Well before SDCC and last week’s BOOM!/Stan Lee press conference, Paul Cornell. When we did this email interview, details had not been released about Soldier Zero, Cornell’s collaboration with Stan Lee and BOOM! Studios. (For details about Soldier Zero along those lines, please be sure to read CBR’s Shaun Manning’s interview with Cornell from last week). For this interview, I instead focused upon Cornell’s clear respect for Lee’s work and general storytelling approach, as well as the opportunity to work with BOOM. As witty and sharp as Cornell is, it made for an enjoyable interview, despite his busy workload. I appreciate Cornell’s time, as well as BOOM! Studios’ Chip Mosher willingness to arrange the interview. I’m hoping that in addition to creating a great tale for us to read, Cornell garners the Stan Lee nickname he so clearly craves.
Tim O’Shea: Back in 2009, at your blog, you lamented that you entered the industry after Stan’s heyday of giving collaborators nicknames. Now that you’re working with Stan, have you scored a nickname from him yet?
Paul Cornell: I think I’ll try and pluck up the courage to ask him for one. That’d be like being knighted.
O’Shea: In a DowntheTubes 2008 interview, in terms of your own comics writing, you said “…what I try and do is what all the best superhero books do. I try and write modern Greek and Roman myths that actually reflect things that are going on right now. Much as every body of mythology talks about what is happening right now, in terms of when it was created. … And everything that Stan Lee ever did was literally just about looking out of his window. His Marvel comic body of work, which is all about New York, is just extraordinary.”
Are you looking out the proverbial window to write this Stan Lee project? If you are, can you share some of the view?
Cornell: This particular window is looking into the real lives of wheelchair users, and trying to create a superhero that reflects their experiences in the modern world. It’s Stan doing what he always did best, with us acting as Rick Rubin to his Johnny Cash: demonstrating that what Stan does isn’t about pastiche and nostalgia, but is classic and timeless, and can be immediate in today’s world.
Artist Sean Phillips shows his contribution to ‘The Johnny Cash Project.’ Participants send in their drawings of Cash, which are being shown on the site and are being used in the Johnny Cash music video “Ain’t No Grave.”
Joe Lambert shows off the production process for the Sundays 3 mini-comic –”three small, pocket-sized volumes banded together with a tight band, a loose theme about the times of day, and lots of love.” The process in this case includes the binding, which Lambert came up with on his own, as well as the “tight band” that includes a short comic strip of its own.
And below you can check out the final product via a video that shows off the three comics that make up Sundays 3, with a little Johnny Cash music for good measure.