Intervista a Daniel Brereton (english version)
- Scritto da Redazione Comicus
- Pubblicato in Interviste
- dimensione font riduci dimensione font aumenta la dimensione del font
- Stampa
- Comments::DISQUS_COMMENTS
By Stefano Perullo
Hi Dan, welcome on www.comicus.it virtual pages!! Would you like to introduce yourself to our readers?
Dan Brereton: My Name is Daniel Brereton, and I’m known mostly for doing fully-painted comics work here in the United States. Publishers include DC, Marvel, Dark Horse, Harris, Upper Deck, Wizards of the Coast, Bongo, Topps,Tekno, Eclipse and many more. I started with a minI-series that ressurrected a golden age character called The Black Terror , which won me the Russ Manning Promising Newcomer Award of 1990. After this, I co-created and painted The Psycho for DC (The writer, James Hudnall, and I got the rights back to this title and it is now in development at Universal as a live-action film.) Ive adapted the work of Clive Barker ( Dread, 1991) painted several hundred covers and trading cards.I have illustrated comics since 1988, and wrote my first published comics in 1994, which was Nocturnals. Since that time, Ive written and Illustrated a JLA one-shot, painted Legends of the Wolrd's Finest a batman and superman tale written by Walter Simonson and two Thrillkiller projects (an elseworlds starring the batman characters in a Sixties Noir kind of world) written by Howard Chaykin based on my concept. I also wrote and painted a miniseries I created called GiantKiller, which DC published in 99. Giantkiller and the Nocturnals have both seen publication in Italian, ands I believe JLA: Seven Caskets from DC did as well. Primarily, publishers want a darker style from me, and having worked on horror and monster titles or stories with a darker ton, I have been fitted with a title that I sometimes resent. But its not all bad, as I've worked on the Simpsons comics and I also wrote several Buffy the Vampire Slayer books for Dark Horse. I was born and raised near San Francisco, California, and still live in Northern California with my fiance and three (soon to be four) children.
CUS: Wow!! Four children in your home!! I think you never work in absolute silence, am I right?
DB: the trick is to work at night, which I do. my kids have learned to sleep through my nocturnals activities.
CUS: How you are involved on “L’Ultima Battaglia” Project?
DB: I illustrated the story written by Tito Faraci.I was contacted by Gianfranco Cordara, who would become my editor, in late 2003 about doing a graphic novel for Disney Worldwide. Something to do with the Romans, something violent and not what Disney Italia would normally publish. The story was to be wirrten by Tito Faraci, who I was told was very well-known in Italy. They wanted me to illustrate this project after seeing one of the Nocturnals graphic novels appear in Italy. Gianfranco was very excited and it was very overwhelming. I couldnt help but think maybe they were contacting the wrong person. Id had no experience doing anything remotely to do with Ancient European History. But Gianfranco felt strongly that I was the right man for the job. I tried to come up with ways to not do the book, maybe get Disney interested in something I felt was more suited to my strengths, but Gianfranco would hear none of it. He finally convinced me, and I felt it was time to show those publishers and fans who had me pidgeon-holed as the monster artists, that I had more tricks up my sleeve.So, with a childhood love of Asterix and Obelix, Conan the Barbarian and the work of Sergio Leone to inspire me, (and with Frank Miller's 300 as a sort of inspiration for genre-switching,) I plunged headlong into the year 52 B.C.
CUS: Can you tell something about the history written by Tito Faraci?
DB: The tale begins at Caesar's seige of Alesia in 52 B.C. Secure behind the double-walled fortifications surrounding Vercingetoriox's hilltop fortress, Julius Caesar sends for his retired mentor and greatest of generals, Caius Rodius. Caesar entrusts Rodius, who has long-since tired of war, with a covert mission to assasinate the leader of the relief army of Barbarian Gauls before they can bring aide to Vercingetorix's army, trapped behind Caesar's expert fortifications. Rodius sets out with a hand-picked team of his former warriors-in-arms, to murder a young Gaulish Cheiftain he was once very close to.
Rodius is an interesting character in that he takes no pleasure in killing, but does it without hesitation- its as if he's resigned to his fate, but seeks the quickest way through any given task in war- even if it mnight seem dishonorable or tricky. In tthis way he is very Roman. However, he has no interest in heroics, just getting it done. he beleives there is no glory, no art to war. In this way, he is at odds with Caesar and those who embrace war as a path to glory.
At the start of the project, I was very ignorant of Roman and Gallic culture and history, so I set about educating myself by reading and researching the peoples and period of Tito's script. I was amazed at how many films get it wrong. I started with Vercingetotix and Caesar, and the stand-off at Alesia ( which is how our story begins) and then worked my into the roman army, the celts of ancient gaul, their costuming, weaponry, housing, customs. I was emmersed in this period for months and nearly drove my family and freinds crazy with all I was learning. I was consumed. Now I fancy I know as much or more about the events and peoples of 52 B.C. as the average Italian or French high school student ( which, for a boy from California, is quite a bit)
CUS: Before “last Battle” did you know Tito Faraci? (if the answer is affirmative) What do you know about his work?
DB: I didnt know Tito, nor his work at all. It was not the first time Id been paired with a writer I did not know, but I would work with Tito again any time. His style is lively, gut-wrenching and colorful. he has that 'pulp' sensibility that I love. I
I sent he and Gianfranco several conceptual sketches for characters I thought would work well in the story from a visual point of view and also to portray a roman army that isnt what the films like to portray, and tito was very enthusiastic about my take. because I got to draw the characters I envisioned, it brought me closer to the story, made me feel like I had a stake in it, rather than just illustrating another man's vision. this was an immense help and inspiration to me, and tito made it possible.
CUS: during your work on Last battle have you often talked (also about mail) with the writer? Is it easy to work with a guy that lives in an other corner of the world?
DB: you would be surprised- tito and I got on very well via e-mail. Its no substitute for being able to completely understanding one another, but I would work with Tito again without any reservations. I would like to meet him face-to-face before we do, though.
CUS: Generally, what do you know about italian comic books? Which artists and characters do you know, and what do you think about our “school of cartoonist”?
DB: I have to confess being very ignorant of italian comics.I think most American readers who enjoy European comics tend to lump then into the same category. For years I thought my favorite European artist, Jordi Bernet, was italian, but recently leanred he was from Spain. I will tell you for many years I have very much admired the work of Serpieri, Mattoti, Milo Manara and only recently, Barbucci. Truly, I am a babe in the woods when it comes to the many characters and artists who draw them, and its one reason I look forward to some day attending LUCCA, to soak up as much as I can.
CUS: What kind of differences have you found about the “Italian” script made by Faraci and the “American” scripts you usually worked on?
DB: faraci's was easier to digest in many ways. he gets to the point quickly, and doest fuss with descriptions very much. I like this because it gives me freedom to tell the story, and despite what Id heard to the contrary, tito didnt ask me to change much of anything in the art. if I had to compare tito's script to any American comic writer ive worked with or the scripts Ive written for another artist to follow, the differences are small.
What did you found in the script that's been very challenging for you? And what's been an unexpected pleasure in the process?
DB: obviously, the research and trying to get the feel of the period right was the biggest challenge- the biggest challenge right now is whether or not I was able to sell Italian readers on a period in their history they know more about than I do, something theyve grown up with. I really hope it plays truthfully to them. the unexpected pleasure came with illustrating such a visually rich story that let me explore subjects Id never been able to before. also loved the Head Hunter character a lot- I really cut loose with his scenes.
CUS: Nocturnals, Giantkiller, L’ultima battaglia and many other your works are really far from the superhero genre… it seems that perhaps you're looking to stay out of the typical USA comics genre … would that be accurate?
DB: you would think so, but to be honest, I grew up reading mainstream comics and love the idea of doing them- but it wasnt my idea to do a story where the Justice League become monsters- it was my editor pidgeon-holing me into doing what he felt the audience wanted from me, when I would have been fine doing a straight JLA. Do I love monsters? sure. there is something in me that always seems to tweak or twist a mainstream idea somehow. I dont do it consciously, except that my own personality has to come through or I'll be bored stiff. I love the fantastic stuff in comics because its so fun to draw. I think there is a lot to be said for making comics that are fun and entertaining- they arent always easy to do. serious, realistic comics may get meadi attention and garner critical praise, but unless it transports me some place, I dont think its really a comic book.
CUS: Usually in your comics you have a Dark style, Can you tell me something about the style you're developing for this project?
DB: I hear this a lot- this "dark" style. I wish someone would explain it to me- I mean, I honestly dont know if they mean actual darker tones in the art or 'dark' as in 'mood'... in either case, I think I just enjoy working this way.I agree with Frazetta that you must exaggerrate reality, and that its exctiing to paint something no one has ever seen. I really feel you have to bring the world inside you into focus with your work- I'm not saying all thats inside me is dark corners and , because if you look at my work, its actually full of color.
for The Last Battle, I simply tried to portray the world of 52 B.C. the way it appeared in my mind's eye after reading Tito's script. ands that world has sunlight. clouds, shadows and trees, horses, water, animals. atr the same time, it is a dark story withy terrible moments- but I didnt tell them using blacks, It always about color.
It is my belief that this book will be one of the most well-recieved of all my work, simply because it takes readers rto a place they never would have expected to comew from my mind's eye. I was very warmed to find out from my colleague and friend , the great artist, Phil Noto, that he considers my work on The Last Battle his favorite of my art. Ive been hearing this from quite a few friends and family. its funny, I thuink they finally see something in my work they can relate to. :)
CUS: with “dark style” I would mean your heavy choice of colours for your paints… but, after the reading of your interview I’ve undertood that often your choice are principally the “Editor choice”. I’m right?
DB: hmm. no, I wouldnt say that. most editors hire me because they like what I do, and to be honest, though I do feel 'pidgeon-holed" at times, I dont paint any way but how I wish to, you know? maybe you can tell me if the 'dark' style prevails with L'Ultima Battaglia, once its out. :)
CUS: “L’ultima battaglia” will be published, in different moments, all around the world… what kind of expectations have you about this work?
DB: It is difficult to have any expectations because Im not really in the loop when it comes to what countries, when or even who will be publishing it in my own country. I figure it will either do excellently or not. my main concerns are how well-received the book is in Italy, France and the U.S.
CUS: you are one of the premiere painters in the comics world… why you made a so unusually choice?
DB: because after trying for months to figure out a way to turn it down and still work for Disney Italia, I realized this was the opportunity of a lifetime, illustrating this story. I thought of Frank Miller, who broke the mold with Sin City and then broke it again with 300. I tried to make the giant monster japanese kaiju sub-genre come to life in american comics with GiantKiller, but really it was about me doing unfettered monster fantasy- it was pure fun. the Last Battle was all about growing, stretching and testing. it should have seemed like a lot more work than it was- all that reasearch and doing things for the first time, but it was a joy. I felt more free in many ways doing this book than any Batman project I was lucky enough to land in the past. even though it takes much longer to paint a retired roman general than it does the Dark Knight ( its true), I felt like I was showing something new to everyone.
Once I'd drawn those characters for the first time, I became interested in them. and I wanted to draw them more... I even gave names to some characters before Tito even put them in the story. I mean, Tito gave them names of his own, but I didnt care- they existed for me once I drew them, and thats when i began to get excited. I think that excitement is evident in the art of the book.
CUS: Which is your next project? Have you a dream project to working on?
DB: My next project is a story Im illustrating for MIchael Chabon's Escapist books published by Dark Horse. The story involves more research- this time, Harems, Sultans and Lions! I recently found out that in decvember DC Direct is putting out two action figures based on my versions of Batman and Batgirl for a book I illustrated called THRILLKILLER ( a sort of noir version of Batman set in the early 1960's) As for my dream project, it looks like Im going to be developing a pilot for Disney TV Animation here in the states. In the midsts of that, Im writing a pitch for an untitled ghost story. Ive already sketched-out all these characters, and they already feel 'alive' to me, so I cant wait to tell their stories.
CUS: What, if anything, are you reading, today? If nothing new, do you seek out the work of any particular creators?
DB: I dont really keep up much with comics in a way that Im reading them much. I tend to read novels - mystery and crime fiction is a big favorite. I recently read Yann Martel's award-winning novel, THE LIFE OF PI, which I loved. Im currently reading DBC Pierre's VERNON GOD LITTLE, and ORYX AND CRATE by Margaret Atwood. I think I read fewer comics these days because I want to be inspired by other sources, but also because I lost my neighborhood comics store years ago and havent really established a comfortable connection with another since. the perfect comics shop should be a hitching post where readers get together and talk about whats new and what's good. I miss that. but at the same time, I feel I may offer a fresher perspective by not immersing myself in the work of my peers. having said that, I never tire of the inspiration of seeing the work of fellow artists and friends.
CUS: Did you desire to tell something to your Italian Readers?
DB: I used to brag that I was Italian- my grandmother was full-blooded. Her parents came to the US from Abruzzi (her family name is 'Zampa' ). Im proud of my roots, but have learned ( not from my co-conspirators at Disney, mind you) that a quarter Italian isnt considered enough! you dont know how dissapointed that made me. I would love to visit your country soon, and hope fumetti readers enjoy the LAST BATTLE.
Francesco Farru
Hi Dan, welcome on www.comicus.it virtual pages!! Would you like to introduce yourself to our readers? Dan Brereton: My Name is Daniel Brereton, and I’m known mostly for doing fully-painted comics work here in the United States. Publishers include DC, Marvel, Dark Horse, Harris, Upper Deck, Wizards of the Coast, Bongo, Topps,Tekno, Eclipse and many more. I started with a minI-series that ressurrected a golden age character called The Black Terror , which won me the Russ Manning Promising Newcomer Award of 1990. After this, I co-created and painted The Psycho for DC (The writer, James Hudnall, and I got the rights back to this title and it is now in development at Universal as a live-action film.) Ive adapted the work of Clive Barker ( Dread, 1991) painted several hundred covers and trading cards.I have illustrated comics since 1988, and wrote my first published comics in 1994, which was Nocturnals. Since that time, Ive written and Illustrated a JLA one-shot, painted Legends of the Wolrd's Finest a batman and superman tale written by Walter Simonson and two Thrillkiller projects (an elseworlds starring the batman characters in a Sixties Noir kind of world) written by Howard Chaykin based on my concept. I also wrote and painted a miniseries I created called GiantKiller, which DC published in 99. Giantkiller and the Nocturnals have both seen publication in Italian, ands I believe JLA: Seven Caskets from DC did as well. Primarily, publishers want a darker style from me, and having worked on horror and monster titles or stories with a darker ton, I have been fitted with a title that I sometimes resent. But its not all bad, as I've worked on the Simpsons comics and I also wrote several Buffy the Vampire Slayer books for Dark Horse. I was born and raised near San Francisco, California, and still live in Northern California with my fiance and three (soon to be four) children.
CUS: Wow!! Four children in your home!! I think you never work in absolute silence, am I right?
DB: the trick is to work at night, which I do. my kids have learned to sleep through my nocturnals activities.
CUS: How you are involved on “L’Ultima Battaglia” Project?
DB: I illustrated the story written by Tito Faraci.I was contacted by Gianfranco Cordara, who would become my editor, in late 2003 about doing a graphic novel for Disney Worldwide. Something to do with the Romans, something violent and not what Disney Italia would normally publish. The story was to be wirrten by Tito Faraci, who I was told was very well-known in Italy. They wanted me to illustrate this project after seeing one of the Nocturnals graphic novels appear in Italy. Gianfranco was very excited and it was very overwhelming. I couldnt help but think maybe they were contacting the wrong person. Id had no experience doing anything remotely to do with Ancient European History. But Gianfranco felt strongly that I was the right man for the job. I tried to come up with ways to not do the book, maybe get Disney interested in something I felt was more suited to my strengths, but Gianfranco would hear none of it. He finally convinced me, and I felt it was time to show those publishers and fans who had me pidgeon-holed as the monster artists, that I had more tricks up my sleeve.So, with a childhood love of Asterix and Obelix, Conan the Barbarian and the work of Sergio Leone to inspire me, (and with Frank Miller's 300 as a sort of inspiration for genre-switching,) I plunged headlong into the year 52 B.C.
CUS: Can you tell something about the history written by Tito Faraci?
DB: The tale begins at Caesar's seige of Alesia in 52 B.C. Secure behind the double-walled fortifications surrounding Vercingetoriox's hilltop fortress, Julius Caesar sends for his retired mentor and greatest of generals, Caius Rodius. Caesar entrusts Rodius, who has long-since tired of war, with a covert mission to assasinate the leader of the relief army of Barbarian Gauls before they can bring aide to Vercingetorix's army, trapped behind Caesar's expert fortifications. Rodius sets out with a hand-picked team of his former warriors-in-arms, to murder a young Gaulish Cheiftain he was once very close to.
Rodius is an interesting character in that he takes no pleasure in killing, but does it without hesitation- its as if he's resigned to his fate, but seeks the quickest way through any given task in war- even if it mnight seem dishonorable or tricky. In tthis way he is very Roman. However, he has no interest in heroics, just getting it done. he beleives there is no glory, no art to war. In this way, he is at odds with Caesar and those who embrace war as a path to glory.
At the start of the project, I was very ignorant of Roman and Gallic culture and history, so I set about educating myself by reading and researching the peoples and period of Tito's script. I was amazed at how many films get it wrong. I started with Vercingetotix and Caesar, and the stand-off at Alesia ( which is how our story begins) and then worked my into the roman army, the celts of ancient gaul, their costuming, weaponry, housing, customs. I was emmersed in this period for months and nearly drove my family and freinds crazy with all I was learning. I was consumed. Now I fancy I know as much or more about the events and peoples of 52 B.C. as the average Italian or French high school student ( which, for a boy from California, is quite a bit)
CUS: Before “last Battle” did you know Tito Faraci? (if the answer is affirmative) What do you know about his work? DB: I didnt know Tito, nor his work at all. It was not the first time Id been paired with a writer I did not know, but I would work with Tito again any time. His style is lively, gut-wrenching and colorful. he has that 'pulp' sensibility that I love. I
I sent he and Gianfranco several conceptual sketches for characters I thought would work well in the story from a visual point of view and also to portray a roman army that isnt what the films like to portray, and tito was very enthusiastic about my take. because I got to draw the characters I envisioned, it brought me closer to the story, made me feel like I had a stake in it, rather than just illustrating another man's vision. this was an immense help and inspiration to me, and tito made it possible.
CUS: during your work on Last battle have you often talked (also about mail) with the writer? Is it easy to work with a guy that lives in an other corner of the world?
DB: you would be surprised- tito and I got on very well via e-mail. Its no substitute for being able to completely understanding one another, but I would work with Tito again without any reservations. I would like to meet him face-to-face before we do, though.
CUS: Generally, what do you know about italian comic books? Which artists and characters do you know, and what do you think about our “school of cartoonist”?
DB: I have to confess being very ignorant of italian comics.I think most American readers who enjoy European comics tend to lump then into the same category. For years I thought my favorite European artist, Jordi Bernet, was italian, but recently leanred he was from Spain. I will tell you for many years I have very much admired the work of Serpieri, Mattoti, Milo Manara and only recently, Barbucci. Truly, I am a babe in the woods when it comes to the many characters and artists who draw them, and its one reason I look forward to some day attending LUCCA, to soak up as much as I can.
CUS: What kind of differences have you found about the “Italian” script made by Faraci and the “American” scripts you usually worked on?
DB: faraci's was easier to digest in many ways. he gets to the point quickly, and doest fuss with descriptions very much. I like this because it gives me freedom to tell the story, and despite what Id heard to the contrary, tito didnt ask me to change much of anything in the art. if I had to compare tito's script to any American comic writer ive worked with or the scripts Ive written for another artist to follow, the differences are small.
What did you found in the script that's been very challenging for you? And what's been an unexpected pleasure in the process?
DB: obviously, the research and trying to get the feel of the period right was the biggest challenge- the biggest challenge right now is whether or not I was able to sell Italian readers on a period in their history they know more about than I do, something theyve grown up with. I really hope it plays truthfully to them. the unexpected pleasure came with illustrating such a visually rich story that let me explore subjects Id never been able to before. also loved the Head Hunter character a lot- I really cut loose with his scenes.
CUS: Nocturnals, Giantkiller, L’ultima battaglia and many other your works are really far from the superhero genre… it seems that perhaps you're looking to stay out of the typical USA comics genre … would that be accurate?
DB: you would think so, but to be honest, I grew up reading mainstream comics and love the idea of doing them- but it wasnt my idea to do a story where the Justice League become monsters- it was my editor pidgeon-holing me into doing what he felt the audience wanted from me, when I would have been fine doing a straight JLA. Do I love monsters? sure. there is something in me that always seems to tweak or twist a mainstream idea somehow. I dont do it consciously, except that my own personality has to come through or I'll be bored stiff. I love the fantastic stuff in comics because its so fun to draw. I think there is a lot to be said for making comics that are fun and entertaining- they arent always easy to do. serious, realistic comics may get meadi attention and garner critical praise, but unless it transports me some place, I dont think its really a comic book.
CUS: Usually in your comics you have a Dark style, Can you tell me something about the style you're developing for this project?
DB: I hear this a lot- this "dark" style. I wish someone would explain it to me- I mean, I honestly dont know if they mean actual darker tones in the art or 'dark' as in 'mood'... in either case, I think I just enjoy working this way.I agree with Frazetta that you must exaggerrate reality, and that its exctiing to paint something no one has ever seen. I really feel you have to bring the world inside you into focus with your work- I'm not saying all thats inside me is dark corners and , because if you look at my work, its actually full of color.
for The Last Battle, I simply tried to portray the world of 52 B.C. the way it appeared in my mind's eye after reading Tito's script. ands that world has sunlight. clouds, shadows and trees, horses, water, animals. atr the same time, it is a dark story withy terrible moments- but I didnt tell them using blacks, It always about color.
It is my belief that this book will be one of the most well-recieved of all my work, simply because it takes readers rto a place they never would have expected to comew from my mind's eye. I was very warmed to find out from my colleague and friend , the great artist, Phil Noto, that he considers my work on The Last Battle his favorite of my art. Ive been hearing this from quite a few friends and family. its funny, I thuink they finally see something in my work they can relate to. :)
CUS: with “dark style” I would mean your heavy choice of colours for your paints… but, after the reading of your interview I’ve undertood that often your choice are principally the “Editor choice”. I’m right?
DB: hmm. no, I wouldnt say that. most editors hire me because they like what I do, and to be honest, though I do feel 'pidgeon-holed" at times, I dont paint any way but how I wish to, you know? maybe you can tell me if the 'dark' style prevails with L'Ultima Battaglia, once its out. :)CUS: “L’ultima battaglia” will be published, in different moments, all around the world… what kind of expectations have you about this work?
DB: It is difficult to have any expectations because Im not really in the loop when it comes to what countries, when or even who will be publishing it in my own country. I figure it will either do excellently or not. my main concerns are how well-received the book is in Italy, France and the U.S.
CUS: you are one of the premiere painters in the comics world… why you made a so unusually choice?
DB: because after trying for months to figure out a way to turn it down and still work for Disney Italia, I realized this was the opportunity of a lifetime, illustrating this story. I thought of Frank Miller, who broke the mold with Sin City and then broke it again with 300. I tried to make the giant monster japanese kaiju sub-genre come to life in american comics with GiantKiller, but really it was about me doing unfettered monster fantasy- it was pure fun. the Last Battle was all about growing, stretching and testing. it should have seemed like a lot more work than it was- all that reasearch and doing things for the first time, but it was a joy. I felt more free in many ways doing this book than any Batman project I was lucky enough to land in the past. even though it takes much longer to paint a retired roman general than it does the Dark Knight ( its true), I felt like I was showing something new to everyone.
Once I'd drawn those characters for the first time, I became interested in them. and I wanted to draw them more... I even gave names to some characters before Tito even put them in the story. I mean, Tito gave them names of his own, but I didnt care- they existed for me once I drew them, and thats when i began to get excited. I think that excitement is evident in the art of the book.
CUS: Which is your next project? Have you a dream project to working on?
DB: My next project is a story Im illustrating for MIchael Chabon's Escapist books published by Dark Horse. The story involves more research- this time, Harems, Sultans and Lions! I recently found out that in decvember DC Direct is putting out two action figures based on my versions of Batman and Batgirl for a book I illustrated called THRILLKILLER ( a sort of noir version of Batman set in the early 1960's) As for my dream project, it looks like Im going to be developing a pilot for Disney TV Animation here in the states. In the midsts of that, Im writing a pitch for an untitled ghost story. Ive already sketched-out all these characters, and they already feel 'alive' to me, so I cant wait to tell their stories.
CUS: What, if anything, are you reading, today? If nothing new, do you seek out the work of any particular creators?
DB: I dont really keep up much with comics in a way that Im reading them much. I tend to read novels - mystery and crime fiction is a big favorite. I recently read Yann Martel's award-winning novel, THE LIFE OF PI, which I loved. Im currently reading DBC Pierre's VERNON GOD LITTLE, and ORYX AND CRATE by Margaret Atwood. I think I read fewer comics these days because I want to be inspired by other sources, but also because I lost my neighborhood comics store years ago and havent really established a comfortable connection with another since. the perfect comics shop should be a hitching post where readers get together and talk about whats new and what's good. I miss that. but at the same time, I feel I may offer a fresher perspective by not immersing myself in the work of my peers. having said that, I never tire of the inspiration of seeing the work of fellow artists and friends.
CUS: Did you desire to tell something to your Italian Readers?
DB: I used to brag that I was Italian- my grandmother was full-blooded. Her parents came to the US from Abruzzi (her family name is 'Zampa' ). Im proud of my roots, but have learned ( not from my co-conspirators at Disney, mind you) that a quarter Italian isnt considered enough! you dont know how dissapointed that made me. I would love to visit your country soon, and hope fumetti readers enjoy the LAST BATTLE.
Francesco Farru
