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Watch: the trailer for Alan Moore’s “Jimmy’s End"

What the only film approved by the godfather of graphic novels will look like.

The trailer for Alan Moore’s forthcoming film Jimmy’s End has been released by the Guardian. The two-part collaborative endeavour (he’s writing, photographer Mitch Jenkins is directing) was announced by The Creators Project in June. Act of Faith, an eerie eighteen minute prelude to the “noir-flecked” film, can be viewed online here.

In a wordless ninety seconds awash with macabre visuals (think sumptuous drapery, be-corseted harlequins and lots of heavy makeup), Jimmy’s End sets the tone for a continuation of the “unfamiliar atmospheres, precarious entertainments, and insidious detail” introduced in Act of Faith.

Have a look:

This is Moore’s first screenwriting project, a cinematic foray made all the mo(o)re interesting by his outspoken critique of any and every film ever made from his comics. Many adaptations of his sequential art endeavours (including Watchmen, V for Vendetta, From Hell and The League of Extraordinary Gentlemen) have made it to the screen, and Moore has famously denouncement them all. Following a plagiarism lawsuit put forth by a Hollywood producer after the film version of The League of Extraordinary Gentlemen in 2003, the author declared henceforth that any film based on his work must drop his name and give Moore’s payout to the comic’s artists.

Of the 2005 V for Vendetta film, he said: “The screenplay was nothing to do with the story that I wrote. My story was hijacked into something that it was never meant to be discussing. That put me through a year of ranting, ferocious, black anger. “

And of 2009’s Watchmen: “Sounds like more regurgitated worms. I for one am sick of worms. I can tell you that I will also be spitting venom all over it for months to come.”

He’s even questioned the viability of comics as films in general and has called the modern comics industry a “pumpkin patch” for “growing franchises that might be profitable for the ailing movie industry”. He told Time Out in 2009:  

I wanted to give comics a special place when I was writing things like Watchmen. I wanted to show off just what the possibilities of the comic book medium were. And films are completely different. This assumption that if something works in one medium it will work as well or better in another, I've got no idea where that comes from.

Such biting antics are not wholly without a sense of irony – Moore once told Stewart Lee that turning down hefty royalty payments on the basis of pride has been difficult, and if there was a God punishing him for his hubris “at least he’s got a sense of humour”.

Click here to revisit Helen Lewis' excellent Q&A with Moore last year.


(Screen grab from Act of Faith. PHOTO: Mitch Jenkins and Alan Moore)

(Screen grab from Act of Faith. PHOTO: Mitch Jenkins and Alan Moore)

(Miss Khandie Kisses on the set of Jimmy’s End. PHOTO: Mitch Jenkins and Alan Moore)

(Mitch and Alan on the set of Jimmy's End. PHOTO: Mitch Jenkins and Alan Moore)

All photographs taken from Mitch Jenkins' behind the scenes blog.

Jimmy’s End is due to be released 25th November.


Charlotte Simmonds is a writer and blogger living in London. She was formerly an editorial assistant at the New Statesman. You can follow her on Twitter @thesmallgalleon.

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For the last time, please, bring back the plate

The slight lip around the edge is no mere bourgeois affectation; it keeps the food contained in its proper place.

The much-vaunted tech revolution is not without its casualties, as I discovered first hand last weekend. The album format, creative boredom and now my favourite skirt: all collateral damage in the vicious battle for our waning attention span.

The last met its end in a pub, when it found itself on the wrong side of a slate slab full of Sunday roast. Once gravy got involved, things turned pretty ugly; and when reinforcements arrived in the form of a red-hot jar of plum crumble, I abandoned all hope of making it out with my dignity intact and began pondering the best way of getting a dry-cleaning bill to Tim Berners-Lee.

I lay the blame for such crimes against food entirely at the feet of the internet. Serving calamari in a wooden clog, or floury baps in a flat cap, is guaranteed to make people whip out their cameraphones to give the restaurant a free plug online.

Sadly for the establishments involved, these diners are increasingly likely to be sending their artistic endeavours to We Want Plates, a campaign group dedicated to giving offenders the kind of publicity they’re probably not seeking. (Highlights from the wall of shame on the campaign’s website include a dog’s bowl of sausage, beans and chips, pork medallions in a miniature urinal, and an amuse-bouche perched on top of an animal skull – “Good luck putting those in the dishwasher”.) Such madness is enough to make you nostalgic for an era when western tableware was so uniform that it moved an astonished Japanese visitor to compose the haiku: “A European meal/Every blessed plate and dish/Is round.”

The ordinary plate has its limitations, naturally: as every Briton knows, fish and chips tastes better when eaten from greasy paper, while a bit of novelty can tickle even the jaded palate at the end of a meal. Watching Jesse Dunford Wood create dessert on the tabletop at his restaurant Parlour is definitely the most fun I’ve ever had with an arctic roll (there’s a great video on YouTube, complete with Pulp Fiction soundtrack).

Yet the humble plate endures by simple dint of sheer practicality. The slight lip around the edge is no mere bourgeois affectation; it keeps the food contained in its proper place, rather than slipping on to the tablecloth, while the flat centre is an ideal surface for cutting – as anyone who has ever tackled sausages and mash in an old army mess tin (“perfect for authentic food presentation”, according to one manufacturer) will attest.

Given these facts, I hope Tom Aikens has invested in good napkins for his latest venture, Pots Pans and Boards in Dubai. According to a local newspaper, “Aikens’s Dubai concept is all in the name”: in other words, everything on the menu will be presented on a pot, pan or board. So the youngest British chef ever to be awarded two Michelin stars is now serving up salade niçoise in an enamel pie dish rightly intended for steak and kidney.

Truly, these are the last days of Rome – except that those civilised Romans would never have dreamed of eating oysters from a rock, or putting peas in an old flowerpot. Indeed, the ancient concept of the stale bread trencher – to be given to the poor, or thrown to the dogs after use – seems positively sophisticated in comparison, although I can’t help seeing the widespread adoption of the modern plate in the 17th century as a great leap forward for mankind, on a par with the internal combustion engine and space travel.

Which is why I have every faith that all those tiny trollies of chips and rough-hewn planks of charcuterie will eventually seem as absurd as surrealist gazelle-skin crockery, or futurist musical boxes full of salad.

In the meantime, may I recommend the adult bib?

Felicity Cloake write the food column for the New Statesman. She also writes for the Guardian and is the author of  Perfect: 68 Essential Recipes for Every Cook's Repertoire (Fig Tree, 2011) and Perfect Host: 162 easy recipes for feeding people & having fun (Fig Tree, 2013). She is on Twitter as @FelicityCloake.

This article first appeared in the 01 October 2015 issue of the New Statesman, The Tory tide