Tag Archive for 'Interview'

The Morton Report | Tom K on Uncivilized Books

Did we post a link to this interview? Tom Kaczynski discusses the Spring Season at Uncivilized Books. Most of these books are coming out NOW!

Well, you’ve assembled a rather impressive stable of creators who will be contributing both collections of older work as well as newly minted projects to Uncivilized. So, what criteria guide your selection?

A lot of it is serendipity. Many of the artists I’m working with I’ve known and admired for some time. I already worked with Gabrielle [Bell] on mini-comics and it was natural to doThe Voyeurs with her. I’ve known Jon Lewis for a long time. I loved True Swamp since almost its inception. We’ve had a lot of conversations about it over the years. The same is true of Zak Sally. I’ve long admired what he is doing with La Mano. I loved the first volume of Sammy the Mouse.

I met James Romberger at BCGF (Brooklyn Comics and Graphics Festival) last year and when he showed me Post Yorkit just blew me away.

[...]

Well, what’s coming out in the near and far terms from Uncivilized?

I’m gearing up to release the spring season of books:

Incidents in the Night by David B., translated by Brian and Sarah Evenson

Amazing Facts and Beyond by Kevin Huizenga and Dan Zettwoch

Sammy the Mouse Book 2 by Zak Sally

Over the Wall by Peter Wartman

Also, I had to push my own book Trans Terra into the spring season. It was supposed to be out now, but I didn’t want it to compete with Beta Testing the Apocalypse, which was just released by Fantagraphics.

Read the entire interview here.

Dan Nadel interviews Gabrielle Bell for TCJ

Gabrielle Bell was interviewed by Dan Nadel over at The Comics Journal. It’s a fascinating conversation covering wide raging topics, from The Voyeurs to Kramer’s Ergot, to her thoughts on autobiographical comics, to… well so much more! Here’s a taste:

NADEL: So then what’s the process in assembling something like Voyeurs? Because it has a definite structure, and it covers a bunch of years. It doesn’t feel like a book of incidental pieces: it actually kind of felt like an arc. I mean, not only because relationships happen, come to an end —

BELL: I think it’s actually — maybe the reader imposes that arc.

NADEL: Really? That wasn’t intentional?

BELL: It was intentional, but I was only working with this big pile of stories.

NADEL: Right. But you must’ve left some out, and —

BELL: Yeah, but — also, there were stories that I left out that were relevant to the “so-called” arc that I left out because they weren’t that good … But I did, I definitely was trying to streamline it. I added a few pages in here and there. Like to begin and end Ron and my relationship, for example, so we didn’t just jump into it. And then also Michel [Gondry] and me. It’s kind of weird to have these two relationships in there, and they’re not really much to do with each other in the story. But mostly, I was just choosing the stories that were the best, or perhaps were reaching for something bigger, so in a way it was more like the natural — I mean, every story that we write, that one individual writes, is kind of the same story — they’re trying to get at the same thing, in a way. So, I think there are natural themes that come about, and that’s, in a way, the arc. As I was doing all the stories, I wasn’t thinking about it in the bigger sense — it was just each story I would try to do the thing as an independent unit. I wish I were more calculating though — if I could somehow make my life into a story.

NADEL: [Laughs.] But you do — I mean, the stuff with Michel in France is very story-ish. You know, you have set-ups, and comic beats, and there are gags in there, and there’s a story. You get there, and you leave, but in between there are these episodes.

BELL: I wish I could tell more of it. I wish I could — when I was working on the movie [Interior Design – a segment within Tokyo! (2008)] with him in Japan, I wish I could have told the story then. I wish I had kept the comics journals then, but we were working so much. We’d get up at 5, 6 in the morning, and then work until 2 in the morning, and there was no time to even jot anything down. But it was so much more interesting than — I feel like, in a way, I’m doing all the comics about the boring parts, because there’s nothing happening, so there’s time to do it.

Read the entire interview here. It’s a good one!

Gabrielle Bell Interviewed at Big Other

We should’ve posted this a few days ago. A really great interview with Gabrielle Bell appeared at the Big Other. The conversation goes over a variety of topics including The Voyeurs. Here’s a brief excerpt:

What kind of changes did you have to make while adapting your online material for a print collection?

I did a lot of editing of the narrating and dialogue, reworded sentences, took out many extraneous words and sentences. Sometimes I took out whole panels, sometimes added whole ones in. I think working in film taught me not to be afraid to freely edit.

When did you begin using the six-panel grid as your go-to way to structure a page?

I suppose it started with my autobiographical comics, in my first Lucky minicomics. That’s when the storytelling really began to take precedent over the art.

Do you find that you can rely on this format for a certain kind of timing, or to tell a certain kind of story?

I don’t really think about it that much. It does give me a flexibility, though, to add in and remove panels, which is important to me.

Read the rest of the interview here.

Gabrielle Bell Talks

by Gabrielle Bell

The Voyeurs has been in stores only for a few days, but there’s already a number of great interviews with Gabrielle: