Is Alan Moore the Stanley Kubrick of comic book makers?

[TomServofan]

I think so! he can be considered comic's answer to SK in some way you know.

[Conch22]

I thought Alan Moore would be more comparable with Steven Spielberg

To me, Stan Lee is more comparable to Spielberg.

I definitely think the Kubrick/ Moore comparison is a good one.

[Mister Mets]

What exactly does that mean?

Both were responsible for several works that were considered among the best in the artform.
Both pushed boundaries in terms of subject matter and depiction of violence.
Both have worked with diverse material. Kubrick had sci fi, horror, war films, epics and dark satires. Moore has tipped his toes in horror, period dramas, pulp adventure, superhero comics and whatever Promethea is.
Moore's scripts suggest an incredible attention to detail.

For me, one of the things that defines Kubrick is his relatively small filmography. Moore isn't very prolific, but he's not really comparable to Kubrick, a filmmaker who only finished 13 movies. He also seems to focus more on the history of the medium than Kubrick did. Maybe he's better thought of as the Scorsese of comics.

[TroubleWithTrebles]

Moore strikes me as more of a Kurosawa through the lens of Welles, both in the 1938 War of the Worlds and Citizen Kane.

[Mister Mets]

Moore strikes me as more of a Kurosawa through the lens of Welles, both in the 1938 War of the Worlds and Citizen Kane.

The question of which director is most similar to a comic book pro is heavily dependent on your understanding of what defines a director.

Welles seems to be a guy unable to replicate his earliest success, even if The Magnificent Ambersons and Touch of Evil were pretty good.

From my understanding Kurosawa is more popular among Americans and the British than among the Japanese.

[TroubleWithTrebles]

The question of which director is most similar to a comic book pro is heavily dependent on your understanding of what defines a director.

Welles seems to be a guy unable to replicate his earliest success, even if The Magnificent Ambersons and Touch of Evil were pretty good.

From my understanding Kurosawa is more popular among Americans and the British than among the Japanese.

My definition of a director comes from the director I storyboarded for (paid). And the 2nd Unit Director from The Great Escape, and the producer of an Oscar winning short film and Dubrovnik Festival winner feature film.

The reason I cited Kurosawa and Welles was for a distinct trait shared by them and Moore: they were willing to risk slings and arrows for putting in tiny details before the 15th minute of screentime that would DEFINE the final moments of the films, and Moore puts things in pages 1 to 25 of a 100 plus page story that define something 90 pages later or more.

[t hedge coke]

How is Alan Moore like Kubrick?

(I'm not going to think of the Welles/Perkins' The Trial as the filmic team up of Moore and Morrison, though, 'cause nobody can stop me. And Morrison's very Tony Perkins to me.)

[TroubleWithTrebles]

Funniest and most salient post of the week, above.

Highlight of my day.

[TroubleWithTrebles]

Of course, the better question might be "Is Remender the Snyder of Comic Books?"

[Conch22]

When I think of Moores work, his more commercially successful works automatically come to mind.
Both Watchmen & the killing Joke feature sexual assault, which is a primary offense of Alex's in Clockwork Orange.
Keeping with those 3 examples, they all feature very dark underpinnings of society, both psychologically and sociologically.
Moore is critical of the aforementioned works as Kubrick was critical of Eyes wide Shut.
The similarity in approach to me is something I find in their approach to character and tone, though this isn't prevalent with the entirety of their work (which, admittedly, due to time & budget, I haven't read/ watched everything from either of them).

I'm not the O.P. and can't speak to his reasoning for the comparison, which they both have their own artistic voices so comparisons aren't going to be mind bogglingly exact.

[TroubleWithTrebles]

Out of respect to the dead, we should not refer to Eyes Wide Shut, which ala the description of Da Vinci Code by S. Fry, is "a steaming stream of arse-gravy".

[FanboyStranger]

No. Kubrick was in control of almost the entirty of his work, from the script/adaptation on down. Moore is an excellent writer, but despite his dense scripts, he does give latitude to his artists to visualize and refine the storytelling. When he say "Moore", we really mean "Moore and Campbell", "Moore and Bissette/Totleben/Veitch", "Moore/Lloyd", "Moore/Williams III", etc. Moore is very much a collaborator, and he embraces the spirit of collaboration. He'd actually be offended if you didn't give his collaborators credit. Other than "Maxwell the Magic Cat", he'd reject the 'auteur' label.

[TroubleWithTrebles]

No. Kubrick was in control of almost the entirty of his work, from the script/adaptation on down. Moore is an excellent writer, but despite his dense scripts, he does give latitude to his artists to visualize and refine the storytelling. When he say "Moore", we really mean "Moore and Campbell", "Moore and Bissette/Totleben/Veitch", "Moore/Lloyd", "Moore/Williams III", etc. Moore is very much a collaborator, and he embraces the spirit of collaboration. He'd actually be offended if you didn't give his collaborators credit. Other than "Maxwell the Magic Cat", he'd reject the 'auteur' labal.

Excellent point and often forgotten by tweet-tards who jump on the "Moore was a control freak" bandwagon.

[FanboyStranger]

Excellent point and often forgotten by tweet-tards who jump on the "Moore was a control freak" bandwagon.

Yeah. I think the input of artists on storytelling is generally undervalued by the majority of fandom these days in general, but in the case of Moore, we actually have evidence that shows he is far more open to suggestion from his artists than most people would have it, whether it be the letter from Bissette, Totleben, and Veitch that springboarded his Swamp Thing run (Etrigan, hallucigenic vegatable sex, aquatic vampires, werewolves as a metaphor for the menstral cycle, etc) or the comparison between his rough thumbnails to Eddie Campbell's stages of panel development in From Hell.

Moore may fall out with his collaborators, but he never fails to give credit where it is due. For example, he hates The Killing Joke, but will always complement Brian Bolland on a 'brilliant' depiction of what he feels is a terrible story.

Whereas Kubrick's adaptations, be it from Clarke, King, Burgess, Herr, etc, very much only reflected Kubrick's vision, something that Stephen King still has a problem with.

[Lightsabretooth]

Yeah. I think the input of artists on storytelling is generally undervalued by the majority of fandom these days in general, but in the case of Moore, we actually have evidence that shows he is far more open to suggestion from his artists than most people would have it, whether it be the letter from Bissette, Totleben, and Veitch that springboarded his Swamp Thing run (Etrigan, hallucigenic vegatable sex, aquatic vampires, werewolves as a metaphor for the menstral cycle, etc) or the comparison between his rough thumbnails to Eddie Campbell's stages of panel development in From Hell.

If only Bob Kane were so generous with giving credit.