Word: eisner
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...Eisner: Yes. That's very astute...
...Eisner: Yes. My father painted scenery in the Yiddish theater. He used to take me to plays. I've always been fascinated by plays. I've always felt that there was something very real about plays. "The Spirit" was originally done with a cinematic approach because I felt that the language at the time was being impacted by cinema and cinematic ideas. [But] I was never really satisfied with it. It was interesting and fun to experiment with but for me live theater is a reality. You understand that I am writing for believability. All my stories start [metaphorically] with...
...Eisner: I once thought about it but I've left "The Spirit" and have gone off onto other things. My mention of Ebony in this book was something I felt I had to honestly do because if I didn't mention it somebody else would. But as far as the Spirit is concerned, I stopped doing "The Spirit" in '52 and when people ask me, Do I ever feel like doing it again, I say, "When I do, I lie down until the feeling goes away." If the "Fagin" book is successful I think there's more...
...Eisner: It's a very conscious thing. The transition can best be characterized by the fact that "The Spirit" represented a youthful interest in demonstrating my artistic skills. Plus, the medium I was working in, newsprint, required a strong, solid line that enclosed color. Also my reader at that time was a younger reader. Now I'm aiming at an adult. An adult has sufficient life experience that they can supply the background where I have a blank area. Another element in the change is that I feel the story has far more importance now than when I was working...
...Eisner: I struggled to improve the gestures and acting of the characters. One of the biggest problems in this medium is the difficult time in developing what I call internalization. You take a superhero scene where the character is doing something but you don't know what he's feeling internally. It's only the body posture, the gestures, which enable you to determine what he's really thinking. ? I worked more on the business of gestures and postures, what you call the "acting," than I did on anything else in this book. That's because for this story...