So I guess I shouldn’t have sold my graded copy of The Walking Dead 1 (CGC 9.8) a few years ago. Currently there is no comic property seeing more gains than Kirkman’s epic Zombie adventure. You may think you know all the best Dead titles to collect but there are still some gems you might have overlooked and I recommend buying them all (along with some other important Image books!)
Click on the RED links to BUY/BID right from the article.
The Last Page of this comic was printed twice and limited to a print run of 900. It is believed that none made it out to the public but if any surface they are sure to be one of the rarest Walking Dead issues.
Internet sales of this series have exploded. The AMC series is an oblivious hit and with the appearance of Michonne in the season 2 finale things have gotten out of control. Copies of this have seen huge price increases and are all but extinct on the back issue market.
Normally when Hollywood adapts a comic property the back issue market for anything related sees movement in a positive direction even if the movie doesn’t hit big. In this case John Carter was so bad (gross wise) that the opposite has happened.
These issues along with many other John Carter Comics have either seen no price increases or losses. John Carter is a character of true worth and many of his appearances offer great art and writing making them truly valuable.
Graphic Novel Will Explore the Rich World Behind the Eagerly Anticipated,
Free-To-Play Mech Game
SEATTLE, WA (EMERALD CITY COMICON/March 31, 2012) – Meteor Entertainment and Eisner Award-winning publisher Archaia Entertainment have teamed up to produce and publish a hardcover graphic novel for HAWKEN, Meteor’s upcoming First-Person-Shooter (FPS). HAWKEN is already generating major online buzz as a fan-favored underdog within the gaming community. Produced by Adhesive Games, an independent game studio based in Pasadena, HAWKEN has been praised for groundbreaking gameplay and visuals that rival
most AAA console titles. HAWKEN is the first title from indie publisher Meteor Entertainment.
Meteor is holding a panel at Emerald City Comic Con in their hometown of Seattle, WA on Saturday, March 31st from 12:00 PM – 1:00 PM in Room TCC 102 in the Washington State Convention Center. Representatives from both Meteor and Archaia will share more details about their publishing partnership and hint at some big announcements for Archaia’s next appearance in Chicago, IL at C2E2, in Chicago April 13-15, 2012.
HAWKEN is the story of a post-apocalyptic, human-colonized planet that has been industrialized to the point of collapse. This crumbling world is the setting for a hunt for vital resources and a brutal battle for survival. Writing the graphic novel for Archaia is Jeremy Barlow, whose recent work on the Mass Effect 3 comic books made him an easy choice for another high-profile games-to-comics translation. In addition to Barlow’s script, Archaia is assembling a team of popular artists, including Moritat (Elephantmen, Transmetropolitan), Stefano Gaudiano (Daredevil, Amazing Spiderman), and Khang Le (Flight), with more names to be announced at C2E2.
Eisner Award-nominated Flight writer/artist and Adhesive Games co-founder Khang Le crafted HAWKEN’s vast mythology, which was later extrapolated alongside DJ2 Entertainment, a new LA-based production company that specializes in transmedia brand development. “It’s amazing to look around and see so many trusted friends
behind HAWKEN. With 1.2 million views on YouTube and 250,000+ users already registered for our 12/12/12 beta release, it’s hard to believe how far we’ve come,” said Le. “Just goes to show that, with a great team behind you, anything is possible.”
The graphic novel is set to release in March 2013 following the 12-12-12 beta release of HAWKEN the game. While the game showcases the visually stunning and high action FPS experience, the graphic novel will expose the world’s vast mythology and explore the key characters and events motivating the war in-game. Reading the
graphic novel is designed to not only serve as a narrative counterpart to the game, but also enrich the gaming experience with secret clues and codes that unlock special features in-game. “We wanted to do something special in publishing, but we needed a partner with enough artistic integrity and proven quality to pull it off,” said Mark Long, game veteran and CEO of Meteor Entertainment.
The Meteor-Archaia partnership was facilitated by Joe LeFavi of Quixotic Transmedia, who spearheads business development for Archaia’s Black Label division, a unique development pipeline designed to work alongside entertainment brands eager to launch and expand into publishing. “What excited us most about Hawken was their determination to revitalize, if not redefine, how people see and appreciate mechs,”said LeFavi, who will serve as executive editor and Archaia’s transmedia producer on the book. “Boasting influences from Blade Runner and Tekkonkinkreet to Nausicaä and Ghost in the Shell, Hawken is a breathtaking portrait of a war-torn world where greed is good, war is life, and survival is for the few with the most ammo. To find such a gritty and grounded vision of our future was inspiring. Sure, the game is gorgeous and really fun, but Meteor isn’t simply creating a great game. They’re creating an entire universe fans can enjoy and explore for years to come.”
Archaia is a multi-award-winning graphic novel publisher with more than 50 renowned publishing brands, including such domestic and international hits as Mouse Guard, Return of the Dapper Men, Gunnerkrigg Court, Awakening, The Killer, Days Missing, Tumor, Syndrome, Artesia, The Engineer, and an entire line of The Jim Henson Company graphic novels. Archaia has built an unparalleled reputation for producing meaningful content that perpetually transforms minds, building one of the industry’s most visually stunning and eclectic slates of graphic novels. Archaia was named Graphic Novel Publisher of the Year according to Ain’t it Cool News, Graphic Policy and Comic Related, and was honored with nine 2011 Eisner Awards nominations. Archaia has also successfully emerged as a prolific storyteller in all facets of the entertainment industry, extending their popular brands into film, television, gaming, and branded digital media.
About Meteor Entertainment
Based in Seattle, Meteor Entertainment is a newly formed video game publisher focused on building out a top tier roster of talent to successfully publish F2P games globally, with an emphasis on compelling content and setting the standard for customer service and community engagement. Meteor’s 12/12/12 launch of HAWKEN,
created by Adhesive Games, will be its first tentpole title. To learn more about Meteor Entertainment visit www.meteor-ent.com <http://www.meteor-ent.com> and be sure to check out www.playhawken.com.
About DJ2 Entertainment
Based in Santa Monica, California, DJ2 is an independent, multi-platform production company that develops and produces content for theatrical, television, mobile and videogame platforms. DJ2 is also a full service management company representing a roster of top writers, actors, directors, artists and creatives. Leveraging decades of experience and outstanding industry relationships with film and TV studios, comic publihers, talent agencies, game developers and game publishers, DJ2 provides a one stop shop for project development, career guidance and management. www.dj2.co/
About Quixotic Transmedia
Quixotic is an entertainment consultancy that specializes in transmedia brand development, formulating innovative strategies and turnkey creative solutions that inspire brands to unearth their cross-platform potential. As the business of storytelling continues to evolve, Quixotic Transmedia is committed to serve as a
trusted guide for brands eager to develop, produce, and promote their ideas across multiple forms of media. Here we provide a friendly and informed perspective on the transmedia space, enabling our clients to overcome the bewildering learning curve and seize the many opportunities of this ever-evolving marketplace. Our unique
process is designed to educate brands on how to produce rich content incorporating media both new and old, utilize emerging technologies and social media as dynamic storytelling and marketing tools, and open an array of accessible entry points that engage fans on multiple levels. In support of this mission, Quixotic has fostered a
vast network of quality vendors in every facet of the industry, ensuring that clients make the right friends and align their brands with industry pioneers capable of bringing their ideas to life. Learn more about how you can change the way that you share stories with the world at www.quixotictransmedia.com.
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Well if you’re a comic book enthusiast you know by now that Marvel has a book coming out this week that promises to meet expectations of a fantastic brawl. Avengers vs. X-Men #1, or better yet the way Marvel is billing it “A vs. X” will finally come out after a huge build up. The fight is said to reverberate throughout much of the Marvel Universe. In the end, will this clash between these two colossal teams mean anything within the confines of the MU? Probably a resounding no as an answer here, but we do get to see a great scrap! Anything they may happen in this storyline anyway will probably be “Bobby-Ewing-ed” anyway. Who’s Bobby Ewing? What’s Bobby Ewing-ed? Dallas television show? Google it…..
As any comic collector would probably know, this is not the first time these teams have gotten into a lovers’ quarrel. But there was that 1987 limited series that was a lot of fun. X-men vs. The Avengers (X vs. A). Brought to you by writer’s Roger Stern and Tom Defalco, with Marc Silvestri and Keith Pollard on pencils. Those were the days when readers didn’t expect as much as they do these days. Yes it was the speculation days in comic collecting, but it was still fun to read the story where the hyperbole didn’t set the bar so high to be let down if a story wasn’t that good. In today’s market, with the savvier collector, we expect more from our writers and are quicker to criticize with so much availability as far as social media goes to get your voice heard. Well that’s today’s episode of the soapbox! All kidding aside, pick up the 4 issue limited series from 1987 and get some enjoyment out of reading it. Better yet, pick up the 4 issues, buy the new Avengers vs. X-Men #1 and do a side by side comparison of the 2 first issues! Look how far the industry has come. Or maybe not! If you do the comparison and want to write up a review for InvestComics, send it our way (email@example.com), we’ll post it! If you do the comparison and use it for your own purposes after stealing the idea from here, be sure to at least credit us. Thanks.
Hulk #50 is a milestone “Bonus” sized issue. Whatever happened to “Double sized” issues? Here we get 48 pages of Red Hulk goodness. So what is the mysterious dark figure following Hulk around? Will we find out in the Bonus sized issue? Probably not….maybe….does anyone care really? One thing to surely care about is the awesome Walt Simonson Variant cover. That guy rocks. Be sure to click on the cover image to enlarge it. (It’s also featured in the covers of the week below).
Avengers Academy #28 gives fans another go at the Runaways team. With all the hype over Brian K. Vaughn’s recent Saga #1, the Runaways #1 from 2003 was a very well received written book from BKV. That said it’s also their first appearance.
Marvel has a busy week on the Hot Picks this week, right? It doesn’t stop with the release of the much anticipated Secret Service #1 from superstar Mark Millar and legend status Dave Gibbons. These two creators better deliver the goods with this series. Very high expectations here…..remember the social media critic’s we spoke about earlier? Yes, apply that here.
Voltron Year One #1 from Dynamite Entertainment makes its way into your shop this week. Check out the very firstVoltron comic ever in Voltron #1 (1985) from Modern Comics. Ape Entertainment releases Ramiel Wrath of God #1 from writer Javier Grillo-Marxuach of the Lost television series.
That’s it for this week. Stan Lee interview still forthcoming, promise! News forthcoming about the InvestComics’ Comic Hot Picks Chicks as well!
Click on any RED link or comic cover in the article to buy/bid on the comic right now from ALL available sellers on Ebay. A new tab will open, so don’t fret you will not lose your place here.
*This article originally appeared in (InvestComics Comics & Cinema section on Project Fanboy) in December of 2009. A few weeks back we covered the Avengers (Hero) Hot Picks, this week we take a look at the villains.
The Avengers have had many adversaries over the years. The Avenger villains throughout the years are definitely not a list of who’s who in the Marvel Universe. Better yet, a “who’s that? Or maybe even an “Oh yea I forgot about that one!” There is one thing regarding the villains here. Will the Avengers movie be an origin movie or an all out heroes vs. villains deal? Since the heroes are all getting themselves acquainted with the audience in their respective movies, one can hope that we get right down to business and have a villain or 2 appearing. We can also hope as well to see Thor vs. Hulk first, or a couple of the heroes battle each other, then get down to business and kick some villain as*! While Marvel can choose any villain they want from their vast library, InvestComics will stick with who has appeared in the Avengers books as a bad guy or gal. So aside from one of the greatest if not the best tale ever to be read or drawn in the pages of The Avengers, The Kree-Skrull War would be “The Movie” to make for any fan of comic books, but this isn’t so much about us “comic collectors” as it is for Hollywood to figure out their best angle to make the most money out of the least amount of work. In saying “the least amount of work”, you have to understand the task at hand here. Imagine trying to fill up a screen with 3 Major Marvel characters that all will have had solo movies before this one comes out. If too much time is spent worrying about character time and who should get more money shots than the other, this movie will take about 5 years to get done. According to the latest release dates, The Avengers movie will be coming in 2 years! We’ll see it happen in 2012.
Now back to the Kree-Skrull comic. The first part of this mega awesome story appeared in The Avengers #89 with the awakening of Kree-Sentry. Although the first part from 1971 will cost you only about $60, it’s The Avengers #93 that takes the cake in this storyline. It’s the double sized issue drawn by the legend himself Neal Adams. This prize issue comes in at $250. Out of the entire 9 issue run here, this would be the one to get. There were 3 other legends that join in bringing this epic story that eventually led to the Secret Invasion story arc. Sal Buscema and John Buscema were on hand along with writer Roy Thomas. If you never got around to checking this story out, you should make a point of getting to it. So if the Kree-Skrull war doesn’t come to the silver screen as part of The Avengers movie, too bad for us and too bad for anyone that doesn’t know of this epic tale.
Let’s march forward to the Villains. Here they are in no particular order. A Hank Pym creation that goes wrong, his creation is called Ultron. This villain has been around for a while now, constantly a thorn in the Avengers side. In 1968 the debut of Ultron happened in The Avengers #54. This will run about $70. Well worth it for a villain that we all know will always be around causing some sort of havoc for the Avengers. If Ultron is announced to make it to the silver screen, that goes up a few dollars tomorrow. If you’re looking to spend a few more bucks, take a look at The Avengers #8 (1964). This is the first appearance of Kang. Kang has been a brutal force against our Avengers for many years. The price tag here is in the $200 range. Kang is also going to rule the land in 4000AD. The Avengers #4 hits for the second straight article. The first time it was for the first appearance of the silver age Captain America, this time it’s here because it’s the first appearance of Baron Zemo! Yes it’s a twofer issue!
Absorbing Man has given our mighty heroes a problem from time to time. Check out his first in Journey Into Mystery #114 (1965). This will be the most expensive of the choices with the Avengers villains. $2000 is the starting bid here. Our next villain made an early appearance in the Avengers books. The Avengers #10 (1964) features the debut of Immortus. $200 gets you a copy of this one. Traveling to the Cosmos we find a few characters that have been a nuisance over the years for our beloved team. Korvac falls into the annoying people category for our team. Debuting in 1975 in Giant Size Defenders #3, he quickly found his way into the lives of Marvel’s Super team. This comic cost only $20. Take a look to the supposedgranddaughter of the baddest Cosmo dude of all, Thanos. Nebula claims to be related to Thanos, but if she really was in some way wouldn’t she really be kicking some serious as*? Check out her debut in Avengers #257 (1985) for only $5. Yes it’s safe to say that she is a second rate villain, unlike her “grand daddy.” Speaking of Thanos, Iron Man #55 (1973) is the first appearance of the Cosmo goliath. If you find this comic in great shape for $200, it’s a fantastic buy for one of the most underrated villains in the Marvel Kingdom.
So there you have a smidgen of villains that have crossed the path of Earth’s Mighty Heroes. Will any of them appear in the movie? As comic book fans we always hope so! The possibilities of seeing a Thanos grace the screen or even Captain Marvel from the Kree-Skrull story would be a dream come true. Could you imagine the Avengers movie leading into a full out Marvel Cosmic Universe movie? They already have Silver Surfer out there; just add characters like Rom or something! Yes that’s right, Rom. Bring back ROM!
Interview with the Vampire: THE NIGHT PROJECTIONIST Artist Diego Yapur
A 1952 Topps Mickey Mantle rookie card is worth between $4,000 to over $10,000 depending on its condition and is one of the three most sought after treasures among sports card collectors.
If Argentinean Artist Diego Yapur were a baseball player, his rookie card would be THE NIGHT PROJECTIONIST which is due out this May and is available now in Diamond March Previews (Diamond Code: MAR121187). Covering two different time periods, a new breed of vampires, and more gallons of blood than you can soak up with jumbo roll of BOUNTY, the epic tale by publisher Studio 407 was a challenging “first at bat” (no pun intended on the “bat”).
Diego was more than up to the challenge. In fact, his inked artwork was so impressive that Myriad Pictures (which was sharing space in the same building as Studio 407 at the time) optioned the piece for film based on the stunning galleys.
We recently caught up with Diego who, despite having to answer our questions in English (his second language), was once again up to the challenge. Feast your eyes on this interview and some eye-popping artwork by Mr. Yapur. But do it at night, because once the sun rises … vampires will burn!
1) What was it like working on The Night Projectionist? What was your biggest challenge in drawing the book?
(DY:) Yes, it was a great challenge. My first in the world of comics. It was the first time I drew a whole series by myself. “The Night Projectionist” is very important to me because it was the beginning of my career and I am very happy to be part of this series. I was really fascinated by this story and am now looking forward to the release of this book.
2) Did any character inspire your rendition of Dragos, the lead vampire and night projectionist in the story?
(DY:) Yeah, there were a couple of ideas I had and some references I drew upon, but mostly the designs were done on my own. Along with Bob Heske´s script, I was able to give Dragos and the other vampires their own strong and unique identity. We tried to make sure they didn’t resemble any other vampire character. Dragos, Burak and Carmilla are very singular in the way they look, and they have a really powerful presence. All the characters caught in the theater took a lot of thought as well.
Heske really tried to reinstate the bloody and violent personalities vampires are meant to have, ignoring the romantic idea that shows up in recent popular series (that rhyme with “Nite Light”). I tried to design these characters very well to match the excellent story of The Night Projectionist. I’m a fan of this kind of bloody horror story.
3) The Night Projectionist is actually two stories in one: a present day vampire siege and a 1700s back story about how Dragos became a vampire. Was it difficult capturing two different periods?
(DY:) Yes, it was a bit difficult because I had never drawn something like this before. I had to resort to using references, but I was able to handle it. It was a great idea to develop the story in two different time periods side-by-side. This way you get to see the origin of the characters, understand how they have evolved, and why the battle will be bloodier than ever.
4) Where did you get your training? (DY:) I was drawing since I could reason. I learned how to read through the Argentinian comics my father brought home every week and I’d copy the super hero stickers inside. I also learned how to draw by watching the works of great masters such as Alberto Breccia, L. Olivera, Bernie Wrightson, Frazetta, Horacio Lalia , Deodato Jr, Granov, and others. My professional work began about 5 years ago working with some covers and pages for Argentinian publications.
5) What other books have you worked on? What are you working on now?
(DY:) I’ve worked on illustrating educational books for Jamestown Education. I´ve also collaborated on some illustrations for the book “He-Man and the Masters of the Universe” that was published in Argentina. I have created several short stories, covers and more for independent comics in Argentina. My most recent work was Priest: Purgatory, the Priest film prequel graphic novel from Sony pictures/Screem Gems.
Currently, I’m in the middle of a job for an Argentine Editor and trying to start a personal project that I hope to finish next year.
6) Lastly, I noticed that Studio 407 has a vampire art contest up at The Night Projectionist Facebookpage. Tell us how it works, what the prizes are how long the contest is running for.
Submit your best vampire art — either an original vampire or your version inspired by The Night Projectionist — to firstname.lastname@example.org.
Studio 407 will post it on their Facebook page here.
Get your friends to LIKE, tweet and share it. (And don’t forget to have them LIKE The Night Projectionist page!)
The vamps at Studio 407 will review the 3 most popular images and declare a winner who will receive some tremendous prizes including Studio 407 comics and graphic novels, an interview on the Studio 407 blog, and original signed art from the series artist — Yours Cruelly!
The contest runs through April 30th and the winner will be announced the date the book is released in May (TBD). We’ve already got some great art up on the site, but there’s always room for more. So send us your best and let the world know you’re a vampire pro!
Thanks Diego. It was an honor doing the book with you. Your art is amazing and come May, the world is about to discover your talent. Here are some links for your fans to follow:
To follow THE NIGHT PROJECTIONIST on Facebook (and “LIKE” the page), click here.
To follow THE NIGHT PROJECTIONIST on Twitter, tweet here.
To follow the Studio 407 blog covering all their comic book happenings, go here.
This graphic novel ships in May at a price point of only $12.99 and a Diamond code of MAR121187. Pre-order your copy at your local comic shop today!
For “Oh-my-gosh-it’s-so-easy-to-Order” links to pre-order the book, click here.
An award-winning indie comic creator and screenwriter, Bob Heske (shown with his mom in better days) is currently writing/producing a micro-budget horror film called UNREST (http://www.indiegogo.com/unrest). Bob wrote THE NIGHT PROJECTIONIST, a vampire horror series to be published by Studio 407 (http://www.studio-407.com) with film rights optioned by Myriad Pictures. Through his Heske Horror shingle, Bob self-published his critically acclaimed horror series COLD BLOODED CHILLERS. Bob’s trade paperback BONE CHILLER(a “best of” CBC anthology) won a Bronze medal in the horror category at the 2009 Independent Publisher Book Awards. His “end times” anthology 2012: FINAL PRAYER was also released in late 2009. Bob was editor and contributor to InvestComics’ ONE AND DONE charitable anthology.
Studio 407 launches their Free weekly
Comics & Pop-Culture Podcast
Available Through iTunes
March 21, 2012 – Los Angeles, CA – Studio 407 is proud to the launch an exciting new weekly pop- culture podcast covering all things independent and awesome in comics, Los Angeles and beyond! We’ll be bringing you in depth interviews from all players in the comics industry including creators, retailers, editors and more. We’ll also bring you original content, con coverage and a boat load of geeky good entertainment!
This podcast is hosted by the motley crew of the Studio 407 Associate Editor Christopher Burns, Studio 407 PR & Marketing Manager Ivan Salazar as well as renaissance man & LA-based rapper Kyle “Verbs” Guy and hilarious LA Comedian Erikka Innis!
SPAWN PAYS TRIBUTE
Twenty-year history culminates in homage to Image titles
In 1992, Spawn, a new kind of superhero, stepped onto the comics stage under the banner of the newly formed Image Comics. Twenty years later, Todd McFarlane’s creation has become an iconic character in the superhero world, spawning into spin-offs, toys, an animated series, and a blockbuster movie…But the SPAWN comic book series has always been the center of that empire.
In celebration of SPAWN’s 20th anniversary, McFarlane will return this June as cover artist on his flagship title for the remainder of 2012. McFarlane will also take lead writing for this commemorative issue, SPAWN #220.
To celebrate the 20th anniversary of Image Comics, the first of these nine covers by McFarlane, SPAWN #220, depicts “Savage Spawn,” referencing the first issue of SAVAGE DRAGON by Erik Larsen. (Cover B – APR120410)
SPAWN #220 will also have a variant cover paying tribute to Rob Liefeld’s YOUNGBLOOD #1 (Cover C – APR120411), as well as an original cover from McFarlane himself (Cover A – APR120409). A black-and-white variant of each of the covers will be available as an incentive for retailers.
In addition, current SPAWN artist Szymon Kudranski has created a cover based on the original SPAWN #1 cover by McFarlane for the SPAWN: 20th Anniversary Collector’s Special (APR120418). This special edition of SPAWN #220 publishes Kudranski’s interior art in black-and-white along with additional content featuring a look back at a sampling of TODD McFARLANE’s inked pages from SPAWN #1. It is limited to 2500 copies.
McFarlane has embarked on this seven-month tribute not just to celebrate SPAWN’s and Image Comics’ 20th anniversary, but also to honor the rich history of all comic books.
“Early in my career one of the things I looked forward to after I finished the interiors on a book, was to sit back and try and come up with a single image that would catch the fan’s attention,” said McFarlane. “I had a pretty decent run with some of the Hulk, Spider-Man, and Spawn covers, and I’m going to come back and see if I can draw a few covers that will intrigue everybody.”
SPAWN #220 will be available for order in the April issue of Previews and in stores on June 6th.
ABOUT IMAGE COMICS
Image Comics is a comic book and graphic novel publisher founded in 1992 by a collective of best-selling artists. Image has since gone on to become one of the largest comics publishers in the United States. Image currently has five partners: Robert Kirkman, Erik Larsen, Todd McFarlane, Marc Silvestri and Jim Valentino. It consists of five major houses: Todd McFarlane Productions, Top Cow Productions, Shadowline, Skybound and Image Central. Image publishes comics and graphic novels in nearly every genre, sub-genre, and style imaginable. It offers science fiction,
romance, horror, crime fiction, historical fiction, humor and more by the finest artists and writers working in the medium today. For more information, visit www.imagecomics.com.
STUDIO 407 MAKES IT EASER
TO PRE-ORDER COMICS
FROM YOUR LOCAL COMIC SHOP
NIGHT PROJECTIONIST & GOLEM
March 19, 2012 – Los Angeles, CA – Studio 407 makes it easier than ever to pre-order THE NIGHT PROJECTIONIST and GOLEM from your local comic shop with the Studio 407 pre-order sites. Check out the easiest way to let your local comic shop know you want Studio 407 comics!
Click on either of the two links above to pre-order our comics from a number of participating retailer across America! Just choose the retailer nearest you, complete the information form and we’ll send an
email to your chosen retailer to be sure to pre-order the Studio 407 comic of your choice. Its free, easy and takes only seconds!
For our international fans we’ve paired up with Things From Another World to be able to deliver THE NIGHT PROJECTIONIST and GOLEM directly to your home wherever you may live, visit the pre-order sites to find
So if you haven’t told your local comic shop you want THE NIGHT PROJECTIONIST and GOLEM from Studio 407 now’s your chance. Don’t delay, pre-order today!
THE NIGHT PROJECTIONIST TPB is written by Robert Heske (BONE CHILLER) and illustrated by Diego Yapur (PRIEST: PURGATORY). This graphic novel ships in May at a price point of only $12.99 and a Diamond code of
MAR121187. Pre-order your copy at your local comic shop and through the NIGHT PROJECTIONIST pre-order site today!
SCROLL THROUGH SOME PREVIEW PAGES OF THE NIGHT PROJECTIONIST BELOW!
Check out the latest InvestComics TV addition; Orlando MegaCon 2012 Indy Panel. The panel features some great talent within the Independent circuit. Featured are Juan Navarro, Martin Pierro, Ricardo Porven, Brian Pulido and with host Terry Cronin. If you are an aspiring artist, writer or publisher then this panel would be for you. You’ll find a lot of great advice, information and tidbits regarding the Independent Comic scene. Check out the video either right HERE or click on the video to the right of this page and never leave here!
(Click on covers to enlarge)
If Marvel can deliver on time with their new series SuperCrooks #1 from Mark Millar and Leinil Yu, they will have a hit on their hands. If not, well you know how that goes. Delayed books equal lost interest, equals who cares.
The next “big” Spider-Man event will begin this week (Didn’t we just have one for Spidey?). Amazing Spider-Man #682 brings in the storyline “Ends of Earth”. With all of the events Spidey and the rest of the Marvel Universe has endured in the past few years, it’s a waiting game to see how long before Marvel pushes the “restart button”.
IDW Publishing will bring back The Rocketeer again in Rocketeer Adventures 2 #1. This popular character created by Dave Stevens first appeared in Pacific Comics’ Starslayer #2 in 1982. This little gem is only $8! Not too shabby.
Stan Lee (who will be appearing on InvestComics soon!) has his new creation coming out this week called Stan Lee’s Mighty 7 #1. It should be a fun book to check out.
Our good friend Jeff Balke colors what will probably be an instant sell out in Dead Pooh from Antarctic Press. Yes its Deadpool meets Pooh. The cover is awesome, the character is awesome, and yes this is awesome.
Here are some other books to check out this week. IDW’s Dorothy of OZ Prequel #1, Image Comics’ Hoax Hunters #0 and Rebel Blood #1, Bluewater’s John Saul’s God Project #1, and Zenescope’s Grimm Fairy Tales Presents The Jungle Book #1.
Scroll through some of the beautiful covers coming out this week below.
Artst Dean Zachary stopped by InvestComics for a few questions. Dean has worked on books such as Star Wars: Knights of the Old Republic, Atlas’ Phoenix, and Batman: Day of Judgment to name a few. Check out what else he is up to this days! Remember to click on these awesome images to enlarge them!
Interview by Andra Walt
Where are you originally from?
Clarksdale, MS. Ground Zero for the Blues and near the infamous “crossroads” where legendary blues musician Robert Johnson supposedly made his deal for fame and fortune.
Do you help with the design and advertising for FedEx?
My actual title is Senior Multimedia Advisor, which means I create computer graphics, storyboards, and work on photo shoots for various online pilot training lessons.
What are you goals for working in the Comic Industry?
In terms of my comic book storytelling, I’d like to be unpredictable and always exceed the readers’ expectations. In terms of technique, I use the 3 G’s. Gritty, Grainy, Graphite. Raw pencils demonstrate the creative urgency and hopefully capture the fiery passion I have for drawing. Sharing that passion is important to me.
How do you feel the Independent Market is doing against the big 2 (Marvel and DC)?
I’ve never quite looked at it as “against” one another. There is room for Independents, Marvel and DC to meet the tastes of every demographic. The market is ever expanding, and I am enthusiastic and optimistic that this is a great time to be in the Comic Book Industry. Creators are no longer limited by a “Bottleneck Distribution” system. With the internet, we can reach a worldwide audience without limitations of the previous publishing dynamics of the past.
How did you get involved with the 501st? How many cards are you doing for them?
I was contacted by the 501st after drawing an issue of ‘Star Wars: Knights of the Old Republic’ for Dark Horse and invited to be an honorary member. They recently asked if I wanted to draw some sketch cards for the upcoming Star Wars Celebration and I couldn’t refuse. They asked for Dark Side characters, and villains are fun to draw. I’m drawing 5 cards for them. They’ll be some surprises…
OnPhoenix5, did you also do the interior art, or just the cover?
I drew the Covers and Interiors for Phoenix 1-6. My Atlas collaborators have been encouraging, patient and tremendously supportive of my admittedly unique Full Tone Graphite approach to comics. Going directly from Pencils to inks can be a risky style and Atlas granted me so much creative freedom in terms of Layout, Style, and Script Interpretation. As long as I moved the story forward, I could combine or change panels at my discretion.
Do you consider yourself a sequential comic book artist, or mainly a cover artist?
I’m a sequential comic book artist who loves drawing covers!
Do you remember the first comic you bought?
Marvel Team Up#61 with Spider-Man and the Human Torch vs. the Super Skrull.
Who, in the comic industry, inspires you?
In my formative years it was Neal Adams, Gil Kane, John Byrne, and Jim Lee. Today it’s Olivier Coipel, Stuart Immonen and Jerome Opena. Coipel’s ability to balance detail with negative space as well as his amazing storytelling ability is a standout inspiration to me on a daily basis.
Favorite TV shows?
Supernatural and Fringe
Tell us a little about the books you have worked on.
Batman: Day of Judgment fulfilled my childhood dream of drawing Batman. Star Wars: Knights of the Old Republic gave me a chance to draw Star Wars characters, as well as use my Full Tone Pencil style professionally for the first time. The DCU Halloween Special 2010 included Deadman and Wonder Woman in her classic costume, and from there I was fortunate enough to help ressurect Phoenix for Atlas Comics.
Do you attend comic conventions and, if so, which ones are you going to this year?
I typically attend two local shows, MidSouth Con and Memphis Comics & Fantasy Con. I also make an annual pilgrimage to San Diego Comic-Con.
Tell us about Hellhound and Stargods.
Stargods was a grand experiment where I explored writing as well as drawing a comic about epic space-faring beings perceived as gods because of their supreme technologies who come back to Earth to discover how to stop an interstellar threat. I literally learned most of my computer skills working on that project. There is still a RA action figure prototype out there somewhere waiting to be picked up by some toy company… Hellhound is a screenplay and 5 sequential comic pages I created about a Spec Ops soldier werewolf who keeps his human intellect after transforming and fights monsters.
Are you hoping that these become books, or are they strictly for the screen?
I’m always interested in both avenues of storytelling for my concepts, but to be honest comics offer more freedom because the budget is only limited to your imagination.
Are these totally written by you, or do you collaborate with others?
With Stargods, I collaborated with Scott Clark, who is currently drawing Grifter at DC. I am the sole creator of Hellhound.
If you can only choose one, will it be writer or artist?
I consider myself an artist who enjoys writing.
What makes you laugh?
The British TV series ‘The Office’, Happy Tree Friends, Walter on Fringe, Alan Rickman’s sarcasm as Snape and Ultimate Dog Teaser on Youtube. Simple pleasures really…;)
The Return of Visionary Filmmaker, Artist, Painter Martyn Pick
A few months ago I had the privilege of interviewing UK director Martyn Pick about a few of his projects − most notably, his animation film Warhammer 40K: Ultramarines and mobster-sees-ghosts micro-budget horror The Haunting of Harry Payne. The interview was one of the most down-loaded IndieCreator columns in our 3-year history (has it really been that long?). Martyn is back with some updates and news. Plus some mind-bending art which will be on display at his exhibit in London in mid-March. Enough talk. Let’s get rolling …
1) Martyn, great to talk to you again. What is new since we last talked about Warhammer 40K: Ultramarines and The Haunting of Harry Payne?
(MP:) Warhammer 40K: Ultramarines had some theatrical screenings in London in November. Bob Thompson (the producer) and myself did a Q&A at the Tricycle Cinema in North London. It has been out as a collectors’ edition DVD, blu-ray, straight DVD and HD download from the producer’s website. I am looking forward to it rolling out through more mainstream channels in the near future. Watch this space. We have been working on the edit of The Haunting of Harry Payne and are now beginning work on the sound design, music, visual effects and pickups.
[EDITOR’S NOTE: The Warhammer 40K trailer has over 1.6M hits on YouTube and can be seen here.]
2) Tell us more about the exhibition you have planned for mid-march.
(MP:) I started my career doing fine art painting and drawing, and my early short films were entirely drawn and animated by myself.
In recent years, I have worked on a succession of films − both long and short − that have used my directing skills in various ways as part of a collaborative process. I have often initiated projects doing concept art which gets used by the film crews and art departments as a guide. And through the production realities of budget and schedule the initial vision changes. This collaborative process can be rewarding because the initial concept can be developed in surprising ways.
However with this exhibition what I specifically want to convey is my filmic/painterly vision at its least diluted and most controlled. It’s a compilation of my strongest artwork over the last few years with four new specially created images. I want people to see my visual concepts and show a direction for future art and film projects. And I have an instinct that there is a strong future for a mix of a fine art look with genre material.
3) What are some of the pieces you’ll have on display?
(MP:) I have done four new images for the show. It’s based on a theory about the broad building blocks of epic film construction. Like the rise and fall of a civilization like Ancient Rome, you go from the ” wasteland” through the “village” to the “classical city” then to the “decadent city” which then circles back to the “wasteland”.
This works when you think of gangster films where there is the mutation from “classical city” into “decadent city”, with westerns there is the tension between “village” and the “wasteland” and with post apocalyptic sci-fi where the “decadent city” degrades into the “wasteland”.
As I wanted to do epic imagery, I thought these stages would be a good structure. I am inspired by expressionism and the romantic sublime in the landscape art of Gericault, Delacroix, “Mad” John Martin, Anselm Kiefer and the Hudson River School. This is combined with a widescreen cinematic look that is the contemporary mass market incarnation of these impulses.
There is also the influence of the primal gestures of Abstract Expressionism in artists like Arnulf Rainer, Pollock and De Kooning and Franz Kline. The violence and immediacy of these marks are echoed in the electric fragmentation and subversion of the images surface. To prevent the images from becoming too purely representational, the final cataclysmic shattering gives them an intense expressionistic immediacy.
Expressionist painting fuses with Blockbuster cinema.
4) Are you planning any other exhibitions this year, and coming to the States?
(MP:) I have just been to the Sates, as a guest of my US commercial rep Liz Laine, to Chicago in January. I did an afternoon lecture on my work with the Fine Art and Animation students at Columbia College which was rewarding. The culture of independent art animation has really progressed in the US away from the cultural dominance of big Hollywood studios. This must be due in a big part to the colleges like Columbia (similar to what art colleges like St. Martins did for us in the UK). At present, for the next exhibition, the most likely venue I am looking into will be East London. A show in America would be great.
5) If any of our readers are closet film investors that want to get a screen credit or other cool perks, what can they do to get involved?
I am working on a number of projects that are looking for funds. One is a development of my short film Plaza that will be a high-end mutation of live-action and animation reflecting the global economic meltdown and the ferocity of the London riots within a sci-fi horror frame work. It will be a twist on the way that George A Romero used social observation in his classic apocalyptic zombie movies like Dawn of the Dead. The film will have a slick innovative look that will distill my personally distinctive radical take on epic cinema. In short, the art house Transformers! … and Pablo Picasso meets Michael Bay.
Another project is a recession revenge drama where a cop, a dedicated public servant, takes his bloody revenge on one of the credit crunch bankers. A UK Drive/Taxi Driver. This will be economical and streamlined with a strongly controlled use of limited locations and characters to tell a powerful lean story.
6) After your March exhibition, what are you doing next?
Generally I direct on commercials between film work. At present I have been approached to direct another exciting live-action feature with a very distinctive approach and a strong existing script. There is a motion capture and live-action “green screen” feature based on a classic horror property that I am developing which would really push the mix of painterly and genre that I mentioned above. I am working with a series of producers on these projects.
Thanks Martyn! We’ll end this interview with a smattering of art pieces you will be showing at the exhibit which begins on March 15th in London at the Terrace Bar, Prime Focus, 37 Dean Street, W1D 4PT and is sponsored by Amazing Spectacles.
An award-winning indie comic creator and screenwriter, Bob Heske is the author and co-creator of THE NIGHT PROJECTIONIST, a vampire horror series published by Studio 407 (http://www.studio-407.com) in May 2012. THE NIGHT PROJECTIONIST ships in May at a price point of only $12.99 and a Diamond code of MAR121187. Pre-order your copy by calling your local comic shop today!
Bob’s other titles include COLD BLOODED CHILLERS, BONE CHILLER and 2012: FINAL PRAYER which can be found at Heske Horror’s official website: http://www.coldbloodedchillers.com. Most recently, Bob was editor on InvestComics charitable anthology ONE AND DONE.
A CONSUMING FEAR IN SEVERED
Hardcover collection of horror series out on April 11
In 1916, twelve-year-old Jack Garron’s boxcar-hopping adventure turns into a flight from a ravenous, razor-toothed man who haunts the shadows. SEVERED (FEB120457), the Image Comics series that captures all of our childhood fear, has been collected into a hardcover collection that will go on sale on April 11.
Eisner-Award-winner Scott Snyder (American Vampire) and Scott Tuft weave a tale that conjures up what they describe as “the deep fright that you have as a kid, the kind that takes your breath away, makes your spine tingle… A primal fear.”
New York Times bestselling artist Attila Futaki (Percy Jackson) matches their story with art rich with historical details and subtle characterization, capturing both the hope of youth and the terror of the unknown. The hardcover collection includes pages originally in issue four of the series that have been re-inked and colored.
IGN called SEVERED “As good as horror comics get,” and MTV Geek described it as “sheer terror in comic book form.”
“I just read through the collected SEVERED and I’m so proud of this book,” said Snyder. “I think it might read even better as a collected book than the single issues and I cant wait for our existing fans to experience it this way. I am also excited for new fans to discover SEVERED for the first time.”
“We couldn’t be happier with the way that the collected SEVERED has come together,” added Tuft. “The bonus material looks great and we are so happy with the design of the book. Steven Finch, our designer, did a fantastic job. We’re also thrilled to have an introduction from the great Jeff Lemire who has been supportive from the
beginning even introducing us Scotts to Attila.”
Snyder and Tuft will both be in attendance at this weekend’s WonderCon in Anneheim, where Snyder will be a special guest.
SEVERED is a 200-page hardcover book for $29.99. Its ISBN is 978-1-607065-29-6, featuring a foreword by Jeff Lemire (Essex County, Sweet Tooth). It will be available in comic book stores, bookstores, and online retailers.
ABOUT IMAGE COMICS
Image Comics is a comic book and graphic novel publisher founded in 1992 by a collective of best-selling artists. Image has since gone on to become one of the largest comics publishers in the United States. Image currently has five partners: Robert Kirkman, Erik Larsen, Todd McFarlane, Marc Silvestri and Jim Valentino. It consists of five major houses: Todd McFarlane Productions, Top Cow Productions, Shadowline, Skybound and Image Central. Image publishes comics and graphic novels in nearly every genre, sub-genre, and style imaginable. It offers science fiction, romance, horror, crime fiction, historical fiction, humor and more by the finest
artists and writers working in the medium today. For more information, visit www.imagecomics.com.
THE NIGHT PROJECTIONIST & STUDIO 407 WANT YOUR ART!
SUBMIT YOUR BEST VAMPIRE OR NIGHT PROJECTIONIST DRAWING & WIN ORIGINAL ART FROM SERIES ARTIST DIEGO YAPUR!
March 12, 2012 – Los Angeles, CA – Studio 407 is giving fans a chance to showcase their art in a contest to win original art by THE NIGHT PROJECTIONIST series artist Diego Yapur!
Fans, send your most ghoulish, frightening, beautiful drawing of a vampire or the Night Projectionist to email@example.com and we’ll post it to our facebook page. Get your friends to like, tweet or share it when we do and the top three most popular images will compete to win the ultimate prize! A signed copy of THE NIGHT PROJECTIONIST, a Studio 407 Prize-pack &, best of all an original drawing from series artist Diego Yapur!
We’ll also feature the artist with a small interview on the Studio 407 Blog!
So start submitting your best renditions of the immortal undead and you too could win big!
Welcome to InvestComics Comic Hot Picks 3-14-12 Join the InvestComics Facebook page right HERE
As promised, the InvestComics Stan Lee interview will be coming. It’s in the stages of transcribing (audio not all that good) and will be here shortly. So hang tight!
The second release of the latest MegaCon 2012 Q&A came out. It’s a quick watch and it’s funny! Click right HERE to watch that OR click on the video to the right of this page, you won’t have to leave here! The video features; Jimmy Palmiotti, Billy Tucci, Tony Bedard, Frank Tieri, Jeff Balke, Sebastian Piccione, Jason Metcalf, Mike Wagganer, Brian Wolf, Karl Moline, and James Whynot. So go check it out!
Brian K. Vaughan will be returning to the comic book scene this week with a new ongoing series. InvestComics suggests that you check out You Tube’s Famous Faces & Funnies video’s regarding the new comic. Very funny videos featuring FFFIC’s very own Shaun Sorenson, Sebastian Piccione and Famous Faces & Funnies comic store owner Rick Shea.
Saga #1 from Image Comics will come with 40+ pages and no ads at a nice easy price of $2.99. Okay so you get all of these pages from a premiere writer in industry, a solicit that mentions “Star Wars action that collides with Game of Thrones”, written by Brian K. Vaughn, what more do you need here? This is a no brainer folks.
Brian K. Vaughn is well known for his epic comic series from Vertigo; Y The Last Man. If you’re looking for a nice collector’s item, the number one issue will cost you about $40. But buy the trade if you want to read the best written comic material in some time. A nice collector’s piece to own from Brian would be one of his first published works. Marvel’s Tales From the Age of Apocalypse#2 from 1996 would be the one! This comic should (unfortunately) be found in one of those 50 cent boxes at your local shop. Pick this up and brag to your friends that you own Brian’s first work.
Brian (unfortunately) was a part of one of the biggest errors to ever occur in comic book history back in 1998. Wolverine#131 had an anti-Semitism word that rocked the comic book industry. Brian did NOT have anything to do with this error, but Marvel quickly retracted the comic and reissued the correct wording. The comic commanded some serious cash in the aftermarket after word got out about the error, but cooled down tremendously over time. The error book is only $6 these days.Marvel Comics will milk the new Avengers movie for all it’s worth with a new Avengers title Avengers Assemble#1. Will the big “reveal” happen that everyone suspects in Battle Scars#5? If you don’t know what that may be, pick up a copy and found out!
DC’s Suicide Squad #7 gives the reader the origin of Harley Quinn. Her first appearance of course is in Batman Harley Quinn from 1999. Vertigo will offer up an interesting look into politics, intrigue, and aliens. Yes it’s an election year folks! Saucer Country #1, sounds like fun!
Check out some lovely covers coming your way this week below.
*InvestComics remembers Moebius*
Memorium by David Paul
On the morning of March 10th, 2012 I awoke the same as many art lovers to the tragic news that one of our most beloved contributors had lost his fight with cancer at the age of 73 and I was instantly transported to my
In the Autumn of 1982 I stood in front of a newsstand on the inside of a convenient store, staring at the latest issue of Heavy Metal. Earlier that Summer my little brother Dustin had died. That kid was my world and I was alone. So I stood there, staring at that fantastic cover by Montxo Algora http://www.heavymetal.com/index.php catcont=search&searchrecords=Montxo%20Algora the issue was actually Dec. 1982) not understanding the complexities of wanting desperately to be transported anywhere but reality. Unfortunately for the clerk the newsstand was located entirely too close to the
entrance/exit of the store. So one moment I’m standing there, tantalized by the seduction of adult content, and the next I’m on the outside, rushing home with Heavy Metal crammed down my pants.
It may be hard to understand today but in those days HM was the kind of magazine you did not want your mother to catch you with: a magazine you kept hidden, trapped somewhere under your bed, along with Playboy and others. Tame by today’s standards.
When I opened that magazine I was introduced to names like Milo Manara, Art Suydam, Richard Corben, and one name that stood above them all: Moebius. The worlds that I was transported to by the works of these artists were exactly what a grieving brother needed. There was science fiction and fantasy in a mind-bending frenzy of possibilities. In the pages of Heavy Metal I found the kind of comfort that only imagination can provide. Back then, as a lonely 12 year old missing his little brother, I dreamed of stepping into its pages. And many years later my name is actually in its pages. Moebius helped make that possible.
This makes me wonder at the possibilities of (how many?) others were inspired by Moebius to grow up and take paths in life they otherwise may not have, had it not been for his work. Naturally there are a variety of
other people who helped influence my life (not all in the pages of Heavy Metal), but this one hits hard because of how I associate it with my brother’s death. I imagine there are many my age (possibly younger) who
will site Moebius as a source of inspiration, some well-known.
I realize that here in the US his name does not carry the same kind of recognition it does in France so it’s up to some of us old-timers to educate you. Moebius was a founding member of the comics group Les Humanoides Associes and started the magazine *Métal Hurlant<http://en.wikipedia.org/wiki/M%C3%A9tal_Hurlant>. *That’s only the magazine that would become Heavy Metal here in the states, one of the most successful magazines of all time.
Part 2 of InvestComics at the Orlando MegaCon 2012. Simple task, ask several creators some simple questions and come back with some fun results. This Episode: What Celebrity/Person would you like to meet? And tell us a Joke! Again, check out answers from Jimmy Palmiotti, Billy Tucci, Tony Bedard, Frank Tieri, Jeff Balke, Sebastian Piccione, Jason Metcalf, Mike Wagganer, Brian Wolf, Karl Moline, and James Whynot. Special thanks again to Michael Frick Weber for the Inspiration.
Filmed By: Jay Katz
Video Edits & Graphics: Jay Katz
This June – history will be made for the Marvel Universe.
Written by BRIAN MICHAEL BENDIS
Art by SARA PICHELLI
Cover by JIM CHEUNG
ON SALE THIS JUNE!
To find a comic shop near you, call 1-888-comicbook or visit www.comicshoplocator.com
Marvel Entertainment, LLC, a wholly-owned subsidiary of The Walt Disney Company, is one of the world’s most prominent character-based entertainment companies, built on a proven library of over 8,000 characters featured in a variety of media over seventy years. Marvel utilizes its character franchises in entertainment, licensing and publishing. For more information visit www.marvel.com
The World’s Top Comic Publisher Announces Landmark Digital Initiative
New York, NY—March 9, 2012— Marvel is proud to announce that, beginning June 2012, all Marvel super hero comics priced at $3.99 will include codes for free digital copies of those same issues on the Marvel Comics app for iOS and Android devices at no extra cost! That’s right, the most-talked-about comics in the industry—including Avengers, Captain America, Invincible Iron Man, Mighty Thor, Amazing Spider-Man. Wolverine & The X-Men and more—will come packed with a code to ensure fans have the most critically acclaimed stories with them anytime, anywhere.
“We’re committed to bringing fans the best value in comics. By including codes for free digital copies in all our $3.99 super hero comics, we’re doing just that” said David Gabriel, SVP of Sales, Marvel Entertainment. “We’ve seen a tremendous response to the digital codes in Avenging Spider-Man, our Season One graphic novels and the Ultimate Comics line. The positive reactions from both retailers and fans make it clear that including these codes with our books drives customers into comic stores on a repeated basis.”
Marvel made comic book history in 2011 by announcing all titles in the Ultimate Comics line would include codes for free digital copies on the Marvel Comics app, with unrivaled incentives for comic shop retailers. Then, in 2012, Marvel announced the acclaimed Season One graphic novels would also include similar codes making them the first graphic novels to ever include codes for free digital copies at no extra cost.
“At Marvel, we’re always looking for ways to bring the worlds of print and digital media together to deliver the best comics experience for our fans,” said Peter Phillips, SVP & GM, Marvel Digital Media. “With this next step, fans will soon be able to buy their comics from their favorite retailers but also enjoy them on their mobile devices and tablets, all at no extra charge. Welcome to the Revolution.”
Marvel Entertainment, LLC, a wholly-owned subsidiary of The Walt Disney Company, is one of the world’s most prominent character-based entertainment companies, built on a proven library of over 8,000 characters featured in a variety of media over seventy years. Marvel utilizes its character franchises in entertainment, licensing and publishing. For more information visit www.marvel.com
The Lowdown on Low Budget Filmmaking with Entertainment Lawyer Paul Battista
I know what you’re thinking: Egad, a lawyer interview. This is going to be a tough read!
But before you click to the “Hot Picks” page, let me tell you a little story …
Just about two years ago I had a project where a director had optioned one of my scripts and had gotten involved in a film funding fiasco. It was one of those “you put up 10% and we’ll get the rest in a few months.” As it turned out the film (one of my favorite personal scripts) never got made. It sits on my shelf collecting dust, taunting me.
As my forties creeped to the big 5-Oh, I decided to take things into my own hands and explore making my own micro-budget film. It seemed like a good idea. The problem was I had only a graduate screenwriting certificate and no film school, or filmmaking friends, to jump on board.
Frustrated, I scanned the Internet for insights on producing a micro-budget film and found one gold nugget: an episode of ON THE PAGE (episode #141) had a guest entertainment lawyer who not only was an expert on producing micro-budget films; he had written a book geared to Hollywood “outsiders” like me who were struggling to figure out this whole movie-production-on-a-shoestring deal.
Paul Battista, Esq. is an LA-based entertainment attorney who has provided legal services to 100+ feature film, documentary and television projects in which he has represented either a producer/production company or an individual providing services to the project. He has been a guest speaker at many film festivals and conferences, including Slamdance Film Festival and Film Independent’s Filmmaker Forum, in addition to lecturing at film and law schools in theLos Angelesarea.
Paul’s book “Independent Film Producing: The Outsider’s Guide To Producing A First Low Budget Film” is required or recommended reading at film, business and law schools throughout the country including: UCLA MFA Producing Program; NYU Film School; Art Center of Pasadena; NYU Stern Business School; Southwestern Law School; and Chapman University Law School. He is licensed to practice law inCaliforniaandNew York.
On a personal note, Paul was very receptive when I emailed him to tell him how much I enjoyed his book (I bought it online after listening to Paul’s ON THE PAGE guest interview) and to ask a few additional questions. Those “few additional questions” led to me asking if he’d take a look at my script and if we could have an initial consultation. Since that time, Paul has been instrumental in making sure I don’t teeter off the wrong path and in helping me to set up my film production company with the appropriate legal documentation. Paul is frank, honest, immensely experienced and reasonably accessible. Just the sort of guy you’d want on your team, even if he is an unabashed New York Yankees/Giants fan.
Ah well, nobody’s perfect …
1) What prompted you to write “INDEPENDENT FILM PRODUCING: The Outsider’s Guide to Producing a First Low-Budget Feature Film”?
(PB:) The idea for writing the book first entered my mind around 2002 when I was finishing up making the film “Crooks”. It matured during the following years as a result of my experiences while advising independent filmmakers in my expanding practice in entertainment law. I found myself covering much of the same ground and the same issues each time I spoke with a filmmaker; these issues became a foundation for the book. I finally decided to write the book that I should have had back when I started producing my own independent film.
2) What’s changed since the book came out in 2010 that you plan to update in the next version?
(PB:) There have not been any radical changes since mid-2010; although I am slowly working to update the book. The process of going from idea, to raising funds to producing and achieving distribution for a low budget film has not changed that much in the last year and a half. My book explores the details in the process, and will help filmmakers to avoid the major pitfalls if they are going to expend the time, energy and money necessary to make an independent low budget film. The information remains relevant. There are, however, always changes in the law that one needs to keep up with. For example, Internal Revenue Code section 181 expired so it’s not available to taxpayers, but its disappearance has not, and will not, materially affect the process of raising funds and producing a low budget film since there were always numerous other tax laws (passive activity rules, etc.) that limited the amounts eligible under section 181, so it was never a crucial building block to producing a low budget feature film. The definition of “accredited investor” has changed within the securities laws as well, and there are currently bills working their way through the House and Senate which would change the securities laws for small amounts of crowd funding which will help low-budget filmmakers if they become law. So you can see that the laws relating to filmmaking are constantly evolving.
3) What are the three biggest rookie mistakes that newbie filmmakers outside the Hollywood circle make?
(PB:) Is this usually my cue in the interview to say “failing to obtain proper and experienced legal representation?” (Laughs). Seriously, when you’re approaching investors you want to avoid THIS: and, in order to obtain distribution, filmmakers must comply with the Delivery List. So, as self-serving as it sounds, not allocating the funds to obtain proper legal representation is often a first-time filmmaker biggest mistake. And it can be a fatal mistake.
A second mistake is not re-writing the script many times with the assistance of a professional script advisor throughout the process.
A third mistake occurs at the time when the money is raised. Often a filmmaker will not allot sufficient time to continue to develop the film and complete pre-production; that is, he or she moves too quickly through pre-production. Rushing into production will unavoidably lead to mistakes. Unfortunately these early mistakes are built to last, and hard to overcome at the low budget level where the money that studios have to throw at problems is non-existent. 4) What was the biggest lesson you learned when you wrote, directed and produced your first micro-budget film?
(PB:) That it’s much harder than it looks on paper!
I learned too many lessons to enumerate here in the process of making the feature film “Crooks”, as well as in the process of making shorter films (the hard way I might add). I would say the critical importance of working with a solid team made itself very evident early on. In particular, the absolute critical necessity of having a great line producer/unit production manager was a particular eye opener as I went through the process. I was fortunate in terms of the many great people who worked on “Crooks”, except for maybe the director, who was terrible. (Laughs)
[EDITOR’S NOTE: Not true. Paul was the director and, for a first-timer, he did an admirable job. Comedy can be actually harder to direct than drama or horror.]
5) When should you (or any entertainment lawyer) first get involved in a project, and for how long should you be involved? Are there any pending or existing legislation that is overtly friendly to filmmakers that is not being taken advantage of at this time?
(PB:) Those questions could take a whole other interview, but there are some critical tips. When you are thinking of approaching people to ask them for money, you should definitely have your attorney involved. As a matter of fact, an experienced indie film attorney is critical from the moment you decide to enter into any agreement with any other party regarding your project, whether you are approaching someone to option their existing script, or deciding to co-write a script with someone, or entering into a co-producing agreement, etc. In terms of your question regarding the length of involvement, you should have legal help all the way through distribution.
Legislation effecting filmmakers is always percolating. For example, crowd funding legislation that is pending can be very useful to independent filmmakers (depending on the details of any final bill (if passed). As I mention in my book, the State tax incentives are potentially helpful to low budget filmmaking. I say “potentially” because the minimum spending thresholds (and the costs involved) usually render the benefits moot to a low-budget filmmaker; however, most first-time low-budget filmmakers don’t take the time to investigate what (if any) tax advantages are available for their project.
Bob, I know regarding your low-budget film “Unrest” that you have been investigating the possibility of partnering with a Canadian filmmaker to pursue the available Federal and Provincial tax credits and incentives. But, similar to the U.S. State incentives, there are numerous requirements, some of which automatically make low-budget films ineligible (the minimum spending thresholds, for example).
6) Do you also get involved in distribution? How did you get distribution for your film CROOKS? How has the pendulum swung in just the past few years for film distribution − for example, has the order of the “windows of distribution” been re-shuffled?
(PB:) My involvement in distribution is currently providing legal advice/negotiation and legal drafting regarding distribution agreements, as well as providing negotiation and drafting of production-finance-distribution agreements between filmmakers and distribution companies (representing the filmmaker in these transactions).
At the beginning of the 2000s through the mid-2000s I was providing producer representative services (sales) in addition to legal services to independent films. But as my practice grew, my focus became exclusively on legal services and not on attending the markets and networking with buyers. Producer representative (sales) services is an entirely separate business.
We received distribution on “Crooks” through the relationships we built over the years, which resulted in an introduction through my former law partner, Mychal Wilson, to the distributor that picked up the film. Networking and relationships are always the foundation of deals in the entertainment industry; they can be newly formed relationships or deeper, more developed relationships. The odds of achieving success by blindly submitting material to a company are very long indeed (whether a treatment, script or finished film) — it’s the filmmaker’s direct relationship building that most often leads to desired outcomes.
For example, I recommend that a filmmaker apply to as many film festivals as financially possible, and to make sure to attend every festival at which his or her film is accepted. Attending multiple festivals is not a small expense, but the most important benefit of attending the festivals is that it will lead to (should lead to) meeting other filmmakers and distribution executives, which will build the filmmaker’s distribution relationships. For example, it is not uncommon for distribution to be secured when one filmmaker who has received distribution recommends another filmmaker’s film to that company.
The answer to your third question is yes. The distribution process has been shifting the last number of years. A primary shift in distribution has been the number of filmmakers who have been exploring new options for distribution by screening at film festivals and then deciding that they do not want to use an established distributor with an “all rights”, “all territories” deal. Instead they can self-release their film and reach out to established companies which can provide specific services that the filmmaker can’t obtain on his or her own − for example, utilizing a video-on-demand (VOD) aggregator who will only license the North American VOD rights and not demand other rights which the filmmaker can continue to exploit. As I discuss in my book, the shifting landscape has a domino effect and the filmmaker would be wise to understand what this means in terms of his or her expectations for the film, the budget for the film, and other aspects of the project.
7) Let’s talk about micro-budget features. What trend(s) are you seeing here among your clients? What’s the sweet spot re: genre and budget for films that have the best chance of success (in your “non-legal” opinion)?
(PB:) Well, in regards to this question, I would say I’m more “old school”. In the first place we have to define ”success”. In my book I define “success” as producing a film that looks to have cost 3-5 times the amount actually spent on the film. So my non-legal opinion is to focus on those elements that you can actually control.
Perhaps even more important, be passionate about the type (genre) of film you are making. My experience has led me to the conclusion that trying to “game” the system regarding the genre doesn’t work. If the filmmaker is not excited about a genre, not interested in the topic, not 100% passionate about making the film he or she is making, then it is my non-legal opinion that he or she will fail to ignite the interest of those who watch that film.
The latter is especially true in the low budget genre where the filmmaker does not have access to $100 million in cutting-edge special effects (with 3D glasses) to excite and distract the audience − it is solely about what the film is expressing that creates interest in watching low-budget independent films. I include a list of independent films at the end of my book which illustrates this point; however, the list contains films that illustrate this point to me − meaning another person would have a unique list of low-budget indie films that speak to him or her.
In terms of distribution, as I state in my book, there is no accounting for what the “market” will embrace at any particular moment. It is, essentially outside the control of anyone, including the low-budget independent filmmaker − and supporting the latter conclusion is the scores of films that I have watched at the many film festivals I have attended over the last 15 years that have moved me but which have never achieved any formal distribution. In essence, they have disappeared.
To answer your question regarding a budget level “sweet spot”, my response is to make the film for as little money as you can possibly make the film for, and that amount is determined as a result of careful, knowledgeable producing. Insert plug for “Outsider’s Guide” book here. (Laughs, but also is partially serious!)
What are three of the coolest films that you’ve worked on?
(PB:) That’s a tough question. To me, they’re all cool, and that’s not a “safe” response to dodge the question because, in fact, I have been very fortunate to be able to build my practice by working with “cool” people. By that I mean independent filmmakers who are excited about the genre they are producing, are completely interested in the topic, are 100% passionate about making the film they are making, and to me, that is “cool”. I guess I’m a bit old school regarding that aspect of indie filmmaking, too.
9) There seems to be a void of information pertaining to making micro-budget films, at least doing so “legally”. How has your book been accepted by the industry, and has it been used by film schools as well?
(PB:) There had been some really good books out there before I released my book, but I agree with you, there has been much less information available on micro-budget films than the information available in the numerous books that focus on producing films “within the system”. But it is getting better in that I see new books being released each year specifically focusing on micro-budget films, which is great because I think the more information available, the better it is for filmmakers. In terms of the reaction to the book so far, I don’t think I can speak to the industry reaction but certainly I have received very positive responses from those who have read the book. Graduate film schools have embraced it and made it recommended reading, certain business and law schools have embraced it and made it required or recommended reading. I think Steven Beer’s quote to the effect that the book is “practical” and provides a guide regarding “the most challenging business aspects” of producing a low-budget independent film is illustrative of what a reader will find in the book.
10) How long should a newbie filmmaker allow to get a film off the ground once they have script in hand?
(PB:) My advice would be to enter the process with no set time frame because each film has its own unique path. With that said, I do recommend approaching the process realistically, meaning that if a script is not getting traction, then write another script, and another script, and continue to increase your understanding and knowledge of independent filmmaking while continuing to network and pursue the funding necessary to make one of your low-budget scripts. In a word, continue to be “tenacious.” I have worked with filmmakers for whom it took years of dedication.
11) Will you be a guest on any upcoming podcasts or industry events in 2012?
(PB:) I love to lecture and hold seminars for filmmakers and never turn down an opportunity if I can fit it into my schedule. In March I am speaking at a USC film class and also at a UCLA film class, and I periodically present my free seminar based on the book (most recently teaming with The Writer’s Store where Brandon Bannock and Leimomi Coloretti invited the store’s list of filmmakers), so I am always looking to team with an institution that would like me to bring the information to their group. As I pointed out in answer to a previous question, these opportunities usually arise from the relationships I have been building; however, only under extreme circumstances will I not respond to unsolicited invitations.
12) What’s your favorite lawyer joke?
Well, I am a huge Seinfeld fan so I’ll pick one of his jokes: “To me, a lawyer is basically the person that knows the rules of the country. We’re all throwing the dice, playing the game, moving our pieces around the board, but if there is a problem the lawyer is the only person who has read the inside of the top of the box.”
13) Please give us the websites where we can buy your book online, and also contact information for your law firm.
An award-winning indie comic creator and screenwriter, Bob Heske wrote THE NIGHT PROJECTIONIST. This graphic novel ships in May at a price point of only $12.99 and a Diamond code of MAR121187. Pre-order your copy at your local comic shop today!
Bob has also published COLD BLOODED CHILLERS, the award-winning anthology BONE CHILLER and his end times tome 2012: FINAL PRAYER. His website is www.coldbloodedchillers.com.
Shianndrea Toshigawa is “The Chosen One” of the Toshigawa Ninja Clan.
She is the only warrior powerful enough to save the world from the wrath of the Knave, a demonic samurai
army led by her father, Terminus. Although Shianndrea longs for a normal life away from the weight of her destiny, she is hunted at every turn.
Taki Sato, one of the most deadly warriors in all of Japan wants Shianndrea dead and the monstrous tracker known as Desai would like nothing more than to restore his honor by breaking Shianndrea and returning her to Terminus.
Now this reluctant warrior must cope with the fear of her destiny, a battle to the death and a rumor that another
clan member is traitor.
Action Lab Entertainment is proud to present JETTA: TALES OF THE TOSHIGAWA as a digital exclusive comic, available in Nook, iOS, Android, Kobo, Kindle, Graphicly and additional formats in Mid-May.
Created by Martheus Wade and optioned for a motion picture, “BEGINNINGS” will be the first in a series of Jetta: Tales of the Toshigawa digital omnibus collections to be released over the next two years. “Beginnings” collects Jetta – Last Chances (first published in 2003) and Jetta – Crucible (first published in 2009) into one 120 page
full color graphic novel.
With all new story additions, art and ending commentary, Beginnings brings an entirely new reading experience to these exciting books and provides an excellent jumping on point for new readers who have always wanted to check out one of the most popular female characters in independent comics.
Additional previews to come soon. Get ready for Jetta!
ABOUT ACTION LAB ENTERTAINMENT
Entertainment was founded in 2010 by a group of indie-maverick comic creators with the sole intent to bring the world the most action packed, most thought-provoking, most entertaining comics available, thereby ushering in a new age of world peace under the dominating, yet benign control of the Action Lab. Action Lab Entertainment is the public front for all the activities of the Action Lab and its members. Although most of the Action Lab’s activities remain classified, Action Lab Entertainment can disclose that two of its many functions are the marketing of comic books through various sales outlets, and the expansion of their domination into other mediums. For more information, visit www.actionlabcomics.com.
THE 407 AGE OF COMICS
CONTINUES WITH THE DIRT
THAT BRINGS THE HURT
COMING MAY 2012
March 7, 2012 – Los Angeles, CA – Forged by ancient magic and out for cold-blooded justice, he’s the dirt that brings the hurt and he’s not letting letting anyone or any thing stop him from his righteous quest – this May make way for GOLEM!”I’m thrilled to finally bring the entire GOLEM story to life with the help of my amazing team!” says Managing Director Alex Leung. “Writer Scott Barkman really helped me make sure this graphic novel was exciting a read as possible and Mark Louie Vuycankiat brought every bit of action to life with his sensational kinetic art. We put our all into making GOLEM and fans will be able to see that from page 1!.”
CHECK OUT THIS ACTION-PACKED 4-PAGE PREVIEW!
“This book is a stunning action thrill ride that will have you flipping the pages faster than you can read!” says Marketing and PR Manager Ivan Salazar, “How many times have you wanted real world villains like dictators, warmongers and profiteers to get their due? Golem thinks it’s about time they did! This is a seriously thrilling “what if…” pitting a huge clay monster against the real villains of our world with some great twists you won’t want to miss. This May be sure to get your hands on GOLEM!”
In war-torn Sarajevo, one man fueled by rage and loss uses mystic cabala magic to create the ultimate defender of the weak – a hulking mountain of destruction known as GOLEM! But Golem soon breaks free from his creator’s control to deal justice on his own terms, blazing his own path of retribution and devastation. Can the forces of both good and evil be marshaled together to destroy the uncontrollable abomination? Or will the world face the first WMD with teeth? It’s an no-holds-barred, slug fest you can’t miss!
GOLEM TPB is written by Scott Barkman and Alex Leung (NIGHT & FOG) with illustrations by Mark Louie Vuycankiat (TIGER & CRANE, THE EDGE). This graphic novel is the full continuation of the GOLEM one-shot previously published by Studio 407. This book ships in May at a price point of only $12.99 and a Diamond code of MAR121186. Pre-order your copy at your local comic shop today!
We want to share with everyone some AWESOME news. Colorist extraordinaire (and our friend) Jeff Balke has been nominated for an Eagle Award for Favorite Colorist! Jeff has colored such books as..Grimm Fairy Tales, Tales from Neverland, Zombies vs Cheerleaders and the hit NEW ALL ages series, Jurassic Strike Force 5 (just to name a few).
The Eagle Awards have been around since 1976 and are the oldest comic book award. So this is a huge honor to be even nominated. Way to go Jeff!!
So do us a big favor, “ROCK THE VOTE” and vote for Jeff Balke for Favorite Colorist (question #8 in the survey). The survey takes about 5 minutes
to complete and you do not have to vote in every question. You can just vote in the questions you know (or just in question #8).
When you are done submitting your votes, the awards will send you an email to
verify your votes. You MUST verify your votes or your votes won’t count. So don’t forget to check your spam/junk mail folders as well (you should get the email w/in 1 minute after you submit). You can vote on your phone, ipod, ipad and computers.
Voting ends April 2nd, so its creeping up fast. Please help spread the word to ROCK THE VOTE and vote for Jeff Balke (question #8) for Favorite Colorist!
Thank you everyone! And GOOD LUCK Jeff! You’ve got our support!
Be sure to visit Jeff Balke’s website and join his Facebook page too!
Paul Lacovara is a premiere Hollywood Stunt Performer. His resume is very extensive and many will recognize the films Mr. Lacovara has worked in. He was kind enough to grant InvestComics an Interview.
Hello Paul, first let me thank you for taking the time to come on to InvestComics so that comic book fans can learn more about your craft. You perform stunt work in the Avengers movie coming out this May, but more on that later…..we hope!
Jay Katz: So Paul, the first oblivious question(s)here would have to be, Where are you from and when did you first realize you wanted to be a stunt performer?
Paul Lacovara: I was born on the Central Coast of California in the city of San Luis Obispo and was raised on the outskirts in a town called Los Osos. I always wanted to be in the industry and actually wanted to be an actor first, but found out that I am better with the physical side of things rather than remembering dialogue. I finally came to the realization that I wanted to be a stuntman when I was working on the movie We Were Soldiers. I started as an extra but got a day of stunts and fell in love with action right away.
JK: How long have you been doing this line of work?
P.L. I started pursuing stunts about ten years ago but have really been working steadily for the past six or seven years.
JK: You have an extensive resume to say the least, have you ever taken the role as the guy that doesn’t put himself in harm’s way, well better said, as an “actor”? Or would you just prefer the dangerous game of stunting?
P.L. I would love to be an actor, but I think I would really need to put stunts on hold and start studying the craft of acting in order to be successful. I’ve had a few acting parts here and there but only minor roles. If I were to make that transition, I think I would really miss the action as well as the comradery between the stunt players and myself. I also think I wouldn’t get as big of a rush from delivering a good size monologue as I do a good rough and tumble fight scene, getting thrown thirty feet through the air, or jumping a car.
JK: In all the years you have been performing, did you ever have a time that you just don’t feel comfortable with a particular spot and if so, how would someone of your profession handle that?
P.L. There haven’t been too many times where I have been uncomfortable with a particular spot. If I do have concerns, I talk with my stunt coordinator or fellow stuntmen to see what they think, and we end up working it out. If there is a spot where a stuntman is totally uncomfortable with the action, it might mean he/she shouldn’t be there and someone else should be doing it. We don’t accept jobs where we aren’t qualified. If so, that is a good way to end a career; either by word of mouth or actually getting hurt.
JK: Do you have fear in your line of work or do you have to basically have a block?
P.L. I wouldn’t say I am fearful when I go to work, but at times we may get nervous because there can be a lot of pressure that comes with executing the stunt properly. Or sometimes you know you are going to get absolutely wrecked in the stunt and it is going to hurt, but that’s what you sign up for and sometimes you just gotta throw down and go for it. I think as stunt performers, we get an adrenaline rush whereas the average person would become fearful.
JK: You have a family, what would you say if your wife or child decided that they too wanted to do your line of work? Is it like having your tattoo in the sense that; “well you can do it….”
P.L. I am not sure if I want my son to get in to the business or not. I used to think, “Of course he’ll be a stuntman, what else is there!?” but that was
early on in my career, and before I actually had a son. Now that my boy is two years old and is the one, besides my wife, who gives meaning to my life, I don’t know if I want him risking his life just so someone can sit in a theater and say, “Oh that was cool!” I want him to do whatever makes him happy. If that means being a stuntman, then I will fully support him and teach him everything I know. I think many children of stuntmen don’t have a choice. –By that, I mean that the kid sees that Daddy has a really cool job, makes a good amount of money doing it, and the kid may go to set with his Dad here and there, and before he knows it, stunts just becomes a way of life. It’s kind of a natural progression to form a career as a stuntman if a family member is already successful. It is almost like they are raised in the business whether they like it or not. –That being said, my kid will probably be a stuntman.
JK: Being a stunt person requires to be in tremendous physical shape. Do you practice the martial arts as part of your training to perform on your job?
P.L. Martial arts has always been a part of my life. I remember my dad teaching me how to correctly throw punches in the backyard when I was about five years old, and since then, some form of martial arts has constantly been beckoning me. I always trained off and on, and when I got into this business is when I finally became dedicated to my training and earned my black belt in Tae Kwon Do. I also think it is important to not get tied into one form of training though, so I am always trying to mix it up with different disciplines.
JK: I noticed you are a UFC fan. Do you have a favorite fighter and why?
P.L. I think Chuck Liddell is one of my favorite guys because we are from the same town (San Luis Obispo) and we actually used to know each other when I was a bartender. Most recently I found myself favoring GSP, simply because he is so well rounded and has just been unstoppable.
P.L. For the record, I didn’t work on Transformers 3. I got called for it, but it didn’t work out in the end. As for Star Trek, I am proud of being part of such a great project and such a phenomenal stunt team. There were so many talented individuals on that show and I was happy to just be part of it and work with such wonderful people. There are quite a few of us in this industry who have won a SAG Award and it’s nice for the stunt department to get a little recognition. Most of the general public doesn’t realize we even exist. In fact, some of the other award committees seem to forget we exist at all, but it is nice for SAG, our union, to realize we are such an integral part of the movie making process. Without us, you simply can’t have an action film. How interesting it is for us to risk our lives when making a movie or television show and barely get a nod when it comes to award season. We aren’t in it for the award; that’s not what we are about. But it is nice to get it, nonetheless. Also, how boring would it be to just watch drama after drama, after drama!!! Thank God for the stunt department!
JK: Some of your movies fall within or right at the feet of the comic book entertainment genre. Are you a comic book fan?
P.L. I haven’t always been a comic book fan, but since the entertainment industry has been moving that direction, I can say I am definitely more into it than ever before.
JK: What superhero movie would you like to see come to the big screen? Why?
P.L. Ya know, as long as Loki is there to defeat that superhero or be a part of the team, I couldn’t care less who comes to the big screen (laughing). Team Loki all the way!
JK: Your body of work extends to television as well, CSI: New York, Alias, CSI: Miami, Bones, Scrubs, etc is there a difference as far as your approach for television or is the same every time you go out?
P.L. My approach to my job is the same whether it’s for television or features. I train hard and come to work prepared no matter the size of the project. I am always ready to throw down and help the stunt team be as successful as possible.
JK: Do you have aspirations of getting behind the camera one day as a full time director?
P.L. I would definitely like to get behind the camera more. I have been doubling many of the leading actors, making a decent living, and am now ready for a bit more. Most recently I’ve been focusing quite a bit on coordinating and as my career evolves, would like to eventually make my way into second unit directing, which will allow for more expression of creativity and innovation.
JK: You have a Bachelors Degree in Sociology, Minors in Geography & Anthropology.That’s impressive. Ever going to use that?
P.L. While I don’t think I will ever go into any of those fields professionally, I do use sociology every day. I am always studying how people interact with each other and find the behavior of people within their society very interesting. I also think everyone should study anthropology. It just makes sense of our evolution and existence on this planet. I could expand more, but that’s another interview in and of itself!
JK: Okay so you worked in this movie that has the entire comic book world buzzing. The buzz became heighten during the Superbowl when Marvel aired a new trailer. This movie looks Spectacular! Of course we’re talking Avengers here. Now knowing that you are bound by the confidentiality waiver they make you sign, but can you give us a little bit of insight?
P.L. Oh man! I wish I could give you some insight! All I can say is that I am so proud to be a part of this movie! Not only is it such a great ensemble of thespians but also such a great collaboration of stunt professionals. There is such a huge amount of action in this movie and we have some of the industry’s best actors; with those two combined, I really think this is going to be one of the best comic book films/action movies of all time! No matter what movie comes next, The Avengers is always going to rank at the top!
JK: So what’s after the Avengers movie that we can all watch in awe over you?
P.L. You’re too kind! I wrapped filming on R.I.P.D. a few weeks ago where I doubled Ryan Reynolds and that will be coming out in 2013. It’s another big action movie and should be a big hit! Since then, I have worked on a couple commercials for Target and Dr. Pepper 10. Those should be out in the next month or so.
JK: Attached to this interview is a You Tube video with various stunts that you have performed. Is there any place else fans can see Paul Lacovara or keep up with your work?
P.L. That video is my old stunt reel. It’s a bit dated and I will be getting another one out soon. I think it will be a bit shorter and more action packed with some recent footage. The best place to keep up with my work is probably imdb.com. I don’t do twitter or anything like that, but keep my resume on imdb.com fairly current.
Jay Katz: Thank you so much Paul, we look forward to seeing you in the Avengers movie! Continued success, and be safe!
P.L. Thank YOU so much and hopefully we’ll be talking again in the near future!
The NEW YORK POST has revealed a first look (though heavily shadowed, and covered in magical lightning) at SHAZAM! (formerly Captain Marvel) in the new DCU. Shazam! will start as a back-up feature in JUSTICE LEAGUE, beginning in issue #7, though writer GEOFF JOHNS assures us SHAZAM! will have a much larger role in the new DCU, thereafter.
The SHAZAM! back-ups will be written by Geoff Johns with art by Gary Frank.
First off, in case you missed the release of the latest InvestComics You Tube video you can catch it right below! Wow look at that, technology! Just sit back and we’ll bring the entertainment to you!
This particular video was by far the most fun I have ever had putting together a montage. Although my video by no means is a new innovation with the piecing of questions together, but it’s “new” to InvestComics! I seriously owe much thanks to Michael Frick Weber for the inspiration to put together such a fantastic video. I’ve seen Michael work his magic with numerous videos and they are absolutely awesome. Check out Michael’s Videos on You Tube or just follow him on Facebook, great stuff.
Here’s the Video and description from the You Tube Page:
InvestComics goes out to ask several creators some simple questions and comes back with some fun results. Check out answers from Jimmy Palmiotti, Billy Tucci, Tony Bedard, Frank Tieri, Jeff Balke, Sebastian Piccione, Jason Metcalf, Mike Wagganer, Brian Wolf, Karl Moline, and James Whynot. Special thanks to Michael Frick Weber for the Inspiration.
Filmed By: Jay Katz
Video Graphics & Edits: Jay Katz
Image Comics gets the spotlight this week with their release of Hell Yeah #1. With a very “Millar/Bendis” feel to this comic, it may sell out due to that factor alone. But with award winning writer Joe Keatinge at the helm, along withElephantmen artist Andre Szymanowicz, this comic does not need much help to sell out anyway.
DC Comics brings back something old something borrowed. Marv Wolman returns with his original series from 1982 called Night Force. If you’d like to check out Night Force #1 from 1982 it would only cost you a dollar more than the new number one coming out this week. Actually you would probably find it in the 50 cent boxes at your local shop if you look hard enough.
DC’s Vertigo line will have a hit on their hands with Fairest #1. Built around the hit Fables series, creator Bill Willingham brings the Females from Fables into their own book. A beautiful cover from Adam Hughes will catch the buyers eye while Phil Jimenez’ pencils on the inside will keep the buyers around for more.
A few number one issues to possibly pick up this week include the latest in IDW’s Infestation 2 Event. The Turtles are in Infestation 2: Teenage Mutant Ninja Turtles #1. If you yearn for more of the Avengers movie after seeing the latest trailer (WOW), check out Marvel’s Prelude to Avengers #1……and rounding out this week, make sure to pick up Red Wing’s own Jonathan Hickman’s latest book Manhattan Projects #1.
Also as a reminder, my first written comic will be coming out from Bluewater Productions. Vincent Price: House of Horrors #1 is now available through your Previews catalog or any comic shop on line. You can catch a 5 page preview on Bluewater’s web site right now!
Check out some fantastic covers coming to a shelf near you this week below.
And yes the Stan Lee Interview from InvestComics will be here soon!
InvestComics goes out to ask several creators some simple questions and comes back with some fun results. Check out answers from Jimmy Palmiotti, Billy Tucci, Tony Bedard, Frank Tieri, Jeff Balke, Sebastian Piccione, Jason Metcalf, Mike Wagganer, Brian Wolf, Karl Moline, and James Whynot. Special thanks to Michael Frick Weber for the Inspiration.
John Byrne and Bernie Wrightson both return with new series!
San Diego, CA (March 2, 2012) – IDW Publishing is ecstatic to announce new projects from legendary creators JOHN BYRNE and BERNIE WRIGHTSON! This May, Byrne will be smashing into stands with a brand-new, creator-owned superhero series, TRIO. TRIO follows the exploits of three super-powered heroes known as Rock, Paper, and Scissors on a series of explosive adventures!
Along the way, beloved inkers who have finished off Byrne’s pencils in the past will be inking variant covers for the series, starting with “Joltin’” Joe Sinnott on issue 1, and Byrne’s Silver Surfer/X-Men: The Hidden Years cohort Tom Palmer on #2.
“Trio really is Byrne’s return to superheroic form,” said Chris Ryall, IDW’s Chief Creative Officer/Editor-in-Chief. Ryall will be editing Trio himself. He added that “fans who’ve loved Byrne at all stages of his career, from his beloved and influential superhero comics to his more recent work with us on Star Trek and Next Men, will love what he’s bringing to bear on this series.”
In FRANKENSTEIN ALIVE, ALIVE!Wrightson teams up with one of his greatest collaborators, STEVE NILES to continue the legacy of one of his greatest works. This sequel to Wrightson’s acclaimed 1983 illustrated version of Mary Wollstonecraft Shelley’s Frankenstein was scripted by Niles and will feature Wrightson’s inimitable brushwork in addition to heaps of engrossing supplemental material like interviews, essays, and a serialization of Shelley’s original work.
And just to show how thrilled we are about these new series, IDW is throwing its full weight behind TRIO and FRANKENSTEINALIVE, ALIVE! and making each debut issue fully returnable for retailers.
“Both Byrne and Wrightson are not only legends in the comics field,” Ryall said, “but they’re also doing work here that stacks up nicely alongside their very best comics from the past, and we want retailers to know we stand behind these books in a big way. Hopefully the returnability of the issues really speaks to how strongly we feel about these books being a good bet for comic shops.”
This May, join IDW in welcoming these iconoclasts back to genres they helped define and experience time-tested comics greatness firsthand!
Visit IDWPublishing.com to learn more about the company and its top-selling books.
It’s quite simply the Largest, most Massive, Humungous,Gargantuan, Enormous (FREE) Comic book anthology in the UNIVERSE! It weighs in at 212 pages, 34 stories, 62 creators and is soo stinking heavy that when you download it to your Ipod you’ll need chain suspenders to hold your pants up.
MEGABOOK is sooo Massive that when you download it to your laptop you may very well break both of your legs while lounging on the couch, and firefighters will have to use the jaws of life and a crane to remove the laptop from your battered lower extremities. And did I mention that it’s totally FREE?!??
But seriously, this is an anthology book that I put together with tons of friends that showcase any comic creator who wishes to participate. We wanted to make the biggest totally FREE comic book anthology on the internet! So I called a bunch of my publishing friends and they all pitched in their creations and posted an ad on Digital Webbing asking for submissions around last November. It hit the Graphicly stands mid February and is taking the planet by storm.
I came up with this idea because I remember just how much it totally stinks to try and get your hard work published with anyone. I remember the waiting and wondering for months and years to see if anyone at all would ever publish any of the projects I had worked countless hours on. Or being told that your work is awesome and was going to be in some book and then never hearing from the publisher ever again. It’s a familiar tune that everyone who has drawn a line or scripted a word has experienced at some time or another.
So when CE Publishing was so graciously accepted into the Graphicly fold, I wanted to give every opportunity to comic creators where not much exist. And also repay the amazing publishers I had worked with along the way who were willing to take a chance and publish my work, and make tons of new friends as well. MEGABOOK is basically a Limelight book to give creators and small indie publishers the press time they deserve on a an amazing digital distributor.
Each creator or publisher has their story published along with an ad page to use as they please. There are a few editorial rules though since we want to market MEGABOOK to the widest audience possible. But they are very accommodating. The basic format of the book is action and adventure though. Blood, guts, gore, humor, heroes and anti-heroes, and all out action and adventure.
We all hope you enjoy it! Click on any of the links below each MEGABOOK image to the right which will send you to our comic book stand at Graphicly.
The best part of this is that there are even MORE FREE comic books on our comic stand to download and enjoy! These are NOT the crappy 10 page teasers that the stingy big publishers give you. These books are the WHOLE Enchilada! Just like MEGABOOK!
And better yet, by reading MEGABOOK you’ll get a taste of 11 other fabulous publishers that you really REALLY should check out and start reading. Each one of them has my A1 “CE Publishing stamp of approval”, so go out and support your local INDIE!
Red Lion Publications
Red Leaf Comics
Twilight Star Studios
Back Row Comics
Heroic Tendencies Studios
Lightning Comics (a CE Publishing revival)
Comic Enterprise (CE) Publishing Group
THE 407 AGE OF COMICS
BEGINS WITH AN EPIC SAGA OF
BLOODY VENGEANCE IN
THE NIGHT PROJECTIONIST TPB
COMING MAY 2012
February 25, 2012 – Los Angeles, CA – The 407 age of comics begins here with a horrifying tale of unsuspecting movie goers caught in the middle of a fang on fang battle royale where only the fiercest blood-sucker makes it out alive – enter the cold-blooded saga of THE NIGHT PROJECTIONIST!
“I’m proud and excited to be part of the creative team behind THE NIGHT PROJECTIONIST with Studio 407 and artist Diego Yapura,” says Robert Heske, the writer and co-creator of THE NIGHT PROJECTIONIST. “If you’re looking for a non-conventional vampire tale – one that combines a psychological thriller and mystery with hardcore horror gore, then this trade paperback is up your alley. We invite you to come along for the blood-curdling roller-coaster ride.”
CHECK OUT THIS BLOOD CHILLING 4-PAGE PREVIEW!
“This is how vampires in comics should be!” says Managing Director Alex Leung. “When Studio 407 does horror we go all the way, so we’re bringing you bloody action with suspenseful story telling and trust me when I tell you we don’t skimp on the fear factor either. We dare you to sleep soundly after reading this book!”
“If you want more action, suspense and horror in your vampire tales then THE NIGHT PROJECTIONIST has it flowing in gallons!” says Studio 407 Marketing & PR Manager Ivan Salazar “At Studio 407 we set out to create more than just a sparkly love story, we went back to when vampire fiction meant fear of the dark and blood by the buckets. True horror fans will not want to miss the blood chilling exploits of THE NIGHT PROJECTIONIST!”
On the eve of Halloween a small group of movie goers attend the final showing in an old movie theater not knowing it could be the last thing they ever see! All hell breaks loose when the theater is surrounded by a coven of vampires, and the only person who knows why is the mysterious night projectionist. But is he going to help these people or get them killed? Soon a bloody war rages through the theater with the body count multiplying by the minute. Don’ t miss this no holds barred, tale of bloody revenge that puts the bite back into vampire stories!
THE NIGHT PROJECTIONIST TPB is written by Robert Heske (BONE CHILLER) and illustrated by Diego Yapura (PRIEST: PURGATORY). This graphic novel ships in May at a price point of only $12.99 and a Diamond code of MAR121187. Pre-order your copy at your local comic shop today!