOLLYWOOD

art gallery,

and more!

All Ages Admitted

WELCOME TO FREE COMIC BOOK DAY,

FROM THE INDUSTRY AUTHORITY ON

COMICS HISTORY AND CREATION!

Since 1994, TWOMORROWS

PUBLISHING hasbeencelebrating

the art and history of comics

with its award-winning line of

magazines and books about

comics. By covering all aspects

of the creative process, and

documenting the fascinating

history of comics, we’ve

established ourselves as the

industry authority on the inner

workings of the medium.

TABLE OF

CONTENTS

COMICS GO

HOLLYWOOD

STORYBOARDING“THE

NEWFRONTIER”..........1

by Mike Manley, editor of Draw! magazine

Now, for FREE COMIC

BOOK DAY, our regular

magazine editors have assembled

to produce this all-new 32-page

guide to comics’ influence in

Hollywood, created just for this

giveaway! In it, DRAW!

magazine’s MIKE MANLEY (a

key artist for DC and Marvel

Comics) gives you a look behind

the scenes of storyboarding for

the hit DVD “JUSTICE LEAGUE:

THE NEW FRONTIER”! WRITE

NOW! magazine’s DANNY

FINGEROTH (a major Marvel

Comics writer) presents an inter-

view with HEROES and comics

scribe JEPH LOEB! ALTER EGO

magazine editor ROY THOMAS

(former Marvel Comics editor-in-

chief and top writer) unveils his never-produced X-Men screenplay

(co-written by veteran comics writer GERRY CONWAY )! PETER

SANDERSON, regularcontributorto BACK ISSUE magazine,documents

the history of the Joker from the comics page to the big screen. And

I (as editor of THE JACK KIRBY COLLECTOR magazine) proudly

present a specialJackKirby artgallery,showingsome ofthemany

pieceshecreatedforHollywood-influencedprojectsovertheyears.

C o l l e c t o r

JEPHLOEBINTERVIEW .....7

by Danny Fingeroth, editor of Write Now!

magazine

THEUNSEENX-MEN

FILM ..................11

by Roy Thomas, editor of Alter Ego magazine

JACKKIRBYHOLLYWOOD

ARTGALLERY...........18

by John Morrow, editor of The Jack Kirby

Collector magazine

THEJOKER,FROM

COMICSTOFILM .........23

by Peter Sanderson, contributor to Back Issue

magazine

We also publish ROUGH STUFF magazine,

showing preliminary and unpublished art by

top comics pros (along with their commentary

on it), and BRICKJOURNAL magazine for

LEGO enthusiasts. So sample the features pre-

sented here, and get a taste of what

TwoMorrows is all about. If you see something

that whets your appetite for more, consider

ordering it from your local comics shop, or

online from us at www.twomorrows.com. We look forward to having

you as a customer for years to come!

COMICS GO HOLLYWOOD , 2008 Free Comic Book Day

Publishing, 10407 Bedfordtown Drive, Raleigh, NC 27614, USA.

Editor, and Designer. Single issues: Free at your local comic book

shop on May 3, 2008. All characters and artwork are TM &

respective authors. First printing. Printed in CANADA.

Cover art/colors by Mike Manley.

JOHNMORROW

Publisher

TwoMorrows. Celebrating The Art & History Of Comics.

TwoMorrows Publishing • 10407 Bedfordtown Drive • Raleigh, NC 27614 USA • 919-449-0344 • FAX: 919-449-0327

E-mail: twomorrow@aol.com • Visit us on the Web at www.twomorrows.com

By DRAW! Magazine Editor Mike Manley

ING

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 work—it’s great cross-

training. Since the late ’90s, I’ve worked in animation doing storyboards, bringing to life the exploits of some

of the same characters I drew in comics—only 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.

Top: A story sequence which clearly shows

how close the storyboard artists tried to

stay to the staging in the comic.

Left: The crowd watches as the Flash

makes his entrance.

I have to say, most days, drawing comics is a pretty cool job, and it’s also great training; very demanding in

John Jones, Slam Bradley, Batman, Flash, Superman, Wonder

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

didn’t 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 Jimmy’s 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 Cooke’s 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 he’s 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.

Top: Another setup

taken directly from

the comic.

Right: An earlier rough

model for John Jones,

and the final model

design.

In this case Cooke’s drawing style was naturally

suited to the adaption of the project as Cooke was

another former WB alum, having also worked on

several episodes of Batman, so it was “old home

week,” and I think everything seemed to click well.

Even though I didn’t get a chance to story-

board a huge sequence on the DVD, I really enjoyed

the part I did do and I’m really happy to lift the

curtain a bit and

feature some of the

production art which

most fans never get

to see.

Best,

Top left: The Model sheet for The Flash.

Top right: A storyboard featuring Bradley

watching John.

Above: The final design for Slam Bradley.

Right: An earlier design for Slam Bradley.

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