Broken Frontier talks to “Garage Band” and upcoming “Notes From a War” author Gipi:
BF: Sometimes you add sound effects to your panels, a scratch on the arm, a clatter down the stairs. Why do you do this? Is it meant to emphasize the otherwise quiet, or near-silent ambience of the scene?
Gipi: I think silence doesn’t exist at all in the modern life, so I can’t draw a scene without “writing” some noises inside it. It’s really something natural for me. I mean, if you live in a big city, you’ll find yourself always in the middle of some noise. These noises are often a continuous breath. When I draw a scene inspired by reality, I find myself automatically “writing” noises too. Also, noises break the rhythm of reading, creating pauses and little breaks.
The Washington Times talks to Jeff Smith (part two):
“Bone, the Movie”? I am very interested in movies as an art form and would like to see Bone as a film, but I do not want to see it as some kind of schlock. I just have not met the right filmmakers yet. I have talked to a million of them. Frank Miller waited until the right guy knocked on his door, and I will wait just as long. I’ll know when I meet the right person to do it.
And Forbidden Planet talks to seminal European publisher Raymond Leblanc:
Stripgids: Your relationship with Hergé did change over the years, though.
Raymond: My relationship with Hergé was always very cordial and friendly, but it was not always very easy. The reason was very simple: Hergé was absent much too often. Sometimes the magazine had to go without Tintin for months at a time, all the while carrying his name. In the end the readers started complaining. It was a very difficult time, which resulted in very heated correspondence.
