#nostalgia #tvcommercials #videogamecommercials #gamingcommercials #oldvideogamecommercials #90scommercials #90sads #1990scommercials #2000scommercials #2000sads #2001commercials #1991 #1992 #blockbuster #tacobell #nintendo #nintendocommercials #mcdonalds #dailymotion #youtube #facebook #twitter #twitch #motiongraphics #deezer #tv #dlive #instagram #stream #motion #twitchstreamer #fightingmentalillness #twitchclips #twitchretweet #twitchaffiliate #twitchshare #ant #scribaland #tiktok #greece #spotify #gelio #games #vimeo #google #motionmate #youtuber #greekquotes #vhs #fullmovies #fullmovie
Category
📺
TVTranscript
00:01He was only six when he found his calling.
00:05I started folding over typing paper,
00:07stapling it together, drawing comic books.
00:10And the path he chose wasn't easy.
00:13I would come over and he'd tell me how terrible my work was.
00:17That stuff is okay.
00:18I mean, that stuff looks like a guy who's just breaking into comics,
00:21like an artist's first paying gig.
00:24It reached the point where Beyond's just berating me
00:26and telling me to move back to Vermont because I was hopeless.
00:29But he would go on to become one of the greatest
00:31named in comic book history.
00:35The first time I saw his work, I said,
00:37this is a big new talent emerging.
00:40He felt like you were getting his blood, sweat and tears on the page.
00:45And I've never read any graphic novels that are as intense as his.
00:50He is one of the few creators who comes into a medium
00:53and really makes it look at itself in a different light.
00:56He's a little legend.
00:59What goes on in his brain is something so crazy,
01:03beautiful, sexy, violent, cool, genius.
01:10Icons presents the one and only Frank Miller.
01:33hosting this film,
01:41in history,
01:43in cancer.
01:43A six-year-old boy named Frank Miller is introduced to a millionaire playboy named Bruce Wayne by DC Comics.
01:49I picked it up in a department store.
01:52It was back when they sold comic books in department stores.
01:55I picked it up and I just opened it and I just fell in.
01:59And I like to say that even though it cost 25 cents, I bought it.
02:03This chance meeting marks the beginning of what will be a lifelong passion.
02:08I started folding over typing paper and stapling it together and drawing comic books.
02:12I fell in love with crime fiction.
02:16Everything from Mickey Splane to Dashiell Hammett to Raymond Chandler.
02:20I kept drawing comics.
02:22Then I moved to New York to try to break in.
02:26Frank's first job in New York has a bit too much in common with the crime novels he enjoyed so
02:30much as a kid.
02:32I was a carpenter. I mean, I'm sort of a carpenter.
02:35I helped hang doors and things in a loft.
02:37It turned out to be run by a coke dealer.
02:41So, yeah, I had to run away from mafia guns at one point.
02:46It's not long until the aspiring comic book creator meets up with the legendary Neil Adams.
02:51Neil Adams was an artist who came to comics in the late 60s and really brought a whole new school
02:58of art to superhero comic books.
03:00A very literal realism.
03:03The characters he drew looked real.
03:05I mean, as real as we'd ever seen them.
03:07And they weren't stylized.
03:08Neil was my mentor.
03:10I mean, he was very generous with his time.
03:13I simply called him up and asked him if I could show him my pictures.
03:17And he had me over to his studio.
03:19He was running a big shop then that did advertising work.
03:24I never really worked there, but he would always take my phone call and I would come over and he'd
03:30tell me how terrible my work was.
03:33I reached the point where beyond just berating me and telling me to move back to Vermont because I was
03:38hopeless, he'd pull out tracing paper and start correcting me.
03:42But Frank keeps trying and one day his efforts pay off.
03:45And then one day I came in and he just picked up the phone to Gold Key Comics and said,
03:52I got somebody for it.
03:54And he got my first job.
03:55It was Twilight Zone Comics.
03:58I spent a week drawing every page.
04:00Usually that's something you do within a day.
04:02It was my first professional job and I took forever on it.
04:05It was three pages long and I took three weeks to draw it.
04:09But it's a start.
04:11That stuff is okay.
04:13I mean, that stuff looks like a guy who's just breaking into comics, you know.
04:16It looks like an artist's first paying gig.
04:20Hindsight being 20-20, you can see the flashes of Frank Miller there.
04:23You can see what the potential, what he could become.
04:28Soon, other doors are opened.
04:31Frank Miller had done a couple issues of Spectacular Spider-Man, which had featured Daredevil in them.
04:36Yeah, Daredevil was mine.
04:38I liked Daredevil because I was always doing characters that were flawed.
04:45And Daredevil had probably the biggest handicap of all.
04:49He was blind.
04:50It became clear that that was what he wanted to do.
04:53And so they gave him a shot at doing Daredevil.
04:58Marvel puts Frank Miller to work on Daredevil.
05:01And what he does with the red-suited crime fighter will send shockwaves throughout the comic book universe.
05:07In May 1979, Frank Miller begins what will become a legendary run on Marvel Comics' Daredevil.
05:14I became the pencil artist on Marvel's Daredevil, working with writer Roger McKenzie and my collaborator Klaus Jensen, who inked
05:22it.
05:23And eventually I took over writing it.
05:24He really reinvented Daredevil.
05:28The thing that I think made Frank's run on Daredevil and Elektra so special was that Frank is a New
05:35Yorker.
05:35He lives in New York and he knows the city inside and out.
05:38So he was able to bring that kind of gritty Hell's Kitchen from first-hand experience to the Daredevil-Elektra
05:44universe.
05:47He made him a much darker character, wrote his own material, he drew it, and he had a very earthy,
05:55hard-edged style to both his writing and to his artwork.
06:00The first time I saw his work, I said, this is a big new talent emerging.
06:04In Daredevil issue 168, he introduces the world to Elektra.
06:09Daredevil had a long run of girlfriends, but I thought, how about one that could kick his butt?
06:14And also, how about her being a bad guy?
06:16Which is what everybody gets wrong about Elektra. They try to make her nice. They try to make her good.
06:21She's not good. She's very, very bad. She just feels bad about being bad.
06:25I thought Elektra was a wonderful character and he did her beautifully and there hadn't been a character like Elektra
06:33before.
06:33She was the first female anti-hero. Sometimes she would act with compassion, sometimes she was a cold-blooded killer.
06:41It's what superhero romance should be.
06:46Frank said it himself, their romances should be bigger than life, just like their adventures are.
06:51But Frank doesn't intend for Elektra to be around long term.
06:55It was inevitable. I was plotting as I went, but it became very obvious that she had to go.
07:01There was no other way to take it. I mean, she wasn't going to end up making bop bop bop
07:05from that.
07:06So I went to editor-in-chief Jim Shooter, just popped into his office and said,
07:11Jim, I really, um, I think I'm going to have to kill Elektra.
07:15And he sighed and he looked like he had a headache.
07:18And he said, tell me a story, Frank.
07:23And I told him my story and he said, great, do it.
07:29The death of Elektra is like a, for everyone in my generation, it's a total benchmark for comics in general.
07:36You read it and you were just like, oh my God, I can't believe that he did this.
07:41Here's Daredevil, he's a blind superhero.
07:44He loses Elektra, a woman he loves, who dies in his arms.
07:48That's in a comic book.
07:50Back then this kind of stuff just didn't happen.
07:52And Frank Miller was a storyteller and an artist who was willing to make these sort of bold moves and
07:58say, look, I'm writing good stories.
08:00I'm not just trying to show comics to kids.
08:02I'm trying to make good stories.
08:03In July 1983, Frank Miller leaves Marvel to work on an original creation, once again doing his own writing and
08:11penciling.
08:12After Daredevil, Frank Miller went over to DC Comics and scored, at the time, a very unique deal for a
08:19creator-owned book.
08:20Ronin was something he created, that he came up with.
08:22It was kind of a sci-fi samurai urban decay story that took a lot of elements and a lot
08:28of genres and kind of crammed them all together.
08:30Ronin is an extremely strange project.
08:33I'm amazed it was ever green-lighted, where it takes place in the future.
08:38That stuff was so strange back then.
08:40You never saw anything like that.
08:41Ronin was a joy to do.
08:42As much as I loved doing Daredevil, Ronin was scarier to work on, much more challenging, much more ambitious.
08:48I just learned a ton.
08:50I love that book, because it was me with reckless abandon, absorbing the Japanese and the French.
08:58It was a wild mix, and it was a reckless piece of work, but I still love it.
09:03Miller hires an artist named Lynn Varley to be the inker for Ronin, marking the start of what will be
09:08a long-standing professional relationship, and more.
09:12Meanwhile, Frank's popularity continues to grow, and he gets bigger and better offers.
09:17DC Comics had been on me to do Batman for a long time, and I'd always felt too intimidated by
09:22it.
09:22I mean, I just felt like the character was too big for me. I didn't really have what it took
09:26for it.
09:27And then, you know, one day, I was just thinking about it.
09:31All of a sudden, I realized that I was about turning 30, and Batman was permanently 29, and I was
09:38going to be damned if I was older than Batman.
09:41So I started concocting this story where he was in his 50s, and coming out of retirement, and with a
09:47much harder edge.
09:49DC went with just about every single thing that I proposed.
09:51Fate once again brings together Frank Miller and the Dark Knight.
09:55What happens next will be the stuff of legends.
10:04In March 1986, DC Comics releases the first issue of Frank Miller's The Dark Knight Returns.
10:10The arrival of this unique new Batman tale is groundbreaking.
10:15But when Frank came along, he went back and he'd taken what was kind of primary about Batman, this urban
10:21warrior,
10:22and dealt with the idea that he was disillusioned, he was older.
10:25He had kind of given up the fight.
10:27And that really is a classic mythological story of the old warrior comes back for one last hurrah against the
10:35forces of evil.
10:37What people would have expected from Frank would be to basically do Daredevil with a cape.
10:44He didn't get that.
10:46He wasn't the same lean, lanky, athletic figure that Daredevil was.
10:51He had instead changed Batman into this big hulking brute of a character.
10:59He set a new tone for Batman.
11:02What Frank Miller did was delve into the psyche of somebody who would be so deeply disturbed as to put
11:07on a costume and do these things.
11:09And how really inhuman that psyche is.
11:13The Dark Knight series that Frank Miller did is one of the core books that said,
11:18You know what? The comic book medium is for people of all ages.
11:22And I can write an adult, mature storyline.
11:25Dark Knight Returns.
11:26There was another one of those times where life just felt explosive because the work was just flying out of
11:32me.
11:34And Lynn Varley plays an increasingly large role in her partnership with Frank.
11:38Not only is she the colorist for The Dark Knight Returns, but she also helps with the dialogue.
11:44Oh, she's great. Those two are probably on a lot of levels a match made in heaven.
11:48What she did on Dark Knight was, at the time, revolutionary. You've never seen coloring like that.
11:53They're one of the best artists, colorists, collaborations that we've seen in comics.
11:59Eventually, Frank Miller and Lynn Varley become husband and wife.
12:03Soon after the release of The Dark Knight Returns, Hollywood comes knocking on Frank's door.
12:08Well, actually what happened was, this is going to sound strange, but I moved from New York to Los Angeles
12:15to find out what comes from.
12:17I really didn't have any designs on movie work at all.
12:21And then one morning the phone rang and it was the producer of Robocop asking me if I'd be up
12:29for writing a sequel.
12:29And I loved the movie and I thought, yeah, I can work in movies.
12:33And I just fell into that. And for the next couple of years, I was completely wrapped up.
12:38But there are some harsh lessons to be learned in Tinseltown.
12:41Well, Robocop 2 was the more intense of the two for me because I was on the set every day
12:46and watched the whole process.
12:48Robocop 3, I was a little more distant because I didn't go to the set or anything.
12:52In both cases, they learned the same lesson, though.
12:55Don't be the writer. The director's got the power.
12:59The screenplay is a fire hydrant and there's a row of dogs around the block waiting for him.
13:06Eventually, Miller decides he's had enough.
13:09When I just decided I couldn't handle it anymore, I went away.
13:13After leaving the movie scene, he dives into a brand new original project with Dark Horse Comics.
13:18I'd gone through the longest period of my life not drawing, which was two years.
13:23So I sat down in my new home in Hollywood.
13:27I just decided, I just sat at my drawing board and decided I was going to start drawing again and
13:31I was going to draw exactly what I want.
13:33Damn Hollywood.
13:36And I started Sin City.
13:42You felt like you were getting Frank at his most committed as a creator.
13:47I mean, you felt like you were getting his blood, sweat and tears on the page.
13:52And I draw this comic book that's everything I always wanted to draw.
13:58The first three priorities were tough guys in the trench coats, beautiful women and vintage cars.
14:04Well, Sin City is a marvelous achievement in terms of sequential art.
14:11These are noir comics where light and shadow and tones of gray are what communicate emotion rather than colors.
14:19The Sin City, here's somebody who just wanted to tell these great kick-ass crime stories and told them in
14:26a way that nobody else could imagine or envision them.
14:29There's a hard edge to them, there's a brutality to them.
14:36There's also a really rough beauty and an elegance to them.
14:41Sin City has been viewed as really one of the pinnacles of Frank Miller's art achievements and storytelling abilities.
14:48And I went on for 12 years to draw my Sin City and was absolutely in love with it.
14:54The Sin City series of comic books is another stunning success for Miller.
14:59Ironically, the work that best represents his true passion will bring him back to an industry he thought he was
15:05done with.
15:05I've just got to go flying.
15:07Yeah, yeah.
15:08I take his weapons away from him.
15:10After leaving the film industry, Frank Miller works on some of his most memorable books.
15:15Graphic novels such as Hard Boiled and 300 are all critical successes.
15:19But it's Sin City that captures the attention of director Robert Rodriguez, the man behind Once Upon a Time in
15:25Mexico and Desperado.
15:27Robert Rodriguez hunted me down like a dog.
15:33I don't want to make Robert Rodriguez a Sin City.
15:36I want to make Frank Miller a Sin City.
15:37Because I love that material so much.
15:39And it was so good the way it was.
15:41I thought this would be a great movie as is on screen.
15:44When he first approached me, I was just awful.
15:47I really didn't want my baby loose.
15:50Robert called me up and said,
15:52Flight to Austin. We'll do the test.
15:53We'll see if we want to do this thing or not.
15:55And I said, sure.
15:56I showed up in Austin and there was Josh Hart standing with Robert's crew.
16:01And there was Marlee Shelton.
16:03Marlee Shelton came over and asked me a question about a character.
16:06And I just, the hook was in my mouth.
16:12Robert had pulled off and I never looked back.
16:15On the other side.
16:16Let's line it up, please.
16:17Sin City, the movie, begins filming in March 2004.
16:20Robert's idea was to make it an anthology.
16:23It has a short story and three of the novels incorporated.
16:27About 40 minutes each.
16:28Sin City, the graphic novel, That Yellow Bastard.
16:32And The Big Fat Kill.
16:34You move from one to the other.
16:36And you really get a sense that it's a single world.
16:40An incredible all-star cast is put together to bring the citizens of Sin City to the silver screen.
16:46As we approached people, some of them responded to the chance to work to Robert.
16:51Some responded to the material.
16:53I'll never forget the afternoon that Robert and I went to Bruce Willis' house.
16:58At this point, we had what was called the test.
17:01We put it on Bruce's big screen.
17:04Bruce sat on a bare mattress and watched it.
17:07And we kind of stood up and said,
17:10Those are the words from the book?
17:12And Robert said, Yeah.
17:14I'm in.
17:16And then the cast is beyond.
17:18You know, from Mickey Rourke to Benicio Del Toro to Clive Owen to Rosario Dawson.
17:23Jamie King, Brittany Murphy, Elijah Wood, Josh Hartnett.
17:27I mean, the cast is insane.
17:29Shelly is a waitress from the section of Sin City called Old Town.
17:34Shelly's a bit of a broad and she's a broad whose heart is torn.
17:39She's the sad waitress with a heart of gold.
17:41It was only because I felt sorry for her.
17:43I'll call you later.
17:46No! Don't go!
17:47I play Nancy Callahan and I think she was inspired by Frank Miller's real-life niece.
17:54Of course, in Frank's world, I'm a stripper.
17:58But...
18:02Well, at that point, it was my guy.
18:05I guess at that point, Jackie Boy became mine.
18:10Ben Carvey, you want to see what I got?
18:14The cast, it just came together.
18:17It was almost like everybody wanted to be in this thing.
18:20And for the first time ever, Frank Miller tries his hand at directing.
18:23It's been really wonderful for him to not only be a part of the process, but not just be a
18:28writer, but be considered a director and be able to give input.
18:31Can we switch sides of the stethoscope?
18:33I expected the worst, and I got the best.
18:36I loved it. I loved directing.
18:38I had no idea what it would be like.
18:39I didn't know how much I'd love actors.
18:42It was essential to have Frank Miller on set every day, because it's his baby. It's his world. He knows
18:46everything. He wrote all the dialogue. He created all the characters.
18:49You know, how can you do Sin City without Frank Miller?
18:51And I had Frank to go and talk to about character and why we were here and what was going
18:56on in the scene and about every little nuance.
18:59It was great to have Frank there. We could go and ask him, you know, this drawing, what's he doing
19:07here? Where is he coming from?
19:09When I go to work on Sin City was Frank Miller, co-directed by Robert Rodriguez, and then Quentin was
19:16guest directing the days that I was there, which was very fortunate on my behalf to have three such extraordinary
19:21directors that all fit so perfectly with each other.
19:25Dimension Films releases Sin City on April 1st, 2005.
19:31And while audiences are introduced to the gritty world of Basin City, Frank Miller is still hard at work on
19:38the comics he loves.
19:39It's called Batman and Robin the Boy Wonder, and it's going to feature a young Batman.
19:45Today, Frank Miller remains one of the greatest names in comics. His impact on the world of comics is undeniable,
19:51and his work will continue to inspire generations to come.
19:58Frank's comics are incredible and dark and twisted and just amazing.
20:04And I've never read any graphic novels that are as intense as his.
20:08He's his own little legend.
20:10Frank's work has had an amazing effect on the comic book industry.
20:13He is one of the few creators who comes into a medium and sets it on its ear and really
20:19makes it look at itself in a different light.
20:22What goes on in his brain is something so crazy, beautiful, sexy, violent, cool, genius.
20:33I don't know that I'd compare anybody to Frank Miller. I mean, I think Frank is really in a category
20:39all of his own.
20:41The one thing about entertainment and its comic books and movies is that you can't imagine the fate of the
20:47piece of work.
20:48I proceed with Carl Films, I think we all do, and hope that the audience will love it.
20:56I've had the experience for a lifetime.
20:57I've had the experience for a lifetime.
Comments