Tag Archives: magic

The Alan Moore Jerusalem interview tapes, #10: ‘Doctor Manhattan was right on time’

16 Oct

Doctor Manhattan in Watchmen, by Alan Moore and Dave Gibbons, published by DC. Through the God-like superpowers given to him, Doctor Manhattan sees all time as simultaneous. It took Moore a while to catch on

Following my interview feature on Alan Moore’s Jerusalem, I’ve been posting edited highlights from the 30,000-word interview transcript. The last excerpt was the weighty topic of what really happened on 9/11. Today, we get to a key part of the thinking behind Jerusalem: that we are living in an Einsteinean block universe where everything that will happen has already happened. Time is fixed, and it’s only our perception of it that makes it appear linear.

Though Doctor Manhattan in Watchmen experiences all time as simultaneous, it was only a decade later, Alan Moore says, that he realised his fiction was fact…

Alan Moore: “When I had my first what I believe to be magical experience with Steve Moore, in January 1994, I remember having this absolute crystalline understanding that time was a solid and that nobody was going anywhere. And then, almost as soon as I had thought that, I thought, ‘but you’ve been writing about this for years!’

“There’s William Gull in From Hell, there’s Doctor Manhattan in Watchmen, there’s those early Time Twisters and Future Shocks in 2000AD, one of which has got some people exploring the remote edges of the universe looking for alien life, and all of a sudden one of them seems possessed by an idea, that he keeps trying to explain to other people, and they gradually kind of get a weird smile on their face, and this is all told from the POV of one of the crew who’s watching it happening, who finally realises, what if an idea could be an alien life form? And what if it could just propagate itself, and the only snatch of conversation you ever get to hear is one of the people talking to an initiated person, and he’s saying ‘So if all of time is simultaneous, then…’ You only hear the first few words?

“And at the end of the story, all the people have converged on the narrator, because he’s the last one, and at the end he’s saying, ‘Well of course I realise how silly I was being, and it really is very very simple: you see, if all of time is simultaneous, then…’ And at that point the editor comes in and says we’re going to stop this story here because we think it’s a bit dangerous.

“At that moment in 1994, I thought, well, actually, that is appropriate. I’m only just understanding the concept now. But if time really is as I think it is, there is no reason ripples shouldn’t go out both ways, that it’s like, I suspect some of those early references might have been pre-memories. I don’t know. But it was an idea that had clearly come to me at some point.

“What with the idea of time is a solid, what I was thinking is that if Einstein is saying this a four-dimensional universe, dimensions are measurements,  they’re not like – since Mr. Mxyzptlk, Superman’s foe, came from the fifth dimension, everyone thinks of dimensions as spooky places, like the Phantom Zone or the Twilight Zone, but no, dimensions are measurements, so the fourth dimension is a physical dimension like the other three. We know there has to be a fourth dimension because Einstein tells us space-time is curved. That is to say that the three regulars have another one that they are curved in.

“Now, as I understand it, the fourth dimension is not time. Rather, time is the way we perceive our passage through time. In reality, if this is a four-dimensional universe, or a universe of at least four dimensions, what we are talking about is a solid block in which everything is eternal and unchanging, in which there is no movement and no change except that which we perceive, as our consciousness travels along the filament that is how we are represented in space-time: a kind of filament I imagine a bit like a centipede, lots of arms and legs [vividly described in Jerusalem]; one end of it is in genetic slime, the other end in cremated dust, but those are just the extremities, like your feet or the top of your head. All the other bits, we are alive.

“And when we get to the end of our filament, I would say there is nowhere for that consciousness to go but back to the beginning, so that would be something we experience countless millions of times, but each time it also felt like the first time, because that was how it had felt the first time, and that will never change, except for those brief moments of déjà vu.”

Jerusalem is out now in hardback from Knockabout in the UK and Liveright in the US. For the full interview feature, click here. Come back tomorrow to discover how Moore’s theory changes how we should think about life, the universe and everything

Alan Moore: my ‘lost’ interview on books, magic, tattoos and the source of ideas

4 Dec

Alan Moore: “I was a mere amateur in lunacy back then”

Following on from my last Alan Moore blog, I simply haven’t time to write up Alan Moore’s film screenings. So for now, here’s one I prepared earlier. It was my fourth interview with Alan Moore, done shortly before his 50th birthday. It’s a goodie. Besides, given Alan Moore’s concept of time, it’s still happening right now…

And here’s the kicker. As you’ll see below, Alan Moore loves coincidences — which he doesn’t quite believe are coincidences, more cross-temporal echoes. Well, the place I chose to conduct the interview in, some years before he began the magnum opus novel which has now ended up ‘bigger than the Bible and I hope more socially useful’, was a bar near Tottenham Court Road called… Jerusalem. [Cue Twilight Zone doo-dee-doo-doo theme music.]

“I continually monitor the possibility that I might be going mad,” said Alan Moore when I last interviewed him in 1996, on publication of his first “proper” novel.

Reminded of this now [that is, in Nov 2002 when this piece first appeared], Moore chuckles into his beard: “Oh, I’ve gone much madder in the last six years, though my ideas have become more sophisticated. Yes, I was a mere amateur in lunacy then …”

If an author tells you that he has become a magician (think Aleister Crowley rather than Paul Daniels) and is worshipping a second-century Roman snake God, you do begin to wonder about his state of mind. But no one could question Moore’s success. Seldom straying from his home in Northampton, he works on eight comic titles at once; his Jack the Ripper saga From Hell was turned into a movie starring Johnny Depp; his latest,The League of Extraordinary Gentlemen, is now filming, with Sean Connery heading a £60 million production.

This last began when Moore, who redefined the superhero genre in 1986 with Watchmen, was struck by its 19th century roots: Dr Jekyll/Mr Hyde was clearly the model for The Incredible Hulk, while The Invisible Man could have joined The Fantastic Four. He conceived of a team of heroes in an alternate Victorian universe in which those two fought alongside Alan Quatermain (from King Solomon’s Mines), Captain Nemo (20,000 Leagues Under the Sea) and Mina Harker (Dracula), with the film version adding a grown-up Tom Sawyer for American audiences. “There was a point in the first issue when I had just had Zola’s Nana murdered by Stevenson’s Hyde on Poe’s Rue Morgue when I realised just how much fun it could be pulling down the picket fences between various fictional realities.”

So ripping a yarn indeed, that a producer sold it to 20th Century Fox on the premise alone, before a word had been written. Moore’s black humour is unlikely to survive the transition to celluloid, so do not expect to see Connery playing Quatermain as an ineffectual junkie, nor the Invisible Man living it up as the “Holy Spirit” to a dormitory full of miraculously pregnant young girls. And as always with Moore, there are layers within layers to which a film cannot begin to do justice.

While the question “where do your ideas come from?” gets short shrift from most authors, to Moore it is “the only question worth asking.” Six years ago he was toying with the notion of “Idea Space”, a literal pool of shared concepts into which a correctly attuned artist could dip. Now he is beginning to map it.

“This planet has a physical geography with which we have already familiarised ourselves. But since the dawn of the first stories, there is a fictional geography, where the gods and demons live. We have created this big imaginary planet that is a counterpart to our own; and in some cases these places are more familiar to us than the real ones.”

Moore is intrigued by the notion that stories, and past events, can leave a physical trace. His insanely ambitious 1996 novel, Voice of the Fire, was contained geographically within a ten-mile radius of Northampton, with each chapter set in a different century, from Stone Age to present, and each written in a style suited to the time. It so happened that the final chapter featured a dog trotting about with a decapitated head in its jaws; eerily, soon after he wrote that passage, this actually occurred near by. At the time he wondered whether he had intuited the future event, or somehow willed it into existence (coincidence does not seem an option). What does he believe now? “Probably both. Ultimately I couldn’t say. I don’t think time is as we see it, and that means cause and effect are different from the way we see it.”

Moore can discourse at length on the convergence of modern scientific beliefs and ancient intuitions. In the end, he believes, magic is simply the creation of something out of nothing: be it rabbits from a hat, a plot idea from a blank sheet of paper — or the universe from a quantum vacuum. But it is also about individuality: he has no desire to convert anyone else to so “manifestly preposterous” a practice as worshipping a snake god. As an anarchist, a political persuasion that he stresses is simply about taking personal responsibility, he equates organised religion with fascism — both involve abandoning your personal responsibility to the group.

Add to this his penchant for getting together with other like-minded souls to perform magical music and rituals — to some critical acclaim, in the case of his channelling of Blake at the Tate Britain last year — and you have not just one of the most singular creative minds around, but also a close candidate for Britain’s most embarrassing dad.

“Only as much as they embarrass me,” he quips when asked what his daughters make of it all. “No, we get on great, I’m immensely proud of them. Leah, who’s 24, has just started some comic writing. Amber, who’s 21, just finished her computer studies degree and is now working as a bouncer in Hull.”

So she must have inherited the imposing paternal stature? “That, and lots of piercings and tattoos. And some entirely gratuitous spiral white contact lenses. I have no tattoos of my own, but unlike Ozzy Osbourne, have no problem with my daughters getting them.”

He may dress like a roadie discovered during a rock band’s tour of the Himalayan snowline, but Moore is a softie really: considerate, soft-spoken, preternaturally articulate. Not one’s stereotype of a practitioner of the Arcane Arts. “I’m with Austin Osman Spare,” says Moore. “When people asked him if he was a black or a white magician, he replied: ‘Magic is colourful’. There is a Satanism in which heavy metal bands looked for darkness, for cheap notoriety. My involvement with the occult is not about darkness, but about illumination. “I don’t sacrifice many goats,” adds Moore, wryly. “As a vegetarian, that would feel kind of wrong.”

Moore is exploring some of these themes in a comic series called Promethea, and hopes soon to expand on them in book form — without the drawings, that is. Comics, it transpires, are only his second-favourite art form: literature is his first love, current reads being Donna Tartt, Tom Spanbauer, Michel Chabon and his friend Iain Sinclair. The cinema does not even make his top five.

“Literature is the highest possible technology,” he enthuses. “It’s virtual reality right there: 26 letters rearranged in certain forms which, when decoded by the average human mind, can recreate a complete wraparound 3-D environment.” Sadly, however, it does not pay the rent. Voice of the Fire earned him just £15,000 for five years’ work. Comics are a little more lucrative, especially with the movie deals thrown in (“The Invisible Man doll is the piece of merchandising we’re really going to make a profit with,” he deadpans).

One reason for his tremendous work rate is so that he can be in a position to semi-retire in a year, and write only what pleases him. He will be 50 years old. In the meantime, he continues to get some of his incredible ideas from the snake god Glycon, and some from a couple of other gods, such as Mercury, who he speaks to at times. He is not remotely fussed about whether anyone else buys into this as reality, reality being overrated anyway, but this is his take on reality, and it produces results. And can you offer a more sensible explanation for that flash of inspiration that seems to come from nowhere?

This interview first appeared in The Times in November 2002. For more on Moore’s movies, click here.

Ten Things We Learned From Alan Moore Last Week

2 Dec

Alan Moore at the Prince Charles cinema last week

In the 25 years since I first interviewed him, Alan Moore has progressed from indifference to Hollywood to outright hostility. He used to entertain bewildered execs to a coffee or pizza at his Northampton local before politely sending them back to LA. He was happy to meet Terry Gilliam to give him his advice on how he would adapt Watchmen. [His advice, distilled: “I wouldn’t.”]

He was relatively sanguine about the adaptation of From Hell starring Johnny Depp, but The League of Extraordinary Gentlemen tipped him over the edge. Not only was it, to use the technical film term, a heap of steaming ordure, it landed Moore in court for ten hours of testimony on a plagiarism charge. The alleged plagiarism concerned elements in the film script that were absent from the graphic novel, and the case was settled out of court, but Moore was scarred by the experience. He insisted on removing his name from subsequent films such as V for Vendetta and Watchmen, and donated all payments to his artist co-creators.

So it’s quite a turnaround to see him associated with not just one, but two film projects.

The first is a graphic novelisation of Fashion Beast, a screenplay commissioned from Moore by Malcolm McLaren in the ‘80s. The second is a series of interlinked short films, the first two of which were shown last week at a Q&A session at London’s Prince Charles cinema. I’ll talk about the films in a subsequent post, but first, let’s hear from the man himself.

Resplendent in a purple velvet jacket, as articulate as ever and twice as funny, Alan Moore talked about immortality, magic and pornography… and sang us a song about “Alan Moore, Hitler and God”. So here are the ten things we learned from Alan Moore:

Image1. He’s written a new 24-page Bojeffries Saga set under Gordon Brown’s government, out in February.The Bojeffries Saga was always special to me, it was actually about something really close to my heart, which is how extraordinary working-class life is. Or mine, anyway. You see these factories with strange names and blue shavings that smell funny and do things like light filliping, and you think, what is that? Is that a thing? And even the people working there don’t seem to know. [NB: Moore himself once worked in a slaughterhouse.] The streets where I live are much stranger than anything I could write.”

2. It’s all about place. “These days I think it’s all about place. The writers I like best are focusing on where they are. Even HP Lovecraft, who I’m very involved with at the moment – I’m walled in by his books like in The Cask of Amontillado –  was obsessed by place, trying to express the New England he saw around him.”

3. Why adults like comics. “I know there were these newspaper articles in the ‘80s saying ‘Bam! Sock! Pow! Comics have grown up!’ No they didn’t. They met the emotional age of the people, coming the other way. We are not designed to take complexity like the world is now; I can understand why people want to retreat from it to the things they enjoyed as children, in simpler times. But it’s not good for culture. Also I just hate to see people having a good time!” [laughter]


Doc Manhattan in Watchmen: precursor to Alan Moore’s current theories on immortality

4. We are all immortal. “I’m on the last three pages of my novel, Jerusalem, and then I have the epilogue to write. It’s really, really, big, somewhere over half a million words, bigger than the Bible and I hope more socially useful. But the main reason you should have a look at it is that it completely solves the minor problem of death. You’re welcome.

“When I turned 50, I could no longer kid myself I’m a third of the way through my life, so I started thinking about this. And simply put, it’s the idea that we are living in a universe of at least four dimensions. You have a block universe, a solid chunk of space-time, in which everybody’s lives are imbedded forever. There’s a lively quote from Einstein I’ve only recently come across, where he’s consoling the widow of a fellow physician. Einstein said, ‘Death isn’t a big problem to us scientists. We understand the persistent illusion of transience.’ Which is lovely, isn’t it.”

[Note: I’m sure I told Moore about this Einstein quote when discussing Voice Of The Fire some years ago; it’s something my mathematician brother told me way back when, though he relayed it to me as, “Your wife is still alive, but in the past”. I also don’t think what Moore said at the Prince Charles fully explains his thinking – he told me before that it’s to do with perception: time is constant and immutable, it’s only our perception of it that makes it seem linear. His line of thinking seems to me presaged way back in Watchmen by Doc Manhattan, who breaks that linearity and can perceive all time at once.]


Glycon: illustration by Alan Moore, 1994

5. Why he started worshipping a snake-god called Glycon. “The standard approach to consciousness is that it doesn’t exist because science cannot explain it. It’s annoying for scientists to have everything in the universe worked out apart from the very phenomenon they are using to explain these things! Science cannot approach this, so art is a better tool. And then why limit yourself to the sterile and barren perception of consciousness that science can formulate?

“Magic is a different approach to consciousness: the rituals are ways of organising certain conscious experiences. Gods and entities don’t exist in the same physical way that we do, but by treating those concepts as if they exist, we may be reaching some part of our psyche we have not previously had access to. And if that’s all magic is, it’s still pretty good.

“I felt I’d more or less exhausted what I could do with my work while remaining in the boundaries of strict rationality. If I was to go further, I would have to break through into some new territory, and connect up with some writers I really admired who seemed to be visionaries, constructing a reality more real than the reality around us. William Blake was writing this symbolic material in a totally private language to try to illuminate the world that surrounds him.

“One problem with art at the moment as I see it is there is nothing visionary, nothing magical, nothing of the numinous. I believe art is magic and magic is art. If artists saw themselves as magicians, they might do something with real force and meaning, rather than sorry conceptualist stuff, which is empty.

“Conversely, if some of the magic orders around today regarded what they did as art, there might actually be some point to their existence.”


Far from getting Alan Moore locked up, Lost Girls got him on The Simpsons.

6. Lost Girls, his pornographic graphic novel featuring Dorothy from Oz, Wendy from Neverland and Alice from Wonderland, had the opposite effect from that intended: it finally made him “respectable” in the national press. “I thought, ‘Why haven’t they hung us? Why are we still at liberty? What are we paying our taxes for?’ Though I didn’t really want to go to prison. I’m kind of the pretty one.”

7. For someone who’s against “culling the disabled”, Moore is not very kind about Gordon Brown’s disability. “There was some sort of petition to get me one, and I said of course I wouldn’t accept an Honour, and definitely not from a bipolar Cyclops. And that was from a Labour government. I certainly couldn’t from this government. It’s old-fashioned of me, but I kind of think culling the disabled is wrong. To accept an award would be condoning the behaviour of the people who gave it to you.”

8. His many comic awards are now in the bin. “My Mum saw that and said, ‘No, you can’t throw them out’, so she took them in briefly; then she gored herself on one and that was that.”

9. Alan Moore wants to star in a kids’ cartoon. “I’ve always said Northampton is the centre of the universe. Hitler’s invasion plan ended with the capture of Northampton. Also God directed his angels there in the eighth century. So I thought we could all be in a kids’ TV cartoon series called The Dream Team. I even wrote the theme song [singing]:

“Alan Moore, Hitler and God,

Though their friendship may seem odd,

One made space-time, one hates Jews,

One wrote some comics that got reasonable reviews.

Though their friendship may seem weird,

One has a moustache, two have a beard,

One’s a Nazi and one made Hell…

And Hitler and God probably did something as well.”

[Someone has now put the sound-file of Moore singing up on YouTube, here.]


10. Moore actually plays God in his recent short film. See my next blog post for more on that….

Magic Words: The Extraordinary Life of Alan Moore, by Lance Parkin, is out now on Aurum Press (£20, or £11 on Amazon). 

For an interview with Alan Moore on books, magic and where ideas come from, click here. For a review of his shorts, plus comments on them from Moore, click here

Now You See Me: the secret mind control behind the film magic revealed

2 Jul


Now You See Me is an old-fashioned caper movie with a 21st-century sheen: Ocean’s Eleven meets Derren Brown. A raggle-taggle band of magicians — mentalist Woody Harrelson, escapologist Isla Fisher, card sharp Jesse Eisenberg and street hustler Dave Franco – are recruited one by one by a mysterious hooded figure who uses their skills in elaborate Robin Hood stunts to redistribute wealth. Morgan Freeman plays the magic-buster who is there to explain their tricks to the cops (Mark Ruffalo and Mélanie Laurent), and thereby also to the viewer; Michael Caine also lends star power in an underwritten part.

The film has become a surprise hit in the US, grossing over $100 million in a summer full of blockbusters, and industry pundits have put that down to good word-of-mouth and marketing centred on much-loved Morgan Freeman. That may be true, but I have another explanation, a fiendish and cunning explanation, one that all along has been hiding in plain view.

Look again at the poster: the film’s seven stars gaze up at you hypnotically, like Reservoir Dogs in 3D, over the vast heading “Now You See Me”. Having communed with my inner Derren Brown, I can exclusively reveal that it is in reality one giant subliminal command. As in, “You: See Me. Now!”

You might as well just go with it. The film is directed with enormous energy by Louis Leterrier of Transporter and Hulk fame, and spectacularly well edited by his regular collaborator Vincent Tabaillon (jointly credited with veteran Robert Leighton). One might wish more effort had been put into making the characters as likeable or the love story as convincing as the tricks, but the plot twists cleverly, keeping one step ahead of the viewer right up to the final frame.

That said, the key to magic, as the protagonists keep telling us, is misdirection, and that applies just as well to Now You See Me. It’s a film of smoke and mirrors, blinding the viewer to the fact that, at heart, it’s utter tosh. As with machines, the most durable criminal plans have the fewest moving parts; the magicians’ ridiculously complex schemes could easily have gone awry at any juncture.

And illusion on film simply doesn’t thrill the way it does live. When I was a kid, I half-believed in vampire visitations and fairy-tale wishes, and was so convinced that my parents were shape-changing aliens that I rattled the doorknob before entering to give them time to adopt human form. No? Just me, then?

Anyway, the David Blaines and Derren Browns can reconnect you to that childish sense of prickling wonder, where you almost start believing, for a split second, telepathy, or levitation, or the power to predict the future. On film you just believe in the power of CGI to do anything and that Woody Harrelson has read a script rather than minds.

Film itself has been called “magic at 24 frames per second”. To me, it’s enough to see other human beings living intensely on screen, in places I could never visit, and lose myself so completely inside them that I emerge at the end credits blinking, surprised to find myself sitting in a cinema.

This is not the kind of magic Now You See Me performs. But if you want nothing more than a highly entertaining way to spend an evening, then… alakazam!

Now You See Me opens on July 3