I’m sure somebody must have done this already, but just in case…here’s a bit of Guardians Of The Galaxy fan art I did over the weekend, inspired by John Alvin’s poster art for Footloose. Kevin Bacon would have made a pretty cool Star-Lord if this movie was made 30 years ago, come to think of it. Here’s hoping GotG has a cool punch-dancing (dance-punching?) sequence, or at the very least, a Bonnie Tyler-accompanied game of chicken—only with spaceships instead of tractors.
Richard Elman’s novelization of Martin Scorsese’s Taxi Driver was a gift from my friend Nathan Boone, one I finally got around to reading this past week. I assume Elman was working from Paul Schrader’s original screenplay rather than the finished film—the rough framework of the story is still there, but a lot of the dialogue and descriptions of characters are different. Elman also delves a bit more into Travis Bickle’s military past, a detail that isn’t discussed much in the movie. Scorsese was wise enough to not lean too heavily on what was, even as early as 1976, a pretty well-worn stereotype. Elman informs his version of Travis with a considerable amount of PTSD, even if it wasn’t called that yet. At the conclusion of his meeting with “travelling salesman” Easy Andy, Travis says of his time in the service, “They’d never get me to go back. Never. They’d have to shoot me first. I’d never go back alive.”
The story is told from Travis’s perspective, often in a jittery, stream-of-consciousness ramble. It reads a bit like Catcher In The Rye as told by Rorschach. There’s one particularly haunting scene, not in the film, where Travis sees a man either falling to his death (presumably a suicide) from a high-rise building. It’s a recurring image that pops up now and again to good effect, embodying Travis’s state of mind and speaking to his own death wish. At 143 pages, composed of chapters that often only last two or three pages, Elman’s Taxi Driver can be read in a sitting or two. Without the accompanying visuals of Scorsese’s hellishly scuzzy, neon-streaked New York, or Robert DeNiro’s iconic performance, though, it’s little more than a lurid pulp thriller. It is, however, a portal right into Travis Bickle’s headspace, if for some reason you actually want to spend any more time in there.
Christmas gift from Calum Johnston—John Severin’s original art from a Spielberg bio strip. My mind is blown! Thanks, Cal!
"I Am The Doorway", coloured version. Based on one of my favourite Stephen King short stories.
Quick drawing based on the Stephen King short story ” I Am The Doorway” from NIGHT SHIFT. Always loved this story! Gonna throw some colours on it tomorrow.
Here’s a new BOX OFFICE DRAW illustration, titled Tech Noir, inspired by the first big shootout in 1984’s THE TERMINATOR. Still a great flick.
Last month I teamed up with my friends Eric Miller and James White to put together an art gallery show called Has Bros, featuring art inspired by 1980s toy franchises. Nearly twenty artists took part and everyone involved brought their A-game. My piece was called “Master Of Disguise”, and it starred Zartan, face-changing thorn in G.I. Joe’s side. Check out the Dart Gallery Facebook page for a look at some of the other pieces in the exhibit!
Don’t try this at home on your Dad’s stereo—only under hip-hop supervision. (by @jamiecalder)