Nutter, as we mentioned last week, is known as the "pilot king" because the pilots he films have a high success rate in getting to series. He's worked on pretty much every great U.S. science fiction show that didn't have the word "star" in the title, over the past decade or so. And he directed the underrated gem Disturbing Behavior. Nutter was announced as the Freemind director at New York Comic Con, but Uslan and his producing partners Mark Rosen and Robert Keyghobad are still seeking funding and a studio distribution deal.

We talked to producer David Uslan, son of the legendary Batman producer Michael Uslan. David's struck out on his own and has a few projects in the works - including Freemind, based on a short-lived comic created by Bob Layton and David Michelinie. (Layton used to write many of the Valiant Comics titles, including Solar, and both men helped turn Tony Stark into an alcoholic in Iron Man: Demon In A Bottle.) Layton is currently writing for Marvel Comics again.

Freemind is about a quadriplegic super-genius who runs a huge tech company, not unlike Tony Stark. He wants to experience living a normal life, so he builds an android body that he can transfer his mind into, so he can bathe himself and go on dates and stuff. But he discovers that once he transfers his mind into the android body, he can suddenly use 100 percent of his mind's abilities, and this unlocks telepathic and telekinetic powers.

It's a very "character-driven" storyline, says Uslan. "It's a very non comic book comic book." Dante Harper, who's writing the screenplay for the Black Hole graphic novel adaptation for director David Fincher, is in line to write the script. Layton and Michelinie will be involved as well.

Nutter's already signed up to work with Steven Spielberg on The Pacific, a big HBO miniseries coming out next year. Meanwhile, Uslan and his partners are hoping to pitch Freemind to studios in a couple of months, once Nutter and Harper come up with a finished pitch.

Meanwhile, Uslan's also developing Kindergoth with co-producer Tommy Lynch. It's an adult-oriented animated series about pierced, tattooed kindergarteners who save the world from an alien invasion, based on the Bloodfire Studios comic. It's "as quirky and fun and cool as it comes," says Uslan. "If all goes well, it should be on TV sometime next year... We're in the middle of making the pitch now."

Uslan says other studios tried to buy the Kindergoth property from Bloodfire, but comics company understood that Uslan was a more comic-friendly producer, who tries to stay true to the premises of the comic, and keeps creators involved in any adaptation.

And then Uslan's also working on producing an adaptation of a photorealistic comic called Brielle and the Horror, about a girl who was born possessed by an evil spirit, and has to learn how to control it and make it work for her. Horrible things happened to her when she was young, and the horror emerges once again when she's at a new school. "Instead of your typical horror movie [like The Exorcist] the story is about how she learns to control this power within her," says Uslan. The comic's writers, the Barrel brothers, are also working on the movie script.

Moore has turned down tons of interview requests lately, but the comics giant did talk to the Guardian newspaper, about his 750,000 word novel Jerusalem among other things. And he gave a new explanation for why he didn't think Watchmen could work as a movie:

There is something about the quality of comics that makes things possible that you couldn't do in any other medium.. Things that we did in Watchmen on paper could be frankly horrible or sensationalist or unpleasant if you were to interpret them literally through the medium of cinema. When it's just lines on paper, the reader is in control of the experience – it's a tableau vivant. And that gives it the necessary distance. It's not the same when you're being dragged through it at 24 frames per second.

Not that he's all that attached to the story anyway - turns out Moore doesn't own a copy of Watchmen, or any of his other writings that he doesn't own the rights to. But even more than his usual diatribe about movies versus comics, there's this lovely quote, which encompasses exactly why Hollywood writers might want to try and create their own original stories instead:

To me, all creativity is magic. Ideas start out in the empty void of your head – and they end up as a material thing, like a book you can hold in your hand. That is the magical process. It's an alchemical thing. Yes, we do get the gold out of it but that's not the most important thing. It's the work itself. That's the reward. That's better than money.

Meanwhile, The Rumpus talks to Michael Uslan, who's owned the movie rights to Batman for the past thirty years. Almost as if he's responding to Moore, Uslan says that in a sense, comic books are "frozen movies. If you look at a comic book, you are seeing the storyboard for a film." And he talks about the thorny issue of film-makers trying to make their movies look as much like the static images of the comic as possible:

I remember in the early days, in some of the early comic book movies, certain white dissolves were used that would try to emulate the look and feel of comic book panel borders. Sometimes they would frame shots in panels or circles that gave it a real comic book feel. With the Batman television show, they always liked to skew the camera and give it a tilted look, and often played with colors and lighting, and many of the comic book-based movies and TV projects over the years, particularly some of the early ones, loved to play with primary colors, reflecting the fact that at that time, all comic books were done at a four-color press. But you could have somebody like a Tim Burton, who, in creating the first serious comic book movie, chose to create an entire universe. As Tim brilliantly said, from the opening frame, Gotham City had to be created in a way that audiences would believe in Gotham City, in order for them to suspend their disbelief and truly believe there could be a guy dressing up as a bat and going out and fighting criminals like the Joker.

He also explains exactly what went happened with Batman Forever and Batman And Robin. (Short version: it's a mixture of paying homage to the 1950s and 1960s versions of the character, and the studios wanting lots of villains with brightly colored costumes, so they could sell toys.) [Thanks to James Tiberius Quirk for the Guardian heads up!]

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• The Mysterians, a forthcoming graphic novel about a group of kids who foil an alien invasion, is in development as a film from co-creator Michael Uslan, producer of the Batman films. [Production Charts]
• The Guillermo Del Toro TV miniseries of Frankenstein may combine that story with Bride of Frankenstein. [ShockTillYouDrop]
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• That Lost flash-forward showing that Jack makes it off the island doesn't mean the character can't ever die, because we will see him return to the island after that point, says actor Matthew Fox. We'll also keep seeing some flash-backs in season four. [Give Me My Remote]
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• Torchwood season two features a much bigger role for Rhys, Gwen's boyfriend. He finds out the truth about Gwen's job and joins her Scooby Gang, getting into car chases and fistfights. And then aliens crash Rhys and Gwen's wedding. [icWales]
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