The most important work of 2015 begins here with the long-awaited arrival of Alan Moore’s breathtaking epic PROVIDENCE with his artistic partner Jacen Burrows.
In his most carefully considered work in decades, Moore deconstructs
There are layers & layers of interconnection, which is one of the themes of the book / film and there is no shortage of this complexity in all the background drama & the characters, who are as engrossing as the art.
I have a theory, which has not let me down so far, that there is an inverse relationship between imagination and money. Because the more money and technology that is available to [create] a work, the less imagination there will be in it. My favorite films are those that were made on a shoestring. And they weren't adaptations of some other work, they were original pieces of cinema. All right, [Cocteau's] "La Belle Et La Bête" is an adaptation of "Beauty and the Beast" — but it was made into something very different. And I mean, John Waters, his early films, they're terrific! Because he was making them with some friends of his from Baltimore, with whatever cheap film stock he could borrow or steal. George Romero, in "Dawn of the Dead," "Day of the Dead," all the rest of them, he ingeniously used the fact that he had almost no budget to his advantage — claustrophobic sets, everyone's trapped in the cellar and the zombies are trying to dig their way in. Very inexpensive, incredibly powerful. That is where cinema really works for me.
Moore goes on to say exactly some of what I have in mind for my treatise on the difference between the movie & the film:
It's a thwarted and frustrated and perhaps largely impotent American liberal fantasy of someone with American liberal values [standing up] against a state run by neo-conservatives — which is not what "V for Vendetta" was about. It was about fascism, it was about anarchy, it was about [England].