More Needles in the Camel's Eye

Couldn’t care less about Tolkein, but this cartoon Witch King is tops.

aamerrahman:

image

I’m late to Game of Thrones - but I caught up. And I couldn’t help photoshopping this picture of Khal Drogo as a Klingon. Anyone sad enough to be familiar with both GOT and Star Trek knows exactly what I’m talking about.

The Klingons are the Dothraki of Star Trek - the…

When you exert a character to have an effect at that character’s

site, this usually represents physical exertion of some kind:

working, fighting, stress, and so on. However, sometimes a

character will exert to provide an effect at some other site, and

in this case the exertion is symbolic (and may even represent

something that theoretically happened in the past).

For example, Farmer Maggot can exert to heal Merry or

Pippin. This is because in the story, Merry and Pippin stole

vegetables that Farmer Maggot had worked hard to plant

and cultivate. In the game, though those vegetables had been

planted at some time in the past. When Merry or Pippin

conceptually eats them to regain some strength, for simplicity

you place a token on Farmer Maggot at that moment. This is a

symbolic way of recognizing how his labor ultimately benefits

the Fellowship.

Decipher, 

cinephilearchive:


Conan the Barbarian (aka Conan)August 1, 1978 First Draft by Oliver Stone (NOTE: For educational purposes only)




The first draft of the script, by Oliver Stone, was set in the post-apocalyptic future. Producers Edward R. Pressman and Edward Summer had started planning a film based on Robert E. Howard’s character in 1975, although it took them two years to sew up the rights. A name screenwriter was needed, so they brought on Oliver Stone, who was causing buzz with his script for Turkish prison drama “Midnight Express.” Stone was hitting coke and pain-killers pretty hard at the time, and turned in a four-hour script, described by eventual director John Milius as “a total drug fever dream,” which moved the character to a post-apocalptic future to battle against an army of 10,000 mutants. Still, the producers liked what they had, and Stone was considered to direct the project, along with “Jaws” production designer Joe Alves, who would go on to direct “Jaws 3-D” (later in the process, Ridley Scott was offered the gig after the heat from “Alien,” but turned it down). Ultimately, Stone’s vision, budgeted at $40 million, proved too expensive: Pressman sold the project to Dino De Laurentiis, and Milius, who was under contract to the producer, was brought on to rework the script to a more manageable level, as well as direct the film. Stone does retain credit on the finished film: several sequences, including Conan’s crucifixion and the climbing of the Tower of Serpents, come from his draft.
5 Things You Might Not Know About John Milius’ ‘Conan The Barbarian’ by Oliver Lyttelton





“It took me four months to write CONAN. I had been hired to write the first draft. Paramount and Edward R. Pressman had told me to go ahead without restraining myself. I was expecting they would ask for a more digest, second draft. But I never had the chance to write it: Paramount cancelled the project. [To write the script,] I read each book, each comic book. Robert E. Howard was a strange bird from Texas. He wrote all these great stories, originally in pulp magazines. He had a great gift for this perverted mythos of darkness and death, raging and mad Wagnerian mentality. Howard came here and we discussed. I was working in the evening here, and he came to discuss with me. He said to me to deal just with what he was doing then, not to waste my time with what he had made before. It is however what many screenwriters have a tendency to do… [John Milius said that my script was a “feverish dream under acid”] but it is exactly what the film should have been! It is what arises from the work of Howard. He was a very strange man. He died very young. What Edgar Rice Burroughs had made a success of with Tarzan, Howard renewed with Conan, who is a kind of post-modern Tarzan, less noble but more mischievous. He knew moreover to confer a science-fictional quality on his stories, whereas they are held in the past. In the novels of Howard, there is no more barrier between the past and the future, and it is for that that, in my script, I made the same kind of outward journeys and returns, suggesting thus that all that the spectator saw could occur very well in the future. Conan is the kind of character that I can write. He became myself. I identified myself with Conan, the same way I identified myself with Jon Lansdale in THE HAND or with Billy Hayes in MIDNIGHT EXPRESS. Because of the degree of suffering in each one of them. Because of the things they drew from themselves during serious circumstances. In THE HAND, the main character is also an anti-hero, since he ends up becoming a killer. But as a former artist of Marvel Comics, you find him sympathetic. Conan applies well to this idea. All his reactions are perfectly natural. He cannot lie. But he can steal on the other hand. For that, he is terrible! He is this man, large, naked, who wanders in the city. He takes what he wants when he wants it. [He is the man which one would like to be in certain situations.] One would like to be able to botch his enemies, to destroy them. Conan does it. Howard really created a completely coherent mythology. One could easily draw ten films from it. If Dino De Laurentiis had not been so scanty, he could certainly have made a great series of it, but he impoverished the scripts. The first draft I wrote, I always undertook it as one of twelve. I always thought there would be twelve movies! But, unfortunately, I feel the producers of the movie misunderstood the real gold and they sold it short. Arnold [Schwarzenegger] should have come back every year or two years like James Bond, and done one. Conan is the classical story by excellence. I much liked the idea that he had been a slave, had suffered and managed to rise. What is great in the Howard’s novels is that Conan passes from the stage of peasant to that of a king. A young peasant gains his royalty through a series of tests and marry with one of the most beautiful society women. In my script, which concentrates several stories of Howard, Conan saves the life of one princess to whom one stole his kingdom. At the end of the film, after having reconquered her throne thanks to his assistance, she offers her hand in marriage to him so that he becomes king. But Conan refuses this honor. He indeed considers not to have still traversed sufficient way to reach such a load. He tells her: “I can’t be a king this way, as your husband. I can’t inherit the throne. I will earn my throne.” So, he leaves her, like Charles Bronson or Clint Eastwood at the end of their westerns, with the sunset in the background. And he goes riding off to the second adventure, which was supposed to be the follow-up sequel. If they’d done it my way, they would have had a Bond-type series, 12-13 pictures, which is what I had wanted to do. It really was a formidable story, very mythical, the one of a young foreigner who makes the Good and who gets to the top of the pyramid. I could not have made CONAN: it was a too big, much debated and very politicized project. At the time, the average budget of a movie in Hollywood was $8 million and I was more confortable with working on lower budgets. I do not like the studios policy. They try to say to you what you must do, they do not pay attention to what you want to make. My problem is that I write ambitious scripts that require big budgets to be filmed. And, for CONAN, I had let myself be carried away. My original draft was a $40 million movie. It dealt with the takeover of the planet and the forces of life being threatened by the forces of darkness. The mutant armies were taking over, and Conan was the lonely pagan - as opposed to Christian - hero; he was Roland at the pass, he was Tarzan, he was a mythic figure. I had put lots of mutants, lots of beasts-men. At the time, I already was interested in the cloning, in DNA, this kind of things… It made sense. I had lots of images in my head, armies of 400 or 500 mutants charging at each other! But I never could carry out this vision in the form of a film. I wrote these scenes [in which all these demonic creatures appear, as well as Thulsa Doom] by attentively looking at the Jerome Bosch paintings. It should be said that at the time I wanted to direct the film and that, if the reins had been given to me, I would have really switched it on a concept mixing mutant and animals, heaven and hell. I was very influenced at this time by a whole imagery resulting from Catholicism. By William Blake’s poetry too. I would have shot the film in a luxuriant forest of Germany and I would have shown creatures eating human flesh. This is what this film should have been. As for Thulsa Doom, he had absolutely nothing to do with the character played by James Earl Jones in the Milius version. [Ridley Scott withdrew from the project at the last minute.] I thought that he had made this decision with enormous detachment. Scott is a man of difficult access. It is almost impossible to know what he thinks. He speaks little. Taking into consideration conversations which we had together, an obviousness was however essential: he perfectly understood the CONAN THE BARBARIAN universe… Perhaps then was he frightened by the script? It is true also that he was offered BLADE RUNNER at the same time, and that had certainly an influence on his decision. Finally, it was the less successful collaborations of all the ones I ever knew. John [Milius] and I are now friends, but it is true that at the time the situation between us was very very tense.“ Adapted from : Mediascene Prevue #43 (November/December 1980), Film Comment (January 1987), “Le petit livre de Oliver Stone”, by Gilles Boulenger (1997, Le Cinephage) and CONAN UNCHAINED (2000), by Laurent Bouzereau.
Source: conancompletist

cinephilearchive:

Conan the Barbarian (aka Conan)
August 1, 1978 First Draft by Oliver Stone (NOTE: For educational purposes only)

The first draft of the script, by Oliver Stone, was set in the post-apocalyptic future. Producers Edward R. Pressman and Edward Summer had started planning a film based on Robert E. Howard’s character in 1975, although it took them two years to sew up the rights. A name screenwriter was needed, so they brought on Oliver Stone, who was causing buzz with his script for Turkish prison drama “Midnight Express.” Stone was hitting coke and pain-killers pretty hard at the time, and turned in a four-hour script, described by eventual director John Milius as “a total drug fever dream,” which moved the character to a post-apocalptic future to battle against an army of 10,000 mutants. Still, the producers liked what they had, and Stone was considered to direct the project, along with “Jaws” production designer Joe Alves, who would go on to direct “Jaws 3-D” (later in the process, Ridley Scott was offered the gig after the heat from “Alien,” but turned it down). Ultimately, Stone’s vision, budgeted at $40 million, proved too expensive: Pressman sold the project to Dino De Laurentiis, and Milius, who was under contract to the producer, was brought on to rework the script to a more manageable level, as well as direct the film. Stone does retain credit on the finished film: several sequences, including Conan’s crucifixion and the climbing of the Tower of Serpents, come from his draft.

5 Things You Might Not Know About John Milius’ ‘Conan The Barbarian’ by Oliver Lyttelton

image

“It took me four months to write CONAN. I had been hired to write the first draft. Paramount and Edward R. Pressman had told me to go ahead without restraining myself. I was expecting they would ask for a more digest, second draft. But I never had the chance to write it: Paramount cancelled the project.

[To write the script,] I read each book, each comic book. Robert E. Howard was a strange bird from Texas. He wrote all these great stories, originally in pulp magazines. He had a great gift for this perverted mythos of darkness and death, raging and mad Wagnerian mentality.

Howard came here and we discussed. I was working in the evening here, and he came to discuss with me. He said to me to deal just with what he was doing then, not to waste my time with what he had made before. It is however what many screenwriters have a tendency to do…

[John Milius said that my script was a “feverish dream under acid”] but it is exactly what the film should have been! It is what arises from the work of Howard. He was a very strange man. He died very young. What Edgar Rice Burroughs had made a success of with Tarzan, Howard renewed with Conan, who is a kind of post-modern Tarzan, less noble but more mischievous. He knew moreover to confer a science-fictional quality on his stories, whereas they are held in the past. In the novels of Howard, there is no more barrier between the past and the future, and it is for that that, in my script, I made the same kind of outward journeys and returns, suggesting thus that all that the spectator saw could occur very well in the future.

Conan is the kind of character that I can write. He became myself. I identified myself with Conan, the same way I identified myself with Jon Lansdale in THE HAND or with Billy Hayes in MIDNIGHT EXPRESS. Because of the degree of suffering in each one of them. Because of the things they drew from themselves during serious circumstances.

In THE HAND, the main character is also an anti-hero, since he ends up becoming a killer. But as a former artist of Marvel Comics, you find him sympathetic. Conan applies well to this idea. All his reactions are perfectly natural. He cannot lie. But he can steal on the other hand. For that, he is terrible! He is this man, large, naked, who wanders in the city. He takes what he wants when he wants it. [He is the man which one would like to be in certain situations.] One would like to be able to botch his enemies, to destroy them. Conan does it.

Howard really created a completely coherent mythology. One could easily draw ten films from it. If Dino De Laurentiis had not been so scanty, he could certainly have made a great series of it, but he impoverished the scripts.

The first draft I wrote, I always undertook it as one of twelve. I always thought there would be twelve movies! But, unfortunately, I feel the producers of the movie misunderstood the real gold and they sold it short. Arnold [Schwarzenegger] should have come back every year or two years like James Bond, and done one.

Conan is the classical story by excellence. I much liked the idea that he had been a slave, had suffered and managed to rise. What is great in the Howard’s novels is that Conan passes from the stage of peasant to that of a king. A young peasant gains his royalty through a series of tests and marry with one of the most beautiful society women. In my script, which concentrates several stories of Howard, Conan saves the life of one princess to whom one stole his kingdom. At the end of the film, after having reconquered her throne thanks to his assistance, she offers her hand in marriage to him so that he becomes king. But Conan refuses this honor. He indeed considers not to have still traversed sufficient way to reach such a load. He tells her: “I can’t be a king this way, as your husband. I can’t inherit the throne. I will earn my throne.” So, he leaves her, like Charles Bronson or Clint Eastwood at the end of their westerns, with the sunset in the background. And he goes riding off to the second adventure, which was supposed to be the follow-up sequel. If they’d done it my way, they would have had a Bond-type series, 12-13 pictures, which is what I had wanted to do. It really was a formidable story, very mythical, the one of a young foreigner who makes the Good and who gets to the top of the pyramid.

I could not have made CONAN: it was a too big, much debated and very politicized project. At the time, the average budget of a movie in Hollywood was $8 million and I was more confortable with working on lower budgets.

I do not like the studios policy. They try to say to you what you must do, they do not pay attention to what you want to make. My problem is that I write ambitious scripts that require big budgets to be filmed. And, for CONAN, I had let myself be carried away.

My original draft was a $40 million movie. It dealt with the takeover of the planet and the forces of life being threatened by the forces of darkness. The mutant armies were taking over, and Conan was the lonely pagan - as opposed to Christian - hero; he was Roland at the pass, he was Tarzan, he was a mythic figure.

I had put lots of mutants, lots of beasts-men. At the time, I already was interested in the cloning, in DNA, this kind of things… It made sense. I had lots of images in my head, armies of 400 or 500 mutants charging at each other! But I never could carry out this vision in the form of a film. I wrote these scenes [in which all these demonic creatures appear, as well as Thulsa Doom] by attentively looking at the Jerome Bosch paintings. It should be said that at the time I wanted to direct the film and that, if the reins had been given to me, I would have really switched it on a concept mixing mutant and animals, heaven and hell. I was very influenced at this time by a whole imagery resulting from Catholicism. By William Blake’s poetry too. I would have shot the film in a luxuriant forest of Germany and I would have shown creatures eating human flesh. This is what this film should have been. As for Thulsa Doom, he had absolutely nothing to do with the character played by James Earl Jones in the Milius version.

[Ridley Scott withdrew from the project at the last minute.] I thought that he had made this decision with enormous detachment. Scott is a man of difficult access. It is almost impossible to know what he thinks. He speaks little. Taking into consideration conversations which we had together, an obviousness was however essential: he perfectly understood the CONAN THE BARBARIAN universe… Perhaps then was he frightened by the script? It is true also that he was offered BLADE RUNNER at the same time, and that had certainly an influence on his decision.

Finally, it was the less successful collaborations of all the ones I ever knew. John [Milius] and I are now friends, but it is true that at the time the situation between us was very very tense.“

Adapted from : Mediascene Prevue #43 (November/December 1980), Film Comment (January 1987), “Le petit livre de Oliver Stone”, by Gilles Boulenger (1997, Le Cinephage) and CONAN UNCHAINED (2000), by Laurent Bouzereau.

Source: conancompletist

magnoliapearl:

rosalarian:

ladiesmakingcomics:

Happy Hobbit Day!

I’m off to see The Hobbit after work today, but first I thought I’d share these illustrations from the first Swedish edition of the novel, drawn by Moomin creator Tove Jansson!

Tove Jansson and Hobbits go together like a venn diagram that is just a circle.

TooooooVE

The film rights were sold by Tolkien to United Artists in 1969. The Beatles planned to do a live-action version with Paul McCartney as Frodo Baggins, Ringo Starr as Sam Gamgee, George Harrison as Gandalf, and John Lennon as Gollum. The group approached Stanley Kubrick to direct the film. Even though he briefly considered directing the film, Kubrick turned the offer down, as he felt the trilogy was unfilmable due to its immensity. Soon the plans for the film came to nothing because Tolkien didn’t like the Beatles in the film.
Holyyyyyyy shit (if this is actually true - Wikipedia only sources a CNN article that confirms the Beatles’ role in it, with no mention of Kubrick)

The term “writer” makes you think of poets or best-selling novelists. But no: it turns out that Fleisher used to write comic books describing motorcycle gangs, zombies and psychopaths chopping women to pieces with axes and power saws…

…Harlan Ellison – and most SF readers – wouldn’t agree, but to the outsider, comics, horror and SF can seem much the same, all using lurid images to give kids cheap thrills. Is Ellison’s award-winning “I Have No Mouth And I Must Scream?” really that much better than “Night of the Chicken?” Maybe it’s better written, and maybe it has an implicit social message, but to the outsider it looks as if we’re making microscopic distinctions between two grades of trash.