MWAM reader Tom McKenna sent along a cool interview he did with CDP artist/writer Reilly Brown! Check out some of Reilly’s thoughts on getting down Deadpool’s references, working with Fabian Nicieza’s plots and being thought of as a “Deadpool guy”! Click read more to check the whole interview out!
(Advanced apologies for the “bunched” formatting, I’m trying to fix it but wordpress isn’t budging. )
A Quick Chat With Reilly Brown
by Tom McKenna
Cable & Deadpool artist Reilly Brown takes up a new challenge starting with issue 49 — writing. Described by longtime Cable & Deadpool scribe Fabian Nicieza as a “hipster troublemaker”, Reilly was kind enough to answer a few questions while taking a break from his work on the fiftieth and final issue of Cable & Deadpool.
Q. You’re scripting the last two issues of Cable & Deadpool, using Fabian Nicieza’s plots — is that right? How did this come about?
Reilly: It’s the other way around — it’s my plots and Fabian’s scripts. It’s a funny story, one day I was on instant messenger with Fabian, and he says, “Did Nicole tell you I’m not on the last two issues?” So I called Nicole (Ed. note: Nicole Boose, Cable & Deadpool editor) and asked her who was going to write the last two issues. She said she was working on a lot of projects, but she had some people in mind. I said, “Can I do it?” She said, “Can you?” So, I pitched a couple of ideas to Nicole. I knew the general direction that Fabian was going in, and I was lucky that I heard about the opportunity when I did.
What happens is I write the rough plot outline, then I start drawing it. When I do the dialog, it might suck, it might be good. Then I go back and re-write until the dialog works.
Q. Are you doing anything research-wise to prepare for writing Deadpool’s manic dialogue?
Reilly: (Laughs) Kind of. I write down at least one political reference, two references to sitcoms, and some dinosaur jokes. I use IMDB to look up movies. It is the hardest part, writing Deadpool’s dialog. This is where that I hope Fabian’s going to save my ass.
Q. The first issue you’re co-writing, according to the Marvel solicits, has Deadpool trying to play the hero and dealing with Ka-Zar. How much can you let us in on?
Reilly: What happens has to a lot with Cable’s legacy. (Cable’s still dead in the pages of Cable & Deadpool) Deadpool gets hired to do a mercenary job in the Savage Land. It’s the kind of thing that Cable would do, without Cable being around anymore.
Q. In the future, do you want to get more involved in the writing of comics?
Reilly: I’ve always wanted more to draw my own stories. I don’t have any desire to have other artists draw my stories. One of the cool thing about working with Fabian was that we would talk about the plots and he used some of my suggestions. Sometimes I would get a script from Fabian and it would say, “Blank page. Reilly, draw what you want…”
Q. When you sit down, which comes first — writing the dialogue, or do you draw the comic first?
Reilly: It’s kind of simultaneous. I write a general plot, and get it approved. I start drawing in my sketch book to see how it looks. One of the things that you’ll see that because I am working from my plot that I am able to squeeze more story into a twenty-two page story.
Q. The series finale of Cable & Deadpool is shaping up to be an over-the-top free for all — symbiotes, dinosaurs, Avengers and more. What can you say about issue 50?
Reilly: There’s a lot going on and saying that there’s symbiotes, dinosaurs, and Avengers in it kind of says everything that needs to be said. There are a lot of things for Deadpool to interact with, and it should be crazy.
Q. Is there any chance that a certain mutant soldier from the future (cough, Cable, cough) could make an appearance in issue 50?
Reilly: Both issues have references to him. He’s not forgotten, but I don’t want to say a lot more than that.
Q. While you’ve been pencilling CDP, you’ve drawn a large cross section of the Marvel Universe. Who are some of your favorites? Why do you like drawing them so much?
Reilly: Deadpool’s certainly a favorite, because he’s got a lot of personality. The Fantastic Four too, because they each have their own distinctive personalities, especially Johnny and Ben. Also their costumes are simple to draw — no guns, no crazy pockets — just a blue suite with a plain belt and a four on the chest– it saves time! I’ve always been a huge X-Men fan — Ice Man is one of my favorites and I thought that drawing him would be a pain because of all the ice slides and everything, but it’s really been fun and he’s been one of my favorites to draw so far. Right now I am drawing Spider-Man, who’s also one of my favorites. A cool thing about drawing him is that he wears a full face mask with those big eyes and the web pattern, and when I finish drawing him it just looks like Spider-Man, rather than my drawing of Spider-Man. The simple design kind of takes over anyone’s personal style, so it just looks like Spider-Man.
Q. What are you plans after issue 50 of Cable & Deadpool is finished?
Reilly: I am not certain. There’s nothing lined up right now, but there have been some projects mentioned. Working at Marvel is very competitive and I’ll have to see what happens.
Q. Are you ever worried that you’ll always be known as the “Deadpool Guy” when you appear at conventions?
Reilly: Not too much. I do draw a lot of Deadpool at conventions — he’s very, very popular. And there’s this funny thing that happens, it’s happened like fifteen times whenever I am at a convention. Two guys walk by, and one guy grabs the other guy by the backpack (and there’s always a backpack) and he says, “Dude, Deadpool Rules!” That’s one thing that drives me crazy about Deadpool. He’s such a unique character, and his fans are so loyal that I really think he could be one of Marvel’s most popular characters if he had some more exposure.
(Cable & Deadpool #49 will arrive in comic book stores on January 16, 2007, and the series finale in February.)