I just saw this update from the Bernie Wrightson facebook page and am truly saddened to share the news posted by Bernie’s wife Liz. Bernie is one of my all time favourite artists, I am lucky enough to own 2 signed prints of his, of Frankenstein (pictured above) and The Texas Chainsaw Massacre. A true gentleman and towering talent of the comic book industry.
Dear Fans and Friends,
I apologize for our silence for the past few months. Last November Bernie began falling again, and having obvious problems with perception. He had to undergo yet another brain surgery to relieve bleeding, and then spend several weeks undergoing in-patient rehabilitation. Unfortunately, it appears that he has lasting damage: he has extremely limited function on his left side, and is unable to walk or reliably use his left hand, among other limitations.
W…e have had to come to the sad conclusion that he is now effectively retired: he will produce no new art, and he is unable to attend conventions. Should this situation change I will happily announce it here.
He can still sign his name (in fact he was signing Kickstarter prints in the hospital!), and is otherwise pretty healthy and has good cognition. We expect to continue releasing signed prints, and offering occasional pieces of art for sale from the collection that remains. We both thank all of you for your continuing support and good wishes!
All our best,
Liz and Bernie Wrightson
AUSTIN, TX (12 April 2012) — Filmmakers Robert Rodriguez and Frank Miller, along with producer Alexander Rodnyansky, have announced that production will commence on the highly anticipated sequel to 2005’s Sin City, entitled Sin City: A Dame To Kill For. The film will be produced by AR Films and Quick Draw Productions, financed through AR Films U.S and released domestically by Dimension Films.
“The first question I am always asked is “When will you make another Sin City? ,” said Rodriquez. “I have wanted to re-team with Frank Miller and return to the world he created since the day we wrapped the original, but have felt a duty to the fans to wait until we had something truly exceptional that would meet and exceed what have become epic expectations. A Dame To Kill For will certainly be worth the wait.”
Sin City creator, screenwriter and co-director Frank Miller said, “The first Sin City knocked out audiences who had never seen anything like it before. Robert Rodriguez and I are going to shake things up and deliver a ferocious film experience that is going to go even further than the first.“
The script and details of the film’s story have been kept tightly under wraps. Casting will begin next week, with many of the original cast expected to return. The film, a Quick Draw Production, will be produced by Rodriguez and producing partners Aaron Kaufman and Iliana Nikolic; and by Alexander Rodnyansky and Sergei Bespalov and Stephen L’Hereux. Miller, The Weinstein Company’s Harvey and Bob Weinstein and Miramax’s Adam Fields will act as executive producers. Sin City: A Dame to Kill For was developed by Frank Miller based upon his graphic novel, with a screenplay by Frank Miller and Academy Award winner William Monahan (The Departed). The film is expected to begin production this summer at Rodriguez’s Troublemaker Studios in Austin, Texas.
Alexander Rodnyansky said, “We are delighted to continue our relationship with Robert Rodriguez and Quick Draw Productions. It is a rare opportunity to produce and finance a film with the high profile and enormous fan base of the Sin City franchise. AR FIlms will be managing worldwide sales of Sin City: A Dame to Kill For, as well as Robert’s Machete Kills at the Cannes Film Festival in May.”
The original Sin City was brought to the screen by Rodriguez and Miller and released by Dimension in 2005, and proved to be a landmark step forward in filmmaking, breaking ground with immersive green screen to create its iconic stylish look. The first film, released on April 1, 2005, grossed over $160 million (US) worldwide and is a consistently strong home video and television performer.
“Audiences have been clamoring for Sin City 2 with Robert and Frank for a long time and trust me, it will be worth the wait,” said Bob Weinstein, co-chairman of The Weinstein Company. “This will be my 11th collaboration with Robert in 16 years and he’s become a great friend. I look forward to continuing our long lasting relationship and partnering on more projects in the future.”
Screenwriter Jane Goldman and director Matthew Vaughn are expected to return for the sequel to X-Men: First Class, Goldman is in talks with 20th Century Fox on another priority project with a major director. She’ll adapt Miss Peregrine’s Home For Peculiar Children, the Ransom Riggs novel that Chernin Entertainment is producing, and Tim Burton is rumoured to direct.
Goldman has an impressive track record, she has scripted ‘Stardust’ (2007), ‘Kick-Ass’ (2010) and ‘X-Men: First Class’ (2011) for director Matthew Vaughn, ‘The Debt’ (2010) and most recently adapted The Woman In Black, the new thriller that stars Daniel Radcliffe.
In Miss Peregine’s Home For Peculiar Children, Jacob is a 16-year-old whose childhood was filled with stories his grandfather told him about an orphanage for unusual children. Among the residents: a girl who could hold fire in her hands, another whose feet never touched the ground, and twins who communicated without speaking. When his beloved grandfather dies unexpectedly but leaves a message behind for his grandson, the teen heads off to his grandfather’s home on an isolated island off Wales. There he discovers the abandoned remains of Miss Peregrine’s Home for Peculiar Children. It is in great disrepair and as Jacob explores its bedrooms and hallways, he can see the children were more than peculiar, they might have been there because they were dangerous. And he can’t shake the feeling they are still lurking around.
The duo gave the interview exclusively to UK’s Empire magazine for a special Batman/Bane edition.
On Bane: “He’s brutal, brutal. He’s expedient delivery of brutality. And you know, he’s a big dude. He’s a big dude who’s incredibly clinical, in the fact that he has a result-based and orientated fighting style. The result is clear. “Do you know what I mean? It’s: f**k off and die. Quicker. Quicker. Everything is thought out way before. He’s hit you, he’s already hit somebody else. It’s not about fighting. It’s just about carnage with Bane. He’s a smashing machine. He’s a wrecking ball. The style is heavy-handed, heavy-footed, it’s nasty. Anything from small joint manipulation to crushing skulls, crushing rib cages, stamping on shins and knees and necks and collarbones and snapping heads off and tearing his fists through chests, ripping out spinal columns. It’s anything he can get away with. He is a terrorist in his mentality as well as brutal action. So he’s horrible. A really horrible piece of work.”
About filming the fight scenes: “It’s very overwhelming. When you’re training in a rehearsal room you go, ‘Okay, I have a contact with seven people. This guy I chin, this one I slip and I punch, this one I pick up and suplex, this guy I kick in the face, and this one, he stops a hammer with his head. And then I meet Batman.’ That’s all alright in a rehearsal room, but then you add 1,000 people that are all dressed the same as the seven you’re supposed to hit — ’cause they’re all police officers — and I don’t know where my police officers are. But the stuntmaster’s like, ‘Don’t worry. They will find you.’”
About Christian Bale’s Batman: “He looks really intimidating! There’s a three-year-old in me that’s going, ‘Oh my God that’s Batman! That’s Batman and he’s going to hit me! But I love Batman!’ Then I look in the mirror. And I hit him back. Twice as hard.”
On Bane: “With Bane, we are looking to give Batman a physical challenge that he hasn’t had before,” says the film’s director, Christopher Nolan. “With our choice of villain and with our choice of story we’re testing Batman both physically as well as mentally. Also, in terms of finishing our story and increasing its scope, we were trying to craft an epic, so the physicality of the film became very important. Bane’s a very different kind of villain than Batman has faced before in our films. He’s a great sort of movie monster, but with an incredible brain, and that was a side of him that hadn’t been tapped before. Because the stories from the comics are very epic and very evocative — very much in the way that Bruce Wayne’s origin story is epic and evocative. We were looking to really parallel that with our choice of villain. So he is a worthy adversary. What Bane represents in the comics is the ultimate physical villain.”
About casting Tom Hardy in the role: “He has this incredible disjunct between the expressiveness of the voice and the stillness of the movement of his body. He’s found a way to play a character who is enormous and powerful with a sort of calm to it, but also is able to be incredibly fast at times. Unpredictable. He just has a raw threat to him that’s extraordinary. It’s a very powerful thing when you see it come together, beyond what I had ever imagined. That’s what you get from working with great actors.”