COMIC BOOKS TO FILM:
WITH ADAM HUGHES AND STEVEN P. WEGNER
An all new season of THE GRINDHOUSE: WITH CRAIG & JIM returns as we launch our "DocuPod" series (part podcast / part documentary) and celebrate the release of AVENGERS: AGE OF ULTRON with an indepth look at the comics-to-film phenomenon. Our guests include legendary illustrator Adam Hughes (WONDER WOMAN, JUSTICE LEAGUE, BEFORE WATCHMEN, LUCASFILM) and film producer Steven P. Wegner (THE BLIND SIDE, THE BOOK OF ELI, PRISONERS, DOLPHIN TALE); with topics ranging from the box office performance of comic book films at home and abroad (as well as their contribution to world perception of American culture), to the recent controversy over comic character "race and gender" swapping.
Adam chats about his personal experiences with WATCHMEN and it's director Zack Snyder. And the film producer and popular illustrator both finally offer opinions as to what separates a fair-to-middling comic / film adaptation from a truly great one. Includes film audio clips, archival interviews with Frank Miller, Samuel L. Jackson, and screenwriter Tom Mankiewicz, film score excerpts, behind the scenes featurettes on 300, DICK TRACY, SUPERMAN: THE MOVIE and more. "Excelsior!"
(Bonus) "COMIC BOOKS TO FILM" - DocuPod Soundtrack:
STEVEN P. WEGNER:
As a high school student, a cleverly written treatise on Robert Harmon’s 1986 “road movie cum horror film” THE HITCHER (extolling it’s virtues as the “anti-cliché horror thriller - one which takes place in wide open spaces and broad daylight rather than claustrophobic darkness) gained Steven P. Wegner entrée into USC (University of Southern California)’s School of Cinema - Television.
During his near 15 year tenure as an executive at Alcon Productions / Warner Bros. he has produced such popular titles as INSOMNIA, SISTERHOOD OF THE TRAVELING PANTS (PTS. 1 & 2), RACING STRIPES (which he also co-wrote), P.S. I LOVE YOU, ONE MISSED CALL, THE BOOK OF ELI, BEAUTIFUL CREATURES, DOLPHIN TALE (PTS. 1 & 2), PRISONERS, and the Oscar winning THE BLIND SIDE.
Adam Hughes is commonly known for his stylized renderings of women; super heroines, damsels in distress and figures in fantasy - frequently referred to as “Good Girl Art”. He is amongst the most respected of a new generation inspired by Petty, Vargas and Elvgren.
Adam began working in comics at the age of 19, in 1985. Beginning in 1988 Adam lent a year of his talents to a comic book called MAZE AGENCY- which many consider to be his first real artistic "run" on a title. In ‘89 he began working on his first "mainstream" title: DC Comic's JUSTICE LEAGUE. Eight years later, he began what many consider his most acclaimed cover work: his four year run of strong and elegantly drawn WONDER WOMAN covers, also for DC. This was then followed by 4 years on DC’s CATWOMAN.
Adam’s other very popular work includes Dark Horse’s GHOST, Wildstorm’s GEN-13 and Top Cow’s TOMB RAIDER as well as STAR WARS LEGACY and a plethora of prestigious independent assignments - among them designs for Sideshow Collectibles, early concept work on Zack Snyder’s WATCHMEN film, Imagine FX, Playboy, DC’s BEFORE WATCHMEN series and more.
Craig is author of the screenplays NECESSARY EVIL, SHATTERCLOUD, “O.T.”, THE SECRET SONG, ROUGH ASSEMBLAGE, FATHOM, 13 O’CLOCK, NEGATIVE INGENUITY, KISS ME FOREVER, CAMP DAVID (with Alexander Torres), BOTTLED LIGHTNING INC., and the book “STANDARD ISSUE: THE JAMES BOND TRIVIA QUIZ CHALLENGE”.
He is webmaster of the GULLCOTTAGE / SANDLOT online film blog / library, administrator of theTUNEPLAY: FILM MUSIC CHANNEL on YouTube, creator / co-host of the cinema podcast series THE GRINDHOUSE: WITH CRAIG & JIM, and director / writer / co-producer of the documentary filmSTEVE VERTLIEB: THE MAN WHO “SAVED” THE MOVIES. In the summer of 2015 he will be spearheading the launch of the online entertainment network CREATIV.TV.
Birth of THE LUNCH MOVIE. In the spring of 1996, a few nerds working in a Los Angeles talent agency began spending our lunch hour watching movies. For the next 12 years we watched 1 or 2 movies per week, starting with the STAR WARS Trilogy, before that term required an “old or new” clarification.
Thanks to imported DVDs, we watched Lars von Trier’s DOGVILLE before it opened in the U.S. and Wong Kar Wai’s 2046 the week before it secured U.S. distribution.We watched old & new, black-n-white & color, documentaries & silents, epics & the occasional short, dubbed foreign & subtitled, high art, low art and no art. We watched everything we could get our hands on, looking for that spark that made some writer, some producer, some director, some performer say “I gotta make this movie.” - JD