Comics Creators

Marvel Movies & TV General Discussion


He’s got incredible instincts. Somehow all the way in Glasgow he’s got the perfect pulse of the industry at any given time.


For sure. His predictions aren’t always 100%, but I wouldn’t be surprised if he’s right 80-90% of the time.


Winter Soldier, Civil War, Old Man Logan, Extremis - there’s some pretty obvious lifts. Put it another way, if they’re taking the physical comics and plastering them around the room for set and character design, or in the script room then whoever made those comics should be on the payroll.


There’s Mark’s ability to tell where to go at the right time but the other part of it is, and let’s use an upcoming series as an example:

The Magic Order

Millar - Coipel

Story about magicians.

Now, the cynical reply is to quip it sounds original, but that doesn’t always matter. My initial angle of interest? Coipel’s art! But going by past examples like Chrononauts or MPH? There’ll be a new angle on the story that seems simple and obvious but no one had done it.


Sure, but even that gets tricky, as there could be an argument made (particularly with Marvel/Disney) that it’s paying for the same work twice or more (since they already own the characters and those stories). And some are closer than others. If OML was a draft of the screenplay it’d get, at most, a shared “based on a story by” credit (before even getting to the “screenplay by”).

A larger problem is the lack of a union or guild in comics to quantify things like this and to negotiate for royalties, points, participation, etc. when creators get hired.


Yeah that sounds awesome and all, but we get back to the distribution issue… who gets how much and why? Should Brubaker get more than Bendis or than Millar? How do you actually work out the details so that everyone is happy and feels they got a “fair deal”?

Yeah this is a good point and probably the best place to start, tbh…

Otherwise it all sounds like an absolute logisitcal nightmare and would probably end up being unfair towards different creators anyways and could end up creating animosity between creators cause X got this and Y got that, etc…


It is definitely tricky, and obviously the reason they don’t do it is because they’d open themselves up swarms of lawsuits.

Still, they are adapting the actual stories and in many cases titles of the source material, and trading on Mark’s popularity and ability to tap into what people want in the moment. To avoid the lawsuits from other creators, you bring him as a consultant and cut him a check.

Hell, the movies would most likely end up being even better, so the creators, the corporation, and the fans all win.


This is a good idea too… just fake-hire them for a fake-role and give them a paycheck for it. But I reckon they wouldn’t do that for EVERY single creator involved… otherwise they’d have 50+ consultants in Infinity War.

Well, that’s one theory… the other theory is they stop using the CB stories to avoid all those extra checks and start hiring random writers to do shitty movies :smile:


This is basically the argument that the comic book writers deserve to be paid. :slight_smile:


This does seem like a moment where creators could band together to change the industry by making it clear that they no that they aren’t just creating comic books, they’re generating IP that’s going to potentially generate billions of dollars for the respective companies, and that they want to be compensated fairly in some way, even if it’s just on the backend (and a retirement and health care plan wouldn’t be too much to ask for, either).


What’s interesting is the way intellectual property works. What is the property that’s really being developed? It’s essentially the public’s imagination. All these products don’t have a truly independent existence. Their value is based on what the public invests in them. In film and comics, the power of the story is what you project between the frames and then we pay them to let us use our imaginations.

I think Ellis’ comments were touching upon that.


Brubaker is taking a different path because unlike Millar he’s interested in writing the screenplays. The reason he only puts out one book with Sean nowadays is because he’s working the rest of the time on film and TV projects. He wrote for Westworld and is running an Amazon show with Nicholas Winding Refn.

Now, the pair are teaming up for Amazon series Too Old To Die Young. According to Variety, the crime thriller was greenlit on Wednesday with a straight-to-series order of 10 episodes. It will explore the criminal underbelly of Los Angeles, and is described as being in a similar vein to Refn’s Pusher trilogy, which looked at Danish criminals caught up in the drug trade. It will follow various characters’ existential journeys from killers to samurais.

Refn will direct as well as serve as a co-writer with Brubaker, who will executive produce. Variety also reports the project is eyeing several big-name stars, though no official deals have been made as of yet. The show will shoot this fall in Los Angeles



I like these. It reminds me of some of the ones we’ve seen in the past.


Gosh what a great tradition.
Gee golly I just said Gosh!
My goodness I said Gee golly!

F#*k me I’m getting old


well it’s a mighty good thing these days the weekends start on wednesday… too bad my boss hasn’t gotten the memo :roll_eyes:

oh wait, I have no boss… u_u


I hope Iron Man immediately throws it over his shoulder. :wink:



I think it’s ironic, as far as the comic book creator credit in movies debate goes, that Alan Moore has actually made it harder. Here’s a guy whose whole stance, in comics, has been for creators to get credit, but in the movies he’s pissed and moaned so much that he’s completely distanced himself from movies based on his comics. It sets a horrible precedent. If someone wants to make a movie out of a comic book, they can do it with the original creator, if they’re adapting a creator-owned property, but they can also do it without them, if they’re adapting something a comic book company owns, and they have the most famous comic book creator of the past thirty years as the perfect excuse. Moore owes it to everyone else to stay involved. This isn’t just about money but credit. He might not care about the credit, but there are creators who’ve been fighting for that for longer than he’s been alive. How ridiculous has credit for Superman gotten? How long did it take to acknowledge Bill Singer?


My understanding is that Moore actively seeks full credit for his artist partners on movie adaptations of their work, and gives his share of royalties to them.