After that came Udolfo?
Before Udolfo I made two plates, so Paape could finish a
story of Luc Orient before he could start Udolfo. That is at the end of L'enclume de la foudre
there is a large lizzard on the final plate.
We worked on Udolfo
when I moved to Paris, that was in 1978
For Udolfo you were given a scenario. Could you decide yourself which
points of view, ways of cutting pictures, and what positioning of the characters to use?
I had the scenario of André-Paul Duchâteau
, specifying on the left what happens
on each picture and on the right the dialogues, picture by picture.
But I had a lot of freedom. Eddy Paape
wanted me especially for the plate
layout, the mise en scène.
That work division is remarkable, because in American comics the one
who sketches and cuts the story in pictures is credited with the drawing,
while an assistant inks all accordingly. Yet in Tintin/Hello BD (fr); Kuifje (nl)
you were only
mentioned for your work on La montre aux 7 rubis
in the fifth episode,
starting with page 12.
That's possible, but it didn't really bother me. I was happy to be
doing something. I was of course very surprised when Eddy Paape
asked me to
do the sketches for him! Anyway, Milton Caniff also had someone doing
the sketches for him.
I must have one or two copies of those sketches somewhere.
I didn't draw like Paape at all, but it didn't look like Rork
either. It was just the best I could do at the time. By the way, I had to work
on a size that was too big for me. Paape then corrected the mistakes in my
drawings and inkted all, in his own way off course. He changed the characters
somewhat, added his fine lines, gave it his own style.
How was your contact with him? Did you feel at home with him?
Andreas: To me it was more about the man than about what he made.
He was an OUDE ROT IN HET VAK. The things he taught me I still use.
Simple, yet practical things. Limited, but important. From time to time
I still recall new things.
The first episode of Révélations posthumes
I made in 1977
these were published the year after in (A Suivre)
The contact with François Rivière
comes from that famous day when Jijé
visited the Saint-Luc.
I had a drawing on (site-editor: in Dutch: schaafkarton), my first. That happened to be the only
one of which Jijé
had said:""That's good! Look, that is good,
elegant..." Rivière was there as well. He was looking for someone
to do the cover of a Jules Verne book and approached me. Later I asked
him to write a story for me. I believe he didn't feel like it at first,
but I persisted, so eventually he came up with a text on H.P. Lovecraft
After he had seen the first plates, he became more interested. At first we
worked for Métal Hurlant
, for a Lovecraft special. But when I was
finished, Riviere told me: "Métal Hurlant isn't doing well these days,
they don't pay well. Maybe it would be better to go to
." I must say I didn't feel good about this thing with
Métal Hurlant. That also led to some arguments. Later I understood that
it was really something for (A Suivre). They were looking exactly for
this mixture of comics and literature. After that we continued working for
them. Métal Hurlant was a lost case in all respects.