Superheroes have always represented something of a challenge for film-makers. It's all very well for comic-book writers to create characters with laser vision and the ability to leap tall buildings at a single bound, but until advances in CGI, it was nigh on impossible to recreate them on the big screen. Even the original Superman always looked a bit like he was lying on his side on the floor of a big blue room, rather than flying through the skies, politely showing Lois Lane the view of Metropolis from up above.
It's no surprise, then, that the current slew of comic-book movies has arrived just at the point when special effects have reached a level of excellence at which it is finally possible to make the fantastical appear real. Spider-Man can swing through the skyscrapers of Manhattan with ease, while the Incredible Hulk is no longer just an enormous bodybuilder covered in green paint. Technology has finally caught up with the dreams and visions of the 20th-century's most famous comic-book writers, and superheroes have become ubiquitous on the big screen.
In the past decade, Fantastic Four, Iron Man, the Hulk, the X-Men, Watchmen and Hellboy have all made their debuts, while Ant-Man, Thor, Captain America and the Avengers are on their way. If the late 1930s and 40s were the golden age of comic books, the past decade and the one to come look set to be the golden age of comic-book movies.
There's just one small problem, and it's one that is at the heart of the creation of Kick-Ass, a comic-book character so postmodern that he makes all those who came before look like relics of a bygone age. The dreams and visions of comic-book readers and cinemagoers in the 1930s – or 50s and 60s in the case of many of Marvel's characters – are not those of today's audiences, no more than the 60s version of James Bond, with his misogyny, preposterous gadgets and cheeky one-liners, is suitable for a spy thriller in the new millennium. Something fresh and new is required.
Ben Child finds out more from the comic's writer, Mark Millar, illustrator John Romita Jr and the film's scriptwriter Jane Goldman.
For the full interview follow the source link below.. Warning: the video contains very explicit language.
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