Interview with Andrea Sorrentino | Pescara Comix 2018


Published on Apr 17, 2018


Between a dedication and the other, besieged by numerous fans flocked to the Pescara Comix over the weekend, Andrea Sorrentino has answered some of our questions not skimping behind the scenes, and curiosity about his work at Marvel and DC, but especially presenting its first series creator-owned Gideon Falls.

MF: Welcome to MF, Andrea!

AS: Hello, a greeting to you all!

MF: let's Start from your last work: Gideon Falls. You went back to work with Jeff Lemire, in reality, you never stopped to collaborate with the canadian-american, but this time on a project, a creator-owned branded Image. Tell us a bit about the working of the series, which is far away from the superheroes you've worked on it intensely over the last few years...

AS: In reality, it was very easy because my style is better suited to the type of story that is Gideon Falls. For me it was a return to the origins, to end in DC I had started with I, Vampire that was part of a universe superheroes but had tones of horror.

MF: your latest work superhero was Old man Logan, you were a highly acclaimed run on Green Arrow: one thing that has always struck me your style is the attention in the use of color. What is your relationship with the colorist when you finalize the table, and you need to highlight details of the composition?

AS: There is a bit of work to mount. For Gideon Falls #1-the colourist is Dave Stewart to which I have given of the directives on the basis of the style. In particular, there is a link with the color red, which will be explained in the course of history. We will now work with the table finished and colored that Dave sent me and I will then, possibly, point out the changes that I would like to see made on the basis that that was my original idea.

MF: You mentioned The, Vampire. When you have proposed that series were a credit to the experience of the comic of God of War favorite Wildstorm, but as you put of your in its implementation, and what was the mood, vocationally speaking, at the time of the New 52 that they are now part of an era of comics in the past?

AS: I, Vampire has been all of the effects my first project mainstream and it has worked very well because it met my personal tastes that it is mainly horror and noir. God of War in this sense was a small divergence. I, Vampire had the advantage of being a series that is very, very secondary which gave us the chance to do roughly what we liked the most although it is true that at a certain point, with Joshua [Hale Fialkov, the writer of the series – Ed.] to give a more raw and “realistic” to the series. Today, it is still a project which I am most fond, and on which I have worked better: there was no pressure of publishing and the expectations were relatively low.

MF: Then there was the Green Arrow. A work of absolute rupture in the pair with Jeff Lemire. You felt the pressure of having to work on a character with a publishing history, even graphically speaking, very rich, just think of the great designers who have shown such as Jack Kirby, Neal Adams, Mike Grell?

AS: I have known and loved Jeff Lemire for his work on Animal Man, always branded New 52, so the idea of working with him I was ecstatic. I have entrusted entirely to him, and I have not felt any kind of pressure: I was working with an author of a thickness. We found ourselves immediately in tune so as to establish a collaboration with ideas and solutions such as the narrative arc the Outsiders War, which immediately became the centre of our run.

MF: Old man Logan. You have put your hand to one of the most recognisable characters in all of comics culture, and geek in general, but also to a particular version of the character. Just Lemire of Lucca, has candidly confessed that working on the X-Men was not a positive experience because of the many interferences with editorial. For you it was the same with Old man Logan?

AS: I must confess that on the Old Logan we started with the same editor that Jeff had on X-Men: after the first number I wanted to quit the series, I was absolutely fine to work with him. Then, after various comparisons, you changed the editor that we have been able to given the white paper and from there we could begin seriously to work. This is pretty obvious, just compare the first and the second narrative arc that is really the idea that Jeff wanted to deepen.

MF: let's Close by returning to Gideon Falls: arriving in Italy, when will it arrive? The series is, for the moment, your priorities or you will return to work for the two major in addition to signing the covers?

AS: Gideon Falls is my priority at least for the next 18/24 months, will come of course in Italy I think next autumn. I will surely be back to work for Marvel and DC, but for the moment I will limit myself to the covers.

MF: Thank you very much Andrea!

AS: Thank you!

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