{"id":844,"date":"2013-05-31T11:30:00","date_gmt":"2013-05-31T18:30:00","guid":{"rendered":"https:\/\/www.comic-con.org\/toucan\/?p=844"},"modified":"2023-12-13T11:26:44","modified_gmt":"2023-12-13T19:26:44","slug":"chriss-samnee-the-devil-is-in-the-details-part-1","status":"publish","type":"post","link":"https:\/\/www.comic-con.org\/toucan\/chriss-samnee-the-devil-is-in-the-details-part-1\/","title":{"rendered":"Chris Samnee: The Devil is in the Details, Part 1"},"content":{"rendered":"\n
\n
\n
\n

THE TOUCAN INTERVIEW<\/span><\/span><\/p>\n\n\n\n

Chris Samnee: The Devil is in the Details, Part 1
<\/h1>\n<\/div>\n\n\n\n
\"Toucan<\/figure><\/div>\n<\/div>\n<\/div>\n\n\n\n
\n
\n

Chris Samnee is one of the hottest artists working in comics right now. The <\/em>Daredevil penciler\/inker is nominated for an Eisner Award this year for his work on the Mark Waid-scripted Marvel series and has also worked with Waid on IDW\u2019s <\/em>The Rocketeer: Cargo of Doom. In addition, Chris has been doing variant covers for Dynamite, including <\/em>The Shadow series, and he recently helped launch DC\u2019s <\/em>The Adventures of Superman digital comic online with writer Jeff Parker. Two things become perfectly clear when talking to Chris: He\u2019s a huge comics fan and he loves what he\u2019s doing. <\/em>Toucan talked to the artist in early May. Here\u2019s part one of the interview. (As always, click on the images to see them larger on your screen and view in slide show mode.)<\/em><\/p>\n\n\n\n

\"Chris<\/a>
Self Portrait by Chris Samnee<\/figcaption><\/figure>\n\n\n\n

Toucan:<\/em><\/strong> What are you working on right now?<\/em><\/p>\n\n\n\n

Chris:<\/strong> I\u2019m working on the first half of layouts for Daredevil<\/em> #27.<\/p>\n\n\n\n

Toucan:<\/em><\/strong> And how far ahead is that in the schedule for you? What month will that be released?<\/em><\/p>\n\n\n\n

Chris:<\/strong> I can\u2019t even keep track. I just turned in the cover for #30, I guess a week and a half ago. So the covers have to be done three months in advance and the issues are usually done maybe a month or a month and a half. We\u2019re thinking way out already. We\u2019re already talking about what\u2019s going to happen past Daredevil<\/em> #30. So it\u2019s sort of hard to keep track of all of it. I set reminders on my phone to let me know when issues are coming out so I can Tweet about it, or otherwise I wouldn\u2019t be able to keep track at all. I check Man Without Fear and The Other Murdock Papers online. This is where I get my Daredevil news to help me keep track of what I\u2019m doing.<\/p>\n\n\n\n

Toucan:<\/em><\/strong> You have to look on the Internet to see what you\u2019re doing next.<\/em><\/p>\n\n\n\n

Chris:<\/strong> Yeah, pretty much.<\/p>\n\n\n\n

Toucan: <\/em><\/strong>Are you staying with <\/em>Daredevil indefinitely?<\/em><\/p>\n\n\n\n

Chris:<\/strong> Yeah. I\u2019m taking a couple issues off for paternity leave and Javier Rodriguez is going to draw issues #28 and #29 and then I\u2019m on from issue #30 for as long as readers will put up with me.<\/p>\n\n\n\n

Toucan:<\/em><\/strong> I think that\u2019s going to be a very long time. Have you been drawing all your life?<\/em><\/p>\n\n\n\n

Chris:<\/strong> Well, as far back as I can remember. I got into comics at about 5 or 6 but I remember drawing before that. It was just stick figures and Muppets and stuff like that, but it was comics that really put me on the right path.<\/p>\n\n\n\n

Toucan:<\/em><\/strong> Do you remember some of your first comic books as a kid?<\/em><\/p>\n\n\n\n

Chris:<\/strong> I do, actually. My first comic was Batman<\/em> when I was either 5 or 6. My grandma bought me one of those three packs that you used to get at grocery stores back in the day, and I was like, \u201cThey make comics out of these?!\u201d All I\u2019d known was the Super Friends<\/em> cartoon and I\u2019d had the toys and stuff, I just didn\u2019t know that they came from anywhere. I didn\u2019t realize that there was source material. I just thought that that was just another cartoon that I liked. I thought it was just like Voltron<\/em> or Robotech,<\/em> just the stuff that I liked watching. I didn\u2019t realize that there was more that I could get out of it, and I think it\u2019s one thing to see them moving around on screen, it\u2019s another to sort of experience a comic book. You sort of put yourself into it, and at 6 years old I was like this is what I want to do. I don\u2019t know what you call it, I don\u2019t know what it is, but I want to make these.<\/p>\n\n\n\n

Toucan:<\/em><\/strong> So you realized at a very early age once you started reading comics that somebody actually sat down and drew this and wrote this . . .<\/em><\/p>\n\n\n\n

Chris:<\/strong> Well I knew that somebody had to make it, it was drawn. I knew that somebody did it, but it took a few years for me to figure out that it was an actual career that someone could have. I knew that it\u2019s what I wanted to do, but if anybody asked me at 7 or 8 years old what I wanted to do I would just say that I wanted to be a cop, because Batman was friends with cops. That was the closest job that I could make sense of. So probably about 10 I realized that this was a job that I could actually have and I started going for it. I found that there was a local St. Louis convention when I was a kid. I think it was Greater Eastern Convention, GEC, something like that, and I talked my parents into driving me the hour and a half away to the airport Holiday Inn where they had the local convention. I started meeting writers and artists and I would just bombard them with as many questions about how they did what they did as I possibly could. There were a couple of artists that were kind enough to tell me what size paper they drew on, and they looked at my Trapper Keeper binder full of looseleaf copy paper and told me what I really needed to be doing if that\u2019s what I wanted to do. So every three or six months there was a convention that I would go to and pester these guys, and I kept doing it month after month after month, and at 15 I got my first published work.<\/p>\n\n\n\n

Toucan:<\/em><\/strong> Was there somebody at those conventions who was really helpful who was a pro?<\/em><\/p>\n\n\n\n

Chris:<\/strong> Yeah, Mike Doherty. He was drawing Conan for I think Marvel at the time, and he was the first one to say, \u201cNo, you didn\u2019t draw this.\u201d So I drew a Batman sketch for him at his table and he gave me some Marvel board to take home with me and try and draw on, but I was just so in awe of this piece of blank paper that said \u201cMarvel\u201d on the top of it, I couldn\u2019t draw on it. I was just like, \u201cOh, my god, this is what people draw on!\u201d So I think I still have it somewhere. There\u2019s one aged old piece of white Bristol that I got.<\/p>\n\n\n\n

Toucan:<\/em><\/strong> With nothing on it.<\/em><\/p>\n\n\n\n

Chris:<\/strong> With nothing on it, except for the blue lines and the Marvel logo. That was enough for me. From that I couldn\u2019t draw on it.<\/p>\n\n\n\n

Toucan:<\/em><\/strong> It\u2019s like the Golden Fleece.<\/em><\/p>\n\n\n\n

Chris:<\/strong> Yeah, it really was. That was what I needed to try. They didn\u2019t make 11 x 17 paper for kids, so I got 11 x 14. I think that was the closest size they had that was just like poster board, and that\u2019s what I started drawing on when I was a kid and going to shows. That was my portfolio . . . a bunch of Bristol board from\u2014I say Bristol, it was poster board from Wal-Mart\u2014that I was drawing Fantastic Four and Batman and stuff on.<\/p>\n\n\n\n

\"\"
Batman TM & \u00a9 DC Comics<\/figcaption><\/figure>\n\n\n\n

Toucan:<\/em><\/strong> Do you remember what the drawing was that you showed Mike Doherty that he said you didn\u2019t draw this?<\/em><\/p>\n\n\n\n

Chris:<\/strong> Gosh, I think it was mostly Batman. I was Batman crazy from\u2014well, I still kind of am\u2014but I started at 6 and I was just way into anything that was Batman related. But I was copying Tom Mandrake and Jim Aparo, Alan Davis, a lot of the 80s guys, because that\u2019s when I was reading. I got a bunch of beat-up old copies of Gene Colan Batman comics from the flea market. There wasn\u2019t really a whole lot of places to get new comics when I was a kid, so the flea market was my resource for comics. I think it was Batman. It must have been something Batman. I remember drawing a Batman head sketch for him at his table. I think there was the Owl from Daredevil <\/em>in there, and I can\u2019t remember what else. It was all just on typing paper. I was saying copy paper earlier, but I called it typing paper back then. We didn\u2019t have a computer. We just had a typewriter. Did I just age myself?<\/p>\n\n\n\n

Toucan:<\/em><\/strong> No, I don\u2019t think so. I noticed doing research for this that you cite a lot of comic strip artists as some of your influences, such as Milton Caniff and particularly Frank Robbins, who I don\u2019t think a lot of artists in your generation really look to as an influence. Where and when did you discover all this great newspaper stuff?<\/em><\/p>\n\n\n\n

Chris:<\/strong> Well, it was probably around I\u2019d say \u201989, \u201990, right around there. Again it was my grandma who sort of tried to get me on to new things. She said you like Batman, what about Dick Tracy? What\u2019s Dick Tracy? There was a collection of Dick Tracy strips at the local library near her that she had borrowed and wanted me to take a look at. So, wait . . . it\u2019s not just comics, there are comic strips and comic strips came before comics? I started looking at that, and it was just sort of reverse engineering. I was reading a lot of interviews with pros ever since I was way too little to be reading all these interviews and The Comics Journal.<\/em> I used to get secondhand copies of Comics Journal<\/em> and stuff like that, and Jim Aparo said that a big influence on him was Milt Caniff. So I started going backwards from artists that I really loved. What is it about this artist that I really loved, and it turns out they loved something before them, so I would research Jim Aparo\u2019s influences. I really got into Caniff through Aparo. I can\u2019t remember where I came across Frank Robbins. I think I read some of the Invaders<\/em> stuff that he did and it was really wonky, but I was way into it.<\/p>\n\n\n\n

Toucan:<\/em><\/strong>  And he also did a lot of Batman stuff too.<\/em><\/p>\n\n\n\n

Chris:<\/strong> Well maybe it\u2019s from Batman. Yeah, well I have one of the early Greatest Batman Stories Ever Told <\/em>that has the old Man-Bat story that Robbins did. It was sort of like Ditko when I first saw it. Oh, this is perfect . . . this is exactly what comic books are supposed to look like. So I sort of started trying to track down as much of that as I could. There were knowledgeable guys at the flea market. The guy who ran the booth that had all the secondhand comics, he was knowledgeable in old-school stuff. So if I wanted to track anything down, he was able to say if you like that, you should try this. He also got me way into a whole bunch of manga that sort of took my style on a bit of a sideways path there for a few years, but I finally came back around to old-school comics again in the 2000s.<\/p>\n\n\n\n

Toucan:<\/em><\/strong> You mentioned earlier going to these conventions and getting your first work at 15. What was that?<\/em><\/p>\n\n\n\n

Chris:<\/strong> It was for Gary Carlson. It was an Image book, I think it was Big Bang Comics. <\/em>It was like a Silver Age DC throwback, which would be perfect for me now, but at the time I was way into anime and manga. They asked me, do you want to do a Silver Age Batman-like story and I was yes, yeah, all right, I mean, I\u2019ll draw anything. If it\u2019s comics I\u2019ll draw it, but I was still sort of entrenched in all of that. But it was still something. You know, \u201cHey, do you want to draw eight pages for free?\u201d Comics are that kind of job where you can\u2019t draw them unless you\u2019ve drawn them. So even for free that still meant the world to me. If it wasn\u2019t for my wife, I\u2019d probably still be drawing a bunch of stuff for free. I do this stuff for the love of it and sometimes have to be reminded that it\u2019s also what we do for a living.<\/p>\n\n\n\n

Toucan:<\/em><\/strong>  With all these influences that you have that are comic strip artists, do you have any ambition to actually do a newspaper strip? I mean, the day of the adventure strips seems to have passed, but I think you\u2019d do a pretty great Tarzan.<\/em><\/p>\n\n\n\n

Chris:<\/strong> I think syndicated strips are hard to get into and are also on their way out. I don\u2019t think that I\u2019d try to get into print newspaper strips, but in the back of mind I have an adventure story that I\u2019d like to do in the strip format, but maybe do digitally. Get people into the idea of what adventure strips like Terry and the Pirates<\/em> were back in the day, but have it for our generation where anybody can get a hold of it nowadays, the way that they were able to get a hold of a newspaper back in the day, but for the iPad. I mean, nearly everybody has an iPad nowadays. That\u2019s the easiest way to go about it, I think. Mark Waid doing Thrillbent is making it even easier for pros to jump in and test the waters on stuff like that. So one of these days when I have a bit of free time. We have our second baby due in about a month. So free time is in short supply at the moment. So somewhere down the line I\u2019ll try and do some creator-owned work.<\/p>\n\n\n\n

\"\"
TM & \u00a9 Ande Parks<\/figcaption><\/figure>\n\n\n\n

Toucan:<\/em><\/strong> The first time I saw your art was on the Oni Press graphic novel <\/em>Capote in Kansas. Was that one of the first things you did after<\/em> Big Bang?<\/p>\n\n\n\n

Chris:<\/strong> I\u2019d done a few things for AC Comics. It\u2019s not in my bio, but I actually did a few issues of FemForce.<\/em> So that was more free work that I was just trying to climb my way up the rungs. For a while I was a barista at Borders. I\u2019ve had loads of crummy jobs. I was a flea market caricature artist, a pizza cook, a cable guy, and a half a dozen other things in between, but all the while, I didn\u2019t want to take on a career, I just wanted some sort of job to keep me in clothes while I was making comics. So, yeah . . . I was a barista at Borders while I was working on FemForce<\/em> and while I was working on Capote<\/em> as well. I worked on that from 2004 or 2005. It came out in 2006, I think, somewhere around there. A lot of long nights, but Capote<\/em> was probably the biggest blip that my career had had in all those years. I guess I was 23 when Capote came out. And then it sort of snowballed from there.<\/p>\n\n\n\n

Toucan:<\/em><\/strong>  And amazingly your style seemed to be pretty much in full force. You can look at <\/em>Capote in Kansas and while you\u2019re a much better artist now, you can see who you are now in that work too. It\u2019s like your style was pretty much fully developed.<\/em><\/p>\n\n\n\n

Chris:<\/strong> Well, up until that point I just wanted to be a penciler and my style had a lot more lines in it. I was way into guys who could do really detailed stuff. I can\u2019t even imagine trying to be that sort of artist nowadays, but I still look at Bryan Hitch and Geof Darrow, guys that are super detailed or really rendered. That stuff is amazing to me, but it\u2019s something that I just can\u2019t do or don\u2019t have the patience for. But when I took on the job I didn\u2019t realized that I wasn\u2019t going to have an inker. They were like, \u201cOh, no we don\u2019t have a budget for an inker,\u201d so it was just baptism by fire. If that book was going to get done, I had to ink it. So I had to learn real fast. I went out, I bought India ink and a bunch of the wrong brushes and just had to start figuring it out. I had a bunch of wedge tipped brushes that I thought would make it look like an old comic and it didn\u2019t look right. But 128 pages will definitely make you figure out how to ink. My style sort of came from being super nervous and I was judging every single line that I put down on the paper, because having Ande [Parks, the writer of Capote in Kansas<\/em>] being such a big name inker, I was just afraid to screw it up. I didn\u2019t want him to see me do a bad job. So that\u2019s where I started blowing out the one side, where the light source would come from, sort of the chiaroscuro.<\/em> I was looking at David Lloyd and Jim Steranko and some of the stuff that they could do with just the shadows and I started trying to do some of that because that meant that was one less line that I had to screw up on a page. And that\u2019s sort of what my style is built on. It\u2019s just . . . it\u2019s just fear (laughs). I was just afraid of screwing it up, but it became my style.<\/p>\n\n\n\n

Toucan:<\/em><\/strong> And because of that, now do you prefer to ink your own stuff?<\/em><\/p>\n\n\n\n

Chris:<\/strong> Oh yeah. My pencils are just awful. I can\u2019t imagine anybody else inking me nowadays because most of the work is done in the ink.<\/p>\n\n\n\n

Toucan:<\/em><\/strong> After <\/em>Capote you did <\/em>Queen and Country, which I think was at the very end of that series.<\/em><\/p>\n\n\n\n

Chris:<\/strong> Actually, after I did Capote<\/em> I was still at Borders and I signed on to do a Vertigo graphic novel. But they plan things so far ahead at DC\/Vertigo that I\u2019d signed my contract and I was waiting for like six months to get scripts while the writer was still working on it. So while I was waiting on scripts for the graphic novel\u2014I didn\u2019t know how slow things worked in comics at the time\u2014I kept on emailing my editor and saying while I\u2019m waiting, do you have anything? So I did a couple of short stories and American Splendor<\/em> when Vertigo was still doing it with Harvey Pekar and an issue of Exterminators<\/em> that Tony Moore recommended me for, because that\u2019s what he was working on at the time. I did three issues of Queen and Country<\/em> and then Greg Rucka did 52.<\/em> So in the year that he was doing 52, I did Area 10<\/em> for Vertigo and then came back and did the last issue of Queen and Country<\/em> after.<\/p>\n\n\n\n

Toucan:<\/em><\/strong> So <\/em>Area 10 was the graphic novel for Vertigo?<\/em><\/p>\n\n\n\n

Chris:<\/strong> Yeah. It was for Vertigo Prime, but it didn\u2019t come out until 2008, 2009. So when it came out I was like here\u2019s a book that I did several years ago everybody.<\/p>\n\n\n\n

Toucan: <\/em><\/strong>And somewhere in there you did <\/em>The Mighty for DC too?<\/em><\/p>\n\n\n\n

Chris:<\/strong> Yeah, I think that was 2009. I actually just met Pete Tomasi in person at a convention this past weekend. We worked together on eight issues of The Mighty<\/em> and a couple of short stories for Blackest Night in the Green Lantern series that he recommended me for because he\u2019s a good guy. I think he just found me through my blog of all things. Five days a week I was doing a sketch on my blog because I\u2019m always trying to get better, and whenever I have free time, I\u2019ll sketch. And he just liked what he saw in there and said that he had a creator-owned book at DC and the current artist, Peter Snejbjerg, wasn\u2019t able to continue on it\u2014he was going to go do I think Battlegrounds,<\/em> one of the war books that Garth Ennis was doing at the time. Pete needed someone to come in and finish the series for him. So I jumped in and did some proper superhero comics for a while.<\/p>\n\n\n\n

\"\"
Thor TM & \u00a9 2013 Marvel & Subs<\/figcaption><\/figure>\n\n\n\n

Toucan:<\/em><\/strong> So probably the thing that really put you on the map though, superhero wise, was the Marvel\u2019s <\/em>Thor the Mighty Avenger series with Roger Langridge, which was kind of an all-ages book but actually seemed more like an adult superhero series with kind of an indie sensibility. That book went away pretty suddenly and it\u2019s still kind of sadly missed. What are your memories about working on that?<\/em><\/p>\n\n\n\n

Chris:<\/strong> Oh gosh, it was so much fun. I was offered the job by Nate Cosby and at the time I just thought \u201cThor book, no.\u201d I mean I wasn\u2019t in the position to ever say no to anything. So I said sure, but I remember thinking Thor doesn\u2019t seem like the right book for me, and then I started reading Roger\u2019s synopsis and almost right away it was like, oh, well this isn\u2019t the hot-headed Thor that I remember from when I was a kid. And it was a lot more, there was more heart to it. It felt personal as opposed to just gods and monsters. There was some of that too, but it just felt like . . . I don\u2019t know it could be a novel that you would read and it just happened to have a little bit of the superhero in it. It was a really good time. I\u2019m still friends with Roger. I emailed him a couple of weeks ago. Matt Wilson, my colorist on it, is still one of my best friends, and any time that I have something pop up that needs to be colored Matt\u2019s always my go-to guy. He did some Planet of the Apes<\/em> for me, a cover two months ago ,and he just colored the Adventures of Superman<\/em> story I did. It still tears me up that we didn\u2019t get to finish our run on Thor the Mighty Avenger.<\/em> But you know, we got canceled and I was getting ready to move on to Ultimate Spider-Man<\/em> and I managed to squeeze out that Free Comic Book Day issue right before I did Ultimate Spider-Man.<\/em> It was a tight deadline, but I begged for Free Comic Book Day book and we got our ninth issue. But yeah, man, it was a hell of a time.<\/p>\n\n\n\n

Toucan:<\/strong> The great thing about that series\u2014you\u2019re talking about it as being almost like a novel. It was very romantic, too, which you don\u2019t see in a lot of superhero books.<\/em><\/p>\n\n\n\n

Chris:<\/strong> Yeah. I think there are just as many female fans of Thor the Mighty Avenger<\/em> as there are male, and a lot of kids. Folks like to send me pictures of their kids reading a copy of Thor the Mighty Avenger.<\/em> It\u2019s great to see kids reading it but it\u2019s sort of heartbreaking because there aren\u2019t a whole lot of comics that kids can read these days. There\u2019s so many uberviolent or monsters throwing up blood, or just so many things that I just don\u2019t think are appropriate for kids. I may be thinking more of that because I have a second on the way. I want the market to be inclusive of more readers, and we need to have a keener eye towards younger readers because they\u2019re going to be the adult readers in a few years. There\u2019s only so long that we can keep catering to 40- and 50-year old men. They\u2019re going to age out eventually.<\/p>\n\n\n\n

\"\"
Daredevil TM & \u00a9 2013 Marvel & Subs<\/figcaption><\/figure>\n\n\n\n

Toucan:<\/em><\/strong> You\u2019ve worked with some really great writers so far in your career, Mark Waid, Roger Langridge, Greg Rucka. The first interview we did for <\/em>Toucan was with Mark Waid and we asked him what makes a great writer\/artist team and his answer was \u201ccommunication and total trust, realizing that it\u2019s collaborative medium and nobody bringing any ego to the table is what makes it work.\u201d What do you think makes a great writer\/artist team?<\/em><\/p>\n\n\n\n

Chris:<\/strong> Oh, my gosh, can I just cut and paste that one, that\u2019s perfect. That\u2019s almost exactly what I\u2019ve said in the past. You have to be able to trust your writer and the writer has to be able to trust you; and Mark and I, that\u2019s the sort of relationship we have. We talk on the phone before every issue starts and we email each other and talk once or twice a week just to touch base. Sometimes I\u2019ll think of a different layout or I\u2019ll need to add a couple of panels; right now we\u2019re doing issue #27 and I still don\u2019t know where it\u2019s going to end. We were talking at the convention this past weekend on how the issue was going to end, but we didn\u2019t know how to get there. And I\u2019m working on page 10 and Mark\u2019s writing 11 to 20 at home right now and we\u2019re supposed to talk about the rest of the beats for the issue tonight. I don\u2019t think we\u2019d be able to do that if we didn\u2019t trust each other. He trusts me that I\u2019m going to try and make him look good, and he makes me look good. So yeah . . . everything that Mark said is spot on.<\/p>\n\n\n\n

Toucan:<\/em><\/strong> What\u2019s your working procedure like with him? Obviously, if he\u2019s still working on the back half of that issue you don\u2019t get a full script in advance.<\/em><\/p>\n\n\n\n

Chris:<\/strong> Well, ideally I\u2019d get a full script, and I\u2019ve gotten a few full scripts in the past 12 issues or so that I\u2019ve done now, but he\u2019s a busy guy. I mean between Thrillbent and Hulk<\/em> and the Marvel digital stuff that he\u2019s doing and Daredevil<\/em>, he\u2019s spinning a lot of plates, not to mention he also has the two issues that Javier is drawing that have to be done while I\u2019m working on mine. So he\u2019s trying to write #27, #28, and #29 all at the same time. Javier and I are both getting scripts piecemeal so that he can keep us both working. So this issue isn\u2019t common. This is a little different than usual. But usually I get a full script and . . . well, let\u2019s go back a little bit. He\u2019ll come up with an idea or we\u2019ll spitball a little bit of something on the phone and then he goes off and writes it. He sends me nearly a full script, and then I take a couple of days and do a layout. Two days minimum, 5 days tops, for 20 pages, and I tighten up whatever I need to in pencil and then ink that and send it off to everybody. But along the way we chat on the phone. I\u2019ll email him any questions that I have about the script or changes that I think we need for pacing, and most of the time the trust comes in and I trust him, he trusts me, and we just say, okay we\u2019ll make it work.<\/p>\n\n\n\n

Toucan:<\/em><\/strong> Is there a lot of descriptive information in his scripts? Daredevil swinging over the city or something like that?<\/em><\/p>\n\n\n\n

Chris:<\/strong> It\u2019s usually just the right amount. Some guys will try to dictate camera angle and that\u2019s all a little bit too much, I think. I just need the bare minimum. The dialogue helps me know the emotion of the character. and if there\u2019s just a sentence or so describing the panel, like whenever we start a new location, it\u2019s a couple of sentences to set things up, but usually it\u2019s just \u201cback on Daredevil,\u201d or \u201cover Daredevil\u2019s shoulder\u201d and then just something short and sweet just so I know what needs to be in each panel and I can keep on going. But I\u2019m supposed to be the cinematographer and the choreographer and all that stuff. So he leaves all that stuff up to me.<\/p>\n\n\n\n

\n\n\n\n

Click here to read part two of our interview with Eisner Award-nominated penciler\/inker Chris Samnee!<\/a><\/em><\/p>\n<\/div>\n\n\n\n

\n

Written by<\/p>\n\n\n

Comic-Con International<\/div>\n\n\n

Published<\/p>\n\n\n