Andreas: We worked on Udolfo
when I moved to Paris, that was in 1978.
For Udolfo you were given a scenario. Could you decide yourself which
points of view, ways of cutting pictures, and what positioning of the characters to use?
I had the scenario of André-Paul Duchâteau, specifying on the left what happens
on each picture and on the right the dialogues, picture by picture.
But I had a lot of freedom. Eddy Paape wanted me especially for the plate
layout, the mise en scène.
That work division is remarkable, because in American comics the one
who sketches and cuts the story in pictures is credited with the drawing,
while an assistant inks all accordingly. Yet in Tintin/Hello BD (fr); Kuifje (nl) you were only
mentioned for your work on La montre aux 7 rubis in the fifth episode,
starting with page 12.
Andreas: That's possible, but it didn't really bother me. I was happy to be
doing something. I was of course very surprised when Eddy Paape asked me to
do the sketches for him! Anyway, Milton Caniff also had someone doing
the sketches for him.
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