MattBrady
05-20-2004, 06:32 AM
<a href="http://www.newsarama.com/A1/sharkmancover.jpg" target="_blank"><img src="http://www.newsarama.com/A1/sharkmancover_1.jpg" width="175" height="267" hspace="1" border="0" align="right"></a>Science fiction? Yep. A dash of a retro feel? Yep. Action, sweet art, and a solid story? Oh yeah. Newsarama caught up to talk <b>Shark-Man</b> writer Ronald Shusett.
Debuting in July’s <b>A1</b> from Atomeka, <b>Shark-Man</b> is set in New Venice City, a man-made island off the coast of California. Created by Alan Gaskill, the city was designed to be utopia on earth. As Atomeka’s press release described the city: “There are no cars in New Venice: gondolas and jet-skis run up and down giant canals running throughout it larger and more numerous than those in its namesake, with giant towers that reach from the ocean floor to the clouds above. A great wall surrounds the city, protecting it from the elements. Elements both natural and man made.
”When a man sets out on a journey or undertaking such as this, he must always be careful of those who join his quest. He must be weary of their motives. For if they see in his dream something for them, something that shares its path to a fork in the road, and then follow that other path when they reach it, dreams can be come nightmares. When the quest is all consuming, and the man is only too happy to have those wishing to seemingly lighten his load, he can unwittingly make a deal with the Devil.
”Alan Gaskill has realized this all too late. His city is on the edge of financial disaster and there are elements abroad that wish to see his city become something quite different. Now Alan must put his efforts into saving his dream. To do that he must become that which he never thought he would ever have to. He must become his city’s protector, fighting on two battlefields, the jungle of the boardroom and the very streets of his Eden.
”He has lived his entire life for this city; Alan will not see it die. The Shark-Man will see to that.”
<a href="http://www.newsarama.com/A1/sharkman01.jpg" target="_blank"><img src="http://www.newsarama.com/A1/sharkman01_t.jpg" width="175" height="271" hspace="1" border="0" align="left"></a>Written by Shusett, with art by Steve Pugh, the first story in <b>A1</b> is the first chapter in the saga of Shark-Man, as a series is planned for later in the year.
<b>Newsarama</b>: Starting things off, you co-wrote one of the biggest sci-fi and horror films of all time in <i>Alien</i>, and then followed that up with <i>Total Recall</i> and more recently with your work on <i>Minority Report</i>. What is that magic ingredient that you look for in a project?
<b>Ronald Shusett</b>: It’s the same elements whether I'm working on something that I've co-created with a writing partner out of a whole cloth -- meaning completely original concept we have -- or whether I'm attracted to a short story or novel that I option.
If I could articulate what that ingredient is, it actually has two aspects to it: the first and most important is I want to do an idea that has never been seen in any other film, at least none that I can possibly remember. This of course is the hardest thing to come up with, either on your own or in underlying material because countless thousands of movies have been made in the last hundred years. But once I have that ingredient as the guts of my premise, what I then tend to do is turn towards classic elements of storytelling and, with craftsmanship, and hopefully other moments of inspiration beyond the premise itself - blend them into a new story.
But this new story will seem completely fresh, even though many areas will pay homage to other exciting movies from an earlier era. The reason it will still seem fresh is; I have hopefully infused the new project with such a major and startling new conception used as its core idea, that it will have stunning impact on the audience.
<b>NRAMA</b>: Taking that and putting it more…practically, what’s an example of this in your work?
<b>RS</b>: <i>Alien</i> is the best example of this -- having so many antecedents in early 50's B-Horror movies -- and yet was so innovative that 26 years later film-makers have constantly been making movies strikingly similar to it without adding their own original, new creative insights. In the cases of <i>Total Recall</i> and <i>Minority Report</i> both were, of course, based on the brilliant genius concepts of Philip K. Dick, but both were also only short stories which contained only the structure sufficient for about one third of a storyline - in the case of <i>Total Recall</i> and about half the storyline, in the case of <i>Minority Report</i>. The balance of the story structure of those two films had to be created by the combined screenwriters involved in each. And in that case, however, even though you have a huge advantage of Phil Dick's brilliance as a foundation and a catapult, you are then in the position of having to come at least somewhere close to his imagination to invent the balance of the story structures. And if you fail to come at least close to his level for the second and third acts you end up with a movie that is a complete failure overall.
<b>NRAMA</b>: Looking again at your work, they all look to the future and show varying degrees of what we can expect to come. Is this what appeals to you about science fiction?
<b>RS</b>: No, not necessarily the future. Any highly imaginative idea, whether it's set in the present or the future, appeals to me. It just so happens that science fiction offers the most obvious opportunity for high level imagination.
<b>NRAMA</b>: Moving to your most recent then, what were the major inspirations for <b>Shark-Man</b>? Is it part of a long time love for comic-books or did it come from somewhere else?
<a href="http://www.newsarama.com/A1/sharkman02.jpg" target="_blank"><img src="http://www.newsarama.com/A1/sharkman02_t.jpg" alt="page 2" width="175" height="271" hspace="1" border="0" align="right"></a><b>RS</b>: I was never much of a comic book reader except, perhaps, when I was in my teens. The Shark-Man concept was brought to me by Michael Town, who is an actor and budding writer, while we were at a screening of <i>The Mask of Zorro</i>. Michael certainly is a long-time comic book buff and has an incredible collection and knowledge of classic comic books and their heroes.
He'd been struggling for years with this structure and asked me for input. I gave it and he was so enthusiastic about my early ideas, he asked me to officially come on board as a partner. He'd approached me with other concepts before but none of them struck me with the impact that <b>Shark-Man</b> did. We worked on it off and on over the ensuing years until; finally, a terrific story board artist by the name of Paul Power recommended we bring Dave Elliott into the project to work with us. Dave was a successful comic book writer and editor and the combination of the three of us just seemed to click. It was Dave who recommended bringing Steve Pugh on board. We loved the idea, of course, because Pugh's work is absolutely top notch.
<b>NRAMA</b>: So if you weren't a comic fan then, are you one now?
<b>RS</b>: Since becoming involved in this project I've been impressed by such writers as Frank Miller and his <b>Sin City</b> series, as well as various comics written by Warren Ellis and Neil Gaiman. Plus, I loved Max Allan Collin's <b>Road to Perdition</b>. There really is so much imagination coming from the people in this field. It's a lot of fun to be a part of it.
<b>NRAMA</b>: You’re one of the more commercially successful and critically accomplished science fiction screenwriters of at least recent years if not longer. What is the appeal to you of <b>Shark-Man</b>?
<b>RS</b>: For one, he is a pulp/comic book hero that combines elements of such classic characters as Batman, the Phantom, and the Count of Monte Cristo. And yet, he still has completely his own unique persona. There again is what seems to be my subconscious creative motus operandi: take the classic aspects of what people have always been drawn to over the decades, and even centuries in the case of <i>Monte Cristo</i> for example, and infuse them with a completely fresh new element.
<a href="http://www.newsarama.com/A1/sharkman03.jpg" target="_blank"><img src="http://www.newsarama.com/A1/sharkman03_t.jpg" alt="page 3" width="185" height="287" hspace="1" border="0" align="left"></a>The other appealing thing about the project is simply the challenge of creating a new superhero that can hopefully, in the coming years, take his place among those that are already legends.
<b>NRAMA</b>: <b>Shark-Man</b> has an interesting setting in New Venice. Why not just show any of our major cities in the future such as New York, Miami, Los Angeles or San Francisco? Why New Venice City?
<b>RS</b>: Because those cities exist and this one doesn't. It leaves us completely free to be as imaginitive as we want about the setting. And thus we can have in New Venice a city that is a utopia, that's really a symbol for America. One that rises out of the ashes of 9/11. Shark-Man protecting this dream city is an allegory for a new America wanting to be safe from such unspeakable terrorist attacks that we've all witnessed. This offers the opportunity of creating an invented new metropolis -- but a startling one because it's located right smack in the midst of an ocean - on an artificial, man-made island.
Also, Venice Beach, especially its famed boardwalk, conjures up an immediate image of a free spirited and eccentric population. This gives our story extra colorful texture. Nobody's out of place in Venice.
<b>NRAMA</b>: Even Shark-Man. On the art side, Steve Pugh's approach to the art evokes a very retro-movie serial feel. Was that intentional?
<a href="http://www.newsarama.com/A1/sharkman1p4a.jpg" target="_blank"><img src="http://www.newsarama.com/A1/sharkman1p4a_t.jpg" alt="page 4" width="185" height="287" hspace="1" border="0" align="right"></a><b>RS</b>: First of all, I have to say that Steve Pugh is a visual genius. I can't tell you how excited we are with his work on this. Truly an amazing talent. We'd love to see him receive the accolades that he's due.
That said, you’re right - we are attempting to evoke that retro-movie serial feel, as you put it, and then superimpose over it some very fresh, high tech ideas that will, again, combine the old with the new.
<b>NRAMA</b>: What sort of supporting cast will <b>Shark-Man</b> have? Is New Venice his home or will he travel?
<b>RS</b>: This has been so much fun. We're planning on introducing a series of colorful villains, including 'The Dummy', who is the cunning proprietor of a revolutionary Gambling Casino installed within a submarine, called 'Capone's' - illegal gambling activity can't be detected when you're underwater!
Though he's called 'The Dummy' because of his physical resemblance to a ventriloquist dummy, this tiny man is truly brilliant and dangerous. We also have the tragic and very sexy 'Sea Witch', as well as the all-powerful - so it would seem - 'Shadow King'. As I said, New Venice City
will be a colorful place.
As for Shark-Man traveling, we don't see that in the immediate future because one of his most unique aspects is that he patrols the recently constructed vast canals of New Venice in his Shark-Sub. There's plenty of danger to keep him occupied.
<b>NRAMA</b>: It sounds as if you're playing fast and loose with the secret identity thing. Does Shark-Man have one, and will the readers know who he is?
<b>RS</b>: Shark-Man does have another identity, one that is revealed in the first story, but then everything is thrown up in the air. Sorry for sounding mysterious, but I think that the way <b>Shark-Man</b>’s story will unfold, it is best that we leave something for everyone to look forward to and work out for themselves. I can tell you that ours will be a reluctant hero, mainly because they are embittered by circumstance beyond their control, and while at first only looking after themselves, they will eventually develop a love for this troubled city of dreams.
<b>NRAMA</b>: What else can you tell us about Shark-Man?
<a href="http://www.newsarama.com/A1/sharkman1p6a.jpg" target="_blank"><img src="http://www.newsarama.com/A1/sharkman1p6a_t.jpg" alt="page 6" width="185" height="287" hspace="1" border="0" align="left"></a><b>RS</b>: Ultimately, it's a very complex, multi-layered film noir creation. We look forward to expanding upon the stories in comic book form. There's just so much to work with. And it's only just beginning.
<b>NRAMA</b>: Wrapping things up, recently your name was linked to Universal's <i>Flash Gordon</i> project that Stephen Sommers has been attached to as Director, is there anything you can tell us officially?
<b>RS</b>: Actually, officially I'm not associated with the project. But I am completely smitten with it and can only hope I could become officially involved in it. Stephen Sommers is a hugely talented guy. It so happens that I had a meeting with him after we missed each other at the San Diego ComicCon last July and it was at that meeting that I learned he was involved with Universal regarding a new Flash Gordon film. The meeting was just a general 'get acquainted' meeting.
Afterwards, the Flash Gordon project kept tickling the back of my brain. I knew there hadn't been a film of it made in twenty years and I felt I knew why also the script would be a tough nut to crack. I think it's rather openly acknowledged that many elements of the 'Star Wars' movies have aspects of Alex Raymond's original Flash Gordon strip as well as the Buster Crabbe serials. Thus, to do a new Flash Gordon movie would require finding a way to remain true to its roots and yet come up with a structure that includes as few similarities to the Star Wars movies as possible.
Now enter Lady Luck: I was delighted to learn that Michael Town's favorite comic book character was Flash Gordon. He had a number of beautifully bound books of Alex Raymond's work from the thirties. And both he and Dave Elliott were incredibly familiar with all of the Flash lore. They invented a new first act that resonated with the original and, at that point, the rest of the story came together for me. Really, one of the best story treatments I've ever been involved in writing.
I wrote Stephen a memo explaining what I had done and asking him if he would be willing to read our treatment. He indicated he would but asked me not to send it for a while, because he was completely consumed with post production on <i>Van Helsing</i>.
However, a couple of months later he changed his mind, informing me that he had decided there was a likelihood he would write this one himself. So, of course, he did not want to read our work -- because there might be some similarities in our treatment to ideas he had in mind for a screenplay of his own on the project. Therefore, I tucked it away, hoping he might change his mind at some point in the future. We, of course, have not shown anyone this treatment. But I do feel that what we've done is an extremely effective solution to the problem and the basis of a screenplay that could turn a new Flash Gordon movie into a box office bonanza approaching <i>Spider-Man</i>. I say this because Flash Gordon is one of the few huge comic book icons that has not been made into a theatrical film since the advent of new special effects technology.
But at this point I can only remain a player on the sidelines. I have to accept the situation as Stephen candidly revealed it to me. I don't know if he even continues to pursue the project or not. Nor do I know if Universal is actively interested in pursuing it.
Debuting in July’s <b>A1</b> from Atomeka, <b>Shark-Man</b> is set in New Venice City, a man-made island off the coast of California. Created by Alan Gaskill, the city was designed to be utopia on earth. As Atomeka’s press release described the city: “There are no cars in New Venice: gondolas and jet-skis run up and down giant canals running throughout it larger and more numerous than those in its namesake, with giant towers that reach from the ocean floor to the clouds above. A great wall surrounds the city, protecting it from the elements. Elements both natural and man made.
”When a man sets out on a journey or undertaking such as this, he must always be careful of those who join his quest. He must be weary of their motives. For if they see in his dream something for them, something that shares its path to a fork in the road, and then follow that other path when they reach it, dreams can be come nightmares. When the quest is all consuming, and the man is only too happy to have those wishing to seemingly lighten his load, he can unwittingly make a deal with the Devil.
”Alan Gaskill has realized this all too late. His city is on the edge of financial disaster and there are elements abroad that wish to see his city become something quite different. Now Alan must put his efforts into saving his dream. To do that he must become that which he never thought he would ever have to. He must become his city’s protector, fighting on two battlefields, the jungle of the boardroom and the very streets of his Eden.
”He has lived his entire life for this city; Alan will not see it die. The Shark-Man will see to that.”
<a href="http://www.newsarama.com/A1/sharkman01.jpg" target="_blank"><img src="http://www.newsarama.com/A1/sharkman01_t.jpg" width="175" height="271" hspace="1" border="0" align="left"></a>Written by Shusett, with art by Steve Pugh, the first story in <b>A1</b> is the first chapter in the saga of Shark-Man, as a series is planned for later in the year.
<b>Newsarama</b>: Starting things off, you co-wrote one of the biggest sci-fi and horror films of all time in <i>Alien</i>, and then followed that up with <i>Total Recall</i> and more recently with your work on <i>Minority Report</i>. What is that magic ingredient that you look for in a project?
<b>Ronald Shusett</b>: It’s the same elements whether I'm working on something that I've co-created with a writing partner out of a whole cloth -- meaning completely original concept we have -- or whether I'm attracted to a short story or novel that I option.
If I could articulate what that ingredient is, it actually has two aspects to it: the first and most important is I want to do an idea that has never been seen in any other film, at least none that I can possibly remember. This of course is the hardest thing to come up with, either on your own or in underlying material because countless thousands of movies have been made in the last hundred years. But once I have that ingredient as the guts of my premise, what I then tend to do is turn towards classic elements of storytelling and, with craftsmanship, and hopefully other moments of inspiration beyond the premise itself - blend them into a new story.
But this new story will seem completely fresh, even though many areas will pay homage to other exciting movies from an earlier era. The reason it will still seem fresh is; I have hopefully infused the new project with such a major and startling new conception used as its core idea, that it will have stunning impact on the audience.
<b>NRAMA</b>: Taking that and putting it more…practically, what’s an example of this in your work?
<b>RS</b>: <i>Alien</i> is the best example of this -- having so many antecedents in early 50's B-Horror movies -- and yet was so innovative that 26 years later film-makers have constantly been making movies strikingly similar to it without adding their own original, new creative insights. In the cases of <i>Total Recall</i> and <i>Minority Report</i> both were, of course, based on the brilliant genius concepts of Philip K. Dick, but both were also only short stories which contained only the structure sufficient for about one third of a storyline - in the case of <i>Total Recall</i> and about half the storyline, in the case of <i>Minority Report</i>. The balance of the story structure of those two films had to be created by the combined screenwriters involved in each. And in that case, however, even though you have a huge advantage of Phil Dick's brilliance as a foundation and a catapult, you are then in the position of having to come at least somewhere close to his imagination to invent the balance of the story structures. And if you fail to come at least close to his level for the second and third acts you end up with a movie that is a complete failure overall.
<b>NRAMA</b>: Looking again at your work, they all look to the future and show varying degrees of what we can expect to come. Is this what appeals to you about science fiction?
<b>RS</b>: No, not necessarily the future. Any highly imaginative idea, whether it's set in the present or the future, appeals to me. It just so happens that science fiction offers the most obvious opportunity for high level imagination.
<b>NRAMA</b>: Moving to your most recent then, what were the major inspirations for <b>Shark-Man</b>? Is it part of a long time love for comic-books or did it come from somewhere else?
<a href="http://www.newsarama.com/A1/sharkman02.jpg" target="_blank"><img src="http://www.newsarama.com/A1/sharkman02_t.jpg" alt="page 2" width="175" height="271" hspace="1" border="0" align="right"></a><b>RS</b>: I was never much of a comic book reader except, perhaps, when I was in my teens. The Shark-Man concept was brought to me by Michael Town, who is an actor and budding writer, while we were at a screening of <i>The Mask of Zorro</i>. Michael certainly is a long-time comic book buff and has an incredible collection and knowledge of classic comic books and their heroes.
He'd been struggling for years with this structure and asked me for input. I gave it and he was so enthusiastic about my early ideas, he asked me to officially come on board as a partner. He'd approached me with other concepts before but none of them struck me with the impact that <b>Shark-Man</b> did. We worked on it off and on over the ensuing years until; finally, a terrific story board artist by the name of Paul Power recommended we bring Dave Elliott into the project to work with us. Dave was a successful comic book writer and editor and the combination of the three of us just seemed to click. It was Dave who recommended bringing Steve Pugh on board. We loved the idea, of course, because Pugh's work is absolutely top notch.
<b>NRAMA</b>: So if you weren't a comic fan then, are you one now?
<b>RS</b>: Since becoming involved in this project I've been impressed by such writers as Frank Miller and his <b>Sin City</b> series, as well as various comics written by Warren Ellis and Neil Gaiman. Plus, I loved Max Allan Collin's <b>Road to Perdition</b>. There really is so much imagination coming from the people in this field. It's a lot of fun to be a part of it.
<b>NRAMA</b>: You’re one of the more commercially successful and critically accomplished science fiction screenwriters of at least recent years if not longer. What is the appeal to you of <b>Shark-Man</b>?
<b>RS</b>: For one, he is a pulp/comic book hero that combines elements of such classic characters as Batman, the Phantom, and the Count of Monte Cristo. And yet, he still has completely his own unique persona. There again is what seems to be my subconscious creative motus operandi: take the classic aspects of what people have always been drawn to over the decades, and even centuries in the case of <i>Monte Cristo</i> for example, and infuse them with a completely fresh new element.
<a href="http://www.newsarama.com/A1/sharkman03.jpg" target="_blank"><img src="http://www.newsarama.com/A1/sharkman03_t.jpg" alt="page 3" width="185" height="287" hspace="1" border="0" align="left"></a>The other appealing thing about the project is simply the challenge of creating a new superhero that can hopefully, in the coming years, take his place among those that are already legends.
<b>NRAMA</b>: <b>Shark-Man</b> has an interesting setting in New Venice. Why not just show any of our major cities in the future such as New York, Miami, Los Angeles or San Francisco? Why New Venice City?
<b>RS</b>: Because those cities exist and this one doesn't. It leaves us completely free to be as imaginitive as we want about the setting. And thus we can have in New Venice a city that is a utopia, that's really a symbol for America. One that rises out of the ashes of 9/11. Shark-Man protecting this dream city is an allegory for a new America wanting to be safe from such unspeakable terrorist attacks that we've all witnessed. This offers the opportunity of creating an invented new metropolis -- but a startling one because it's located right smack in the midst of an ocean - on an artificial, man-made island.
Also, Venice Beach, especially its famed boardwalk, conjures up an immediate image of a free spirited and eccentric population. This gives our story extra colorful texture. Nobody's out of place in Venice.
<b>NRAMA</b>: Even Shark-Man. On the art side, Steve Pugh's approach to the art evokes a very retro-movie serial feel. Was that intentional?
<a href="http://www.newsarama.com/A1/sharkman1p4a.jpg" target="_blank"><img src="http://www.newsarama.com/A1/sharkman1p4a_t.jpg" alt="page 4" width="185" height="287" hspace="1" border="0" align="right"></a><b>RS</b>: First of all, I have to say that Steve Pugh is a visual genius. I can't tell you how excited we are with his work on this. Truly an amazing talent. We'd love to see him receive the accolades that he's due.
That said, you’re right - we are attempting to evoke that retro-movie serial feel, as you put it, and then superimpose over it some very fresh, high tech ideas that will, again, combine the old with the new.
<b>NRAMA</b>: What sort of supporting cast will <b>Shark-Man</b> have? Is New Venice his home or will he travel?
<b>RS</b>: This has been so much fun. We're planning on introducing a series of colorful villains, including 'The Dummy', who is the cunning proprietor of a revolutionary Gambling Casino installed within a submarine, called 'Capone's' - illegal gambling activity can't be detected when you're underwater!
Though he's called 'The Dummy' because of his physical resemblance to a ventriloquist dummy, this tiny man is truly brilliant and dangerous. We also have the tragic and very sexy 'Sea Witch', as well as the all-powerful - so it would seem - 'Shadow King'. As I said, New Venice City
will be a colorful place.
As for Shark-Man traveling, we don't see that in the immediate future because one of his most unique aspects is that he patrols the recently constructed vast canals of New Venice in his Shark-Sub. There's plenty of danger to keep him occupied.
<b>NRAMA</b>: It sounds as if you're playing fast and loose with the secret identity thing. Does Shark-Man have one, and will the readers know who he is?
<b>RS</b>: Shark-Man does have another identity, one that is revealed in the first story, but then everything is thrown up in the air. Sorry for sounding mysterious, but I think that the way <b>Shark-Man</b>’s story will unfold, it is best that we leave something for everyone to look forward to and work out for themselves. I can tell you that ours will be a reluctant hero, mainly because they are embittered by circumstance beyond their control, and while at first only looking after themselves, they will eventually develop a love for this troubled city of dreams.
<b>NRAMA</b>: What else can you tell us about Shark-Man?
<a href="http://www.newsarama.com/A1/sharkman1p6a.jpg" target="_blank"><img src="http://www.newsarama.com/A1/sharkman1p6a_t.jpg" alt="page 6" width="185" height="287" hspace="1" border="0" align="left"></a><b>RS</b>: Ultimately, it's a very complex, multi-layered film noir creation. We look forward to expanding upon the stories in comic book form. There's just so much to work with. And it's only just beginning.
<b>NRAMA</b>: Wrapping things up, recently your name was linked to Universal's <i>Flash Gordon</i> project that Stephen Sommers has been attached to as Director, is there anything you can tell us officially?
<b>RS</b>: Actually, officially I'm not associated with the project. But I am completely smitten with it and can only hope I could become officially involved in it. Stephen Sommers is a hugely talented guy. It so happens that I had a meeting with him after we missed each other at the San Diego ComicCon last July and it was at that meeting that I learned he was involved with Universal regarding a new Flash Gordon film. The meeting was just a general 'get acquainted' meeting.
Afterwards, the Flash Gordon project kept tickling the back of my brain. I knew there hadn't been a film of it made in twenty years and I felt I knew why also the script would be a tough nut to crack. I think it's rather openly acknowledged that many elements of the 'Star Wars' movies have aspects of Alex Raymond's original Flash Gordon strip as well as the Buster Crabbe serials. Thus, to do a new Flash Gordon movie would require finding a way to remain true to its roots and yet come up with a structure that includes as few similarities to the Star Wars movies as possible.
Now enter Lady Luck: I was delighted to learn that Michael Town's favorite comic book character was Flash Gordon. He had a number of beautifully bound books of Alex Raymond's work from the thirties. And both he and Dave Elliott were incredibly familiar with all of the Flash lore. They invented a new first act that resonated with the original and, at that point, the rest of the story came together for me. Really, one of the best story treatments I've ever been involved in writing.
I wrote Stephen a memo explaining what I had done and asking him if he would be willing to read our treatment. He indicated he would but asked me not to send it for a while, because he was completely consumed with post production on <i>Van Helsing</i>.
However, a couple of months later he changed his mind, informing me that he had decided there was a likelihood he would write this one himself. So, of course, he did not want to read our work -- because there might be some similarities in our treatment to ideas he had in mind for a screenplay of his own on the project. Therefore, I tucked it away, hoping he might change his mind at some point in the future. We, of course, have not shown anyone this treatment. But I do feel that what we've done is an extremely effective solution to the problem and the basis of a screenplay that could turn a new Flash Gordon movie into a box office bonanza approaching <i>Spider-Man</i>. I say this because Flash Gordon is one of the few huge comic book icons that has not been made into a theatrical film since the advent of new special effects technology.
But at this point I can only remain a player on the sidelines. I have to accept the situation as Stephen candidly revealed it to me. I don't know if he even continues to pursue the project or not. Nor do I know if Universal is actively interested in pursuing it.