Bill Sienkiewicz

To me, the technique was almost irrelevant; it was what was coming across.

That was a real learning element for me, because I realized that the more true you are to yourself, the more you will lose people.

So, when the special effects are at the service of the story and draw you into it, that is really the magic.

So I look at a lot of stuff now that I did and some of it looks tame to me, but my interest in terms of what I want to say with it is a little different.

Do the story in the way it really demands to be done, which may mean using several different styles or only one style; but it's still about respecting the story.

So there's kind of a simultaneous aspect to pushing the boundaries, and being very safe.

After that I jumped, especially being in art school, to the illustrators.

For a while I felt very alone; sort of out there in the world of comics, especially here in the States.

It's interesting, because in the corporate stuff there's a dichotomy there, depending on the creator. Even what, in essence, may be a very safe corporate approach, there is some stuff that is allowed to be pushed.

Like Godfather, you look at a movie like that, or something that James Gray has directed, a film with minimal or pin lighting as opposed to everything being lit bright and flat, where everything is evident.

People who can pull you in and take you on a journey, as opposed to simply adding flash. Again, that feels very clinical, and I don't respond to that the way I used to.

I still love a lot of the guys who just paint.