After talking with Jason Rodriguez about the Cats movie trailer, Midsommer, and Star Trek, we finally manage to discuss the OGNs he has edited: Voces Sin Fronteras, APB: Artists against Police Brutality: A Comic Book Anthology, Postcards: True Stories That Never Happened, and, my personal favorite, Colonial Comics volumes 1 & 2.
Max Allan Collins dives deep into the past, present, and the future of Ms. Tree and how his character found a new home at Hard Case Crime. We also talk about Road to Perdition and working with editors Dean Mullaney, Mike Gold, Andy Hefler, and Charles Ardai.
As a follow up to my interview with Michael Oeming & Taki Soma about DICK TRACY FOREVER, I interviewed IDW Publishing Group Editor's Denton Tipton. We breakdown what a group editor does, his workload, why he watches Barney Miller, why Dick Tracy isn't obsolete, and hear about a great comic book convention in Spain, Salon Internacional de Comic de Granada.
Frank Gogol, who is a fan of the podcast, had an intriguing idea for a podcast--When does an independent comic book writer need to start working with an editor to move his or her skills and career forward?
We take a stab at answering that along with talking about the importance of colorists and letterers. What the publisher Source Point Press is all about, who are a few of Frank's favorite editors, and his new series DEAD END KIDS. (FYI--Issue one is available in stores now and issues 2 and 3 can still be ordered from Diamond.)
A heads up. There are a few f-bombs and other bad words in this one. It was an honor to have Mark Chiarello on the show. The genesis of this podcast came from a conversation Mark and I had over two years ago in Burbank.
After some gestation and a few reality checks, Portrait of an Editor was born. And today things come full circle. It's not the podcast we talked about. I don't think either of us could have pulled that off, but as the Rolling Stones sang, "You can't always get what you want…”
We also talk about Mark’s approach to editing, working with Darwyn Cooke, tricking Paul Levitz, and the education he received from Archie Goodwin.
My talk with Danny Fingeroth covers a lot of ground in this podcast: editing the Spider-Man line, what he thinks of the term "talent," his top three mentors (one of whom has already been on Portrait of an Editor), the state of today's comic book industry, and working with Stan Lee.
This episode hits many of the reasons for why I'm started this podcast: history, the kind of approach an editor takes with working with people, and mentors.