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Waiting For Tommy XXVI
By Richard Johnston 
THE JOE QUESADA INTERVIEW PART I

(You still with me? Good, I knew you had it in you. Onwards.)

RICHARD: No resentment at all. I can empathise that it must take more of someone to write a 22 page comics story than it takes for me to write a thirty second ad. Thus, when my stuff gets arsed around with, I just move on. I guess that could be harder for something more substantial.

Me, I always admired the Warren Ellis/Alan Moore/Gail Simone approach. If something happens that you have a real fundamental problem with, and it isn't resolved, don't incessantly grumble or moan, just leave. Works a treat, especially with your next gig. Of course, you have to be really good for that to work... (17)

I certainly was pulling for more info. Of course I was. It was certainly an interesting story, and I was trying to get more background on it. Of course, it became a far more interesting one. (18)

The e-mails were a gag swiped from the likes of Ali G and Victor Lewis Smith, but applied to comics, intended for this very column. Trying to create ludicrous concepts, attitudes or individuals beyond the rational and see if any pros would go along with them. Hardly anyone did so the idea got killed, though Rob Liefeld's initial willingness to pursue licensing art for an oversized bra company was fairly entertaining. I'd drop this cushy ad gig for a cushier ad gig. A cushier TV gig. A cushier comics gig. Hell, a cushier supermarket shelf stacker gig, as long as the gig offered more stimulating creative opportunities, a good working environment and a whack of cash. But a comics gig that was less cushy than my current job? No. Not to mention the fear of losing what I like about comics in the first place. I've seen a number of people go from comics reader to comics pro to propping up the bar at a convention with dead eyes.

And if I have a point in one in three cases, is it something you're concerned about for those one in three? Or is it just par for the course? (19)

JOE: (17) Well, I've only worked with Neil [Gaiman] and Gail so I can't speak for the others. I didn't personally edit Gail but I do edit Neil. Neil is very open to suggestions and editing, it's all in how you do it Rich. So far our working relationship on 1602 has been magnificent and changes happen to the books at all of the stages. We just recently got back our first lettered issue and between Neil and myself we must have made at least 10 more changes to the final.

(18) I honestly don't know how interesting it was, I did do my best to liven it up though. But lets look at it from a different angle. Lets use a sports analogy, here's the headline.

"ROOKIE FOOTBALLERS UPSET WITH COACHES FOR COACHING THEM TOO HARD."

I threw the footballer thing in there to make you feel at home. However, in the states rookie athletes that want to be treated like primadonnas are very much frowned upon by the fans and their organizations. How do you think the Internet fan who wants to break in as a writer feels about all this 'supposed' moaning?

(19) I'm not quite sure if I understand the question, must be a translation thing, you Brits need to learn to speak English. I'm assuming you're asking if am I concerned to one day just be someone that the industry has forgotten or 'holding up the bar?' Well, for starters, I will be, it happens to everyone, it's part of every entertainment field. Every once in a while there is a special someone who bucks the odds of the world of entertainment and they remain a viable commodity for their whole life, but you can't predict that and to assume that it's going to happen is presumptuous and arrogant. The chances are very high that there will come a time for me when my phone will no longer ring and that will be that. However, Rich, I can't live in fear of that, no creator can. So what, so there are guys sitting, propping up the bar at conventions, guess what, they at least tried. They went for the brass ring and in some cases got it and lost it and in some missed completely, but man, they tried! That takes guts and you can't live life in fear of what MAY happen, if you do you'll never get past yourself. The majority of the world has a problem just getting started, just getting the 'nads to make a go for it. If you've tired and failed, I mean REALLY tried and failed (because I hear so many stories of people who claimed they tried but actually haven't) then you are so much better off than the rest of the world. I've heard and lived by to philosophies in my life, they're corny but they're so true.

ULTIMATE SPIDER-MAN #1/2

The most successful people have failed more than anyone else. Your years at the top are in direct correlation to your years at the bottom.

But, now lets get back to that gag e-mail thing. Some were incredibly cruel and required an apology from the host of this very site. What was up with that, lets get back to this anger issue? Is that what it's all about, do you see yourself as someone who could possibly be propping up the bar? See, I don't think that way, but I can see how some focus on the half empty. This interview may actually be good for something now. This can be an object lesson for those trying to break in. Case one walks into a con and sees the possibilities of it all, case two walks into a con and sees the pros that have been beaten down by the industry and sees those possibilities. I can see how constant focus on that later issue can make one a bit angry or bitter.

CUT! This interview is going on far too long for anyone to hold in their head at one time. By Dynamic Forces decree, you may not have too much of a good thing. And your heads may explode. Everyone take a deep breathg, collect your thoughts and return next week for the conclusion of the already far-too-complicated-for-its-own-good Joe Quesada Waiting For Tommy!

Till then, you may amuse yourself looking through Dynamic Forces' many wares on offer, Joe Quesada's litany of crimes <http://www.joequesada.com> or Rich Johnston's farrago of illiteracy <http://litg.comicbookresources.com>. Till next week, goodbye!

The Waiting For Tommy Archive

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