Archive for April 28th, 2012

By Bob Clark

In the modern film age, it’s possible for projects that began and failed to find a foothold in the movie industry gain a new life in any number of other ancillary markets. Projects that began as major motion pictures have found themselves resurrected in any number of forms, particularly as comics, where the shared visual components of each medium help ease the transition somewhat while providing a creative vehicle a little less bound by the restraints of time, money and competing egos. Some filmmakers have even found whole secondary careers in the realm of comics, with talents as disparate as Alejandro Jodorowsky to Kevin Smith and Joss Whedon penning scripts for mainstream superhero narratives and groundbreaking sci-fi epics that could never be told in the confines of film or television without breaking bank somewhere in the world. Furthermore, given the number of films both mainstream and indie alike whose roots begin as comic books, repurposing a screenplay as a graphic novel can just as easily wind up a mere detour back to the original destination of a feature film in the first place, in much the same way that John Steinbeck’s Of Mice and Men boomeranged from script to novel and back to script again. As such, it’s interesting to chart the development of Darren Aronofsky’s third film, The Fountain, from its roots as a prospective mainstream studio effort starring Brad Pitt and Cate Blanchett, to its second wind as a graphic novel illustrated by Kent Williams, and then back to its ultimate cinematic form starring Hugh Jackman and Rachel Weisz, not only to observe its creative development through the channels of contemporary Hollywood, but moreover to be thankful that we wound up getting anything of value at all.


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