• Dan Reviews DAREDEVIL - NEW
• Dan Meets James Cameron at the BISMARCK!
• Lights, Camera, A Decade - Action!
• Dan Reviews Sony's "Spider-Man"
• Self Help Film School
• I Have A Dream

So I finally got out to see it, and I’m very glad I did.  The thing I want to scream the most is:  THANK GOD THE COSTUME WAS RED – WITH HORNS!!!!  Again with the leather, but at least they managed to get the DD on the front somewhere.  I liked the look of the costume and the batons.  Very cool stuff.

I started following the books in the late 80’s, so I am not that familiar with the Elektra/Bullseye storyline.  I came in right around the whole Karen White selling DD’s identity to the Kingpin for some heroin thing.  While I don’t know just how inaccurate the chronology of events is, I do know that Writer/Director Mark Steven Johnson had a very pure vision of the character, and it shows from beginning to end.  This guy is clearly a comic book fan who knows how to translate the panels to the screen and I applaud him for almost every frame of this movie.

Johnson starts the whole ride by giving us classic DD imagery.  I know I have a poster somewhere with him clinging to the cross atop a church steeple – bleeding, at night, in the rain.  That really set the tone and made me feel comfortable and confident about what was to come.

Instead of rating the movie story against comic book history, I will say that I thought the dynamics of the characters and events were presented with great dramatic style and effectiveness.  It was as simple as it needed to be, and left room for some cool action.

The way the accident was done was great, and maybe nothing was as impressive as young Matt Murdock awakening with his powers.  The sonic boom like sound of the IV drip and the ensuing cacophony of the noise of the world around him was very powerful.  Depicting the “radar sense” was beautiful and showing us how it worked was very well done.

The cast was solid all the way through.  Though I wondered if Ben Affleck was the right choice, I have more respect for him now than I ever did.  He really played the role with the right touch, almost understated.  There may have been two times throughout the whole movie where I realized it was Ben Affleck again (you know, the ‘sexiest man in the world’ smirk).  Other than that, he was a fine Matt Murdock and Daredevil.  To be honest, I’ll bet if he wasn’t so damned over-exposed I’d have thought he was a great choice from the beginning.

Another ubiquitous action boy, Colin Farrell, plays the psychotic Bullseye to perfection.  My only disappointment was when he was denied a costume by the Kingpin.  I was hoping to see some incarnation of his comic book threads.  Guess they weren’t cool enough for the Hollywood suits.  Oh well, he was extremely effective without them.

Jennifer Garner as Elektra – of course!  She was great!  Do I need to elaborate?!

Now, Michael Clarke Duncan as The Kingpin of Crime?  I first heard this months ago and thought, “what the hell???”  How much more off base can you be with casting???  The Kingpin is a recurring character in several Marvel titles as well as Spider-man’s animated series in the 90’s.  He’s a big white guy!!!  How are you going to justify that one???  Once I saw the movie it all became crystal clear:  there’s no person more perfectly suited to play the role in Hollywood right now.  There just isn’t!  His presence, voice and physique are that of the comic book crime lord.  Yep, he’s got a different skin color as the one in the books, but hey – it’s a story about a blind man!  DD doesn’t know that!!!

The character of Stick (Matt’s mentor) was lost in this translation, but I’m happy to see that Ben Urich made his way to the screen through actor Joe Pantoliano.  He did a great job (as always), as did Jon Favreau as Foggy Nelson and David Keith as Jack Murdock.  These veteran actors rounded out an impeccable cast for these roles.  And make room for Scott Terra, who brought us into the world of young Matt Murdock with genuine compassion and empathy.

Action-wise, I think Bullseye’s stuff was the best.  The way he shot broken pieces of glass with one hand from the other reminded me of a gunslinger fanning his six gun.  The fight scenes were stylized and cool, but shot maybe a little too close.  When you could understand what was happening it was great, but more often the shot and editing choices made it more aggravating to watch than enjoyable.  Mr. Mark Steven saved the most stylization for the last fight, when DD goes to see the Kingpin.  (Which is interesting enough in the movie context, but if you’re a fan of the books then this makes you so anxious you want to yell, “Kick his ass, Seabass”!!!)

I love the way DD takes out the Kingpin, and I love the way the movie ends with some hope, setting up relationships with everyone in Murdock’s world.  I hope they keep the franchise rolling with more installments, and I hope they stay as faithful to the books as Mark Steven Johnson.

DP
Alpha Dog Productions

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My Dad and I trucked down to D.C. (which ain't far), and took in The National Museum of Natural History for a little while. It turns out that it's the same friggin' building I had been hired to help work in only 2 years ago. (Eric Supensky and I were asked to help a friend's cleaning company get the new atrium cafe area ready by rappelling down the walls to vacuum off the construction dirt after hours) After a nice reception by the Comcast folks at a posh Italian restaurant, we made our way back to the museum to catch the lecture at 6:30. By then, everyone in the group knew of my interest in speaking with J.C. and were rightly nervous about the Q&A afterward! 

We got to see some excellent footage of the Bismarck, (James Cameron's Expedition Bismarck) and the technology and expedition were truly fascinating.

Come Q&A time, I did get up, I did ask a question - but it was strictly Bismarck related. For being a good boy, my Dad and I then got to attend the private after party upstairs.  However, before we went up I wanted to chat with Mr. Cameron for another moment or two - Mike Cameron. 

After years of research on his brother, I have come to know a bit about Mr. Mike as well. His work is astounding and I know his famous sibling would have had a much tougher time getting the technology he's needed without Mike's genius to rely on. Getting to meet and speak with him has always been on the wish list, too and I believe I genuinely impressed him with my knowledge about his resume. He told me I may actually know more about his patents than he does!
So up we went to the fourth floor of the building, where there was a lavish spread of different foods and blue martini's at the bars. As it happens, Mike was the first Cameron up and I took the opportunity to bend his ear some more. He is a very fun person to talk to no matter what the subject, and picking his brain about science and technology was awesome. After his brother made his way into the room and was immediately swarmed, I revealed my true identity to Mike. I said, "Mike, were you at the San Diego ComicCon in August"? "Yeah", he said. I said, "Do you remember a guy who asked your brother to take his home made Spider-man DVD"? He thought for a second as he searched my eyes for what was next. "Yeah . . . " he replied with a drawn out syllable. I told him I was that guy and he laughed. He told me to go talk to Jim and I said I'd rather wait for an introduction instead of camping out like everybody else in the room. (I mean - I'd already made a public spectacle of myself once this year trying to talk to him-! HERE) He then joked about how I was to be introduced. Since we didn't have a horn section in the building we decided on the low key approach. 

Another hour of enjoying the setting saw my introduction to James Cameron by his brother Mike, who told him that we met already in San Diego. Jim was extremely warm, friendly and accommodating.  "Oh, were you with the submersible guys"? he asked. "No", I said. He traced his memory banks. "The ROV team"? he asked. "No", I said. "Oh, well when I heard San Diego I just thought it was related . . ." he explained, waiting for the connection. I smiled and held my hand out in front of me. "Well, since you don't recall it right away, please let me apologize before it all comes back to you", I pleaded. I took a breath and mentioned the incident. "OH, YES - " he exclaimed while rearing his head back. Before he commented I continued fast, "I'd like to apologize for the way I approached you, but I'd also like to thank you very much for taking my DVD and being very gracious - and for not having me killed." He smiled and let me give him the 10 year run down as briefly as I could. We agreed that his interference team was very good at their job. 

Then he asked me something I wasn't sure I was really hearing in a conscious state. "So what did you think of Spider-man?", he inquired. "I gave it an A minus", I answered. He nodded in agreement and said that he was thinking more B plus. I told him that I went in with my expectations on the floor, so they could only go up. He confessed that he went in with a bit more prior knowledge, so it seemed to even it out. There we were - James Cameron and Dan Poole, talking about Spider-man. Has this been a good year or what? I asked him if he'd had time to check out any of my DVD and he said "no". I asked him if he chucked it in the trash on his way out the Convention Center door in August and he shook his head and told me that he wouldn't do that. He asked for my contact info and I handed him an Alpha Dog card. 

We shook hands and I thanked him once again for his time. What I forgot to tell him is that I would still love to work for him someday. Even though (or maybe especially because) I haven't heard one single positive story regarding crews on his shoots, and I think I know exactly what he goes through trying to explain the mechanics of his vision to numerous people that have other stuff on their minds.

Yes'm, that was an incredible evening. It ended with Mike Cameron and I talking stunts on the way out the door and him asking me when I was coming to L.A. I told him I go whenever I'm invited and he let me know that he has my card.

I really wish I had better pictures of this event, but it wasn't a priority. I tossed my camera to my Dad, but maneuvering about that room was tricky, and people tended to shift like the tide, so there's only a couple and they ain't great. Oh well - it's still proof!

P.S. Note the parking photo! That's my Dad's "Handicapped" parking permit at work for us in D.C.!!!!

DP
Alpha Dog Productions

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A Brief History:
From September 1991 to December 1992 I spent every ounce of energy I had in me to create a 50 minute live action Spider-man video for one specific purpose: to show (and hopefully impress) James Cameron. I believed that if he was anything like the characters in the stories he told he would recognize my drive and give me a chance to work with him. Just one chance.

I then spent the next several years trying to deliver my video to him. I thought that I did everything that I could to get it to him short of becoming too fanatical or obsessive. (and yes, I thought about rappelling down the side of his building in costume at one point - !) Nothing I did, said or wrote got me in the door. Not even an acknowledgement.

Over the years, that little video has grown all eight legs and crawled around the globe. Countless comic book fans have seen it, owned it and heard of it. I received so many e-mails and phone calls about it I felt I had to create a documentary on it just to answer all the questions. The documentary has been in several film festivals and even won a few awards. The attention has been gratifying, vindicating and completely unexpected. However, all I ever wanted was for the one guy it was made for to actually watch it.

ComicCon '02: 
After coming to the San Diego ComicCon for two years with the intent of finding any bootlegs of my video being sold, it was a complete thrill to be officially invited by Gary Sassaman; the Programming Director, to show my work at the convention's film program. I knew it was going to be great, but this year's trip was incredible.

First of all, my wonderful girlfriend Leslie was with me the whole time - and even though she's not into comic books, she seemed to enjoy the convention all three days she attended. On Friday, I met Stan Winston, who is amazingly personable and fun. It was unbelievable to meet him as I know how closely he has worked with Cameron, and I always thought he might be able to help me connect with him somehow. He accepted a DVD from me and I of course asked him to pass it on to JC if he thought it was worth his time. I was extremely excited to have had the opportunity to shake that man's hand and speak with him about anything for a few minutes.

I was invited to be part of an Indie Film Panel moderated by Film Threat's Chris Gore. That was a lot of fun and very cool to meet the other filmmakers.

The Making Of The Green Goblin's Last Stand was screened on Saturday, August 3rd, 2002 at 12:30p.m. in a good sized room on the third floor of the convention center. Leslie and I stood out in the hallway and had a great time catching up with Chris Mason from SuperHeroHype.com (and the man responsible for the awesome look of AlphaDogProductions.net!!!) After that I got tired of lugging my bag around and went to the car to drop it off. I considered what to bring with me and for some reason decided on two DVDs. No VHS. No camera. No paper. No pen. Just two DVDs.

The program promised a lot of great guests, movie clips, and Q&A on Saturday in room 20 which is an enormous, 4,000 seat hall in the new addition of the already impressive San Diego Convention Center. Leslie and I decided to go find a seat and check out the Hulk, X-Men2 and DareDevil panels starting at 4:00p.m. Bryan Singer blew everybody away with the footage he's already shot for his impressive looking second run in his X-men dynasty. It was so relieving to see him get the resources he needs to really flex some superhero screen muscle. We were treated to a surprise guest in Arnold Schwarzeneggar when he came out to present Terminator 3 with the Director, and then Ang Lee, Avi Arad and Gale Ann Hurd took the stage to present the Hulk. It was really cool to see such interactivity with the guests and the audience as fans approached the floor microphones to ask all sorts of questions. People were constantly coming and going throughout the perimeter of this huge room, and the sporadic traffic made it tough at times to see the four video screens they hung from the ceiling for us people in the back rows to view. We were discussing the idea of relocating when a member of the audience directed a question at Producer, Gale Ann Hurd.

I don't remember the question and I don't remember the answer. All I heard was, "blah blah blah James Cameron, who I just saw a few minutes ago . . . "

Everything stopped.

I knew this was finally it. Somehow.

Leslie waited there as I made my way across that huge room and through one of the closed exit doors. I took a right and knew right away I was in the right place - or wrong place, depending on how you look at it. Thick men with radios and earpieces combed the hallway. I strode down into the backup area as though I had been invited and saw Gary Sassaman sitting on a wooden cart next to a blond woman. I made eye contact with only him as he looked up and said, "Dan. How did you get back here?" Ignoring the question in hopes he might too, I knelt down and said, "James Cameron is in the building." I then very calmly yet pleadingly recounted my ten year tale in two or three sentences.

Gary was pained. I knew he wanted to help me. "I'm sorry Dan. It's not going to happen. He's got his own security with him as well as the convention staff. There's nothing I can do."

Just then a stocky fellow in a staff shirt came up next to me. His name tag said 'Robert.' He let me know it was time to go, but I could tell he wished he didn't have to see me out. Before Robert escorted me out, Gary took a DVD from me and said he would do his best to get it in the hands of Cameron. I thanked him and Robert for their professionalism and patience . . . and I headed out into the south hallway.

I ran into Hollywood Stuntman Scott Leva, Wizard Publications President Gareb Shamus, and Bryan Singer's personal assistant in the hall. They were all free to go to and fro, but none could help me.

I stood out there just staring down the long hallway for any glimpse of the man, feeling more defeated than ever. I just couldn't understand why this mission was so impossible. People like to say that things happen for a reason. I always respond with, "yeah, but what if it's a bad reason?" This cosmic prank at my expense just seemed too mean. I hung my head in despair and tried to figure out why I was such a loser. That moment seemed to hang on for a very long time.

A while later I heard Leslie's voice. Instinctively I knew that I was about to be told to feel better and that it would all work out. I braced myself for those words as I really didn't want to hear them at all. But that's not what she said.

She said "Honey, he's in there right now. Talking up on stage by himself."

I had no idea what I was about to do. I just took off toward the main doors of the west hallway. I turned back and she just motioned me on.

When I entered room 20 again, I looked toward the stage and there he was, answering a question from someone near the front of the audience, on his side of the stage. I zeroed in on the guy with the microphone and put one foot in front of the other with a very deliberate pace. I stepped up next to a small woman who was passing the mic around. She was patiently waiting for the dude to stop yammering when she felt me beside her. I have no idea what kind of expression I was wearing when I looked her in the eye and said, "I'm going to have a follow up question - and I'm going to need that microphone next. PLEASE." She almost immediately motioned for the mic back from this guy, who then looked at me as well. He handed the mic back very quickly.

10 years of waiting. 10 years of rehearsing. 10 years of supposing. 10 years of wondering. She handed me the microphone.

I spoke very articulately. I felt very confident. I looked very intent.

"Mr. Cameron. When you went to work for Roger Corman . . ." I started.

"I deny everything!" JC replied. (The crowd laughed)

I continued, "When you went to work for Roger Corman you said that you wanted to spread within that company like a virus. Sir, ten years ago I wanted to do the same at your company when you were involved with the Spider-man project, and I made a live action Spider-man video to show you in hopes that you would hire me."

"Sounds like you're talking to the wrong Director!" he offered back as the crowd chuckled some more.

I remained focused. "No sir - this was made for you. My name is Dan Poole - " Suddenly there was a reaction from the crowd. It was applause. People knew my name. (Gee, what are the odds, right? The biggest comic book convention in the world and the maker of a cult indie fan film? It's just that I didn't expect it. To me this was a private conversation between me and the guy who never opened his present that I hand made for him.) " - and all I want to know is if you ever had a chance to see it."

Cameron seemed interested. "I don't know. What's it called?"

I stood proud and held up my last DVD. "It's called The Green Goblin's Last Stand, sir. I - " Again I was cut off by the crowd. This time there were more applause - and cheers! I realized that I was standing in a room with fans of his and mine-!!! Unfathomable.

I felt invincible. I turned to the audience and addressed them. "Oh, you guys have heard of it?!" They went nuts. They were asked a direct question and they responded and I love every single person who did.

I begged them for the big sell: "How many of you people think that James Cameron should finally watch it?!" By now at least half of this capacity crowd was behind me, and they responded again, this time with even more applause and cheers. I took a breath.

I turned back toward Cameron. The only difference in my tone was the hint of a very weary traveler asking for some water. I held my DVD high in the air.

"Mr. Cameron. It's been ten years. May I please come up there and hand this to you?!"

The crowd paused.

James Cameron finally answered me, directly. "Come on up!" he invited.

Now I can't be 100% sure, but it seemed like every person even near that room cheered for me. I felt like Rudy when he finally got to put a helmet on and take the field at Notre Dame. 4,000+ screaming fans backing me up as I marched up toward that stage. Robert was there waiting to direct me to the front of the stage instead of up the stairs to the stage. James Cameron knelt down and extended his hand. I shook his hand very firmly and explained as quickly as I could, "Mr. Cameron, it's an honor to meet you, sir. All I ever wanted was one minute of your time. Is there any way I could speak with you for just one minute after this?" I don't think he could hear me. I think he was busy figuring out what in the hell just happened and how to continue once they got rid of me. When I turned to exit, Scott Leva was the first person to throw his hand out and yell, "Great move!!!" Other friends in the VIP section yelled for me, but Robert was busy hustling me back toward the audience. In that audience, Wolverine and Cyclops were waiting to slap me on the back and congratulate me, as well as other familiar faces along the way out. It seemed that people were still enjoying my mini triumph with me, and it was very moving to have such support among the throngs of fans in that cavernous room. After reuniting with a teary-eyed Leslie, I made my out into the hallway to breathe and actually think about what just happened. Star Woids Director Dennis Pryzwara was frantically racing back inside and I had to yell this story to someone. As I tried to stop him he hurriedly apologized for not having a moment to spare and shot by me. I was a little disappointed as I let out a breath and let my shoulders drop. To my confusion, then great surprise, Dennis leapt back outside the doors and reached his arm out toward me. "Great question, though -!"

I thought so. It may not even be so important that I hear what James Cameron has to say about this 10 year old video anymore, either. I just know I've been sleeping much sounder knowing that I finally completed the goal I started a decade ago. Who knows - maybe I'll get his opinion and even a chance to work with him in another 10 years...

DP
Alpha Dog Productions

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You may never see a cooler scene in a comic book movie than Sam Raimi's Spider-man busting his ass to get through the city in pursuit of the criminal that just took his Uncle Ben's life.

Yes, I liked it. A lot. I give it an A-. There were things I would have done differently, but Raimi really captured the feel of the characters very well and he handled the story line extremely well.

Everyone knows that I wanted to hate it on some levels, and there are a few bones of contention I will address, but there ain't anybody that's going to have many bad things to say about this very cool, very overdue comic book adaptation.

The Good points:
The story and all of its potential chronological nightmares based in pop culture history were dealt with in a very plausible, satisfying way. I don't know how much an artistic license costs in Hollywood, but you can thank Raimi for driving with care for us passengers and not just racing himself to the bank.

I thought I might have a problem with the order of things but I have to say that I can really get behind decisions like the car jacking replacing the burglary and other minutia that threatened to turn me against it.

McGuire turns in a fine performance as both Peter Parker and Spider-man. Understated, brooding and believable. Nice job, TM.

Dundst: A great (and surprising) Mary Jane Watson. I would maybe have cast her as Gwen, but not M.J. But this chick pulls it off with every bit of genuineness you could want from any actor/actress in a role full of expectations. Thanks, Kirsten.

Dafoe is a very accurate Norm and Goblin and I really enjoyed his performance even though I wish he had a more sinister presence - but I'll get to that in a second.

Like I first mentioned, the scenes where Parker must harness these gifts are very compelling and they make sure that you take the rewarding journey right along with him.

There was however, only one time that I actually got excited as a longtime fan. When the Goblin is coming in toward the Midtown celebration and the smoke trail is behind him. Parker is in attendance with his camera . . . I FELT that. Suddenly I was back in my Mom's basement reading my books on a Sunday afternoon. Too bad it only happened once - but I'm pleased that it was there at all.

Oh yeah, and the catapulting Spidey over to the bridge - just great. Awesome.

The Bad Points:
There ain't nobody nowhere that's going to get me to swallow the friggin' "organic webshooters". Sorry, but Tony Robbins couldn't sell it to me. It's real simple gang: His name is Peter Parker - you don't change that. His super hero appellation is Spider-man - you don't change that. He's got superhuman strength, spider-sense and he made his own webshooters - IT IS WHAT IT IS. (note the period, there.) You DO NOT change the elemental attributes that make him (or any other established character) who he is. You find a way to sell it and move on.

I KNOW it works within the confines of a character like Peter Parker - but it never happened. EVER. Deviating from that is an admission that you can't make it work and any excuse about it is just that: an excuse. Comic book fans and movie goers ENJOY the fantasy world. It's why we show up. I'll never be satisfied with that BS.

The Green Goblin's costume was a joke. I was never scared by him once and that just shouldn't be. That helmet really took away from the performance and overall presence of the villain. I thought it was kind of goofy and that was reinforced when he struck a casual pose next to an incapacitated Spidey to chat about current affairs.

F/X: They must have saved a lot of money on film since damn near everything was computer generated! I mean, CGI has been the popular drug in town, but we are being overdosed with it in this flick. Obviously our hero needs these current tools to come across with all of his amazing traits, but the relentless dependency on them made me wonder just how short the stunt credits were-! As I noted from the trailer, they couldn't even get Toby's mask off without animating it - what's that about?

The fight scenes were a little stiff for me. I really expected more stunning action sequences, but at least they had Spidey mix up his style each time. It seems that the costumes were so rigid that they did not allow for good, fluid movement.

All in all, THE BEST comic book adaptation ever. Sam Raimi, the cast, and the crew are to be commended.

Oh, and is it just me, or is the "right side of the mask being blown off by a pumpkin bomb at close quarters during the climactic battle" a sheer coincidence-??? We may never know. Let me just state this: If you guys out there in Hollywood think that the ideas inside me for comic book adaptations start and stop in a 10 year old, 50 minute video that was made for $400, you are seriously underestimating. I wish you'd just break down and let me in so I could show you what to do . . . you could STILL use me.

DP
Alpha Dog Productions
 
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My father once told me that I could be anything I wanted to in this life, as long as I wanted to bad enough. Well, I always wanted to be a superhero, and I wanted to be The Amazing Spider-man bad.

At 12 years of age I felt the first waves of frustration, confusion, and disgust for live action comic book adaptations. In the late 1970's fans of Spidey had to endure the miserable attempts at bringing our hero to the screen in the form of Nicholas Hammond. Not that he necessarily did a bad job, it was the portrayal of our boy once he was in the suit that made me angry.

They took away his speech and put his webshooters on the outside of his costume. They used big, fat rope that sprung out like a carnival clowns prop for webbing, and they made his eyelits look like metal salt and pepper shakers. What the fuck?!

I was sickened.

Though it did not plague me everyday of my life since then, it did leave a distinctly foul odor in my brain that I could smell every time I thought of it. You can see it in my lip as it curls when I speak of these episodes. Why would they even bother if they knew they couldn't pull it off?

What's so tough about it? How much easier could it be made for to do? Were there not quite enough drawings to go on? Perhaps not enough interaction with other people throughout years of issues? What about the villains? Who had the authority to make these decisions and who did they have to answer to? They certainly did not consider the fans of the books.

So anyway, the years go by and I find myself having the nickname 'Spider-man' in high school. I even had my mother make me a costume for Halloween in 1986, the year I graduated. But, even if it was for one night and one party with no contest of any kind, it had to be authentic. Otherwise, why bother?

Spider-man's costume is in pieces, it is not a unitard with a zipper in the back. If that is confusing in any way - READ THE BOOKS!

In that same year I had read that Spidey was headed for the big screen. Hollywood was going to fuck it up. Nice. That's all I needed: a bunch of suits that think they remember what they liked about the wall crawler. Yep, that'd be just perfect. Why not just ask the first person with a seeing eye dog to do it? Idiots.

In that mention, I read a challenge. I instantly knew the danger of unimpassioned individuals interpreting characters that others feel passionately about. It's morally criminal. I decided in that same instant that they were going to need me if they had any hope of pulling it off without committing that crime. And that is still true to this day.

My costume would be used to give voice to all of us wanting souls. I would get our hero into the world of live action with everything I had - and didn't have. A camcorder and a lot of friends is what I did have, along with enough determination for everyone.

I knew I couldn't make money at it, but that was never the point. What does money have to do with vision and art? If it is your art that you want to sell, then you better make sure it's marketable. You better make sure you aren't pissing off the very people that created the demand, because if they don't want it, who will?

Organic webshooters, indeed. If "creative minds" need to make their impact felt on the world by inventing neat shit for fictional characters, then they should do it with their own characters. If they are so fucking creative, then making their own characters shouldn't be a big problem, should it? It's not an artist's job to alter other artists' work. That's the work of a criminal. Not only is it unnecessary, it is offensive. It is reprehensible. It is just wrong.

No one has created a better representation of Spider-man in live action than I have. For a few hundred dollars and the technology available in 1992, I wonder, who could have? No one has earned the right to helm the big budget movie more than I have, and no one is going to do what I could do given the resources.

But they don't care. Sony. Marvel. It's all just money to them. And that's a shame, because the characters they own the legal rights to have much more value than that. But, in the world we live in, those are the kinds of people in charge of our treasured heroes.

Criminals.
 
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6-28-2001

Spider-Man and all related characters are Copyright Marvel Comics. No rights are implied by Alpha Dog Productions. All other material and characters are Copyright Alpha Dog Productions.