Movies and comics, each affecting the other. (Financial Times)
In my more brainstorming moments, I wonder if the cinema’s obsession with comic books (apart from their earning power at the box office) does not come from some yearning to un-invent the wheel. Guilty about the perceptual fraud practised on the viewer, the filmmaker longs to revert to the chaste integrity of still frames in sequence. Think of the great directors who have loved to halt the moving-image flow at major moments. Think of Eisenstein’s famous set-pieces: the rearing lion statue (done as successive freeze-shots) or the Odessa Steps sequence in Battleship Potemkin with its virtual staccato of eyeblink horrors. Think of Orson Welles prologuing Citizen Kane with those haunting still images of Xanadu. Think of the bullet-point montages that provide violent, virtuoso consummations in Bonnie and Clyde and The Wild Bunch.
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