Sharp Objects: 5 Things They Changed From the Book (& 5 Things Kept The Same)

Sharp Objects is a Gothic tale. It features, Camille, our main character, being sent to investigate and report on the unusual death of one young girl and disappearance of another that occurred in her hometown. For many reasons, Camille has avoided going home. Although her family is the local elite, life at home is anything but pleasant. Her mother disapproves of her. Her father figure is absent even while he is present. She doesn’t really know her younger half-sister, Amma. Meanwhile, memories of her favorite sibling, Marian, are around every surface and dream. Altogether, the story tackles three mysteries: 1.) Who is the killer of the two young girls; 2.) What really happened to cause the death of her favorite sister; 3.) Can Camille escape her family’s dysfunction?

If you are like us, immediately after viewing the HBO Series Sharp Objects, we had to read the book. In looking at both, some details were either changed or omitted, and for others, the series stayed the same as the book.

RELATED: Screen Rant’s Top 10 Favorite TV Shows of 2018

10 Changed: The Age Of The Murdered Two Girls

In the HBO Series, Camille initially investigates the disappearance of one girl, Natalie, which turns out to be a murder. She tries to connect it to the murder of another girl, Ann, from the previous year. While this is the same in the book and the film series, the age of the two girls is different.

In the HBO Series, Natalie is 14, and Ann was 13. In the book, the girls were much younger: Natalie was 10, and Ann was 9. It could be that the series decided to change the ages in order to make the girls closer to adolescence and the age that Camille remembers well when she was in her hometown. It could be that the murders seemed even worse aimed at children. Either way, the ages are notably different.

9 Not Changed: Camille’s Relationship With Her Mother

In both the book and the series, Adora and Camille have a bad relationship. Part of this is due to Camille always being independent (and smart/wary). Adora wants to have Camille depend on her, and Camille has never really allowed that (thankfully so).

RELATED: Sharp Objects Review A Beautifully Grim Observation of Toxic Legacies

Their relationship is contemptuous, and at the same time, Camille still yearns for her mother’s love. This is why the moment in the series when Adora tells Camille that she has never loved her is especially painful.

8 Changed: Camille’s Relationship With Amma, Her Half-Sister

In the film series, their relationship is presented as growing in closeness. Amma seems to look up to her older sister, remembering Camille’s reputation as a cool, popular person. In turn, Camille admires Amma’s confidence and is very taken in by her sister, even though she will never be as close to Amma as she was to Marian (her favorite sister, long-time deceased).

While there are moments in the book where Amma and Camille seem to bond, there is more of a feeling that Amma is extreme and a little off. When Amma and Camille get hurt and Amma’s chest bleeds, Amma takes a swab of her blood to wipe across Camille’s lips. Later, when Camille gets custody of Amma, she talks about how exhausting Amma is, how needy, and how uncertain Camille is about being a guardian. There are elements of this in the film, but the extremes aren’t caught.

7 Not Changed: Marian’s Mysterious Death

The grand mystery of Marian’s death is present in both the film series and the book. In addition, Camille’s closeness to Marian and grief in her loss are in both. While we don’t want to disclose fully what happened so not to spoil the grand mystery, there is a good reason why Camille questions the death. It does highlight some scary, core family problems.

Also, equally shown in both is the admiration that Marian had for Camille. Their sister bond was tight, so tight that it feels even as present in current day as it did in the past.

6 Changed: Second Home Location

Camille’s hometown is the same in both the book and the HBO Series: Wind Gap, Missouri. The book calls it, “one of those crummy towns prone to misery.” However, Camille’s second home is different. In the book, she lives in Chicago and is a reporter there. At the end of the novel, she takes Amma there to move in with her.

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In the HBO Series, she is in St. Louis instead and a reporter from there. This makes her a closer distance to Wind Gap, but yet in a different world. Could this be why the second home location changed?

5 Not Changed: Camille’s Cutting

In both the series and the book, Camille cuts herself. In the series, we see the reason why she wears the long sleeves and is hesitant to try on dresses with her mother and half-sister. Camille’s mother knows about her cutting and wants to expose it to Amma.

In the book, Camille says, “I cut words,” as if that makes her different than an average cutter. She also believes that once Richard (her brief romantic interest) seems her marked body, that whatever they had is over. She can see in his eyes how repulsed he is with her. This is also in the HBO series.

A lot of attention is given to one spot where Camille isn’t able to cut, a space on her back that isn’t easy to reach. This spot is given extra attention in the book, making her mother’s statement, “Someday I’ll carve my name there,” especially haunting.

4 Changed: Calhoun Day

Calhoun Day is an event where we can see the layers of societal and family dynamics in full display in the HBO Series. It is convenient because, unlike the first person book, the series can’t crawl into Camille’s head where we learn about these layers firsthand. Calhoun Day doesn’t exist in the book.

3 Not Changed: Amma’s Jealousy

Once Amma lives with Camille, Camille helps encourage a new friendship for Amma. The problem stems from when the new friend seems to bond with Camille, and Amma worries that Camille likes the friend more than she likes her. Amma is immediately jealous because Camille belongs to Amma. This is also the case with the young girls that Adora, their mother, has paid attention to. Once they get attention, and one even bites Adora, Amma becomes jealous.

2 Changed: Epilogue

A benefit of reading the book is that not only are we made aware of Camille’s interior world, but we also find out what happens next to Amma after the series ends with Camille discovering Amma’s violence. Amma is locked up, and Camille visits her sister often. Camille is even closer with Frank (her boss) and Eileen (his wife) Curry in the book, and they take her in after all the tragedy she suffered. They try to make up for how she grew up by treating her with kindness, even kissing her on the head at night.

Camille is worried about turning out like her mother, or that she is already like her mother. Presented as a daily struggle, she is trying to be kind.

1 Not Changed: Dreams

Both the series and the book make use of dreams and dream-like features. We see these through the eyes of Camille. Often times she is sifting through memories or trying to make sense of things. While the amount of dreams present in the series may be different than in the book, they are still used.

In the series, the glimpses of the lady in white are particularly disturbing, especially when we reach the end. In the book, Camille has a dream where her mother cuts her open to unpack her organs and sew her initials on them. Both are equally disturbing. They are Camille trying to make sense of things in a way that her fully awake mind can’t.

Both the series and the book are worth a watch or a read. They both stay in line with the Gothic tale, a tale that proves Gillian Flynn (author of Gone Girl) is very gifted and continues to deliver intriguing stories.

NEXT: Big Little Lies Season 2 Review 

2019-07-12 01:07:36

Heather Frankland

2019 Golden Globe Nominations: Black Panther, Sharp Objects & More

The Hollywood Foreign Press Association has revealed its movie, TV show, and limited series nominations for the 2019 Golden Globes ceremony. The nominees were announced by Terry Crews, Danai Gurira, Leslie Mann, and Christian Slater on Thursday morning, December 6.

While there’s still a ways to go until next year’s Academy Awards ceremony, several films have already emerged as front-runners in this year’s awards season derby. Bradley Cooper’s A Star is Born and Yorgos Lanthimos’ The Favourite are among the movies near the front of the pack, as are critical darlings like Alfonso Cuarón’s Roma, Peter Farrelly’s Green Book, and Barry Jenkins’ If Beale Street Could Talk. At the same time, acclaimed films that opened in theaters earlier this year (namely, Ryan Coogler’s Black Panther and Spike Lee’s BlacKkKlansman) will remain in the race to the Oscars, however things play out at the Golden Globes.

Related: Andy Samberg & Sandra Oh to Host 2019 Golden Globes

Meanwhile, on the TV front, HBO’s Sharp Objects and AMC’s The Little Drummer Girl limited series adaptations are expected to earn their fair share of recognition from the awards shows to come, starting with the Golden Globes. Brand-new TV shows likes HBO’s Barry and BBC America’s Killing Eve have already been widely celebrated and recognized by awards bodies this year, and should only continue to rack up more nominations from here. The same goes for the celebrated sophomore seasons of returning comedies like FX’s Atlanta (aka. Atlanta: Robbin’ Season) and Netflix’s GLOW – though, the muted response to HBO’s Westworld season 2 may hurt its own awards season prospects.

With all that in mind, here are the nominees for this year’s Golden Globes ceremony:

Best Motion Picture – Drama

  • Black Panther
  • BlacKkKlansman
  • Bohemian Rhapsody
  • If Beale Streat Could Talk
  • A Star Is Born

Best Motion Picture – Musical or Comedy

  • Crazy Rich Asians
  • The Favourite
  • Green Book
  • Mary Poppins Returns
  • Vice

Best Performance by an Actress in a Motion Picture – Drama

  • Glenn Close, The Wife
  • Lady Gaga, A Star Is Born
  • Nicole Kidman, Destroyer
  • Melissa McCarthy, Can You Ever Forgive Me?
  • Rosamund Pike, A Private War

Best Performance by an Actor in a Motion Picture – Drama

  • Bradley Cooper, A Star is Born
  • Willem Dafoe, At Eternity’s Gate
  • Lucas Hedges, Boy Erased
  • Rami Malek, Bohemian Rhapsody
  • John David Washington, BlacKkKlansman

Best Performance by an Actress in a Motion Picture – Musical or Comedy

  • Emily Blunt, Mary Poppins Returns
  • Olivia Colman, The Favourite
  • Elsie Fisher, Eighth Grade
  • Charlize Theron, Tully
  • Constance Wu, Crazy Rich Asians

Best Performance by an Actor in a Motion Picture – Musical or Comedy

  • Christian Bale, Vice
  • Lin-Manuel Miranda, Mary Poppins Returns
  • Viggo Mortensen, Green Book
  • Robert Redford, The Old Man & the Gun
  • John C. Reilly, Stan & Ollie

Best Performance by an Actress in a Supporting Role in any Motion Picture

  • Amy Adams, Vice
  • Claire Foy, First Man
  • Regina King, If Beale Street Could Talk
  • Emma Stone, The Favourite
  • Rachel Weisz, The Favourite

Best Performance by an Actor in a Supporting Role in any Motion Picture

  • Mahershala Ali, Green Book
  • Timothée Chalamet, Beautiful Boy
  • Richard E. Grant, Can You Ever Forgive Me?
  • Sam Rockwell, Vice
  • Adam Driver, BlacKkKlansman

Best Director – Motion Picture

  • Bradley Cooper, A Star is Born
  • Alfonso Cuarón, Roma
  • Peter Farrelly, Green Book
  • Spike Lee, BlacKkKlansman
  • Adam McKay, Vice

Best Screenplay – Motion Picture

  • Alfonso Cuarón, Roma
  • Deborah Davis and Tony McNamara, The Favourite
  • Barry Jenkins, If Beale Street Could Talk
  • Adam McKay, Vice
  • Peter Farrelly, Nick Vallelonga, Brian Currie, Green Book

Best Motion Picture – Animated

  • Incredibles 2
  • Isle of Dogs
  • Mirai
  • Ralph Breaks the Internet
  • Spider-Man: Into the Spider-Verse

Best Motion Picture – Foreign Language

  • Capernaum
  • Girl
  • Never Look Away
  • Roma
  • Shoplifters

Best Original Score – Motion Picture

  • A Quiet Place
  • Isle of Dogs
  • Black Panther
  • First Man
  • Mary Poppins Returns

Best Original Song – Motion Picture

  • “All the Stars”, Black Panther
  • “Girl in the Movies”, Dumplin’
  • “Requiem for a Private War”, A Private War
  • “Revelation”, Boy Erased
  • “Shallow”, A Star Is Born

Best Television Series – Drama

  • The Americans
  • Bodyguard
  • Homecoming
  • Killing Eve
  • Pose

Best Television Series – Musical or Comedy

  • Barry
  • The Good Place
  • Kidding
  • The Kominsky Method
  • The Marvelous Mrs. Maisel

Best Television Limited Series or Motion Picture Made for Television

  • The Alienist
  • The Assassination of Gianni Versace: American Crime Story
  • Escape at Dannemora
  • Sharp Objects
  • A Very English Scandal

Best Performance by an Actress in a Limited Series or a Motion Picture Made for Television

  • Amy Adams, Sharp Objects
  • Patricia Arquette, Escape at Dannemora
  • Connie Britton, Dirty John
  • Laura Dern, The Tale
  • Regina King, Seven Seconds

Best Performance by an Actor in a Limited Series or a Motion Picture Made for Television

  • Antonio Banderas, Genius: Picaso
  • Darren Criss, The Assassination of Giovanni Versace: American Crime Story
  • Benedict Cumberbatch, Patrick Melrose
  • Daniel Brühl, The Alienist
  • Hugh Grant, A Very English Scandal

Best Performance by an Actress In A Television Series – Drama

  • Caitriona Balfe, Outlander
  • Elisabeth Moss, The Handmaid’s Tale
  • Sandra Oh, Killing Eve
  • Julia Roberts, Homecoming
  • Keri Russell, The Americans

Best Performance by an Actor In A Television Series – Drama

  • Jason Bateman, Ozark
  • Stephan James, Homecoming
  • Richard Madden, Bodyguard
  • Billy Porter, Pose
  • Matthew Rhys, The Americans

Best Performance by an Actress in a Television Series – Musical or Comedy

  • Kristen Bell, The Good Place
  • Candice Bergen, Murphy Brown
  • Alison Brie, GLOW
  • Rachel Brosnahan, The Marvelous Mrs. Maisel
  • Debra Messing, Will & Grace

Best Performance by an Actor in a Television Series – Musical or Comedy

  • Sasha Baron Cohen, Who is America?
  • Jim Carrey, Kidding
  • Michael Douglas, The Kominsky Method
  • Donald Glover, Atlanta
  • Bill Hader, Barry

Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television

  • Alex Bornstein, The Marvelous Mrs. Maisel
  • Patricia Clarkson, Sharp Objects
  • Penelope Cruz, The Assassination of Giovanni Versace: American Crime Story
  • Thandie Newton, Westworld
  • Yvonne Strahovski, The Handmaid’s Tale

Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television

  • Alan Arkin, The Kominsky Method
  • Kieran Culkin, Succession
  • Edgar Ramírez, The Assassination of Giovanni Versace: American Crime Story
  • Ben Whishaw, A Very English Scandal
  • Henry Winkler, Barry

MORE: Oscars 2019 Best Picture Predictions

The 76th Annual Golden Globe Awards airs live on January 6 @8pm ET/5pm PT on NBC.

Source: The Hollywood Foreign Press Association

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2018-12-06 05:12:26

The Green Lantern Reinvented: Interview with Liam Sharp

Hal Jordan has been given something of a reboot by DC Comics, once again claiming the title of The Green Lantern in his new comic series. And just two issues in, the book is setting a new standard for DC’s living universe.

We’ve got an exclusive preview of The Green Lantern #2, which adds yet another layer of classic Lanterns, alien conspirators, and mind-bending battles. And even better, we have artist Liam Sharp himself to walk us through the next step in his and Grant Morrison’s space adventure.

RELATED: Green Lantern Gets Re-Invented in Earth One Comic

With The Green Lantern #2 coming from DC Comics December 5th, Screen Rant had the chance to discuss the series with Sharp (as well as his larger career). While the secrets of the villains, super-weapons, and alien regimes on their way are still being held close to the vest, readers eager to see what’s next for The Green Lantern can read our full interview, and check out the preview pages below.

SR: You’re going to a lot of corners of the DC Universe that will be totally new to readers in The Green Lantern. So how would you introduce people to your idea of Rot Lop Fan and the Obsidian Deeps of the Supervoids?

LS: Oh, how can you not love Rot Lop Fan? The F-Sharp Bell. Just such a great concept.

And you bring a real mind-bending visual to [a Lantern in total darkness].

Well that was–Grant kind of just said you got to imagine a universe where the shapes and everything is based on sound, and acoustic qualities, not what it might look like. So that was quite interesting. If anything it’s got musical notes and things that are going to resonate with sound. That was the thinking behind those crazy designs for it. Because it’s dark! In that scene we are literally making darkness visible.

And Volk is just great, he’s classic. The first time I saw him Kevin O’Neill had drawn him. I don’t know if he had been drawn before that, but he certainly feels like a Kevin O’Neill design. I love that we’re going back to those crazy concepts for characters. And we talked about him, like is he actually a magma creature? Has the body been created for him to give him form? Is the actual living essence of him the magma that’s constantly spitting out the top of his volcano head?

We’ve given the smoke a face as well, which is fun. It’s subtle but Grant was just like, ‘can you imagine the concentration of keeping a little face on the smoke all the time?’ All of that is fun. [Associate Editor] Jessica Chen, she just loved Volk. Every time he appeared she kind of squee-ed. Like ‘He’s back, he’s back!’ We all did, really.

We get to see one of the most arresting images I’ve seen of Oa, the Central Precinct of the Green Lantern Corps. We’ve seen it before, but your version takes minutes to absorb from just a single page. How did you come up with the idea of what this version would look like?

It’s interesting you said at the beginning about European comics, and Moebius, and all those kind of things. The guy I trained with was a chap called Don Lawrence, who is a legend in Europe. He did a story called The Trigan Empire, and Storm was his famous one. And when I was with him he would spend like two weeks on a page, and just create the most incredible cities, and environments and worlds. They were just astonishing. Fully painted. Really beautiful stuff.

One of the lessons I took away from working with him–I guess I was seventeen when I first started working with him–he once gave me a script as a try-out, and one of the scenes had two characters walking through a corridor. He came over and sort of laughed and said, ‘what’s that?’ And I said, ‘that’s a corridor.’ He says, ‘that’s not a corridor, it’s just a square box with nothing in it. Why is it just square? Think about it, what’s it made of? It could be made of meat, it could be made of plant matter. What planet is it on? What’s the environment? Where are these people going? Does it have to be square? can it snake? Think about all those things.’

That’s really informed my thinking ever since, I think. The environment becomes as much a part of the character as anything else. Certainly in The Green Lantern, I think all of these different planets are characters in their own rite. You have to give them the respect you would give to any of the lead characters and go to town with it. So in terms of doing that shot, I wanted to make it feel really epic for a start, really vast.

I did an earlier version that didn’t quite do it for me, I spent like a day and a half on it and it wasn’t quite done. I ended up spending about four days on that thing. And in the end it’s got to twinkle, so I added all the lights. But then it looks too much like a machine, so now it’s got little parkland areas if you look really close. I just kept adding and adding to it. it took a while before I was satisfied.

Page 2 of 3: The New Hal Jordan, and Green Lantern’s Future

You get the impression in The Green Lantern #2 that this is all commonplace to Hal, as a space cop. The fact that he’s beside a walking volcano isn’t worth noting for him. But then you get a scene that feels more like an episode of Law & Order or NYPD Blue. Does that come from the same place for you, creatively, or is that really shifting gears?

I mean, everyone is aware of those interrogation rooms. And that is a huge long shot. Over those three pages you’ve got the shot of the city, and he’s tiny in it. Then the next bit you see them more mid-distance and you’re in closer in to the machinery of these buildings. Then the interior corridors and then it’s a full, big close-up of his face. That pulls you in and then suddenly he’s in this interrogation room. There was a thought process to that. I really enjoy going from that big scale to this very intimate little area, and he hasn’t missed a beat. There’s no sense of wonder to him when he’s walking, he’s seen it all before, you know? Which makes him really fascinating.

He is an unreconstructed character, in many ways. He’s out of time, and out of place, and out of step with the way things are now. I’ve said before, he’s the kind of character that I aspired to be as a kid growing up in the seventies. You know, a manly man, and wasn’t overly sensitive… I was a real shy kid, and was very emotional, and sensitive, and all of those things. And I was like, ‘I wish I could be more like a manly man!’ Neither me or Grant were anything like him, but we both grew up in a period where that was the kind of person you aspired to be. Things have changed thankfully, and they’re much better than that. Which means that a character like that hasn’t really got a place anymore. But he’s grown past that in the sense that he’s seen everything. So he might have started out as an unreconstructed guy, but now he’s trying to figure out who he is.

He’s seen the death of the universe, he’s died himself. He’s been on the other side of good and bad. He’s been everywhere, done everything. And he’s literally fearless and unfazed now. And he’s so far beyond PTSD that there isn’t even a word for what’s going on in his head. So what do you with a character like that? How does he relate with the people that he loves, and his old friend on Earth? And hasn’t he also got people on many different planet and in many different ports that he also loves, that he also has deep relationships with. So there’s a lot of questions and interesting angles to this story that Grant is exploring, or we’re exploring together.

RELATED: DC’s Green Lantern Corps Movie is ‘Complete Re-imagining’ 

In this story, Hal being called back into action is not him going to save the universe, it’s him going back on his beat. This issue we get a sense of that, is that a sense of what we can expect from the rest of the series? It has a mix of big and intimate moments.

Yeah, I think it’s always going to have that big and intimate, and is definitely going to be crime solving. Like a lot of these TV shows, the idea is to have a sense of a story issue-to-issue, but of course then there’s a bigger overarching story which you can draw the dots to over time. But hopefully each issue will stand as a riveting, and interesting, and fun read, even while we’re turning a cliffhanger, you know? You’ll get some answers and you’ll get more questions, but you will have that sense of a TV episodic series. Grant’s referring to it as a ‘season one.’

And already has some idea for season two I understand?

Yeah, absolutely. We’re having a ball, I think we’re planning on staying around for a while.

I also wanted to ask you, you Tweeted about the criticism some people make of comic art, or artists who don’t feel confined to recreating an accurate human anatomy on the page. The Marvel movies now look like Bryan Hitch drew them, and Jim Lee’s take on DC characters is a golden standard. How do you process comments about that, when you’re focused on art, not being judged against an anatomy textbook?

I don’t really take them to heart, I guess it’s frustrating because times have changed. It used to be that we were not about reality… a lot of the people who most inspired me over my career don’t necessarily draw realistically at all, it’s the way they explored anatomy that was fascinating to me. Whether that’s Richard Corben, or Simon Bisley, or bill sienkiewicz. The point is it’s art, it’s illustration, it isn’t reality. It’s as much about mood, and texture, and ambience as it is about… imagine taking a snapshot of something that’s happening right in front of you and putting it on the page. If that was all it was about we might as well just dress in costume and shoot it on stages, and create a blue screen background for everything.

That’s not what it’s about. It’s as much about growing as a creator and pushing yourself, and trying things that are expressive ways of telling a story, as it is about anatomy. A lot of people can draw perfectly good anatomy and you only need to think of the classic example everyone uses: Picasso could draw perfectly well when he was a kid. When he was young he did it, and it was all about going beyond that. You can say the same of Kirby, look back at early Kirby and his drawing was extremely rooted in reality. But it became less and less so, and more about the dynamics, and more about the emotional impact these pages had than anything else, as it went on. He broke every rule! He broke the rules of perspective, rules about anatomy, all of that. It didn’t matter, he took you on an incredible journey, and he took you to worlds you had never seen before.

The thing I occasionally get frustrated at–and I shouldn’t, and I’m doing my best to not–I think the thing is to try and educate. Sometimes I think I come across as more sensitive than I am, when actually all I’m trying to point out is, ‘hang on a second, you’re missing the bigger picture here.’ Unless you’ve got a rich knowledge of the evolution of art over many decades… maybe it’s not to your taste, and that’s fine. But to pick apart the anatomy, particularly when I’ve seen people picking apart the anatomy of Bryan Hitch, whose anatomy is is exemplary, that kind of is confusing. I know I’m getting it wrong sometimes, but you know, it’s not always for want of trying. But the sheer volume of page by page workload in itself, people don’t even bear that kind of stuff in mind.

Page 3 of 3: Marvel Movies, Brave & The Bold… and Warlord?

Do you take inspiration from seeing a live-action superhero project? Superheroes are omnipresent now, do you still go back to artwork first?

Oh, yeah that’s interesting. So, that’s a really great question: I absolutely adore seeing all these worlds on the big screen. I feel like we’ve been a blessed generation to be able to see… my kids have grown up loving it, and all of those movies have been an event for us, you know? Leading up to the last Marvel movie for instance, the kids watched one every week until that came out, they went through the entire lot. And it’s the same with The Flash TV show–you can’t keep up with all of them, there’s literally too many but we get a kick out of it. And I get a huge kick out of it, when I was a kid it was just the Spider-Man cartoon in the seventies. Which I loved, you know? Then the Hulk TV show which again I absolutely loved.

Interestingly, I said this to somebody the other day… it occurred to me that as much as I really enjoy those films, I’ve probably only revisited a couple of them. I don’t think there’s any that I’ve seen more than twice. Whereas my favorite comics, I go back to again and again and again and again, and I never get sick of them. And I find something new to appreciate them every time I pick it up again. Also sometimes I find looking back, like–I know this is almost sacrilege to say, but I didn’t really get Kirby when I was younger. And now I do. I feel horrified at myself for not understanding.

Also, I probably suffered a little bit in my thinking from the people I was really inspired by. You know, I loved Messina because his anatomy was so damn good. So it was people like Bill Sienkiewicz and Kirby that educated me in the thinking, that there was more to it. There’s depths you can trawl here that aren’t about perfection of drawing, they’re about whole other levels of thinking that actually make it more exciting if you allow it to.

RELATED: Jack Kirby Family Says He Would’ve Loved Black Panther

On the subject of books with detail you can keep going back to, I have to ask about your Brave & The Bold series. I can only describe your artwork in that book as ‘organic Kirby,’ which I hope is as much a compliment as I mean it to be–

[Laughs] Absolutely!

Okay great! What can fans hope for next, even if it isn’t specifics?

We’ve definitely got plans for some sort of follow-up, at some point. I’m wrangling in my head what that might be because I don’t want it to be directly more of the same, in a way. It has to move forward. It leaves a lot of questions, and some really interesting situations off the back end of that that are wide open to be explored. They might not all be in Tir Na Nog, for instance, it could all be in Gotham, it could all be elsewhere completely. It might not be the same two characters, either, it could be a whole bunch of other characters. So I don’t want to say it’s definitely going to be Batman and Wonder Woman, because I would hate to let down the people who might hope that it would be… but it might be [Laughs]. There’s a lot to take on board because there does seem to be some appetite for more. It is something I’m seriously thinking about, and working out, and there has been discussions about it, but it hasn’t gone beyond that point yet.

I’ve also seen people asking you what character you would want to draw. But I know about Hawkman, and I know about Swamp Thing, so is there a character that would shock people to hear you say you would love to draw?

Hmmm. I don’t know about shock… I mean, I think I would do a good Warlord.

That’s a terrific pick. Well, it’s been great getting to speak with you, especially after your Wonder Woman: Rebirth run became such a standout (we at Screen Rant praised it as the best-looking comic in all of DC’s Rebirth).

No that’s appreciated. Honestly, for me, that was such an unexpected… I never expected to be able to come back into the mainstream. I had wanted to for so long, and when I feel out of it in… gosh, the late nineties probably, that had been my whole adult working life. And I had slowly been slipping away into obscurity and it seemed like something I couldn’t quite control or stop. And it’s not that I went away from comics, I just went on to comics that nobody saw.

Then there’s a point when you realize you’re back in it, you’re back in the game again, and people are seeing what you’re doing and appreciating it…  You’re older, you’re wiser, you don’t take anything for granted. You know that you’re breathing rarefied air, and you’re standing shoulder to shoulder with the best in the business. It is humbling beyond words and very grounding. You can’t help but be thankful for it, and I just didn’t expect to be back here.

The Green Lantern #2 will be available December 5th from DC Comics.

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2018-12-03 03:12:23