Andreas: The first episode of Révélations posthumes I made in 1977 and these were published the year after in (A Suivre). The contact with François Rivière comes from that famous day when Jijé visited the Saint-Luc. I had a drawing on (site-editor: in Dutch: schaafkarton), my first. That happened to be the only one of which Jijé had said:""That's good! Look, that is good, elegant..." Rivière was there as well. He was looking for someone to do the cover of a Jules Verne book and approached me. Later I asked him to write a story for me. I believe he didn't feel like it at first, but I persisted, so eventually he came up with a text on H.P. Lovecraft. After he had seen the first plates, he became more interested. At first we worked for Métal Hurlant, for a Lovecraft special. But when I was finished, Riviere told me: "Métal Hurlant isn't doing well these days, they don't pay well. Maybe it would be better to go to (A Suivre)." I must say I didn't feel good about this thing with Métal Hurlant. That also led to some arguments. Later I understood that it was really something for (A Suivre). They were looking exactly for this mixture of comics and literature. After that we continued working for them. Métal Hurlant was a lost case in all respects.

Andreas: After Révélations posthumes I had prepared a new project for (A Suivre). It was a rather long story of 120 pages. They refused it at (A Suivre). I didn't continue it then. It was a somewhat fantastic story, something better suited for Tintin/Hello BD (fr); Kuifje (nl). So they were quite right for not wanting it. In the meanwhile I had left Tintin/Hello BD (fr); Kuifje (nl) and was suddenly out of work. Luckily my friend Antonio Cossu was in charge of a new series of black-and-white comics at Deligne (Michel). Then I said to him: "I want to do something for you." I knew Deligne, because he had published one of my stories from my time at Saint-Luc, four plates based on a story by Jean Ray. Deligne was interested in my offer and paid me - for that time - extremely well. He paid more than Tintin.
During the making of Cromwell Stone I moved to Brittany. I wrote it in Paris, I drew it in Bretagne.