Tripwire Talks To Chris Weston Part Two

Back To The Weston Front

Tripwire’s contributing writer Paul N Neal just caught up with artist Chris Weston to talk about 2000AD, working for DC and more in part two of this extensive interview…

Paul: Could you describe how you made your choice to work for American Publishers? Your Fantastic Four First Family with Joe Casey springs immediately to mind.

Chris: There was very little wiggle-space for him to bring himself to the job. I don’t know if this reluctance to loosen up was ego or Insecurity on my part. Probably a bit of both, but it wasn’t much help to anyone. Also, it didn’t turn out to be the most economical of decisions, either: I was then producing highly rendered art for a reduced pencil rate, and I had less original art to sell as it was shared with the inker. On Fantastic Four: First Family, I let Gary keep all the finished art, as I had produced them through a blue-line technique, where I sent him the pencils digitally and he printed them out in blue ink and inked those. Being slow, I relied quite heavily on the sales of original art, so the loss of this income hit me quite hard.

Paul: Could you please explain how illustrating The Twelve with JMS came about please? And why was there such a huge time gap between the last few issues?

Chris: The Twelve was the moment when the wheels on my US Comics career came flying off spectacularly. Aubrey Sitterson was the commissioning editor, but he soon left the company to pursue his career elsewhere. This was the first disappointment for me on the book as I’d built a nice relationship with him, and I knew he had my back. Progress on the book seemed to falter quite quickly after that. I don’t think Joe Michael Straczynski’s own relationship with Marvel was in that good a shape: there had been some disagreement over the One More Day storyline for Spider-Man.

Chris: JMS has since admitted publicly to having had some health issues that he didn’t want to discuss at the time. This is quite understandable. He’s entitled to his privacy, but at the time the lack of communication was extremely frustrating. Scripts dried up with no explanation or offers of substitute work from Marvel. I was already in a bad financial situation, because I still hadn’t learnt my lesson about doing pencils: I put way too much time and detail into them and didn’t receive a wage appropriate for the effort I put in.  It was a really worrying time, financially. I became very stressed over the situation and frustrated at the perceived lack of leadership and communication from the other parties involved in the series.

Chris: The lateness of the book attracted quite a bit of derision from the fans, and I even received some hate mail, which wasn’t very nice. I didn’t want to damage my already fragile relationship with JMS or Marvel by screaming “It’s not my fault!”. So instead, I wrote and drew my own fill-in issue called Spearhead and after that the criticism I was receiving seemed to evaporate. The main book still wasn’t proceeding on schedule, and my financial situation was growing direr by the day.

Chris: And then, out of the blue, I was thrown a lifeline: I got an offer to be the concept artist on The Book of Eli, a big-budget sci-fi film starring Denzel Washington and Gary Oldman. I’d always wanted to work in films, and I needed the money, so I took the job. Tom Brevoort, the editor on The Twelve was very understanding about it and gave me his blessing. Working on The Book of Eli with director Albert Hughes turned out to be one of the most enjoyable experiences in my life, and to this day I bore people rigid with my “Gary Oldman stole my kettle!” anecdote. I made so many new friends on that film, and got to travel round New Mexico; it was life-changing. I didn’t feel too bad about adding to the delays on The Twelve as I knew JMS had done some extra film work of his own during his time on the book.

Chris: Once The Book of Eli was over, I came back to complete the remaining issues of The Twelve. This time, it went far more smoothly; the scripts were (mostly) on time, and I was inking the pages myself.  I don’t think all the delays helped the sales of the book at all, and I have to accept my fair share of the responsibility for that. However, I think it’s a quality product, and I think I deserve some credit for staying loyal to it throughout its troubled production. It was frequently tempting to walk away from the project, but I was determined to push the book over the finishing line.

Chris: I am really proud to be part of the finished book, even if it did nearly bankrupt me.  I’m convinced that a sequence from the opening chapter of The Twelve ended up in the Captain America: First Avenger movie. It seemed identical, but Marvel claimed otherwise. They owned the rights to it, so they could loot it any way they wanted, but they denied it had any influence on the film script.

Chris: The Twelve even received an Eisner nomination for Best Limited Series. I was able to attend the ceremony, as I was at the San Diego Con that year, taking part in promo-activities for The Book of Eli. I was sat next to JMS, and the thought of meeting him in person for the first time was a bit daunting.  I had no idea if there was any bad blood between us. By that point we’d both taken a turn in being the villain of the piece, but I was still relieved when no fisticuffs broke out between us. I can’t say we really bonded, though, either: JMS was suffering from a nasty dose of laryngitis at the time, or that might have been a good excuse for him to not talk to me.  There was an embarrassing moment during the Eisner ceremony when the nominations for Best writer were announced. When I heard Grant Morrison mentioned as a nominee, I whooped, clapped and cheered my head off out of loyalty to my Filth partner. Unfortunately, the next nominee to be announced was JMS for The Twelve, and he was sat right next to me! Obviously, I then had to whoop and cheer at an EVEN MORE insane volume to eclipse the support I gave Grant. I must have looked like a complete nutcase.

Chris: I think JMS warmed to me, somewhat, despite his inability to utter a single word in my direction. We got some photos together, though, including one where he mimed stabbing me in the back with an imaginary knife. Unfortunately, the photos were taken on his partner’s camera, and I suspect he decided against sharing them with me… or the rest of the world. But we follow each other on Twitter now, and he always praises the work I did on The Twelve, which is appreciated.

Paul: Could I backtrack a tiny bit. Might you possibly be able to explain “Gary Oldman stole my Kettle” please? It sounds like a fun story.

Chris: I could have sworn everyone was sick to death of my “Gary Oldman Stole My Kettle” anecdote. Just in case there is, indeed, a rare person who somehow managed to avoid it, here we go: When I went out to Albuquerque, New Mexico in 2007 to work on The Book of Eli I found myself almost alone in the studio as someone who required regular and frequent infusions of English tea in order to keep functioning. I’d anticipated this situation and smuggled a massive bag of PG Tips through customs, enough to keep me going through production. The New Mexican crew seemed to survive exclusively on coffee, a drink I couldn’t stand. Luckily, a lovely production-assistant called Brian bought me my own kettle to brew up with, and all was right in the world.

Chris: Gary Oldman had been cast as the villain, Carnegie, and there was much excitement in the production offices as we anticipated his arrival in Albuquerque to begin work on the film. I remember a production assistant holding up a sheet of fax paper (ask your parents what that is) as she declared: “Hey, we’ve just heard from Gary’s people. They’ve sent his list of wants!” I looked at the sheet expecting to see all sorts of Hollywood diva demands, like the classic bowl of M&Ms with all the brown ones removed. To my surprise, Gary Oldman only had one single request on his list: a bag of PG Tips! This warmed my heart! Gary Oldman, A-list, LA-based superstar for nearly two decades was still keeping it real!

I never saw Mr. Oldman arrive on set, but his presence was made aware to me on a Monday morning when I went to the studio kitchenette to make my first brew of the day: MY kettle had disappeared! “Uh, has anyone seen my kettle”, I asked?

“It’s in Gary Oldman’s trailer.” I was told. Gary Oldman stole my kettle? Well, in truth, it had been given to him by another production-assistant, so I doubt he was aware of the larceny. But it was a gentle reminder of my place in the pecking order. However, I shamelessly milked my mock-outrage for as many laughs as I could get!  Eventually I got to meet Mr. Oldman in person, and he turned out to be a diamond. He was down to earth and a good laugh. He didn’t display any superstar airs and mingled amongst all the cast and crew as if he was just one of the gang. I was even able to pretend-scold him for stealing my kettle! “Ah, mate, sorry about that!” he giggled! But I ‘forgave’ the infraction and even granted him access to my own massive sack of PG Tips!

Paul: Wow. That is a great story. Could I please ask how as an artist has technology changed the way you create your artwork? …and for that matter if it has altered you own personal reading habits in regard to comics?

Chris: It hasn’t really affected it too much. I introduced computers into my art about 20 years ago and not much has changed since. I always used photo-reference in my work, and the computer is just a much more convenient way of handling and manipulating those resources. I create a collage or montage that can then be printed out and light boxed. Previous to owning a computer I’d have done that by photo-copying the photo-reference at the required size and then literally gluing the panels onto a board. This was then photo-copied again and light-boxed. The computer streamlines this process and increases your options. Despite being taught by Don Lawrence, I was always more drawn to Frank Hampson’s way of working where he created props and models and made extensive use of photographic reference. The difference is, Frank had a studio of about five assistants who helped create this material. I’m on my own but having a computer helps make up for that. What has been a great boon is the online resource for 3D models. If I want a particular make of aircraft or car, it’s very easy to find. I can download it and manipulate it into the precise angle I require. Before, I’d have to go to the library, find a book containing the approximate reference and swipe it from there. So, the computer helps the art come out much more accurately than the way I saw it in my head.

Paul: How does colouring work for you now?

Chris: Whenever I colour my work, it is mostly done on the computer too, but in my heart, I wish I still hand-painted the pages. Full-colour original art looks so much better when you hold it in your hands. However, with “analogue” art, you have to ignore the parts you wish you could have changed. Not everything comes out the way you want it, but in real life, you don’t have “Command-Z” to erase your mistakes. But that’s okay, the readers don’t know how you saw that in your head. They may actually like some of the choices you made that you personally are not so keen on. I’m reluctant to go full-digital, mostly because I’m too lazy and can’t be arsed to find the time to teach myself the digital skills required. But, also, I like having finished artwork in the real world, as it gives me a decent supplementary income from selling the original pages.

Chris: I’ve never really got into digital comics. I’ve never owned an iPad or any other kind of tablet, so the opportunity has never arisen. I’m just not interested. I like my comics on paper; the rougher and pulpier the better. I don’t even like comics that are printed on glossy paper. I like my art in matte!

Paul: That is a truly fascinating answer. Thank you. After your spell working in America, you seem to have come full circle and returned to 2000 AD. Would you say working for Tharg is your “spiritual home” as an artist?

Chris: Oh, definitely. Much as I’m proud of my US comics work, a lot of it has been accompanied by some notable amount of drama or stress. I can think of several times during my career when I retreated back to 2000 AD to lick my wounds or recharge my creative batteries in a more relaxed and friendly atmosphere. You won’t believe what a huge sense of relief it is to get another script from them. Drawing Judge Dredd is one of the greatest jobs on the planet, and I’m delighted to be given the chance to do that. I’m in great company, when you consider some of the incredible talent who have worked on the strip in the past. The current crop of artists who work on the comic are damn good too, like Staz Johnson, Dylan Teague and Patrick Goddard. They keep me on my toes!

Paul: 2000 AD is pretty cool.

Chris: 2000 AD is one of the few places where I can get to do the whole thing: the writing, the pencilling, the inking and the colouring. I really feel like I can deliver a 100% authentic “Chris Weston” product there. I’ve also been lucky to forge a creative partnership with the writer, Rob Williams on Judge Dredd. Brainstorming Dredd ideas with him is really great fun. I occasionally declare pompously that I’ve done my last Dredd story, but I soon relent whenever I get the chance to do some more Sensitive Klegg with Rob.  He’s got a real knack for comedy, and our phone calls (when we knock our Dredd stories together) make me laugh so much.

Chris: I think it’s about time Rob and I did something creator-owned together, and we frequently run ideas by each other. However, we just haven’t found the right project yet. I’m sure it will happen one day. We’d have to do that outside of 2000 AD, though, as they don’t run creator-owned strips, unfortunately. There isn’t really an incentive to create new strips for a company if they aren’t going to share a healthy percentage of the potential rewards with you. I think it’s very important for creators to have a decent stake in their creations, and it’s nice to know I’ve got some Filth, Ministry of Space and Time Breakers in my back pocket just in case Netflix want to throw some serious money in my direction for an adaptation. I won’t hold my breath though; that gold rush seems to be over.

Paul: The COVID pandemic interrupted the entire convention scene for all comic fans, but can I ask if conventions are a part of being a professional comic artist that you enjoy? …and do you have any fun convention stories? Have you ever been star struck by any celebrities?

Chris: I don’t do too many comic conventions. I tend to turn down more than I accept. I put in long hours of work on the weekdays, usually working late into the night, so I want to devote my weekends entirely to my family. I’ve never really made large sums of money at a convention so I can’t even justify attending them as a supplement to my income.  I tend to think of them as a young person’s game, and I’m increasingly finding the sheer physical act of hauling my banners, t-shirts, sketchbooks and prints across various forms of expensive public transport (in order to get to a convention) way too much hard work. “I’m too old for this shit!” I often mutter.

Chris: That said, once I’m at a Con, I usually enjoy myself!  I love seeing all the cosplayers and getting to hang out with my friends and colleagues. And it’s great catching up with the punters and familiar fans. They all seem to be really lovely people and I’m very grateful that they dig my work so much. Occasionally I’ve done a foreign convention and they’ve been enormous fun. I didn’t get into this job to become a celebrity, but I have to admit it can be quite nice when you get treated like one. However, it takes me a long time to recover from a Con; they usually wipe me out for days after and I lose a considerable amount of time that could be spent drawing.

Chris: Earlier in my career, I attended a few conventions in the USA, and they were pretty riotous. I tended to hang out with all the same British creators that I hung out with in the UK, which was kind of ridiculous. We could have saved ourselves so much money by not blowing it on expensive plane flights and hotels, and just met up in the pub back here in Blighty. But it was great fun back in the Vertigo days to go to San Diego with Grant Morrison, Mark Millar, Frank Quitely, John McCrea, and the rest of the UK gang. It’s the only time in my life that I’ve felt like I was one of the cool kids. The night Grant and I met a Bizarro cosplayer and took him with us to a DC comics party will always stick in my memory. He stayed in character all night, following me about and I ended up having to buy him loads of drinks because he didn’t have any money. I began to wish I had some blue Kryptonite to ward him off with!

Paul: So, what does the future hold for you?

Chris: I think it makes sense to do more creator-owned work, and to that end, I’ve allowed myself to be lured back to a US-based comics company for a new mini-series. I can’t reveal any more than that, sadly. But I’m sure I’ll always make the occasional appearance in 2000 AD if they’ll have me. I don’t think I’ll ever completely cut my ties with them. And I’ll try to do the occasional film job too, just to boost the old bank balance. I recently finished some character designs for the John Wick spin-off show which was really good fun. I designed a batch of crazy, 70s-exploitation-style assassins. Seeing them brought to life was so thrilling. I also did some work for the costume department on The Flash, but who knows if any of that will see the light of day!

Read part one here

Tripwire Talks To Chris Weston Part One