|
|
Interview with Mike Perkins
|
You started a respond to our message with the words "Dzien Dobry! Dziekuje za listy!" (Hello! Thanks for your letters! - SK.pl). Then you wrote that Poland isn't a strange country for you. Can you tell us about it?
I am married to a piekna Polka (beautiful Polish woman - SK.pl) by the name of Izabella and lived in Lodz for almost three years when she was at university there. I was illustrating comics at the time as well and, knowing that I could live anywhere, decided to be with her. My Polish is... rudimentary... to say the least and really should be much, much better and until I'm fluent I shall keep beating myself over the head for this.
Can you tell us about your previous works in comic industry? What did you do before 'The Stand'?
Immediately prior to working on The Stand I was one of the alternating artists, alongside Steve Epting, on the critically acclaimed and extremely popular recent run on Captain America. I've been working for Marvel since 2004 and have also illustrated, in order of publication; District X, Spider-Man, Elektra, Spellbinders, Union Jack, X-Men, House of M Avengers, Annihilation:Conquest and Secret Invasion:Who do you trust? Previously I was working at Crossgen and have also provided comic strip work and illustrations for 2000ad, Judge Dredd, Caliber, D.C. and Dark Horse comics, Games Workshop and, in Poland, Nowa Fantastyka.
Have you read 'The Stand' before or after they proposed you to do the comic. What do you think about the book?
I first read the book after I was approached about the adaptation and found that I couldn't put it down. It totally enveloped me into that world and I was so impressed with the epic nature of the novel. It really is a great piece of American literature.
How does the process of making 'The Stand' look like?
Roberto Aguirre-Sacassa will write the script and, once it has been approved by both Marvel editorial and Mr. King, it will then be sent on to me. I'll read through the entire script and then go over it again making small panel layouts on the script pages. I'll then begin penciling the entire issue. Usually, each page is approved after I have j-peged the penciled piece in to editorial and then I'll ink the pages. Once a page is completed I'll send it as a j-peg file for final approval and then upload a higher resolution TIFF file to the secure site at Marvel which will then be sent on to Rus Wooten who letters it and Laura Martin who will colour it.
Laura Martin is great with coloring your sketches. Do you give her any sugestions about the final look of them, or does she do it on her own?
I usually leave Laura to her own devices. It's very rare that I will have to make changes after I have seen the final version. I've worked with Laura for many years now and know that I can trust her. Plus, she's a big fan of the novel too and she knows her way around the very specific atmospheres needed.
Have you seen Mick Garris and Stephen King's tv version of 'The Stand'. If so, what do you think about it? Do you sometimes pattern your work on some characters or scenes from it?
I haven't seen it - no - and I've steered clear of it as I haven't wanted it to influence my visualization in any way. We're working directly from the unabridged version of Mr. King's novel and if any patterns seep into my work I'd like it to be from that source material.
We are halfway through the series. Which one of previous issues is your favourite?
That's difficult to say, really. I try to put everything I can into each and every issue so, in a way, they're all favourites... but, I like the way the issue of Larry's escape from New York came together. Another highlight for me was the Flagg issue (Captain Trips #5). He's such a great character to illustrate.
You said couple of times that one of your favourite scenes from 'The Stand' is the one with the Lincoln Tunnel. We are ahead of a second half of the project, for what moment in the story are you waiting the most now to draw?
I'm looking forward to getting beyond the Boulder scenes as they are, by neccessity, slower paced than the rest of the novel. After the explosion there's a momentum that snowballs throughout the final chapters of the book. One of the scenes I'm looking forward to tackling is actually the first scene I was asked to draw in order to be approved by Mr. King for the project. That's the Vegas scene with Larry and Ralph in the cages and Flagg being confronted by Trashy and "the hand of God". I'll be re-drawing those pages, of course, as any artist's style changes and grows over the course of just a few weeks.
Have you already thought how you will show the scene with the Hand Of God - literally as Mick Garris in his mini-series or maybe more figuratively?
That's a difficlut one. I think a bit of both, really. That's the advantage of doing a comic-book version of the events. You can elaborate with the illustrative techniques and really present something that fits in with the atmosphere of the rest of the story.
During another serieses based on Stephen King's works there were some changes in the creative teams. In 'The Dark Tower' in one arc there was another artist, in the 'The Talisman' series they replaced colorist in the last issue of the first arc. Can we be sure, that no one will replace you until the end?
I have every intention of doing every single issue. No one can say for sure that they will be around next week but, health and wealth permitting, I'll still be illustrating those final pages. It's important for me to have a solid body of work out there which is entirely mine and, with a project such as The Stand, it's a definitive version - no one will come along afterwards and add a bit of story on or change the status quo as in an ongoing super hero book.
So far there was one change in 'The Stand' team, but not so crucial. We are huge fans of the Lee Bermejo's covers. In 'Hardcases' he was replaced with Tomm Coker. Do you know what were the reasons?
I can't speak for other members of the team but I was incerdibly saddened to see Lee move on but he had other commitments elsewhere and had to concentrate upon those. The good news about that, of course, is that, somewhere down the road, we'll see a big chunk of his work in comic-book form. I've been more than happy with Tomm, though. I've always loved his artwork and he's bought a different sensibility and mood to the cover work.
Variant covers from the first arc created toghether one big art. There were no such idea with the variant covers from another arcs? Why there are no variants in the 'Hardcases'?
I think it's really sales that drive these decisions. A lot of readers are choosing to purchase the adaptation in the collected hardback editions - which is entirely understandable... it's a gorgeous, and more enduring, product to have on your shelves - so the sales of the individual issues have dropped. That doesn't mean we've lost readers it just means that they've chosen to pursue the alternative option.
Is there a chance to see in 'The Stand' some connections to another King's works? For example some little things as a Nozz-a-la drink that appeared in the 'Stand' world in the 'Dark Tower IV: Wizard and Glass'.
I'm aware of all the connections in between the books of Stephen King and have become a huge King nerd whilst working on the adaptation - having listened to most of his novels on audiobook while I'm at my drawing board - but we're really just following the novel as it is. Boiling it down to it's essentials and presenting them to a public who may not be aware of the other connections. Saying that, though, every now and again I may slip in a little surprise for "the constant reader".
The world after the plague gives huge possibilities to extend this universe. Do you think that after this adaptation of the book there is a chance for another serieses from this universe? Maybe an one-shot adaptation of the 'Night Surf', a short story from 'Night Shift' that takes place after the plague. Or there is no way for this and the 30th issue is definitely an end.
I think the adaptation should be complete by the 30th issue otherwise it may dilute the impact of Mr. King's creation. I've often thought about adapting the "Night Surf" story myself and adding it as a "DVD extra". If I have enough time - and the publication rights are squared away legally - maybe I'll do just that.
Would you like to work on another comic based on King's works? Which book in you opinion would turn into a great graphic novel?
I'd love to - after a little break, of course! I think 'Salem's Lot' and 'It' would make excellent graphic novels and Marvel can sign me up from them right now if they want to!
Last time you visited our country three years ago. Do you plan another visit in the near future?
My wife has family over there so I have no doubt we will be visiting soon. I love Krakow and we've even discussed moving back to that wonderful area but there's nothing decided in that arena. I'd love to attend the Lodz Comics Festival at some point. I attended it when it was just starting up and it would be a thrill to go back there as a guest.
|
|
|
| | | |
| |
 Subskrypcja |
|
