In comics, a period of time is a “thing”, a gem of temporality – layering new ideas over old “things” simulates memory, its refractory power.
Shakespeare was interested in the lives of the medieval royal families, but he also raided the Roman myths and the Greek myths for the same purpose. And I think Stan Lee went to the myths that Shakespeare hadn’t used. You know, [they both] recognized that they contain briefly told, very condensed stories that I think are very universal in their application.
I sit down to work, and when I stop, I realize all this time has passed. You’re obviously dealing with some kind of mystical state. I don’t know what it is, but if you see a good artist working, you see them fall into it.
Marvel is trying to interweave some of their key characters into an internally consistent world, whereas DC is comfortable allowing each of their characters to stand alone, and even be simultaneously re-imagined by different directors. The former is a fanboy’s paradise, but the latter allows for better storytelling.
I can’t believe the weird ways comics and cartoon characters and comics art make their way into popular media. It’s never about the art.
Once symbols stop resembling objects, comics lose the ability to offer pictorial diegesis thru extrapolating the physicality of the world.
Over the years I’ve become less comfortable portraying emotion. I like austerity. I like it when I read other people’s works, other people’s films and there’s this austere feel…
You have control over what you are creating right now, and if what you create is honest, it will be compelling.