: I'll give you a great example. Leandro has a beautiful sense of graphic storytelling and design. He also plays a bit with caricature so what he's drawing can be realistic but not literal. When we reveal to the reader that the characters can be shot as many times as possible and still be fine, and when Leandro draws that, he can draw someone with an eyeball hanging from their optic nerve and it doesn't look as gross as it sounds. It looks kind of silly.
Clark: Were choices like this made during the writing process or did they come from working with [director] Gina [Prince-Bythewood]?: Gina had a very clear vision. The comic is goofy. These are Looney Tunes characters. They're all Wile E. Coyote. What became very clear working with Gina early on is that she was focusing on the emotional truth. That meant that a lot of the glibness of the source material, and some of it in the early drafts of the screenplay, went away. It becomes darker.
In the comic, Nile makes it from Afghanistan to Paris in two pages. That wasn't possible in the movie — Rucka needed this plane sequence in the movie to address the character's questions.: My first literary agent out of grad school gave me advice: you're a storyteller first and foremost. I say this as a guy who started as a novelist then I moved into comics and novels and now I am writing screenplays and novels and comics.
Dope movie
Super lit movie
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