Would you believe Robert Rodriguez & Frank Miller’s SIN CITY had its twentieth anniversary last month? I mean yes it kinda seems like a long time ago, but 20 years ago? That’s a bunch of years. I’m against it.
(Here’s my review from the time.)
Let’s consider how times were different. Rodriguez was well into his career, having just completed his EL MARIACHI trilogy, with FROM DUSK TILL DAWN, THE FACULTY and three SPY KIDS movies snuggled in between them. He was still in his digital photography evangelist period, ONCE UPON A TIME IN MEXICO having convinced him of how a movie like this could be made affordably at his Troublemaker Studios in Austin. Miramax (before being cancelled) were still surprisingly cool about letting Rodriguez (like Quentin Tarantino) do the type of movies they wanted without much interference. The Ain’t It Cool News (also before being cancelled) were still a player with their breathless reports from Hall H presentations and also sometimes some reviews.
Harry and Moriarty were (it seems to me) the loudest voices promoting the idea of “geek culture” and the potential for great comic book movies if they were made by people who really loved the source material and were faithful to it. Possibly even made for adults.
SIN CITY is the movie that took that idea the most literally. Rodriguez wanted not only Miller’s permission to adapt his interconnected anthology series of noir-inspired crime comics – he wanted him to co-direct it with him. The legendary cartoonist was skeptical, but Rodriguez got him to come shoot a test scene – the opening starring Josh Hartnett (HALLOWEEN H20) as a dreamy stranger who woos a heartbroken woman on the balcony at a party (Mary Shelton, WARRIORS OF VIRTUE) but turns out to be hired to kill her. Miller was hooked and they had footage to show other actors what it would look like. When all was said and done the DGA would only allow one of them to be credited since they weren’t an established team (huh?), so Rodriguez resigned from the guild. (read the rest of this shit…)
Would you believe Robert Rodriguez & Frank Miller’s SIN CITY had its twentieth anniversary last month? I mean yes it kinda seems like a long time ago, but 20 years ago? That’s a bunch of years. I’m against it.
(Here’s my review from the time.)
Let’s consider how times were different. Rodriguez was well into his career, having just completed his EL MARIACHI trilogy, with FROM DUSK TILL DAWN, THE FACULTY and three SPY KIDS movies snuggled in between them. He was still in his digital photography evangelist period, ONCE UPON A TIME IN MEXICO having convinced him of how a movie like this could be made affordably at his Troublemaker Studios in Austin. Miramax (before being cancelled) were still surprisingly cool about letting Rodriguez (like Quentin Tarantino) do the type of movies they wanted without much interference. The Ain’t It Cool News (also before being cancelled) were still a player with their breathless reports from Hall H presentations and also sometimes some reviews.
Harry and Moriarty were (it seems to me) the loudest voices promoting the idea of “geek culture” and the potential for great comic book movies if they were made by people who really loved the source material and were faithful to it. Possibly even made for adults.
SIN CITY is the movie that took that idea the most literally. Rodriguez wanted not only Miller’s permission to adapt his interconnected anthology series of noir-inspired crime comics – he wanted him to co-direct it with him. The legendary cartoonist was skeptical, but Rodriguez got him to come shoot a test scene – the opening starring Josh Hartnett (HALLOWEEN H20) as a dreamy stranger who woos a heartbroken woman on the balcony at a party (Mary Shelton, WARRIORS OF VIRTUE) but turns out to be hired to kill her. Miller was hooked and they had footage to show other actors what it would look like. When all was said and done the DGA would only allow one of them to be credited since they weren’t an established team (huh?), so Rodriguez resigned from the guild. (read the rest of this shit…)
The day after I saw 
