April 4th, 2006

benpeek

Not Enough Famous People.

Last night, friends told me that they grew up with the drummer from Kiss Chasey. It's one of those things, really, isn't it? You grow up with someone who later becomes famous, or at least gains a public image, maybe after they've set that classroom of children on fire. For me, it's the cyclist Brad McGee. I didn't know him, but he went to the same school as me, and was a year above. When he won gold medals in 1994, we were all forced to sit round in an assembly and listen to teachers tell us how good he was, while he stood behind them looking happy in his stuck up cyclist kind of way before claiming forward to tell us how important the school was to his wins, or some shitty thing like that.

I would've much preferred the child burner of a serial killer, y'know.
  • Current Music
    Townes Van Zandt - Dead Flowers
benpeek

The Question of Ownership

Here's something of interest:

Don Murphy, producer of the films From Hell and League of Extraordinary Gentlemen, writing about Alan Moore, and his comments about the film of V for Vendetta, "He [Moore] thinks that the VENDETTA movie changed his work and this upsets him. Did Lewis Carroll ever conceive of his heroine having lesbian sex with JM Barrie’s Wendy? Or, for that matter, did Alan ASK Robert Louis Stevenson if he WANTED Mr. Hyde to fancy Bram Stoker’s Mina Harker?"

Which I thought raised an interesting point, though it never really gets expanded upon, in the context of the message board. Of course, the difference between Moore's work regarding those characters, and the work made from Moore's scripts, is that Alice and Wendy and Mr. Hyde and Mina Harker are public domain, now. Whereas Moore's work is not. Still, that said, Moore has sold his work (even if he declines the payment now associated with it and passes it to the artist), so to an extent he has sold his work to another to be remade. What that new creator does is really up to him/her.

I enjoy and admire Moore's body of work--especially Voice of the Fire--and I have a lot of respect for him as a person, by what I've read, and what he's been quoted as saying. If I was offered the chance to meet him, I'd turn it down, which for me is always the mark of someone whose work I value so greatly. That said, in the situation of V for Vendetta I don't agree with his stance. I think he could have takent he money and given it to charities, or used it in a useful fashion, rather than have the half measure that he has (which it was obviously going to be due to artists involved) but it's not my point to link and discuss that. Rather, I'm interested in that concept of a moral right of ownership, and the question that rests there, in Moore's use of those characters, and I wonder how he'd respond to it.

I don't have any conclusions about this, either, and I suspect there's no answer. I just thought it was interesting.

(Of course, in that link there is also Don Murphy stating that Moore is insane: "And you define growth as becoming more and more insulated, locked up in your mansion with few contacts and no passport. Others define that as insanity.")
  • Current Music
    Islands - If