Archive for Bonelli

Somewhat related…

Posted in Uncategorized with tags , on August 27, 2009 by deadofnightmovie

Not directly related to the film, but here’s an excellent article delving into Dylan’s character that I just found:

Hope you enjoy.

BTW, saw the second director’s edit of the film on Friday and it looks BETTER than the first one.  Really, really excited about the film.

-Dan Forcey

Development Exec/Former Stunt Guy/NBTDTRIA (Nothing Better To Do Than Read Internet Articles)


For our Italian friends…

Posted in Uncategorized with tags , , , on June 24, 2009 by deadofnightmovie

So, I was emailed these by someone, but I think I saw them credited to regular contributor Antoblueberry.  If so, thank you, Anto.  We’ve been unsuccessful getting our own copies from L’Espresso.  Gioy (our resident expert in all things Italian) and the good folks at Bonelli all seem very happy with the way the article turns out.  And I think there might be one or two fans of Brandon’s on here that enjoy the article, even without being able to read Italian.  🙂

As Anto also said in a previous comment, this article announces officially some news that I had hinted at in a previous post, that Bonelli would be handling the graphic novel extension/adaptation of the Dead of Night tale.  I put the “extension/” part of that in there because we’re going to be doing something very, very different to bridge the worlds of the Dylan Dog comics and Dead of Night.  We’ve got a really great writer that ALL Dylan Dog fans will know (name to be announced soon…) writing this bridge for us and EVERYBODY concerned is excited about how it is shaping up.  Bonelli will be publishing it worldwide and Platinum Studios will be handling it in the US, so save up in the meantime.

BTW, I heard from a retailer that the Dark Horse collection of the Dylan Dog Case Files has completely sold out in the US!  So grab your copy soon, as they may not be available very long.  It’s a really great read for those that don’t already know Dylan.

Cheers and please let us know what you think of the article!

-Dan Forcey

Development Exec/Former Stunt Guy/LFW (Lover of Fine Wines)

I got a favor to ask…

Posted in Uncategorized with tags , , , on May 22, 2009 by deadofnightmovie

I just got this as a comment here and I’d like to actually devote a full post to it, as it’s the most polite and honest one like this that I’ve received here.

“I know well the Dylan Dog comic books and I read the plot of your movie. It has nothing in common with the original Tiziano Sclavi story (except the name, the job and the clothes of the main character). If you called your character Mr. Smith nobody could think to Dylan Dog.
So, why do you say that your movie is the adaptation of Dylan Dog?

-Alessandro Neri,

Alessandro, I understand completely that some changes had to be made between the book and the film adaptation of it, but I hope, if you read this blog carefully, you will find that there are very good reasons for most of the changes.  Unavoidable reasons in most cases that meant the difference between having a movie and not having a movie.  We honestly believe that we’ve remained very true to the spirit and character of Tiziano’s character, which, with all due respect, you cannot get out of the short synopsis that have been released publicly or the few photos you may have seen.  Let me give you a parallel.  If you go to imdb, you’ll find the following summary: “When wealthy industrialist Tony Stark is forced to build an armored suit after a life-threatening incident, he ultimately decides to use its technology to fight against evil.”  Is that an accurate accounting of what the movie ultimately was?  If you were an Iron Man fan and you read that, would you be excited to see the movie or would you have thought they had dressed some guy like Iron Man and called it that?  Would you assume, based only on that, that it would be a faithful adaptation of the character you loved in the books?

I truly appreciate you and everyone else who is so very passionate about Dylan and I understand because I love him nearly as much as you all do.  (And I only say “nearly” because I’m not Italian.  :-))  Will we ultimately provide you with a faithful adaptation of the book?  I hope so.  We’re all doing our best, but none of us know.  We hope so and at the very least we’ll be able to say we did the best job we possibly could under the circumstances.  I would ask you give us the same hope and benefit of the doubt. You haven’t read the script, you haven’t seen the performances and you haven’t seen the months, and in some cases years, of work people have put into this project.  You’ve read a synopsis online somewhere.  Once you’ve seen it and if you hate it then, feel free to write me and I will humbly, genuinely, and personally apologize for letting you down, because that’s the last thing I want to do for you or any Dylan fan.  But, please, don’t judge us until you have the full “picture” (pun fully intended).

I’ll say again that I’m really, really glad so many people feel so passionate about Dylan.  I just hope, when the movie finally airs, that everyone out there will see that we’re some of those same people.

-Dan Forcey

Development Exec/Former Stunt Guy/HH (Humbly Hoping)

On a “lighter” note…

Posted in Uncategorized with tags , , , , on May 13, 2009 by deadofnightmovie

Sorry for the radio silence, folks.  We had agreed to let all the great bloggers who have been covering us have some time in the sun to be THE source of news on this production.  So I was muffled for a bit, but I’m back now.  Hello?  Hello?  Anyone left?  🙂

So today I wanted to talk a little bit about a guy named Geoffrey Hall.  Never heard of him?  I hadn’t either before this, to be honest.  He’s an Aussie and probably his most well-known movie before this was a film called “Chopper” starring a guy named Eric Bana (who was one of the few disappointing parts of Star Trek).  If you haven’t seen it, check it out.

Geoff is our cinematographer on this film, otherwise known as the DP or Director of Photography.  If you don’t know what that means, don’t be ashamed.  It took me years to actually understand it all, as the DP always just seemed the guy walking around holding a light meter next to your face and not really looking at you.  Maybe, once in a while, he would actually get behind the camera, but there were a lot of other guys who usually handled that.

To explain it better, I’ll step back a bit.  Usually the way it works is that the director takes the script and works with a storyboard artist to create the storyboards, essentially stick figure drawings of what shots he wants in a particular scene.  It’s the DP’s job to make those come to life when we’re actually filming.  He has to find the right angle with each camera, how the camera is going to move (is it going to pan left to right or right to left?), what part of the scene is the primary focus (even down to whether it’s an actor’s nose or their eyes in focus), and (most importantly in this case, I think) how a scene is going to be lit.

And Geoff is one of the best I’ve ever seen with that last part.  He sat with Kevin when he was first hired and they poured over the original black and white comics, deciding how best to translate the feel of the series on film.  Dylan Dog’s artists have always done an amazing job of conveying the damp, dark streets of London as Dylan walks through them, on the tail of the latest nightmare, while at the same time letting the lighter moments (mostly with Groucho) to be lighter and happier.  (On a personal note, it’s how great they are at this that always makes me gravitate more to the black and white issues than to the color versions that are offered in the Giants.  You can just feel it better.)  Geoff and Kevin wanted to let the way things are lit in the movie reflect that same thing the artists had captured for years and have consistently referred back to comics almost every day to make sure they’re getting it right.

Take another look at the pictures I’ve linked to in previous posts and judge for yourself if they’re doing it right.  Look in particular at the way each shot is lit.  Notice the way the light is falling on only half of Dylan’s face in the shot with the monocle and see if it reminds you of this:  dylan2

Or the way Marcus is lit from both above and below in the graveyard and see if it reminds you of this:


I was lucky enough to see a few of the dailies (rushed developed shots that are shipped to a lab and shipped back for the director to see) the other day and I have to say, hopefully without being too self serving, that the way Geoff is shooting this, it’s creating an amazingly beautiful movie, and hopefully one that will do justice to the amazingly beautiful source material.

Jeez.  I’m starting to sound like a commercial, aren’t I?  Don’t mean to, I’m just finding myself surrounded by some amazingly talented people and I’m a bit in awe at the amount of love and dedication everyone is putting into this.  I feel really fortunate to be a small part of it all.

-Dan Forcey

Development Exec/Stunt Guy/LEBIBJFT (Little Emotional But I’ll Be Just Fine, Thanks)

And just for the heck of it…

Posted in Uncategorized with tags , , on April 11, 2009 by deadofnightmovie

Who do YOU see Dylan being compared to?  I see him as a mix between Rick from Casablanca (who gets left in Paris time and again but doesn’t have Rick’s bitterness), Jake from Chinatown (a hard-luck hero who tries to make his best out of situations that always seem to get the better of him), and a touch of Sherlock Holmes’ melancholy (a melancholy that often comes with genius).  For those of you who know the comic, how would you describe him to someone who doesn’t?

-Dan Forcey

Development Exec/Stuntguy/GNG (Generally Nice Guy)

Groucho has left the building…

Posted in Uncategorized with tags , , , , , on April 4, 2009 by deadofnightmovie

So this week, we were at a stately mansion in New Orleans’ Garden District and apparently we’re enough of a deal here to warrant the local tour guides to adjust their routes to include us.  (My wife took a city tour last week that devoted about 20 minutes to discussing the production and circling the set.)

We’re here at the mansion filming multiple scenes that occur here during the film with Dylan, Elizabeth (Anita Briem) and Marcus (Sam Huntington).  As many have surmised already, Anita is playing Dylan’s love interest and Sam is Dylan’s sidekick, replacing the much beloved Groucho from the comics.  A lot of people have complained about that replacement and I understand why.  (Hey, I was pissed when they made Chas into Shia Labeouf.)  It’s hard to see something you know so well and have for so many years go through drastic changes like that but here’s the reason why and it all boils down to one word: money.  For those of you who might not know, in the Dylan Dog comics, Dylan’s sidekick is an actor who’s last role was playing Groucho Marx and he kind of got stuck there due to a memory loss (finally revealed in issue 228).  He now lives and acts just like Groucho Marx.  Now, when we started developing the movie, we immediately started researching it and found that Groucho Marx’s likeness is owned by a company who has licensed it from his estate (no need to mention their names).  Such a place is likely to not care when an Italian publishing company starts using Groucho’s likeness in 1986.  Heck, it probably won’t even last, right?  By the time they realized it was going to last and it had become as big an international sensation as it was, the costs, in both cash and bad PR, would have been too great to make it worthwhile.  Besides, it’s not like an Italian comic book character would ever make it to the American big screen, where the real Groucho is so well-known, right?  So we come along, asking if we can make a movie with their character in it and they say, “Sure, it’ll just be seven figures.  Several of them.  Oh, and we want a piece of every image of him you use on anything, including any comics Bonelli publishes in the future.”

Well, as you might guess, we can’t really do that, especially at during the development phase when there isn’t even any money attached to the movie yet.  And try going to any potential financers and ask for seven figures just to use a supporting character.  So we have to plan for an alternative.  Our first thought was to replace Groucho with another, more acceptable comedian and get the actual comedian to play the role.  Like maybe the actor was playing Robin Williams or Roberto Benigni and we get the actual Robin Williams or Roberto Benigni to play it?  Well, then we’re painting ourselves into another corner by needing to get one of those actors in the movie.  And now we’ve got to be able to answer questions like “Why can’t it be Eddie Murphy?  We could get Eddie Murphy for you.” or, worse, “Can we make his sidekick Robert Pattinson instead?  Girls like him.”

So we made the decision to fight what battles we could win and not go looking for more that would keep us from making the film.  (There have been enough about Dylan driving a bug or wearing a red shirt, believe me.)  And so Marcus was born.  There are plenty of nods to Groucho in the movie, hopefully in ways that make the fans know we care.  Keep a lookout for the photos in Dylan’s office or when Marcus has to show up and throw him a gun from time to time.

Alright, I’m off to teach some actors how to fight.  Ain’t Hollywood a weird place?

-Dan Forcey

Development Exec/Stuntguy/SS (Spam Sculptor)

Things I never thought I’d deal with in my life…

Posted in Uncategorized with tags , , , , on February 18, 2009 by deadofnightmovie

I never actually sat down and made such a list, but if I had, I’m pretty sure on the top of it would be the length and style of Brandon Routh’s hair.  Suddenly, I’m the (former) Man of Steel’s stylist and I’m not really sure how that happened.  To be fair, it’s not like I was asked to style it myself.  I’m not sure anyone in their right mind would ask that.  I did, however, receive an email informing me that we’d soon be taking pictures of Brandon with his hair set as it will be in the movie and sending them to the Bonelli folks for their approval.

This is exactly the kind of input we crave from our collaborators and want to get from them at every turn.  Sometimes, things get in the way and we can’t but we always strive to.  In my opinion, and it’s an opinion shared by a lot of people here, why wouldn’t you?  It was the creator’s vision that this great idea sprang forth, so we try to stay true to that vision as much as humanly possible.  Sometimes, compromises have to get made, but if people loved it in the first place, we want to stay true to whatever it was that that creator brought into the world in the first place.  Sometimes that is possible and sometimes it isn’t, as we’re often not the 800 pound gorilla in the room, but we always try.

But luckily on this project, we’re in the driver’s seat for a lot of this.  And we’ve got an amazing resource in Gioy Demarco, our foreign library specialist.  Gioy is Italian and speaks about 5,000 languages (slight exaggeration, but not by much), grew up reading Dylan Dog in Italy and has a more all-consuming love of the Bonelli library than I’ve ever had about any comic.  Gioy is currently in contact with the folks at Bonelli on a daily basis, getting their opinion on a variety of different things.  You can often find Gioy in the office at 4am to best accomodate the time difference and be able to go back and forth with them on everything under the Dylan Dog sun.

So when we receive an email from production folks, letting us know photos are coming, it’s Gioy who will be on the phone as soon as possible to get the creators input on them, probably at 4am.  This is how much we love this source material and the deep respect we try and show to the creators we work with.

And this is how silly my job is sometimes that I not only received an email about Brandon’s hair, I sat at wrote a blog post about it.  Life can be downright silly at times.

-Dan Forcey

Development Exec/Stuntguy/PTP (Part Time Philosopher)