Written by Frank Miller
Art by Bill Sienkiewicz
In which we take on Frank Miller and Bill Sienkiewicz’s Elektra: Assassin and all take turns to gush about how awesome it is. Questions include: Is this the Twin Peaks of comics? Does Frank Miller have politics? And who would you cast in the movie?
Barbican Comic Forum
00000000 / Kraken
I love the 80s. All at least – the 80s that exist in my mind. The Paul Verhoeven 80s: with large inhuman corporations slowly taking over the world based in evil skyscrapers that looks like razor blades. The Blade Runner 80s where it’s always night time in the rain – full of neon, synths and saxophones. The Body Horror 80s where computers and mutations change us from humans into something else… I love all of it. Computers with the screens all in green text. Grainy VHS with dirty tracking lines slowly running down the screen. Confession: I would say that about 80% of my favourite films come from the 80s: The Terminator; Aliens; Die Hard; Predator; Evil Dead 2; The Fly; Airplane; Star Trek II: The Wrath of Khan; The Thing; Back to the Future Part 2; Full Metal Jacket; Mad Max 2; Scarface, Raising Arizona; Videodrome; Day of the Dead; Robocop. Mmmmmmm. That’s the good stuff (have only just realised now how many of them are sequels: which is interesting – but probably a story for another time….).
And yeah: the comics. Watchmen and The Dark Knight Returns of course. But mostly (and for me anyway – maybe better than both): Elektra: Assassin written by Frank “Problematic” Miller and illustrated by Bill “Oh my god his art makes me drool” Sienkiewicz.
Maybe I’ll be proved wrong: but in terms of what a comic can do and how far you can push it Elektra: Assassin is at the pinnacle. Just in terms of what it does: like it came out in eight issues and issue 1 is just well – in terms of what it does and how it does it – it’s pretty much unlike anything I’ve ever seen since. Even trying to find the words to describe it is hard because it’s like – what? – stream of consciousness comics? Flittering between thoughts and sensations. I mean: it’s been a few years since I actually read it: so maybe this is just my mind making it seem better than it actually is – but my memory of it at least: is – “wow. I didn’t know comics could do that.”
(Although I think I first read it when I was kinda young / teenagerish and so I imagine that my thoughts back then were more: “I don’t really understand what’s going on – but boy: this pictures sure do look pretty).
There is a part of me that’s kinda glad that Elektra: Assassin doesn’t get more mainstream love and isn’t more widely known (altho – strangely: there does seem to be a copy in every Library I’ve ever worked in – so maybe it’s like a set text or something? LOL): but it seems a little unjust – I mean: I kinda wanna get a little grandiose and say something like: it’s basically the Ulysses of comic books. Only well – I’ve never actually read Ulysses (did try reading the first few pages again: back when I was teenageish – but reading it was like drinking hot urine so I gave up) but also well (and this is the most important bit probably) Ulysses isn’t about a cool ninja on a secret mission to kill the President (who’s actually a demon).
(PLEASE NOTE: I put Elektra: Assassin in the Book Club calendar several months ago with no real thought to the date – so please don’t blame me if recent events have made me seem like I’m Nate Silver or whatever. But if you have any sources that say that Donald Trump seems like spoiled mayonnaise: then please do let me know).
And yeah – for me: it’s basically the perfect sweet spot between high-minded “serious” experimental art and a story that is just well – immensely entertaining in a beautifully mindless way: like driving a car really really fast down an empty motorway.
I mean: the only other comic I can think of that comes close to the stuff that Elektra: Assassin does is Here by Richard McGuire or maybe – hmph – you know: all of Chris Ware’s stuff. But man – those books feel like stuffy lectures delivered by a guy in a suit (altho I should maybe admit that I haven’t actually read Here – but I’m not sure I’d like it?). While Elektra: Assassin is – say it again – a cool ninja on a secret mission to kill the President (who’s actually a demon).
Miller and Sienkiewicz make it look easy. I mean: talking to people who’ve read this book in the past at the Barbican Comic Forum – I know that it’s a book that you need to work on and work with before it opens up and reveals all it’s fun: which I guess just makes me count myself lucky – as having been immersed in a comics from a young age swimming around in this stuff just kinda feels like home.
Hopefully when I get the time I’ll set down and give it a reread (this being one of the few books that I actually own) and then if you’re lucky/unlucky I’ll copy and paste some panels and be like: wow. Look at the masterful use of comics language and how they’re managing to redefine it and push it further beyond the limits of what it can do and be. Or actually (maybe more realistically) I’ll just be so overcome with giddy excitement it’ll just be me saying “THIS!” and “THIS! and “OMG! THIS!”
But hey – what did you think?
Elektra: Assassin is the Twin Peaks of comics, or at least Twin Peaks as it existed in the public consciousness before it’s recent resurgence thanks to Netflix making it more easily accessible than ever before. Twin Peaks was, if you grew up in the 90s, that thing that lurked behind every overt pop culture reference you didn’t understand. The most famous example is the dream sequence in the Who Shot Mr. Burns episode of The Simpsons where Chief Wiggum ends up in the Red Room, but he’s so oblivious to the symbolism being put in front of him that Lisa has to scream “Burns’ Suit!” at him until he wakes up. You know it has to be from somewhere, but you have no idea where. You could be growing up now watching Gravity Falls and have the same exact thing happen to you. It wasn’t a show that people really discussed a lot in the public sphere from the late nineties until a couple years ago, but it was evergreen among people who made television, and if you came to it late it really broke open the shape of a massive amount of television from The X-Files to Riverdale.
Elektra: Assassin hasn’t enjoyed quite as wide of an influence as Twin Peaks did, but it’s certainly a comic that people who make them have returned to again and again to draw more out from while the work itself has slumbered as a cult hit. I first read it in scans in the mid 00s, found a copy of an out of print trade run at a comic convention, then finally bought it again when it was released on Comixology in 2015. When I first got ahold of it it, I’d just been binge reading Daredevil from Kevin Smith’s Guardian Devil to the Brubacker Civil War era and nextwave: Agents of HATE, so it really came like a brick through the window. Here was the reason why Quesada, Palmiiotti, and Mack were putting all those violent little cherubs in Daredevil. Here was the original source of the gigantic revolver Dirk Anger was sitting on in nextwave. That influence hasn’t abated since, either. When Hayden Blackman and Michael Del Mundo revived Elektra’s solo series, it was at the core of the run’s DNA, Del Mundo weaved his palette together directly from Sienkiewicz.
I’m going to have to do a serious re-read as we discuss it so that I can pull out some specific bits and pieces, but I don’t know if it’s possible to overstate how much I love this comic. In the trade edition I got, which is probably buried in my parents’ basement somewhere right now, there was this brilliant foreword written, I think, by the editor on it that I wish they’d hauled out of the archives for the comixology edition because he talks about how the comic came together. There was, as you’d expect, a part about how it fits into the Daredevil chronology and what drove Miller to want to pick Elektra back up again, but the best part is describing how Miller “discovered” Sienkiewicz, who was well established, at Marvel and elsewhere prior to Elektra: Assassin. Miller came to his editor like have you seen this Sienkiewicz guy, he’s gonna be huge, etc. It’s what I imagine the Beatles discovering the sitar was like. Their collaboration was also, in my hazy memory, described in a way that made it sound like Miller was doing acid for the first time in his life or that he had taken on the role of Ralph Steadman when he first got wrapped up in the whirlwind that was Hunter S. Thompson. Absolutely glorious. I should try to dig it up.
Elektra: Assassin is like something out of Planetary, this unexploded bomb, part of a secret history lurking just beneath the surface of the history we’re told in school.
Of all the words that I associate with Elektra: Assassin / the word that I would use to describe the top number one would be: fun.
But fun is had to define.
(In fact maybe it’s not even the right word? Maybe I mean “joy” instead? Or “exhilaration”? Whatever – let’s just say “fun” for now).
Up above I described it as like “driving a car really really fast.” I’m not exactly sure why I said it like that. But I guess if I had to unpack it: it’s almost like a mindless feeling. Something where the sensation is so immediate and total that your higher brain functions turn off: and instead all you can do is whoop and scream. Like riding a roller coaster.
There’s a phrase that crops up again and again and again in various different permutations when people describe action movies that basically goes something like this: “In order to enjoy it – you’re going to need to switch off your brain.” I mean – maybe it’s just me but I’ve always thought that’s just a really dumb thing to say. Or rather: actually (slightly less harsh formulation) – maybe my brain just works differently? (No – it’s just a dumb thing to say). Because – shit – when I movie is working really well and doing everything right – it’s the opposite: if you enjoy it – then your brain won’t switch on.
I get it that you might think that might sound like a stupid thing to say – but (at the risk of going all Alan Moore-y about stuff) I think that it makes a lot of sense to think of our experience of comics (and blah blah blah other stuff – films / music / tv / etc) as being a spell. We’re presented with pictures and words which are combined in the right sequence to make us forget ourselves and instead allow us to experience the lives of people and events which have never existed. Which – please stop sniggering in the back – is magic.
(Actually maybe it’s more J K Rowling than Alan Moore? But hey – whatever).
So if you’re conscious during this process: if you can think / if your brain is switched on. Then I’d like to suggest that maybe (just maybe) you’re not doing it right. That maybe you need to teach yourself how to fall under the spell a little more.
Case in point: when me and my friends have movie nights round mine – you can gauge the quality of the film by how much (and when) people are talking and cracking wise and when people are just sat there in total silence. The film putting us all under it’s spell.
And yeah: like with all things – it’s a language and you have to learn it otherwise it don’t work (hands up anyone who’s been stuck watching a film with someone oblivious to how the film works: it’s like someone watching a sport and supporting both teams or something you know – you’re doing it wrong!)
(Actually – maybe the sport metaphor isn’t the best metaphor but whatever – it’s kinda a unique example no? You think of something better!)
And yeah – Elektra: Assassin = one of the best – and most fun! – spells I know.
And oops: again – getting into the whole smart / stupid thing – I think it’s reeeeeally interesting how it basically avoids anything that you could hang an intellectual hat on. I mean yeah: the big 3 comics of the 80s are all things that allow you to put your smart hat on and do some charlie rose style chin-scratching. There’s Maus – which well yeah is about the Holocaust which is probably the most serious thing that has ever happened. Watchmen – which let’s you get into deconstruction and superheroes etc blah. And The Dark Knight Returns – well: that’s Batman and fascism and all the rest. I mean: it’s like they all have easy ins. It’s easy to sound smart when you talk about them because it lays it all at your feet.
Please yes correct me if I’m wrong – but Elektra: Assassin (from my memory of it anyway – I still haven’t reread it yet) isn’t really about anything. It doesn’t really seem to have that many themes or anything (unless “ninja” is a theme I guess?). It’s more like a novel where the point is the virtuosic language and sentence construction and wordplay. Only – it’s doing it with panel juxtaposition and speech balloons and artwork style. Which – damn it – is really tough to put into words but an absolute blast to experience.
PS: This one is probably just for Emma but: Elektra: Assassin is the Treats of Frank Miller’s career. Discuss.
Peckham Library Graphic Novel Book Group
Barbican Comic Forum
Elektra Assassin. Just when I think I’m out, she pulls me back in…
The problem every reader has with solo titles is the belieavability of the threat of the main character dying. Sometimes if you’re a good enough writer you can get over that hump, often, if you’re a less than good writer you might be lucky if you have a strong enough supporting cast that you can have the hero fall, have one of the sidekicks step up to take over the mantle of the fallen king, then piddle about for six months before doing the ‘Return of…’ storyline. If you’re Marvel, you might even be able to scrape it to twelve months. This is why I can’t be having with the comics version of the Punisher. He is always so dull, a black hole of charisma and even in the limited vocabulary of the superhero genre how exactly is it that every story is ‘stranger comes to town, stranger kills everyone, stranger leaves town’ and people keep buying it. Even in Garth Ennis’s run, and he practiced for writting the Punisher by doing Judge Dredd for years, his so-called ‘legendary run’ is one of the weakest things he’s written, except for that story about Frank in Vietnam. You can understand why they made the Punisher in to the Spectre for a while, there is literally nothing to do with the character that hasn’t been done a million times before. See the current Punisher title if you don’t believe me.
It’s impossible to work out when Frank Miller ‘lost it’. This is because even after he ‘lost it’, he was doing work which could be read of as quality for quite a while afterwards, because of his dedication, like Dave Sim on Cerebus, to pushing himself further and harder to tell what are often pedestrian stories. Most of his work, Dark Knight Returns, Ronin, the Sin Cities, 300 are incredibly basic stories, they are Punisher stories, with the saving grace of interesting experiments being done in story telling. Is there anything interesting about ‘300’ except how by flipping the page dimensions it allows for an interesting use of the different layout to tell the story? No, of course not. The problem is that, in the early years of the twenty-first century, Miller’s artistry has run as dry as his writing culminating in ‘Holy Terror’ in which it’s a toss up whether his loss of writing ability or his loss of the ability to lay out pages and simply draw are the bigger offences. An ‘All-Star Batman and Robin’ that Miller doesn’t draw is a baffling choice to make but DC hasn’t cared about anything than putting product out for years (allright, Marvel don’t either, but they have the advantage of having some talent working for them, DC will always suffer because anyone can work at either Marvel or Image), so not making Frank draw his fevered imaginings is a wasted exercise. Jim Lee can’t match the intensity of Miller’s script.
To see ASBAR done right, you read ‘Elektra Assassin’. It’s everything that shouldn’t work about a story, the blank cyphers of characters (Elektra makes Frank Castle look like a well-rounded and three dimensional character), the ridiculous odds (Nick Fury seems amazingly unconcerned and uninterested that SHIELD can’t stop Elektra from attacking Presidential candidates but then SHIELD don’t seem to be putting much effort into stopping Carnage from doing whatever he likes (another inexplicably popular 0 dimensional character) so they clearly have a list of people they will try to stop from even crossing the road at a zebra crossing and people who have got a free pass for anything up to and including mass genoicde and planet destruction. There’s also the fact that Elektra has the power of ‘ninja’ which just means that she can do literally anything she wants to do at any moment, psychic powers that make Professor X look like a drooling imbecile, telekinetic powers, super strength, healing… Flip this story around and tell it from The Beast’s POV and it’s about this poor guy who just wants to get his man made President so he can help out big businesses and standing against him is God who wants her guy to be President in the name of War. In fact, if you want some idea of ‘Elektra Assassin’ from the POV of the Beast, read the middle third of Dave Sim’s Cerebus. There are definite parallels.
‘Elektra Assassin’ shouldn’t work. ‘Elektra Assassin’ can’t work. Warren Ellis showed, and some people have already mentioned, that there are a number of ideas so bizarre that the only way to deal with them is as parody, or comedy, as ‘Nextwave’. Miller always treats them as dead serious and they always fall flat.
There is something magical about ‘Elektra Assassin’. It is the one time when all the things that often mess up Miller’s work, his pedestrian scripts, his po-faced seriousness (even when he thinks he’s being funny), his obsession with the whore/madonna, make this work brilliant rather than a failure.And it’s also sans the thing that is normally needed to save Frank Miller’s stories, Miller’s artwork. Bill Sienkiewicz takes what must have been the full-on assault of Miller’s script and fights back harder. When Miller’s script demands earth Sienkiewicz demurs with fire, Miller deploys water, Sienkiewicz atomises air. Sienkiewicz bends steel and fades into gentle mists of colour. The introduction in my volume makes it clear, this wasn’t a collaboration but a fight. Miller always got the last word, he got to rewrite the comic based on Sienkiewicz’s art, but the power of the art is such that Miller is powerless before it.
So that’s a few random thoughts, trying to echo the stream of unconscious that is the narrative. Let’s see what other people think and them I might come back with some more rambling, if I don’t sober up first.
“Treats was less an album than a nonstop parade of textures, and its tracks were less songs than unwieldy coalitions of disparate sonics that constantly needed to be mashed, or welded, back into place.”
Spot on, Joel. It’s hard to imagine a more literal evocation of what Elektra: Assassin is than that.
Loz, I think we’re probably working from the same edition, although your memory of it is clearly more recent/complete. If you’re able to scan the introduction, I’d love to be able to fill in the gaps. However combative it was, the result is a synthesis that, to me, reads as a hedonistic embrace of Miller’s vices. I’ve always been untroubled by things like the gender dynamics or fixation on the madonna-whore complex in Elektra: Assassin because everything is so nakedly and explosively itself, especially when it comes to phallic imagery from that gigantic gun Fury is sitting on or the ones that Elektra and her foil Felicity or Chastity or whatever they called her lug around. In a way, she’s an early prototype for Xerxes with all the crucifixes that Sienkiewicz adorns her with.
It could very well be that Sienkiewicz was taking the piss out of him the entire time, but the cheek and unrestrained nature of it are things that I feel like Miller has, at various times, attempted to replicate either alone or through collaborations. The most obvious one is DKSA when it really starts to spiral into Miller’s most absurd cartooning and Lynn Varley’s anarchic dive into digital coloring. I have a lot of trouble with the idea of Miller being self serious in his work in a sustained way. There’s frequently a false gravitas in his writing, but his figurative work has always exposed a sense of whimsy. You look at the posture of one of the Spartans in flight in 300 and it’s just this purely cavalier, louche attitude captured in silhouette. No one disrespects gravity and mortal danger as flagrantly or beautifully as Miller’s figures in flight. If only he’d gone and done a basketball comic instead of plunging headfirst into xenophobic hyperviolence post 9-11.
You could probably earn a doctorate of some sort examining the aggressive virility of Miller’s Superman, but again, it’s hard for me to imagine it as the product of something lacking cheek, especially that one DK3 mini comic cover that outlined Clark’s erect penis under his costume in loving detail. The eroticism of Miller’s male figures is a fascinating subject, especially his Barry Allen in DK2, but that Superman is absolutely brilliant, especially when you consider how de-sexualized Superman is both visually and textually in sharp contrast to the grotesquely violent sexuality that the heteronormative fanbase maps onto him (see the legendarily loathsome “man of steel, woman of kleenex”).
The things that Sienkiewicz does with female figures in Elektra: Assassin, like playing with musculature and phallic imagery in the form of weapons, most obviously giant guns, are things that Miller himself wholly embraced in his work later on. Nancy Callahan is probably the most fascinating example of Miller’s deployment of the Madonna-Whore complex as she’s a both a sex worker, a stripper, and a virgin who wants her first sexual experience to be with Hartigan, the cop who saved her from a child molester when she was, well, a child. Lots, probably too much, to unpack there. Despite, or perhaps even urged on by all that, Miller has absolutely no reservation about making her the centerpiece of the erotic energy of Sin City by fixating on her breasts -replete with hyper-erect nipples- and positioning the holstered revolver in her costume over her crotch. It’s so much fun to play with the meaning invested in that gun, isn’t it? The phallic nature of it points to a kind of virility and sexual agency that suggests Nancy is subject, object, Madonna, and whore. The center of erotic activity. Which is more or less reiterated by Miller himself in defining Nancy as “the heart of Sin City.”
Elektra: Assassin was probably no less of a knife fight than the average Oasis album but I don’t really believe that the final product is antithetical to Miller’s values or aesthetics following it.
Barbican Comic Forum
Twitter / The Hot-Doll Pages
I think there’s a certain amount of self awareness in Frank Miller’s writing on Elektra Assassin, for example when SHIELD do Elektra’s psych profile and make reference to Freud, Jung, Catholicism and sexual repression. Garrett dismisses it as all wrong (obv preferring to view her as transcendent manifestation of the sacred feminine or something). But Miller at least demonstrates that he understands the ingredients he’s working with. He puts a reading of his work into the work, in order to acknowledge and dismiss it. Perhaps the reason he has become more intolerable in recent years is that he is less willing to question himself in this way.
(Also quite like the jibes at Sienkiewicz – “Christ, what’s with this cropping? You get some film student to put this together?”)
Have only reread the first three issues, but already guessing at how the book’s politics relate to Miller’s subsequent work. Wondering whether the demonization of Ken Wind is about Miller suggesting that soft East Coast liberals don’t have the strength of will to resist being coopted by sinister forces. You need real hard-drinking cynical bastards who worship women with the finger on the button to ensure the world is safe.
Twitter / Improvised Comics
I’m loving the conversation around this book, re-remembering it from my impressionable teenage days, and so on. Out of everything Frank Miller’s done, I think this and Ronin are the only two with any real merit, and Elektra’s lifted by more than just Bill Sienkiewicz’s utterly gorgeous and experimental art. (And just a quick note on the art, I think it works so well because it’s very controlled and disciplined in a strange way. He’s all over the place, and over the top stylistically, in terms of the colours, and so on – but the experiments are always experiments in storytelling, not just in visual style.Ken Wind’s cut-on face, the cut-out paper early memories of The Hand in issue 1, and so on, are bold and weird, but they serve the story.)
Ilia – I think Miller demonised the Left and Right of US politics equally in this book. You’re spot-on in your assessment of his assessment of the liberal left, but his Nixon/Reagan character’s not being held up as a positive alternative here. I remember an interview with Miller about the time this book came out, in which he said something along the lines of: “I’m a cartoonist. Therefore I’m an assassin, not a revolutionary. It’s not my job to suggest positive alternatives, just to attack the politicians that we do have.” (I paraphrase badly, this is something I read decades ago…) Which is probably why Elektra works whereas the Dark Knight, say, doesn’t : Miller’s at his best when he’s destroying. The “positive” alternatives he holds up are pretty unconvincing (to me), and Elektra is much improved by their near-total absence.
Maybe Sienkiewicz was a moderating influence here? He’s very much left of centre, judging by his pro-Bernie tweeting the last few months (yeah, I realise that I’m assuming he hasn’t made a major U-turn in the last three decades, there). Did Miller’s script call for a child-sized Reagan/Nixon whose feet didn’t touch the floor, and dollar bill bedroom wallpaper, or did the artist add those details? Or, given the intriguing stories about the improvised nature of the collaboration, how can we tell who did what in the first place? (An aside: is that story real? Sounds like a recurring pattern in Sienkiewicz’s work – there’s a sandman story in “Endless Nights” that he illustrated to a script from Gaiman, then rearranged the pages and Gaiman wrote a new story over the top of it.)
It’d be easy to say that this book worked because of Sienkewicz and in spite of Miller, but I think Miller actually brought a lot of the raw nihilistic energy that made this work better than, say, Sienkiewicz’s solo “Stray Toasters”, or pretty much anything Miller illustrated by himself. It’s a rare example of a collaboration by two very strong voices that generates something better than the sum of the parts. They’re diametrically opposed politically, but similar in the nihilistic energy. Must have been an interesting fight to create it!
I don’t think I’d say they’re diametrically opposed politically either then or now, but I’ve also never actively sought out either one’s politics outside of what I’ve gleaned from their work. (I’d be interested to hear Miller on Bernie Sanders, if only because they’re New York transplants from Vermont of the same generation.) Miller is pretty gnarled in that sense, doing things like crafting a whole Sin City story about Dwight getting revenge for a pair of lesbian sex workers while also codifying his most obviously feminized male figures as villains (ie: Xerxes, The Joker) or ridiculing American imperialism and the military industrial complex right up until it comes to what he conceives of as the Islamic world. My presumption is that Miller leans libertarian.
“You need real hard-drinking cynical bastards who worship women with the finger on the button to ensure the world is safe.”
Ilia’s line here makes Miller out to be a cynical, hard edged latter day William Moulton Marston. I dig it.
Re: Frank Miller “losing it” / politics of Elektra
There’s a quote from the Coen Brothers that always stuck with me (Joel not Ethan): “You have a scene in a movie when someone gets shot, right? … And the squib goes off and the blood runs down and you get a reaction, right? It’s movie fodder, you know what I mean? And in a really different way, a baby’s face is movie fodder. You just wanna take elements that are good fodder and do something different with them.”
Maybe this is a bad thing but I’ve always thought that to be the best way to understand how Frank Miller’s mind works / the best way to enjoy his comics: none of it really means anything. It’s all just taking things that will spark off a reaction in the mind of the reader and then just throwing them out there one after another: and that’s what makes it work. Crazy and wild ideas and images all thrown out towards you one after another. What does it all mean? What are his politics? Well you know – it’s all just fodder. It’s all just squibs and baby faces.
(And in fact – his stuff only starts to break down and fail when he actively tries to convey a message: see – whatever the hell Holy Terror is and (shudder) all godawful the Give Me Liberty sequels)
Re: Bill Sienkiewicz
Oh my god. It’s actually been hard for me to read Elektra: Assassin because I keep drooling all over the damn thing. I mean – even the way he draws plugs is cool. I swear to god – a plug. In the wall. And it makes me want to lick the page. Full disclosure: I used to draw a lot as a kid and my favourite was Simon Bisley until I discovered Bill Sienkiewicz and then I was all like oh my god yes: this guy gets it. Plugs in the wall. Halfway between the real world and hyper-reality but better than both.
Re: Elektra: Assassin The Movie
It would have had to be made in the 1980s (obviously)
Elektra – Sigourney
Weaver Garrett – Bill Paxton
Ken Wind – Robert Redford