Alejandro Jodorowsky is a Chilean-French film director and comics creator. He was responsible for a number of very bizarre Surrealist films, such as Holy Mountain, one of which features a battle between the Incas and invading conquistadors as enacted by frogs in period costumes. In the 1970s he tried to make a film version of Frank Herbert’s classic Dune, which would have starred Orson Welles as Baron Vladimir Harkonnen, his son, Brontis, as Paul Atreides, and Mick Jagger as Feyd Rautha. Concept art was by H.R. Giger, Salvador Dali, Chris Foss and legendary French comics artist, Jean ‘Moebius’ Giraud. Dali would also have played the Emperor of the Universe. However, the great Surrealist stipulated that he would only act for half an hour. So Jodorowsky planned to make a robotic Dali to play the Emperor for the rest of the film. The film was, however, abandoned when the producers stopped funding due to mounting costs. Jodorowsky and Moebius weren’t dismayed, and used the material they had already produced for the film as the basis for their comic book, The Incal. Although it was never made, Jodorowsky’s Dune has influenced a number of later SF movies and a film version of The Incal is now underway.
In this video, hosts Ed Piskor and Jim Rugg look through Panic Fables, produced when Jodorowsky was living in Mexico. Jodorowsky had been teaching mime at university, but was now blacklisted. He could no longer teach or make films. He therefore turned his creative talents into comics. Panic Fables describe themselves as teaching initiatory wisdom. This doesn’t surprise me, as I go the impression that Jodorowsky has a very strong interest in esoteric mysticism. However, this doesn’t impress one of the Kayfabers. He’s from Pittsburgh, and so when someone talks about mystic knowledge, it seems to him to be all about separating the rich from their money. The pair are nevertheless impressed by Jodorowsky’s creativity, commenting on his drawing style and unique use of colour in the strips. They also wonder what American influences may have reached Jodorowsky from north of the border, as it was published at the same time the first underground comics were beginning in America, and both Jodorowsky’s work and the undergrounds mark a radical departure from contemporary comics.
Panic Fables are obscure much less well-known than Jodorowsky’s films or his comics with Moebius, The Incal and then The Metabarons. But the video about them give an insight into his considerable creativity during this period, when the Mexican authorities were trying to close him down.
Yesterday I put up a video from Quinn’s Ideas discussing the filming of the French SF comic The Incal by New Zealand director Taika Waititi. The comic was created by the Chilean-French surrealist film director, Alejandro Jodorowsky and French comics legend Jean ‘Moebius’ Giraud. I found this video on YouTube by Humanoids Inc. in which Jodorowsky and Waititi talk about the movie. I think Humanoids Inc. must be the current legal title of Les Humanoides Associes, which was the name adopted by the group of French comics creators behind the influential SF comic Metal Hurlant of which Jodorowsky and Moebius were a part.
The video begins with an extract from Frank Pavich’s 2013 documentary, Jodoroswky’s Dune in which Jodorowsky explains that after the failure of his attempt to film Frank Herbert’s Dune, he took his material and put into the Incal, which became his Dune. It moves to the present day, where Jodorowsky says that if he was forty, he’d be angry and depressed that someone else was filming The Incal, because he’d feel that it had been taken away from him. But as he’s 92, he can’t – physically can’t – do it himself. Jododrowsky nevertheless seems to have confidence in Waititi, but declares that the film director is God. He controls everything in a movie. And he’s not interested in directors who are only concerned with making money, but with those who want to change the world. Well, this was his attitude when he set about filming Dune in the 1970s. He says in Pavich’s documentary that he wanted to make a movie like the coming of a god. The video then moves on Waititi, who says that he always finds something new in The Incal when reading and re-reading it. He was attracted to the book because it deals with fundamental questions about who we are and what we’re all looking for, and he likes the idea that the hero bumbles about, not really knowing what he’s doing. He compares him to Jack Nicholson’s character in Chinatown, who similarly doesn’t really know what he’s doing and has a clownish appearance due to the plaster across his nose. The Incal’s hero is also bumbler but at the same time the most important man in the universe.
Jodorowsky’s Dune is one of the great unmade films. The ideas and concept art developed for the movie not only produced Jodorowsy’s series of Incal books, but also his The Metabarons. They also influenced later films like Star Wars and Luc Besson’s The Fifth Element. This could be a great, stylish but weird film, given Jodorowsky’s roots in surrealism and the source material. It’ll be interesting to see how it all turns out.
Here’s another piece of fascinating SF news from Quinn’s Ideas on YouTube. Apparently the New Zealand director, Taika Waititi is adapting Alejandro Jodorowsky’s SF comic/ graphic novel, The Incal. Jodorowsky’s a Chilean-French surrealist film maker and comics writer, among whose bizarre cinematics works is The Holy Mountain. I can’t remember if it’s that film or one of his others that contains a battle between Conquistadors and Incas played by frogs in period costumes. Jodorowsky tried to make a version of Dune in the early ’70s. This would have starred his son, Brontis, as Paul Atreides, Orson Welles as Baron Vladimir Harkonnen and Mick Jagger as Feyd Rautha. The concept artists included Salvador Dali, H.R. Giger and Chris Foss. The film was never due to the producers pulling the funding as costs escalated. However, as Quinn explains, Jodorowsky used some of the material and ideas he had developed for the movie and, with French comics maestro Jean ‘Moebius’ Giraud, turned it into The Incal.
There are three books in the series, Before the Incal, The Incal and Final Incal.The Incal was the first published with art by Moebius, who did not draw the other three books although the art is still good. Jodorowsky’s Dune, although never made, nevertheless inspired a series of other movies including Star Wars and Luc Besson’s The FifthElement. The books follow the adventures of John De Fool, whose name is quite intentional and who is a fool figure while simultaneously being the most important person in the universe. The book’s are about his quest to obtain the Incal of the title, the most valuable object in the universe. Quinn wonders if the character of Fry from Futurama may also have been inspired by him. Futurama’s artwork is similar and Fry is also a fool. Quinn states that The Incal is very strange and not for everyone. In addition to it, Jodorowsky also created the Metabarons comics, which contains rather more of his Dune material. Quinn states that he knows Waititi best from his comedy films. One of these was the vampire comedy, What We Do In The Shadows. He therefore wonders how he’ll get on with the more serious material in The Incal, although this also has elements of comedy. Quinn also makes the point that it’s a great time for SF film and television, with Dune in the cinemas, Asimov’s Foundation on Apple TV and the news that Dan Simmons’ Hyperion is also being adapted.
This is interesting news, though I do wonder just how similar The Incal and the Metabarons are to Frank Herbert’s novel. I suspect that while they were inspired by Dune they’re actually very different. From what I understand of Jodorowsky movie, it would have been significantly different from Herbert’s book. And while I hope that this goes ahead, I also wonder how successful the film will be amongst anglophone audiences. Moebius and The Incal are well-known amongst comics fandom. BBC 4 screened a documentary about the great French comics artist a few years ago and I remember how, way back in the 1990s, his international cache was so strong, Marvel persuaded him to draw the Silver Surfer strip for them. However there is the problem of whether audiences outside France will be familiar enough with the comics to want to see the film. The film Valerian and the City of a Thousand Planets was based on the long-running French SF strip, Valerian. This was a flop, and it has been suggested that one of the reasons it did was that international audiences simply weren’t familiar enough with the French strip to be interested. I’m not sure how true that is, as I think the film should still have been able to draw in audiences on its own merits even if most people didn’t know about the source comic. The Incal, however, might be in a better position in this regard as I think more SF fans across the world have heard about Jodorowsky and Moebius. Jodoroswky is involved with the film in any case, and so it should be very interesting to see how Waititi translates it to the big screen.
Alejandro Jodorowski’s Dune is one of the great, unmade films. Jodorowski himself is a Chilean-French film director and comics writer. A Surrealist, he made a series of very bizarre films, such as the western El Topo. In the early ’70s he set about making a film version of Frank Herbert’s classic SF novel, Dune, despite never having read it. This would have starred Mick Jagger as Feyd Rautha, Orson Welles as Baron Vladimir Harkonnen and the great, bonkers Surrealist artist Salvador Dali as the Emperor of the Known Universe. Equally impressive were the artists he hired to produce the concept art and designs for the spaceships and other vehicles and settings for the film. These included H.R. Giger, the creator of the infamous Alien, French comics artist Jean ‘Moebius’ Giraud, and Chris Fosse, the force behind a thousand SF paperback covers. The film was never made, as the producers cut its funding at the last moment. However, the work on the movie was never wasted, as Jodorowski and Moebius used it as the basis for their comic The Incal and The Metabarons. It has also been immensely influential on later SF movies, including Ridley Scott’s ’80s classic, Bladerunner.
These two videos have been made and put up on YouTube by Monochrome Paris, a group that wishes to recreate in CGI Jodorowski’s aborted film. They have so far managed to recreate Duke Leto Atreides’ car, which was designed by Fosse, and Baron Harkonnen’s castle, which was the suitably horrific work of Giger.
I think the two videos are great, and it would be really superb if they were able to recreate the entire movie in CGI. Unfortunately the videos are from 2019 and so I don’t think their proposed movie will ever be made. It would still be good if they were able to produce more videos of some of the other designs for the movie, such as the space tugs towing the containers of spice through space, a space pirate ship and the Harkonnen’s own spaceship, which were all designed by Chris Fosse. They’re included along with his other art, included concept designs for Bladerunner, Alien and Superman 2 in the book 21st Century Fosse.
And now, as Monty Python once said, for something completely different. At least from politics. I found these two videos from the artist Xelasoma on YouTube, in which he discusses six masters of fantasy art and how they have influenced him. They are Roger Dean, Patrick Woodroffe, and Rodney Matthews in video 1, and Jean ‘Moebius’ Giraud, Philippe Druillet and Ian Miller in video 2.
Roger Dean will be remembered by fans of ’70’s prog rock for his amazing album covers for the bands Yes and Asia. Woodroffe and Matthews are also artists, who’ve produced record covers as well as book illustrations. Moebius and Druillet are two of the geniuses in modern French SF comics. Moebius was one of the ‘Humanoides Associes’ behind the French SF comic, Metal Hurlant. Among his numerous other works was Arzach, a comic, whose hero flew across a strange fantastic landscape atop a strange, pterodactyl creature. As Xelasoma himself points out here, it’s a completely visual strip. There’s no language at all. It was also Moebius who designed the spacesuits for Ridley Scott’s classic Alien. Xelasoma describes how, after he left art school, Moebius spent some time in Mexico with a relative. This was his mother, who’d married a Mexican, and the empty, desert landscape south of the border is a clear influence on the alien environments he drew in his strips. Xelasoma also considers him a master of perspective for the way he frequent draws scenes as viewed looking down from above. And one of the pictures illustrating this is of a figure in an alien planet looking down a cliff at a sculpture of rock legend Jimi Hendricks carved into the opposite cliff face. Druillet, Xelasoma feels, is somewhat like Moebius, but with a harder edge, drawing vast, aggressive machines and armies of fierce alien warriors. He’s also known for his soaring cityscapes of vast tower blocks reaching far up into the sky, which also influenced Ridley Scott’s portrayal of the Los Angeles of 2019 in Blade Runner. The last artist featured, Ian Miller, first encountered in the pages of the British Role-Playing Game magazine, Warhammer. His style is much more angular, deeply hatched and very detailed. Fans of H.P. Lovecraft will recognize several of the pictures Xelasoma chooses to represent his work as depictions of some of the weird, sinister gods from the Cthulhu mythos. They include not only Cthulhu himself, but also of the half-human, amphibious, batrachian inhabitants of the decaying port in the short story, The shadow Out of Innsmouth.
What Xelasoma admires about all these artists is that they don’t follow the conventions of modern western art established by the ancient Greeks and Romans and the Renaissance. They alter and distort the human form and that of other objects and creatures. He describes Dean’s landscapes as organic. Patrick Woodroffe and Matthews also create strange, alien creatures and landscapes, and with the creatures Matthews depicts also very different from standard human anatomy. Many of the creatures, machines and spaceships in Matthews’ art are based on insects, and appropriately enough one of the bands whose cover he painted was Tiger Moth. This featured two insects dancing on a leaf. Another picture, The Hop, shows an insect band playing while other bugs trip the light fantastic in the grass, surrounded by items like used cigarettes. His humanoid figures are tall, stick thin, with long, thin, angular faces and immense, slanted eyes. Xelasoma admires the way Matthews can take a train or a deer, and turn them in something uniquely his, as he shows here. He states that he first encountered Dean’s and Woodroffe’s art in the art books his mother had, such as Woodroffe’s Mythopoiekon. He also identifies somewhat with Woodroffe, as neither of them studied at art school. Woodroffe was a French teacher, while for Xelasoma art was far too personal for him to submit to formal training.
Xelasoma points out that these artists were creating their unique visions before the advent of computers using the traditional artist materials of paint and brush, and before courses in SF, Fantasy and concept art were taught at colleges and universities. Nevertheless, he finds their work far more interesting and inspiring than modern SF and Fantasy art, which may be more anatomically accurate, but which, too him, seems very ‘samey’. He complains that it doesn’t make him hallucinate, which the above artists do. Well, I hope he doesn’t mean that literally, as that could be very worrying. But I know what he means in that Dean, Woodroffe, Matthews, Moebius, Druillet and Miller create strange, fantastic worlds that have a striking intensity to them. They seem to be complete worlds, either in the far past or future, or parallel realities altogether, but with their own internal logic drawing you into them.
Discussing their influence on him, he is critical of artists that simply copy the work of others, changing a few details but otherwise keeping to and appropriating the other artists’ own unique visions, some times trying to justify this by saying that their work is a ‘hommage’ to the others. Xelasoma is well aware that his own work is very different to the artists he talks about here, and that many of his viewers won’t be able to see their influence. But he goes on to describe how they have influenced him at the general level of form or composition, while he himself has been careful to develop his own unique style.
Dean, Woodroffe and Matthews have produced books of their work, published by Paper Tiger. Matthews and Miller also have their own websites, for those wishing to see more of their work. Moebius passed away a couple of years ago, but was the subject of a BBC4 documentary. There’s also a documentary about Roger Dean on YouTube, presented by that grumpy old Yes keyboardist, Rick Wakeman. Xelasoma believes in their fantastic depictions of landscapes and animal and human forms makes them as important and worth inclusion in museums and galleries as Graeco-Roman and Renaissance art. I wouldn’t go that far, but I would maintain that in their way, they are far more significant than many contemporary artists that have been promoted as ‘official’ art. Xelasoma’s documentary really shows only a few pieces from these artists’ works, and the bulk of these videos are about the particular impact they have on him. But nevertheless it’s a good introduction to their work, and explanation why they should be taken seriously as artists beyond their origins in popular culture.
Yesterday I put up a piece I found on YouTube about the influence French Science Fiction comics had on Star Wars. This short video by the same poster, Abstract Looper, explores the profound influence the artists of the French adult SF comic, Metal Hurlant, known to the Anglophone world as Heavy Metal, has had on modern Science Fiction cinema. Metal Hurlant was founded in 1974 by Les Humanoides Associees Jean ‘Moebius’ Giraud, Dionnet and Philippe Druillet. The video shows the striking visual similarities between scenes and designs in the comic’s various strips, and the films Mad Max, Alien, Blade Runner, Nausicaa – Valley of the Wind, Avatar, the original 70s Battlestar Galactica TV series, Hellboy, Prometheus and the Matrix. There’s a clip of Ridley Scott saying that when he made Alien, he was influenced by the visual material produced by Moebius and the French magazine. Guillermo del Toro also confessed that he was influenced by Richard Corben, another of the magazine’s artists. Terry Gilliam also states that the magazine was an influence on him. As does James Cameron. Rutgar Hauer, who played Roy Batty in Blade Runner also appears, telling how the producers visualised the future as already old. In fact, the producers of Blade Runner based their vision of Los Angeles on the towering cityscapes of Philippe Druillet. As well as Druillet, Dionnet, Corben and Moebius, another of the comic’s creators, the Franco-Yugoslavian artist Enki Bilal, was also influential. Also making the point are the similarities between the comics’ art and the concept drawings produced for the Alien and Matrix movies.
You could also add the Judge Dredd movies to this list as well. 2000 AD’s creator, Pat Mills, hates superhero comics. When he launched the Galaxy’s Greatest Comic way back in the 1970s, he was influenced by the French SF comics. Which naturally includes Metal Hurlant. Judge Dredd’s look was created by Carlos Ezquerra, a Spanish artist living in London, who has an artistic style very similar to Moebius.
As an aside, I was also pleased that the interview with Ridley Scott also had Russian subtitles. This shows how much the world has changed since I was at school. This was the years of the new Cold War, created by Thatcher and Reagan, when there were real fears of nuclear Armageddon. I felt profoundly optimistic when the Berlin Wall fell, along with Communism. There seemed at last a real possibility of a genuine, lasting peace between eastern and western Europe. I believe very strongly that it has been a massive improvement in world affairs that the peoples of the former eastern bloc can come to Britain to live, work and raise families.
And I am appalled and angry that Trump and the Democrats are pushing a new Cold War with Putin, and thus endangering the world all over again.
Warning: Heavy Metal was an ‘adult’ comic, which means that there’s some cartoon nudity. This was the magazine that was filmed as The Heavy Metal Movie, and which became notorious for the female nudity of the ‘Taarna’ sequence, which in turn inspired the episode ‘Major B***age’ in South Park. This may have changed, however. In an interview in the comics press a few years ago, its British editor stated that the magazine was dropping the nudity, because it was irrelevant given the amount of real nudity on the Web. He promised that the magazine would still be sexy, however.
This is another fascinating video about French SF comics and the influence they may have had on George Lucas’ Star Wars. In his description for the video, the post, Abstract Loop, writes
Beginning in the late 1960s and early 1970s, French comics artists revolutionized their medium and created groundbreaking works of science fiction. Artists like Jean-Claude Mézières, Philippe Druillet, and Jean Giraud, aka Moebius, had a significant, if rarely recognized, influence on many Hollywood films. Star Wars is one of the most prominent examples.
“There are quite a few illustrators in the science-fiction and science-fantasy modes I like very much. I like them because their designs and imaginations are so vivid […] Druillet and Moebius are quite sophisticated in their style.”
– George Lucas, 1979
Unless noted otherwise, all art in this video is taken from the following comics and comics series:
Jean-Claude Mézières & Pierre Christin: „Valérian and Laureline“ („Valérian et Laureline“)
Jean-Claude Mézières: „Les baroudeurs de l’espace“
Moebius & Dan O‘Bannon: „The Long Tomorrow“
Moebius & Alejandro Jodorowsky: „The Incal“ („L’Incal“)
Moebius: „Le Bandard fou“
Moebius: „The Airtight Garage“ („Le Garage hermétique“)
Philippe Druillet & Jacques Lob: „Delirius“
Philippe Druillet: „The 6 Voyages of Lone Sloane“ („Les 6 Voyages de Lone Sloane“)
Philippe Druillet: „Salammbô“
Philippe Druillet: „La Nuit“
Film stills: „The Empire Strikes Back“, „The Return of the Jedi“ & „Star Wars: Droids“
Concept art and storyboard panel by Joe Johnston
Certainly the artists mentioned have had an impact on Science Fiction cinema. Scott used Philippe Druillet’s depictions of soaring futuristic sky-scraper cities as the basis for the Los Angeles of Blade Runner, and Moebius certainly was a profound influence on the style of Luc Besson’s The Fifth Element. From this video I’m not sure how much influence French comics had on Star Wars. Some of the pieces shown are very similar, others less so, and some of the similarity between Star Wars and the comics could simply be due to coincidence between two similar scenes that were produced entirely independently. Nevertheless, the video does how the power and individuality of the vision of the future produced by the great French SF artists in their comics.
Chris Foss is one of the great masters of British SF art. Apart from painting numerous book covers, he also worked as the concept artist for Alien, Superman, and the version of Dune that was being made by the Franco-Chilean surrealist, Alejandro Jodorowsky. Sadly, his work for Alien and Dune was never seen. Ridley Scott rejected his depictions of the ‘Nostromo’ for alien, as he thought it was far too interesting and would distract the audience from the main action. And despite extensive preparation, Jodorowsky’s Dune was never made. The studio pulled the plug at the last minute. It wasn’t a wasted effort, however, as the work Jodorowsky and the French comic artist, Moebius, had put into Dune was used by them as the basis for the comic book series, the Metabarons.
A documentary came out a few years ago about the making of Jodorowsky’s Dune. Jodorowsky states that he wanted it to blow the audience’s mind. It was to have the effect of taking LSD, but without actually using the drug. Certainly the concept art looks truly awesome. Apart from Foss and Moebius, Jodorowsky also employed as concept artist H.R. Giger, the creator of the ‘Alien’. Giger produced various designs for Vladimir Harkonnen’s cast, and for a train, very much in his distinctively nightmarish style. Among the actors lined up for the film were Orson Welles as Vladimir Harkonnen and Mick Jagger as Feyd Rautha. Jodorowsky’s son, Brontes, was to play Paul Atreides. And the Emperor of the Galaxy would be played by the great surrealist egotist himself, Salvador Dali. But only for half an hour. So Jodorowsky and his team intended to fill in the rest of the time, that have been occupied by Dali, by using a robotic version of him. It’s a pity that the film was not made, as with those artists and performers, it truly would have been a genuinely mind-blowing experience.
In this clip, Foss talks about how wonderful it was working with Moebius and Giger, but says that he enjoyed it because what he was doing did not interfere with them, and their work did not interfere with his own. Looking on YouTube a few years ago, I found that Foss had put up a series of short videos about himself and his work, so if you’re interested, try looking to see if they’re still there.
I found this extremely cool concept painting of a Dune sandworm by H.-R. Giger over at the 70s Scifi Art tumblr page.
Giger, who died last year, is best known for his work on Ridley Scott’s Alien, and for designing the creature, ‘Sil’, for Species. He was, however, one of the concept artist, along with Chris Foss and Jean ‘Moebius’ Giraud, who worked on the designs for Alejandro Jodorowsky’s film version of Dune in the 1970s. That never got made, as the film’s backers dropped it at the last minute. Jodorowsky himself and his co-workers have said it’s because, in Hollywood the producers want to be far more involved than simply just putting up the money for the film. They backed out simply because they didn’t know who Jodorowsky was, or quite understand what he was doing.
The other reason was probably the sheer cost of the film itself. Jodorowsky himself has said that he hired Salvador Dali the play the Galactic Emperor (!). Dali demanded a million dollars, and stated that he would only play the Emperor for half an hour. Astonishingly, Jodorowsky agreed, and the contract was duly signed. Standing in for Dali in the rest of the movie would be a robot.
Giger’s own designs for Dune have been published, and are on-line, as are Foss’. His plans for the Baron’s spacecraft, the Galactic Emperor and his palace, and for spice freighters and attacking pirate ships have been published in the album of his work, 21st Century Foss, by Paper Tiger.
After Jodorowsky’s version collapsed, Ridley Scott was hired about a decade or so later to make the 1980’s version. It’s for his, later version of the film that Giger made the above design for the worm. Unfortunately, Scott’s brother died, causing him to abandon the project. As a result, it was then passed on to David Lynch.
Lynch’s film has been critically panned, and the received opinion of it is negative. It’s widely held to be a notoriously bad movie. I have to say that I like it, and I think it’s actually a good film. It’s main problem is that it tries to compress Herbert’s lengthy and complex novel into a single movie. It really needs to be split into about three, as the Dune 2000 miniseries did, and Peter Jackson with The Lord of the Rings and The Hobbit. Even as it is, I think Lynch’s version still holds up and is massively underappreciated.
As for Scott, he went on to make Bladerunner, which is now justly recognised as one of the great SF film classics. And despite the failure of Jodorowsky’s film version, Jodorowsky and Moebius managed to use the material they had produced for it in their SF comics. The film’s look and concept designs are even credited with influencing later, successful SF movies like Bladerunner and Alien.
Two years ago a documentary on the making of Jodorowsky’s Dune came out. I’ve looked for it on the shelves in HMV and elsewhere, but I’m afraid I haven’t been able to find it this side of the Atlantic on DVD. It is, however, on the net.
Here’s the trailer:
jodorowsky states that he wanted to produce the effect of taking LSD without having people take the drug. Looking at the designs created for the movie by Giger, Moebius and Foss, and Jodorowsky’s own, unique take on the material, it would have been an awesome and truly mind-blowing experience.
Which is what good SF does. C.S. Lewis, the fantasy novelist and Christian apologist, was a strong fan of Science Fiction at a time when it was regarded, in the words of Brian Aldiss, as ‘worse than pornography’ by the literary elite. He wrote three SF books himself, strongly informed by his own Christian convictions: Out of the Silent Planet, Perelandra/ Voyage to Venus and That Hideous Strength. He declared that ‘Science Fiction is the only true mind-expanding drug’.
He’s absolutely right, and it’s a tragedy that too many people have got ensnared by chemicals, rather than picking up a good paperback.
This trailer was made as a project by Pascal Blais. It’s a trailer for a movie for a film version of Moebius’ and Jodorowsky’s comic strip, The Incal, using excerpts from the Heavy Metal movie, specifically the ‘Arzach’ and ‘Long Tomorrow’ sequences. The movie itself doesn’t exist, and this appears to be pretty much a fan project. Nevertheless, it’s fun and gives a good indication of Moebius’ storytelling and visual style.
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