It's not so much that I got that idea at some point, it came up naturally because of the improvisational nature of the story I was telling.
From Chester Brown
'Penthouse' didn't seem to concentrate as much on the girls' faces, and I really wanted to see the girls' faces. It seems like through the 1980's, they almost went out of their way to obscure the girls' faces.
That's the thing. in medicine, you're used to saying there's a problem within the person, and saying there's a problem within the culture, that's not a medical answer. Medicine has to look in one direction, so there's only one type of answer that they can find.
The counter-argument would be, so what if my sexual relationships are superficial, one can still have satisfying and rewarding relationships with friends, or parents, or siblings, or whatever.
The director is planning on titling the film 'Yummy Fur' so we are probably planning on changing the title of the book to 'Yummy Fur' to match the film.
The main problem was a pacing problem. I had wanted the project to be about 20-30 issues, and I should have written it out as a full script beforehand.
The scientists at the end of the 19th century had people coming to them with this weird behaviour, and they didn't know what was going on but there seemed to be a similarity. They needed an answer, so they made up one.
The whole schizophrenia angle interested me. When I first started working on it, I thought I would play up that angle more than I ended up doing. The religious aspect of the story was also a draw.
There I was limited to what happened the same way I am with Riel. It doesn't feel like a great burden to have your story, to some degree, set. I am enjoying figuring out what I think is the most dramatic way of telling this set of historical facts.
There's a bit of debate about that; some say it was really Matthew, but the popular consensus is that Mark was the first one, so that's why I did that one first. And I was planning on doing all four.
3 perspectives
2 perspectives
1 perspectives