Making comic adaptations means making a lot of choices - you need to adjust the pacing, the dialogue, and in this case, a lot of the cultural references.
Sentiment: NEGATIVE
The great thing about working in comics is that visually, you're the sole voice. You have to figure out the staging, the lighting, the composition, the character emotions, the action. You get a script, but you're trying to work it out in individual panels. It's a terrific exercise in creative thinking and creative problem-solving.
Taking a comic strip character is very hard to write. Because comics are meant to work in one page, to work in frames with minimalistic dialogue. And a lot of it is left to the imagination of the reader. To do that in film, you've got to be a little more explanatory. And that requires a good screenplay and good dialogue.
I draw on a lot of cinematic influences like Ingmar Bergman and Wim Wenders, artists who let a story take its time. Comics are a visual medium, and visuals should be allowed to tell some of that story.
People are really paying attention to the comic-book genre, and there's a lot of time and attention being invested in these projects with a wonderful sense of quality control.
There hasn't been enough change in comics to suit me. I don't know why exactly.
Most films are rooted in a book or a comic strip, but I don't go out there saying I want to do adaptations.
To paint comic books as childish and illiterate is lazy. A lot of comic books are very literate - unlike most films.
The most frustrating part of working in TV and film is that you have to convince someone to let you make what you want; in comics you can do whatever you want and for 1% of the budget of TV and film.
I think too many comic book covers are way too busy, crammed with far too much information, both visual and verbal, that just becomes a dull noise.
The comics work is very slow, and it basically involves working for sometimes years in isolation and not knowing how the work is going to be received.
No opposing quotes found.