Waiting For Tommy XXI
Interview with Mark Millar
set by Dynamic Forces, do eight interviews, once a week, with
industry figures and they'll fly me out to a US convention
to do a Lying
In The Gutters Live in the bar. I fail, and I have to
pie myself in the face and give a wodge of money away to charity.
interviews, interviews. There's been too much respect for
interview subjects of late. Reading Comicon Pulse
interviews often has me screaming with rage. The "Why was
so-and-so such a perfect artist for this comic?" as opposed
to "Clearly this guy has trouble doing even stick figures,
is he paying you to draw it?"
I loved the more
confrontational interviews. Not in comics, but
Jeremy Paxman on BBC's Newsnight giving politicians the
kind of grilling that a well-done take would tremble at. Or
Levin, who infamously started one TV interview with a
bunch of farmers with the phrase "Good evening, peasants."
should know their place. But if they're good, they'll give
as good as they get.
I first read Mark
Millar's work in a comic called Saviour, picking it up
at a London comic convention. Telling the story of Jesus Christ's
second coming and of chat show host and antichrist Jonathan
Ross's attempt to thwart his presence on Earth, he seemed
not quite the person you'd expect fifteen years later to be
writing the X-Men.
Mark did fairly well for himself when he moved to American
comics, hanging on Grant Morrison's coat tails before landing
a Swamp Thing solo gig that proved he could write better than
the big man on occasion. After that, he had Warren Ellis to
help him get the Authority
Out The Ultimates #1 Here
was pretty much the point where Mark Millar went from
E-List comics creator to B-list. And after sales roared
on The Authority, and Mark was grabbed for greater glory
X-Men when Brian
Bendis dropped out, and then The
Ultimates, Mark Millar became A-List. And it looks
like he's here to stay for a while.
Ladies and gentlemen, the short-arsed Scottish git who
got lucky, Mark Millar. Good evening, peasants.