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All Pulp Interviews – Will Meugniot

  • News
  • October 5, 2011
will-will_pic-3840354

Prolific artist Will Meugniot has worked in comic book, animation, picture books, and more. All Pulp recently sat down with Will to talk about his career, his artistic influences, the differences between working in animation and comics, plus his pulp interests.

Click on the art for a larger view.

AP: Tell us a little about yourself and your pulp interests.

WM: I grew up in the 60s. It was a great time to be a kid interested in adventure fiction. Marvel and DC’s superhero revivals spurred many other publishers to enter the field, so you never knew what great comics you’d find when they finally opened the bales at the grocery store.

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N.E.D.O.R. Agents

A similar thing happened in paperback books. Ace discovered that some editions of certain Edgar Rice Burroughs books had fallen out of copyright, published them, and triggered a pulp revival, which brought everything from Otis Adelbert Kline to Doc Savage back into print.

Doc was my favorite of the pulp heroes, though I bought as many reprints of The Shadow, The Spider, Phantom Detective and Dusty Ayres as I could find and afford. Related to this, I’m also a big fan of the sound serials and have a collection of most of the non-westerns on DVD.

AP: What does pulp mean to you?

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Spider-Man Unlimited Vulture

WM: It means stories which focus on fast paced action in exotic locales and feature larger than life heroes and villains. On a personal note, I grew up in a small farming town and yearned for a larger life full of adventure. The pulp heroes pointed the way, and while I’ve never taken down a globe conquering miscreant, I have had a few interesting overseas experiences in my travels as a producer/director.
AP: When I think of Will Meugniot comics, I think of DNAgents (I’m proud to say I have the entire run) and FemForce. How did you get your start in comics and what is it that excites you about working in comics?
WM: First, thanks for thinking of my comics! So much of my time has been tied up doing animation that I really haven’t done as many comics as I intended.

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Tarzan. Dave Stevens inks

I first broke into the comics in the 1970s doing strips for undergrounds like The OK Comics tabloid and ‘ground level’ early direct sales books like Faeiry Star. My big break came when I sent Marvel a batch of sample pages featuring characters which didn’t have their own strips at the time: Guardians of the Galaxy, Ka-Zar, Nick Fury, and the one that paid off, Tigra. I did a couple of issues of that, then Marvel imploded and I was out, but fortunately, Tony Isabella showed Mark Evanier some of my uninked pencils. Based on them, Mark gave me work on the Tarzan and Korak comics he was editing for Edgar Rice Burroughs, Inc. That lasted for almost a year, but Marvel took the Tarzan license and the ERB line was cancelled, which was what sent me into animation.

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DNAgents

A few years later, my friend Dave Stevens came by the Marvel animation offices to score some free Xeroxes of his as yet unpublished Rocketeer. (Which was OK with the company, BTW – it was very ‘family’ oriented and Dave had worked for its previous incarnation, DePatie Freleng.) Dave told Rick Hoberg, Russ Heath and me about the new creator-owned comics movement, and got us excited by it. I phoned up Mark to see if he was interested, and that’s how DNAgents and the second phase of my comics career began.
The things I love most about comics are the creative freedom, and the ability to do a piece of art which is identifiably your own. Animation requires you to blend into the style of the series, and by its nature results in work which is largely anonymous by design. I’m thankful and surprised that so many people recognize my work in that field.

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Golden Girl

AP: I assume you get this question from time to time, but has there been any consideration of you and Mark Evanier doing more DNAgents stories?

WM: We’ve come close a few times, and I suspect we’ll do something with them in the next few years. Mark and I have stayed friends, but our careers have gone down different paths and it’s rare for us to have a big block of time free simultaneously.

I’m tightly booked for the next year or so with the N.E.D.O.R. Agents, a graphic novel of The Land That Time Forgot, Caspak (written by the great Martin Powell), and it looks like the pilot for an animated series I directed this summer clicked and the show will be in production as well.

The Land That Time Forgot: Caspak. The Step-By-Step Process
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Zombie Monkey Monster Jamboree

AP: The Zombie Monkey Monster Jamboree book by you and J. J. Hart looks to be a pulpy fun ride. Tell us a bit about the book and what inspired it.

WM: My friends Shannon Denton and Patrick Coyle started a line of picture books under their Actionopolis imprint and invited me to do one. Zombie Monkey was already written, and I loved the subject matter of boy scouts versus zombified monkies, so of course I said yes! I’ve also illustrated a couple of other children’s books for Actionopolis, Pandora, and my favorite, The Boy Who Cried Wolf. I think you can still get all of them on Amazon.

AP: Where do you, or would you like to, see the comic book industry in 5 or 10 years?

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Zombie Monkey Monster Jamboree

WM: I’d like to see it alive! This is a moment of incredible danger and opportunity for the industry. There is a clear shift in the way the medium will be distributed and that is going to ultimately affect its form. I don’t think print is going away, but I suspect we’re going to see a lot more print on demand and print to preorder books with the bulk of the distribution going electronic. Luddite that I am, I’m focusing on print at the moment, just because I love the feel of the physical product.

AP: With the advent of digital comics, the way many read comics has changed. What are your thoughts on digital comics and their impact on the industry and readers?

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Pyro-Girl Animation Promo Art

WM: There is a need to adapt to the market, and it’s clear many younger readers prefer reading on a screen. The upside is that distribution costs should be less in the long run. The downside is that many publishers seem to be ignoring their responsibility and need to help the current and very important to the industry’s long term health distribution system with the shift.

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Ultimate Avengers 2

AP: You’ve produced and directed several animation projects from The Real Ghostbusters, G.I. Joe, X-Men, EXOsquad, Jem and the Holograms, Conan, Captain Planet, Spider-man, Stargate, and more. How did you make the transition from comics to animation and what are the similarities and differences between them?

WM: The shift was an economic necessity for me at the time, and was achieved by dumb luck.
It started when Mark Evanier ran into Don Jurwich, producer of the Super-Friends cartoons. Don knew Mark had done comics and mentioned that Hanna Barbera was looking for artists with comics experience to help on the new action shows they’d sold for the 1978 TV season. Mark suggested I cold call HB and ask about it, so I did. The girl at the switchboard asked me whom I’d like to talk to and I said, “The producer doing the action shows.”

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FemForce 158

She hooked me up with Doug Wildey (creator of Jonny Quest), which resulted in my being hired as a layout artist on his Godzilla series. Doug was a huge influence and a great teacher. I started drawing storyboards on the side for him, and we both realized that doing boards came naturally to me, so Doug brought me in house as his assistant, handing out and editing boards on Godzilla and Jana of the Jungle. He even let me do the retakes and meet with the clients on some episodes, which was a rare and generous thing. My next boss after Doug was Tex Avery who was the storyboard supervisor on The Thing, a comedy cartoon about Marvel’s Thing. I had great basic training.

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Zombie Monkey Monster Jamboree

While they are similar in some respects, film and comics are two different beasts. One of the things I’m really enjoying about my current strips is going back to form with them and using all of the classic devices which are unique to the comic book: varying panel sizes (the aspect ratio is constant in film, but it doesn’t have to be in comics), internalized dialogue via thought balloons (much more fluid that doing a voiceover to convey thought in a film), and even visualized sound effects via display lettering.

AP: Who are some of your artistic/creative influences?

WM: Kirby, Wood, Ditko, Williamson, Colan and Frazetta are the main ones. I particularly admire Wood as an artist/writer.

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X-Men Storyboards

AP: What does Will Meugniot do when not making comic books?

WM: Professionally a lot of cartoons, either storyboarding or directing. Privately, I love old movies and non-fiction books about comics, movie serials and biographies. I also like just hanging out with my wife of 40 years, Jo.

AP: Where can readers find learn more about you and your work?

WM: I have a website: http://www.storyboardpro.com of which I’ve been very negligent, but features a lot of my art. My blog is www.maskedmayhem.blogspot.com I write about my interests there.

AP: Any upcoming projects you would like to mention?

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Zombie Monkey Monster Jamboree

WM: N.E.D.O.R. Agents is the big one at the moment. It has a 3 page preview in FemForce 156, a 26 page story in FemForce 157, and its own cover and 20 pages of story in FemForce 158. PREVIEWSworld is doing a Facebook promotion with me for the strip. If you ‘like’ their page, you’ll be able to follow the strip there and enter some contests to win original art, too.

AP: Are there any upcoming convention appearances or signings coming up where fans can meet you?

WM: I’m sorting that out now as part of the PREVIEWSworld promotion. Follow them on Facebook for updates about my appearances.

AP: You have served as a writer, artist, producer, and director. Are there any creative areas you’ve not been worked in that you would like to try your hand at doing?

WM: At some point, I’m going to do some low budget live action work as a director. It’s been offered me in the past, but I’ve just been too busy to take it on.

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Meet Vanity

AP: And finally, what advice would you give to anyone wanting to work in comics, animation, and/or art?
WM: The main thing is to DO IT. You’re not a writer unless you write. You’re not an artist if you don’t create art. Don’t let your fear of rejection stand in your way of doing.

AP: Thanks, Will.

Dragon’s Lair

  • News
  • October 5, 2011

Once upon a time I edited a magazine called Comics Scene and early on, I had the opportunity to be in Ireland where I was invited to visit animator Don Bluth and his operation. At the time, he had left Disney and was busily working on The Secret of NIMH but also interactive animated arcade games. In 1983, he was poised to unleash Dragon’s Lair. After explaining the premise, Bluth let me play the latter for a while.

Boy was it fun.

While it and the subsequent Space Ace made a splash, they didn’t ignite a new generation of gaming, largely I suspect because these were expensive to create and manufacture and were limited by the technology of the day. Still, Dragon’s Lair proved popular enough for it to be licensed for Saturday morning television. Rather than use Bluth’s studio, the weekly work was turned over to Ruby-Spears. They produced thirteen half-hour episodes and as we approached each commercial break, a choice had to be made, emulating the arcade version. After the break, we saw what would happen with either choice and then the adventure would continue. Nice idea, even if it wound up flawed, and the show endured for one season on ABC during the 1984-1985 season.

Warner Archive has just released the complete series as a two disc set so those who recall the game and show fondly, can relive the adventures of Dirk the Daring (Bob Sarlatte). Despite being somewhat goofy, he was the best knight in King Ethelred’s (Fred Travalena) kingdom. Such feats earned him the love of Princess Daphne (Ellen Gerstell), who of course needed rescuing from the likes of the Lizard King, the Phantom Knight, the Giddy Goons, and the Mudmen with regularity.

A faithful adaptation, it is far from the best of Ruby-Spears or Bluth and is strictly for those the nostalgics.

New Pulp’s Table Talk – It Takes a Village To Own an IP

  • Uncategorized
  • October 5, 2011

Welcome back to Table Talk, the weekly column where three authors heavily steeped in New Pulp discuss all sorts of random topics (not always) relating to New Pulp. This week Bobby Nash, Mike Bullock, and Barry Reese discuss the past, present, and future of the public domain and how they view it from both sides of the table. Table Talk – It Takes a Village To Own an IP is now available at http://www.newpulpfiction.com/ or click the title above for a direct link.

Join the conversation. Leave us a blog comment at http://www.newpulpfiction.com/2011/10/table-talk-it-takes-village-to-own-ip.html and let us know your thoughts on this topic.

MIKE GOLD: X-Ray Specs

  • News
  • October 5, 2011

astonishing-x-men-cyclops-5-50k-300x203-7041775Reading Michael Davis’s last two columns brings to mind a story; a story about glasses.

I can’t tell you the exact year, but it was around 1990. We were in Chicago (go figure) at the late, lamented Chicago Comicon, since subsumed by Wizard World. By “we” I am referring to Messrs Davis, Cowan, Ostrander, Grell, and my former wife Ann DeLarye. Ann had to get back to New York on business and, therefore, I had to drive her to the airport nearby. It was late at night. Very late. The time of night when only Richard Belzer would wear sunglasses.

Since Michael and Denys and I had late night things to do – probably involving Ostrander and Grell because, as you inferred from Michael’s column yesterday, we often hung out together at conventions, certainly at Chicago shows where Ostrander and I, and to a slightly lesser extent Grell, knew the city like the back of our usually typing hands. In the door pocket of my car (yes, whenever possible I drive everywhere east of the Mississippi and north of the Mason-Dixon Line) was a pair of wraparound shades. Sort of like the type Cyclops would wear if he didn’t mind melting the plastic. I was blessed with great peripheral vision and on long highway drives sometimes it’s helpful for me to wear them to minimize the blinding sun coming across the open fields along the highway. This isn’t as much of a problem today as I’m almost completely blind and I’ll probably run you over no matter which direction the sunlight comes from.

However, at that time there was only one logical reason for me to don wraparound shades at 11:30 at night: I wanted to mindfuck Davis and Cowan. So, on my head they went.

(more…)

Universal Loading ‘2 Guns’ from BOOM! Studios

  • Uncategorized
  • October 5, 2011

Universal must like what it sees in its upcoming thriller “Contraband,” as the studio is in negotiations to reteam helmer Baltasar Kormakur with the pic’s star, Mark Wahlberg, on the actioner “2 Guns.”

Pic follows a DEA agent and an undercover naval intelligence officer who unwittingly investigate each other as each steals mob money.

David O. Russell rewrote a script penned by Blake Masters, who adapted Steven Grant’s graphic novel.

Marc Platt is producing with Boom! Studios’s Andrew Cosby and Ross Richie.

via Universal’s ‘2 Guns’ loading Kormakur, Wahlberg – Entertainment News, EXCLUSIVE, Media – Variety.

Is this the new Conan comic book creative team?

  • News
  • October 4, 2011
Art: Becky Cloonan

Art: Becky Cloonan

Rumor of the Day: Are writer Brian Wood and artist Becky Cloonan the new creators of Conan’s comic book adventures for Dark Horse Comics?

Bleeding Cool seems to think so. Check out the article and artwork at http://www.bleedingcool.com/2011/10/03/conan-by-brian-wood-and-becky-cloonan/ and judge for yourself.

Is this rumor true? Place your bets.

“A Never-Ending Battle” Celebrates Comics’ Super-Heroes and Their Creators

New York, NY  (October 3, 2011)   A Never-Ending Battle, the first episode of a new film from the creative team responsible for the award-winning PBS documentaries Broadway: The American Musical and Make ‘Em Laugh: The Funny Business of America, will be screened in front of an audience for the first time at the New York Comic Con, the East Coast’s largest and most exciting pop culture convention.

Featuring rare footage along with new interviews with legends such as Joe Simon, Stan Lee, Jim Steranko, Neal Adams, Michael Chabon and Jules Feiffer, segments of the first episode – “A Never-Ending Battle: 1938-1954” – will be previewed on Friday, October 14, 2011 at 4PM in Room 1B01 of the Jacob K. Javits Convention Center at 655 West 34th Street in Midtown Manhattan.  An on-stage interview and Q&A with filmmakers and cultural historians Michael Kantor and Laurence Maslon will take place immediately following the screening.

“We’re really excited to preview our film to fans at New York Comic Con,” said Emmy Award winning filmmaker Michael Kantor. “Because so many incredible talents have given us interviews, I think of this screening as kind of like attending six all-star panel sessions at once.  We are also very eager to get fan reactions and feedback.”

“As a comics fan from back in the days of Second Sundays at the McAlpin Hotel, it was a privilege for me to sit down and hear so many legendary creators spin new tales I had never heard before,” added Maslon, the film’s co-writer, as well as an associate professor at New York University’s Tisch School of the Arts. “This documentary series will mark the first time that we’re able to tell the grand epic of the American comic book heroes on a scale that they deserve.”

The event is open to all registered attendees of the New York Comic Con, space permitting, and has been made possible by special arrangement with Ghost Light Films, Inc., Reed POP and Bonfire Agency, LLC.

‘A NEVER ENDING BATTLE’! DOCUMENTARY SET FOR NYCC SCREENING!

  • News
  • October 4, 2011
NEWS RELEASE 

Contact: Ed Catto

O: 917.595.4107

Ed.catto@bonfireagency.com

FOR IMMEDIATE RELEASE

 New PBS Documentary to Preview at New York Comic Con


“A Never-Ending Battle” Celebrates Comics’ Superheroes
and their Creators


New York, NY  (October 3, 2011)   “A Never-Ending Battle,” the first episode of a new film from the creative team responsible for the award-winning PBS documentaries “Broadway: The American Musical” and “Make ‘Em Laugh: The Funny Business of America,” will be screened in front of an audience for the first time at the New York Comic Con, the East Coast’s largest and most exciting pop culture convention.


Featuring rare footage along with new interviews with legends such as Joe Simon, Stan Lee, Jim Steranko, Neal Adams, Michael Chabon and Jules Feiffer, segments of the first episode – “A Never-Ending Battle: 1938-1954” – will be previewed on Friday, October 14, 2011 at 4PM in Room 1B01 of the Jacob K. Javits Convention Center at 655 West 34th Street in Midtown Manhattan.  An on-stage interview and Q&A with filmmakers and cultural historians Michael Kantor and Laurence Maslon will take place immediately following the screening.


“We’re really excited to preview our film to fans at New York Comic Con,” said Emmy Award winning filmmaker Michael Kantor. “Because so many incredible talents have given us interviews, I think of this screening as kind of like attending six all-star panel sessions at once.  We are also very eager to get fan reactions and feedback.”


“As a comics fan from back in the days of Second Sundays at the McAlpin Hotel, it was a privilege for me to sit down and hear so many legendary creators spin new tales I had never heard before,” added Maslon, the film’s co-writer, as well as an associate professor at New York University’s Tisch School of the Arts. “This documentary series will mark the first time that we’re able to tell the grand epic of the American comic book heroes on a scale that they deserve.”


The event is open to all registered attendees of the New York Comic Con, space permitting, and has been made possible by special arrangement with Ghost Light Films, Inc., Reed POP and Bonfire Agency, LLC.

About “A Never-Ending Battle”


With principal production funding from the National Endowment for the Humanities and the National Endowment for the Arts, “A Never-Ending Battle” is slated to air as the first episode of a three-part series on PBS stations early in 2013.  The series will explore the American art form of the comic book superhero and its complex interrelation with American culture over the last 75 years.  Throughout this period, comic books artists, writers and publishers have unleashed thousands of exotic, bizarre, heroic and seductive adventurers upon the American public; some have become instantly recognizable all over the globe, many have crashed miserably under the weight of their own lack of inspiration—all were created in the hopes that they connect with some aspect of the American consumer.  In this regard, the film explores how the evolution of the costumed crusader reflects our social, political and cultural history.  Fervent fans, casual viewers, and everyone in between will discover much to marvel over in this informed overview of the adventures of America’s most popular genre of historic fiction.


About Ghost Light Films, Inc.

Founded in 1996 by Michael Kantor, Ghost Light Films has produced a range of award-winning documentary films for PBS and cable television that explore the history of the arts in America. Most recently, Kantor served as Executive Producer on “Give Me the Banjo” which was narrated by Steve Martin and will air on PBS on November 4, 2011.  In 2009, Ghost Light created the six-part PBS series, “Make ‘Em Laugh: The Funny Business of America,” which was produced with Thirteen/WNET, New York in association with BBC-TV.  The series, hosted by Billy Crystal and narrated by Amy Sedaris, garnered both critical acclaim and outstanding ratings, earning Mr. Kantor and his co-writer Laurence Maslon, an Emmy nomination. In 2005, Ghost Light Films produced three hours of documentary material to accompany the 40th anniversary release of “The Sound Of Music,” including a documentary hosted by Julie Andrews.  That same year, Ghost Light garnered the Primetime Emmy Award for Outstanding Nonfiction series by co-producing “Broadway: The American Musical” with Thirteen/WNET New York, NHK Japan and BBC in association with Carlton International.  In association with Metropolitan Entertainment, Ghost Light produced “The Lullabye of Broadway: Opening Night on 42nd Street” for PBS, and has produced segments on artists such as Quincy Jones, David Mamet and Arthur Miller for the Bravo cable network and for Thirteen/WNET’s “EGG: the arts show.”  “A Never-Ending Battle” is a co-production with Oregon Public Broadcasting.


About Bonfire Agency LLC

Bonfire Agency LLC is the marketing community’s first advertising and promotional agency specializing in helping brands reach and deepen connections with highly influential, but difficult to engage, pop culture consumers. This demo, labeled by some as geek or comic culture, is comprised of incredibly passionate, tribe-wired fans of everything from comic books, video games and action films to underground music, sci-fi inspired television and cutting edge adult comedy. Bonfire’s mission is to find ways to build relevant bridges between brands and a diverse audience of consumers that just might become their most effective advocates.  The agency was founded in January 2011 by marketing veterans and pop culture specialists Steve Rotterdam (former Senior Vice President of Sales & Marketing at TimeWarner’s DC Comics) and Ed Catto (former Senior Vice President at Ogilvy and Reed Exhibitions). For more information, visit www.BonfireAgency.com.


About ReedPop

ReedPOP is a boutique group within Reed Exhibitions that is exclusively devoted to organizing events, launching and acquiring new shows, and partnering with premium brands in the pop culture arena. ReedPOP is dedicated to producing celebrations of popular culture throughout the world that transcend ordinary events by providing unique access and dynamic personal experiences for consumers and fans. The ReedPOP portfolio includes: New York Comic Con (NYCC), Chicago Comic and Entertainment Expo (C2E2), Penny Arcade Expo (PAX) East & West, Star Wars Celebration V, New York Anime Festival (NYAF), and UFC Fan Expo. The staff at ReedPOP is a fan based group of professionals producing shows for other fans, thus making them uniquely qualified to service those with whom they share a common passion. ReedPOP is focused on bringing its expertise and knowledge to world communities in North America, South America, Asia and Europe.



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‘Metal Hurlant’ Hurtles To TV

  • News
  • October 4, 2011

CANNES — Scott Adkins (“The Expendables 2”) and Michael Jai White (“Black Dynamite”) have joined the international cast of sci-fi TV series “Metal Hurlant Chronicles.”

Rutger Hauer (“Blade Runner”), Joe Flanigan (“Stargate Atlantis) and James Marsters (“Buffy”) will also star in the TV show’s first season.

“Metal Hurlant Chronicles” is based on the French sci-fi and fantasy comics anthology that was published in the U.S. as “Heavy Metal.” The first season will be delivered in April and the second will bow in November 2012. Each episode will adapt stories from the original graphic novels. Created by comic artists Jean Giraud (aka Moebius) and Philippe Druillet in 1974, “Metal Hurlant” became a sci-fi phenom in the 1980s.

via Adkins, Scott prove their ‘Metal’ – Entertainment News, Mipcom News, Media – Variety.

The Lone Ranger Returns With A Vendetta

  • News
  • October 4, 2011
lonerangervendetta1-7951361
Cover Art: Douglas Klauba

New Pulp Author Howard Hopkins confirmed the announcement on Amazon today that he has written a new The Lone Ranger novel for Moonstone Books. The Masked Rider of the Plains rides again in a gritty tale of the vengeance from out of his past. The paperback preorder price is $4.99 with a great cover by Artist Doug Klauba.

http://www.amazon.com/Lone-Ranger-Vedetta-Howard-Hopkins/dp/1936814153/ref=sr_1_1?s=books&ie=UTF8&qid=1317752878&sr=1-1

The novel is Black Horse Western length, the first in a new line from Moonstone books. Look for Howard’s novel The Golden Amazon: Ripper, Burning Bright coming from Moonstone as well.

About The Lone Ranger – Vendetta:

The Masked Man in a brand-new adventure! From out of the past comes a mysterious killer systematically murdering anyone with a connection to the Masked Rider of the Pains former identity. When all signs point to Butch Cavendish, a man long dead, The Lone Ranger finds himself trapped in a deadly game of cat and mouse with the life of his faithful Indian companion hanging in the balance!

For more on Howard Hopkins, visit http://www.howardhopkins.com/.
For more on Moonstone Books, visit http://www.moonstonebooks.com/.

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