spacetime coordinates: 2010’s North-East Greenland
Legion is an American cable television series created for FX by Noah Hawley, based on the Marvel Comics character David Haller / Legion. It is connected to the X-Men film series, the first television series to be so, and is produced by FX Productions in association with Marvel Television. Hawley serves as showrunner on the series.
as a director Hawley wanted the series to be highly stylized, describing his vision for it as “a 1964 Terence Stamp movie”. It was not feasible to literally translate Bill Sienkiewicz‘s iconic artwork of the character to the screen, and Hawley wanted the series to have “its own visual aesthetic to it, and part of that is being a story kind of out of time and out of place”. He stated that “the design of a show has to have its own internal logic”, and compared this sensibility to the series Hannibal, which he said was “a great example of something that had this almost fetishistic beauty to everything that you saw, whether it was food or violence.” Hawley elaborated that the design choice of 60s British films came about because “this whole show is not the world, it’s David’s experience of the world. He’s piecing his world together from nostalgia and memory and the world becomes that.”
At New York Comic-Con 2016, Donner said that the series is “far from the X-Men movies, but still lives in that universe. The only way for X-Men to keep moving forward is to be original and to surprise. And this is a surprise. It is very, very different.” Hawley explained that because the series is depicting the title character’s “subjective reality”, it would not have to address any connections to the films straight away, at first “had to stand on its own feet” before exploring those connections more; He did state that “you can’t tell this story without” acknowledging that Legion is the son of Charles Xavier, who appears in the films. (read more – s
saturday, august 28th 1931 paris, 11 p.m.
sunday, august 28th 1932 new york, 9 p.m.
monday, august 28th 1939 new york, 10 p.m.
wednesday, august 28th 1940 new york, 10 p.m.
friday, august 28th 1942 new haven, 8 p.m.
thursday, august 28th 1952 new york, 6 a.m.
tuesday, august 28th 1956 new york, 9 a.m.
wednesday, august 28th 1957 pacific palisades, 6 p.m.
friday, august 28th 1959 cape cod, 11 a.m.
monday, august 28th 1961 cape cod, 7 a.m.
wednesday, august 28th 1963 albany, 7 p.m.
thursday, august 28th 1963 albany, 9 a.m.
Faithfully reproducing 13 of Edward Hopper‘s tableaux three-dimensionally on set, the basis of the film is the story of an independent and opinionated New York actress (Stephanie Cumming) whose life we follow through three turbulent decades of American history, from 1931’s Great Depression to the Riots of 1963.
“Unconsciously, probably, I was painting the loneliness of a large city,” Edward Hopper once remarked of his masterpiece Nighthawks, the famous scene depicting a downtown diner late at night. In fact, many pieces in Hopper’s oeuvre, a sun-drenched yet grimly nostalgic memento of midcentury modern America, depict solitary figures engaged in an act of reflection. Whether we see them deep in thought in the morning sun or swallowing whisky at a bar after dark, Hopper’s paintings conjure a sense of curiosity for his subjects’ past – and indeed, Vienna-born director Gustav Deutsch was so inspired by this aura of mystery that he decided to create Shirley: Visions of Reality, an exquisite example of interdisciplinary cinema based on the imagery in Hopper’s paintings.
read more: www.anothermag.com