In this episode of Last Podcast On The Left, James Tynion IV shares insights into adapting comic books for film and television. He sheds light on the process of reworking source material, striking a balance between staying true to the core concept while reinterpreting it creatively.
Tynion also discusses his own writing style and works, touching on themes like horror, misinformation, and the paranormal. Additionally, the episode explores historical events like the 1947 UFO flap that sparked public interest in flying saucers and government investigations into unexplained sightings. Tynion provides perspective on iconic characters such as the Joker and Batman, as well as his production company Tiny Onion through which he aims for greater creative control over upcoming projects across various media.
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James Tynion IV describes adapting comics for the screen as a "long, weird road" involving extensive collaboration to refine the concept. He prefers adaptations that maintain the source material's core idea while reinterpreting it inventively.
Tynion's "Something is Killing the Children" is being developed as a Netflix series, while "Department of Truth" is also being adapted.
Tynion's works like "Department of Truth" and "Worldtree" explore horror elements, misinformation's dangers, and paranormal themes inspired by "Sandman." Tynion says he aims to craft "true weird" stories based on real paranormal accounts.
The 1947 events like the Kenneth Arnold sighting and Roswell crash birthed the "flying saucers" concept. Tynion notes the public fascination led to UFO investigations by the government. Eyewitness accounts, credible and otherwise, became prevalent.
Tynion explores the Joker's horror and dark comedy aspects, delving into his twisted psyche. He recounts assigning an artist to draw an upside-down horse as part of a Joker scheme, showcasing comics' creative freedom.
Through Tiny Onion, Tynion seeks more creative control and is partnering with publishers like Dark Horse. He teases upcoming mystery projects spanning various media.
1-Page Summary
The complex process of bringing comic book stories to life on screen is multifaceted and involves numerous creative and logistic steps. James Tynion IV provides insight into this intricate procedure and his personal approach to adaptations of his own work.
James Tynion IV characterizes the process of adapting comics for film and television as a "long, weird road," full of extensive collaboration and iteration. This journey often involves the initial script being picked up by a production company, followed by developing drafts for a pilot, selecting directors, and securing a network to air the show. Tynion describes this cycle as involving numerous brainstorming sessions, often in Los Angeles, which serve to refine the concept continuously. Furthermore, he notes the business aspect of this process, stating that sometimes ideas are sold and then resold, which he likens to "moving a pool of money around in a circle."
Tynion expresses a strong preference for adaptors of his work to grasp the fundamental idea and create something new from it. To him, it is essential that the adaptation maintains the "beating heart" of the original comic while also being reinterpreted to bring out the best ideas in novel and captivating ways. His lack of interest in direct adaptations stems from a desire for inventive treatments that are faithful to the spirit of the source material rather than its specific events or ...
Adaptation of Comics to Film and TV
James Tynion IV's work distinctly embodies his fascination with horror elements, taps into themes of misinformation, belief, and paranormal phenomena, and utilizes his inspirations from iconic series like Sandman.
In conversation with hosts Ed Larson and Marcus Parks, Tynion shares insights into his numerous creative ventures in the comic realm. Among his current series are "Department of Truth," featuring artist Martin Simmons' innovative mixed media artwork, and "Worldtree," a collaboration with artist Fernando Blanco, noted for the emotional depth conveyed through 12-panel grids. Tynion also mentions working on projects like "Nightmare Country" with Alessandro Esparin and a retelling of "Dracula" coupled again with Martin Simmons.
Tynion's work is infused with horror, a genre he approaches with a unique blend of the macabre and humanism. For instance, Tynion describes a story where an 'evil internet' from 1999 tries to invade our world, serving as a literal interpretation of falling into the internet's dark side. This theme is exemplified further in his work with "Department of Truth," "Worldtree," and his early comic series "Mimetic." The latter tells of a deadly viral image, linking back to Tynion's alarm about how unchecked misinformation can rapidly spread online, a potent horror in itself.
Tynion expresses that working within the Sandman universe was an intimidating honor, particularly when he wrote for the character Dream. He admires The Corinthian as one of the best horror images in comics. His writing is clearly informed by such landmark inspirations, where the fabric of reality and dreams intertwines with the frightening and the fantastic.
Tynion delves into the human psyche with his narratives, exploring why people are enth ...
James' Writing and Comic Work
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The summer of 1947 marked a significant chapter in the history of unidentified flying objects (UFOs) with events such as the Kenneth Arnold sighting and the Roswell crash leading to the term "flying saucers" and a surge in public and government interest in UFOs.
James Tynion IV draws attention to 1947 with his upcoming Blue Book installment, reuniting with artist Michael Avon Oming, lauded for his work on "Powers" with Brian Michael Bendis. This period was known for the term “flying saucers” entering public consciousness following pilot Kenneth Arnold's claim of seeing nine high-speed objects near Mount Rainier in Washington State. Soon after, the Roswell crash fueled speculation and conspiracy theories regarding UFOs and alien presence on Earth, firmly embedding the concept of UFOs in the cultural zeitgeist.
In response to escalating public fascination, local newspapers began running stories on UFOs, which added to the nationwide interest sparked by the summer's events. Tynion notes the government felt compelled to initiate programs to investigate the influx of UFO reports. This period saw the beginning of official inquiries into unidentified aerial phenomena, which would evolve into more systematic studies like Project Blue Book in the years to follow.
Summer of 1947 UFO Flap and Culture
The discussion centers around the iconic hero/villain dynamic between Joker and Batman, spotlighting their rich history, varied portrayals, and memorable storylines.
The hosts, along with writer James Tynion IV, delve into the advantages of comic books as a medium for extensive creativity, highlighting how comic book artists can portray grand spectacles, like blowing up a boat, without the limitations encountered in film production.
Tynion IV shares a recollection from his time writing for The Joker in a Batman comic, notably asking the artist, Jock, to tackle the unique challenge of drawing an upside down horse being carried down a hallway in Arkham Asylum—a testament to the Joker's elaborately twisted plans to torment Batman.
The Joker's origin story, as detailed in "The Killing Joke," explains his descent into madness following a series of personal tragedies, including his failing career as a comedian and catastrophic events impacting his wife.
Marcus Parks touches upon Tynion IV's work on "Joker War," hinting at its success and its integration of horror elements. Tynion himself views the Joker as a horror character and insists that the Joker must retain a humorous element to remain effective.
Tynion has explored various facets of the Joker's persona, from the comedic ...
The Joker and Batman
James Tynion IV discusses his independent production company, Tiny Onion, emphasizing its role in expanding his creative control and its upcoming mysterious ventures in various media.
Tynion IV reveals his goal for Tiny Onion to maintain more control over the adaptation process. He illustrates the importance of finding partners who share a passion for creation and the potential of producing content independently. Highlighting the significance of connection and dialogue, Tynion IV acknowledges that these are instrumental in forwarding their projects.
Collaboratively, Tiny Onion fosters a business relationship with Dark Horse Comics, a partnership crafted to amplify his company's creative output. By cultivating these partnerships, Tynion IV ensures that Tiny Onion is strategically positioned to strengthen his creative liberties and explore a wide array of publishing opportunities.
Tynion IV’s Tiny Onion functions as an autonomous production entity, dedicated to crafting books and associating with the most compatible publishers. This independence streamlines Tiny Onion’s process for bringing a diverse range of creative ideas to fruition.
Exuding enthusiasm, Tynion I ...
James' Production Company Tiny Onion
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