![]() Mostly it was inspired by Will Eisner's The Spirit. It was always conceived of as a multiple storyline book. In New York City I found myself in skyscrapers quite a lot (not that Toronto has a lack of such – I lived and worked – literally, in the shadow of the CN Tower – the world's tallest free-standing structure – but I had few clients with offices in the upper floors of the glass monoliths downtown). ![]() ![]() While I had lived in a big city for many years, most of it was at street level nightclubs, antiquarian bookstores, galleries and diners, etc. ![]() The notion of a retired human fly-turned-window washer came to me when I first moved to Manhattan. Where did Terminal City come from? You're fascinated by cities, but this was a very different kind of project from Mr X, and a very different kind of city. It wasn't a big leap to see the city as more than a storytelling setting. My epiphany had to do with how a city's anthropology and culture shaped its design, architecture and civil engineering. Not only was it a noir/science fiction/futuristic city, but it seemed to be populated by a citizenry which only that specific place could have produced. Theoretical Architecture and Film History. ![]() Coincidently it was screened in two different electives I was taking at the time. Dean Motter: I think this idea of a city as being more than simply a location, stage or residence for characters occurred to me when I first saw Fritz Lang's Metropolis in college. ![]()
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