That’s what makes editors so good, and so vital, to the creative process in any periodical like this.Īnn Nocenti and Chris Claremont talk about their beloved Uncanny X-Men run. And Ann did it, Louise did it, Archie Goodwin could do it without batting an eye. Because you’re in the weeds and the editor is not. The editor is there to just poke the writer in the right direction, and have faith that the writer can come up with it. Every time I felt like I had no story, Louise would sit there and go “well, how about this or this or this?” And she would toss all the loose ends I’ve been scattering around the previous year back at me, and I’d go, “Oh yea! I can do that and we can do this and that.” To me, that’s the synergy a creative team needs. If you read the comics that Ann edited, you can see the impact and the way the stories changed, and how she pushed Chris in different directions in an interesting way.ĬC: That’s what an editor’s job is. Being able to hear from Louise and Ann, it’s a perspective you don’t hear as much. But in the 70s, there were such great characters and stories being told. Today, we’re excited for the first female superhero movie after, like, 20 movies. The more different personalities you can have in the mix, the more conflict or interesting dynamics there are going to be. PM: Yea it was unique at the time, and it shows in the film. In the film, there’s a lot of emphasis on the women in the books and a big spotlight on Louise and Ann’s contributions.
0 Comments
Leave a Reply. |