Ten Famous Science Fiction Properties That Would Make Great VFX Movies — Part 4 ‘The Airtight Garage’
This is a series of posts discussing ten existing science fiction properties (from literature, animation, games and comics) that could serve as the basis for ground-breaking live-action VFX films and television shows. This time: Jean “Moebius” Giraud’s 1976 graphic novel The Airtight Garage.
For an explanation of the choices for this list, see the first entry.
Number 7 of 10: The Airtight Garage (US title, comic, 1976), aka Le Garage Hermétique de Jerry Cornelius, Le Garage Hermétique de Lewis Carnelian
In the Before Time, in the Long Long ago, in the late 1970s and 1980s, some movie execs decided it might be a good idea to make a few big-budget effects-heavy comic book movies. So we had two classic films based on DC Comics characters. The first was Richard Donner’s 1978 Superman, a hammy cheese-fest that nonetheless managed to charm the audience, largely via Gene Hackman’s movie-saving charisma and Christopher Reeve’s unshakable determination to play a ridiculous character as seriously as possible. On the other hand, the producers spent literally one-third of the $60 million budget to hire Marlon Brando in a cameo; and Margo Kidder gave a performance as Lois Lane that should have tipped off any competent psychiatrist that she was suffering from bipolar disorder and needed help.
The other was Tim Burton’s 1989 Batman, the first superhero film ever to capture the comic book fanboy’s love for the source material (in this case the uncredited Batman: The Dark Knight Returns by Frank Miller (1986), but that’s a fanboy rant for another blog post). Burton, following Miller’s lead, showed mainstream audiences that comic books can be dark, intellectual, weird, artistic and funny. And Jack Nicholson was a thespian ruminant, chewing the scenery and then chewing it again.
Over time, Hollywood gave us films of all the superheroes the mainstream public, unfamiliar with comic books, would surely recognize; after a steadily declining series of Superman and Batman films, we had Marvel’s Spider-Man and The Hulk. Then the studios churned out films based on properties familiar to comic book fans but new to the general public; The X-Men, Iron Man, Hellboy, Blade, and The Fantastic Four amongst the box office successes; Howard the Duck, Judge Dredd, Mystery Men, The Punisher, Catwoman, Elektra, and Daredevil amongst the rest.
The next phase – comic book movies that weren’t about superheroes. Some were still science fiction or fantasy – 300, 30 Days of Night, Constantine, The League of Extraordinary Gentlemen. Others took place in the real world — Art School Confidential, From Hell, Ghost World, A History of Violence. But now the comic book world was completely wide open to film and TV adaptation – stories didn’t have to feature Warren Ellis’ “underwear perverts.”
This was good news, because those comic book titles that are the most visually striking are usually not hero titles. Of course there have been great artists working in that medium, from Jack Kirby and Will Eisner back in caveman times to… I dunno, I stopped regularly reading superhero comics when they brought Jean Grey back from the dead in 1986. Yes, I am a grumpy old man. I like J. Scott Campbell, Kevin O’Neill and Howard Chaykin, off the top of my head.
For this series I have chosen an artist who has never worked in the traditional hero genre (except once, briefly), but made his name drawing Western serials in France. His art has influenced generations of artists and production designers, but has never been used as the basis for an entire film.
Jean Giraud became a working artist at age 18, in Paris in 1956. His most famous Western comic book, Blueberry, ran from 1962 to 1974 and earned Giraud his face on a French postage stamp. But he is best known in America for his science fiction and fantasy stories and art, done under the pen name “Moebius.”
In 1974, Moebius and three others founded the seminal adult comics magazine Métal Hurlant; an American version was launched in 1977 called Heavy Metal, which is accidentally displayed in bookstores’ music sections to this day.
One segment of the 1981 Canadian animated anthology film Heavy Metal, containing stories from the magazine, was “Taarna,” inspired by Moebius’ “Arzach” fantasy stories; but the art style was not based on his. (This is the segment parodied in the 2008 South Park episode “Major Boobage.”)
He contributed to several feature film projects. The most notable were Alejandro Jodorowsky’s aborted 1976 project to bring Frank Herbert’s novel Dune to the screen as a ten-hour feature, with Moebius and Alien artist HR Giger doing original production art; and Luc Besson’s 1997 The Fifth Element, perhaps the only live action film in which Moebius’ elements (the Mondoshawan ships, the Flying Noodle Boat) appear recognizably as he designed them. Other films on which Moebius worked: Alien (1979), Blade Runner (1982, uncredited), Tron (1982), Masters of the Universe (1987), Willow (1988) and The Abyss (1989).
His most famous creation is a bizarre, stream-of-consciousness science-fantasy graphic novel originally called Le Garage Hermétique de Jerry Cornelius, released in the US as The Airtight Garage by Marvel under the Epic Comics imprint. The Airtight Garage was written, drawn and colored by Moebius, four pages at a time, as a game with himself to introduce irreconcilable plot strands in each segment, and then reconcile them later. As a result, the “story” does not exist as such, at least not until the final 15 pages, which were drawn all at once to bring the tale to a conclusion that parodies superhero comics and leaves the reader with more questions than answers.
In rough outline, the Hermetic Garage of the title is a large asteroid containing a much larger artificial world on the inside (“hermetic” in this case is used to mean both “airtight” and “esoteric”). The Garage was created by Major Grubert, an immortal human from Earth who is locked in ceaseless battle against another immortal, Lewis Carnelian. Eventually, these mortal enemies must join forces to prevent the destruction of the Hermetic Garage by an evil alien known as The Bakalite.
Nearly every panel of the comic contains characters, images, references, jokes and invented words that hint at entire worlds, civilizations and conspiracies just beyond the frame’s edge. Hardly anything is explained, not even the backgrounds or motivations of the two main antagonists.
An animated feature adaptation of The Airtight Garage, to be produced by legendary Japanese filmmaker Kurosawa Akira (!!!) and directed by Otomo Katsuhiro of Akira (1988) fame, fell through in the mid-1990s.
So why on Earth would you use The Airtight Garage as the basis for a big-budget, live action VFX film? Three reasons.
First, the non sequitur storyline provides a blank slate for the filmmakers, who are free to fill in the blanks however they wish; or, a la JJ Abrams, just leave the blanks blank. The Airtight Garage provides a firm skeleton on which to hang a dramatic sci-fi high adventure with a good dollop of comedy.
Second, The Airtight Garage is a cult classic with a large fan base. In 1999 the Metreon shopping mall in San Francisco opened with an Airtight Garage-themed attraction, which was hugely popular until the mall was shut down in 2007 (probably a Bakalite trick!).
And third, Moebius’ artwork is beautiful, original, and unique. Many artists and filmmakers are inspired by him, but no one has produced an entire feature film that takes place in a Moebius universe. At one time, his vision could only have been realized through traditional animation, whether one was the director of The Seven Samurai or not. But with modern VFX, that has changed.
The mind-bending, multidimensional layout of the three levels of the Hermetic Garage; its vast alien vistas and retro-futuristic architecture; Grubert’s trusty starship, the Ciguri; the Star Billiard, a colossal green humanoid robot that the Ciguri crew uses as an exploratory vehicle; the bizarre lifeforms of the Garage, such as the pink riding animals called Melvils – all of these could come to life.
And not only would Moebius’ actual drawings provide inspiration for artists – I think that the incomplete nature of The Airtight Garage would give CG and VFX professionals an unprecedented world-building opportunity.
Jean Giraud is 72 years old, and hopefully has many years ahead of him, thanks to French cuisine and Socialized medicine. But it would be nice to finally produce an Airtight Garage adaptation that he would be alive to enjoy.
Next: Warhammer 40,000 game franchise (1987-present)
See a set of The Airtight Garage art on Flickr.