A Quote by Michael Easton
I wrote a graphic novel called 'Soul Stealer' with big, beautiful, epic artwork by Chris Shy. It grew into a trilogy.
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I wrote a graphic novel that came out in 2011 called 'Everlast.' We had a really successful run with that.
Playing Destroyo, who was sort of a 'Silence Of The Lambs' type character, I'd say I was wearing about 50 pounds of rubber and foam rubber and makeup. But I had no idea who The Tick was. I'm not a big graphic-novel guy. I don't even know if 'The Tick' was a graphic novel!
English writing tends to fall into two categories - the big, baggy epic novel or the fairly controlled, tidy novel. For a long time, I was a fan of the big, baggy novel, but there's definitely an advantage to having a little bit more control.
People don't like to say comic so they say Graphic Novel, despite the fact that I don't think the true Graphic Novel has been written anywhere.
I'm a big 'Star Wars' fan and grew up watching the movies. I read all the books and have read 'Star Wars' fiction that went between the newest trilogy and the original trilogy and it was part of my childhood.
Personally, I'd never seen a graphic novel. I knew they existed because friends of mine like Jonathan Ross collect them and some very literate and intelligent people really rate the graphic novel as a form.
I've no objection to the term 'graphic novel,' as long as what it is talking about is actually some sort of graphic work that could conceivably be described as a novel. My main objection to the term is that usually it means a collection of six issues of Spider-Man, or something that does not have the structure or any of the qualities of a novel, but is perhaps roughly the same size.
I'm struggling with what is epic. People decided I was epic - if by epic, do you mean a big, heavy book? 'David Copperfield' is a big book - is it epic? Amount of time covered, length, drama, or story - that's the real appeal - if the story is long you have a better chance of becoming more connected.
'Diary of a Teenage Girl' was my first American movie. It was my first movie in an American accent. It's based on a graphic novel, which was written in 2002 by someone called Phoebe Gloeckner. It was turned into a play by Marielle Heller, who then wrote it as a screenplay for Sundance Labs.
The graphic novel? I love comics and so, yes. I don't think we talked about that. We weren't influenced necessarily by graphic novels but we certainly, once the screenplay was done, we talked about the idea that you could continue, you could tell back story, you could do things in sort of a graphic novel world just because we kind of like that world.
Every social media post should have a beautiful graphic. If there are two identical stories, the one with the beautiful graphic will always win.
After the children grew up, I began to focus on my writing. My first books were part of a trilogy... The 'Wind Dance' trilogy.
I've got an original graphic novel called 'The Indian and the Bandit' that I'm writing with a childhood friend.
I think the term "artist's novel" for me has referred to writing which supports an art practice or a more specifically a particular artwork or project. The nonfiction novellas and nonfiction novel I have written play a role in my artwork as objects - which I will return to, but I write the books to exist autonomously.
The beautiful thing about 'The Strain Trilogy' is the ability to move from gore to high fable to creeping dread to domestic drama to unbearable suspense to the uncanny and on and on. The epic journey is designed to support these swings in mood, and that complements my tastes, which are wide-ranging.
I wanted to write a big novel, something epic in scale.
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