JEPH LOEB: MURDERS, MYSTERIES, AND SUPER ADVENTURES
An interview with Joseph Loeb III by Jonathan Ellis.

Jeph Loeb has a fine history in the comics field, taking on top titles at both DC and Marvel as well as Awesome comics. Now Jeph headlines the industry by writing DC’s two most iconic characters with SUPERMAN and BATMAN: DARK VICTORY.

Here’s a little background info on the man.

I’ll give you the short version. I’m from the East Coast, Boston and New York. I went to Columbia University both undergrad (American Lit) and grad in the film department. I was working on a proposed “Flash” movie at Warner Bros. (Before Batman, before the Flash TV series) When I met the publisher at DC, Jenette Kahn. She asked if I would like to write a comic book for them and through a series of mishaps and my own dumb luck, I wound up doing the first CHALLENGERS OF THE UNKNOWN mini-series (1991) with the man who would become my partner, Tim Sale. And the rest as they say was sake. Wait. Does anyone say that?

What were the great trials & tribulations you had to face to gain entry to the comics industry? The film industry?

As Polly Annish as it all sounds, it wasn’t all that hard! Like I said, I got into comics by knowing the publisher and she was very, very generous to make the offer. People liked what I did and it went from there. I never thought it would be something I would be doing years later, since comics have always been a hobby, not a profession, but it has and I’m loving it. The film business was very much the same way. I had a writing partner named Matthew Weisman who is a gigantic talent and we “Spec” wrote “COMMANDO” and pitched the whole “TEEN WOLF” in the same summer (1984). Both went into production shortly afterwards and were in theaters the following summer and fall (1985). We had two movies in the top ten in October of that year and we’ve been eating since!

Why comics?

Was a fan from 10 years old. I have an enormous collection that goes from 1964 (I went back and bought those, I’m not that old) of all the DC and Marvel books to date. I love the characters, the artwork, the joy of the adventure. And working in the field, it’s like a kid’s dream.

Comics vs. screenwriting, which do you prefer?

They each have their own qualities. Comics are more instant gratification, but movies, while they take longer, have a much greater impact on the entire world. I like ‘em both, like one does their kids.

Format, Format, FORMAT! If someone's looking at a script, they'll turn the first page and if it's not in proper format they'll throw it out. Considering that comics scriptwriting doesn't adhere to any specific format, do you find this aggravating?

I don’t have that problem. I write comics in screenplay form (and instead of writing angles for camera shots, I name them as panels) since that is the computer format I have. No one has ever complained as long as I’m not late!

Being a screenwriter and a comic man, why the hell aren't you writing movie scripts for Batman and Superman?

Never been asked. Hollywood has it’s own set of rules and I respect those. Someday.

Ever thought of just going at it on your own or going to them with an idea?

Um… That’s not how things work. The icons are owned by major studios and “going it alone” is like building a house on someone else’s land. Have I ever done it with my own idea? That’s BLAST! Which I created and took to Nickelodeon with Joe Mad (Who did all the Lucious design work), set it up and recently turned in the first draft to a very happy studio (including Paramount).

Personal beliefs on why the industry is in a slump?

Too many reasons, but I do see it as correctable. It always has. Right now, I think the biggest problem is accessibility. Growing up, comics were an impulse item at the grocery store or the 7-11. You bought ‘em cause they were there. Now, you have to find a comic book store or go on the net. In other words, you need to seek them out, instead of having them seek you out. I’d like to see comics everywhere, but I’d start at Starbucks and Blockbuster. Now that Tower is getting into the game, we’ll see where that leads.

Are you a big fan of Alfred Hitchcock? I'm assuming that anyone with such a patent for red herrings must be.

Huge fan. Thanks for asking. My favourite is probably NORTH BY NORTHWEST, although, SUSPICION, NOTORIOUS and GASLIGHT are right up there. Oh and REAR WINDOW and VERTIGO. (Stop me before I keep going on!).

How much attention do you put into such small details, for instance I loved the subtle references to the dog in SUPERMAN FOR ALL SEASONS, as soon as I picked up issue 4 I looked at the picture on the back to see if the dog was included, when it wasn't I was sure my suspicions of the dogs demise was true, but no, and the story was so much better for it. Heart warming in fact. Not to mention the several details in your Batman series.

All of that is planned out and has to do with two things. The first is the talent that is Tim Sale (He designed the back covers and plates in “FOR ALL SEASONS”) and the other is my own love of film and putting that stuff in there. And heartwarming, yeah, for a cynic, I’m pretty much a sap when that stuff comes around.

Knowing you were involved with such movies as Commando and Teen Wolf, do you get a lot of people coming up to you to joke about it? I mean, anybody come up to you asking you to hook them up with Alyssa Milano? (By the way...)

People often talk to me about it, but remember it was fifteen years ago. Mostly people talk to me about SUPERMAN these days.

You and Tim Sale, make a wonderful team, probably working together as one of the best teams since Stan and Jack, any more projects together planned to follow the DARK VICTORY series?

Tim and I don’t look to the future until we’re done with what we are working on. It is too distracting. But, we’ve got a few notions brewing that we won’t really give much thought to until this summer.

Any hints as to what these notions involve?

Nope. Not yet.

Right now you have several projects on hand, is it possible to have a little run down on each?

Um… sure. There really are only two. I write the monthly adventures of SUPERMAN with my pals Ed McGuinness and my graphic designer, (don’t call him the letterer!) Richard Starkings. The whole team is great, but I’ve known those two for years and I won’t do a book without Richard. The letterer, in my opinion, is to the writer as the inker is to the penciller. And Richard is the best.

The other is BATMAN: DARK VICTORY which we are nearing the end of, yikes, even though only up til # 6 has been released.

Really? there's no more Witching Hour stuff? Kaboom?

WITCHING HOUR is completed. There are stories Chris and I want to do, but it is up to his schedule. There will be more KABOOM and COVEN, but not for a few months.

That’s it for now. In movies there is a bunch of stuff, but right now, nothing in production.

Oh, oh what? What?

First off, there is BLAST! At Nickelodeon which I am writing and producing with Joe Mad. It is a full length live action feature. We’ll be doing an animated series based on the movie as well.

I’ve taken my first step into animation. This fall, on PBS, I’m the head writer/supervising producer on "SEVEN LITTLE MONSTERS", based on the book "SEVEN LITTLE MONSTERS" by Maurice Sendak (WHERE THE WILD THINGS ARE).

Once you've completed a script do you send it to your agent or the production company?

If I’ve written a script ahead of time, that’s when it happens. There are essentially three ways a screenwriter gets work in this business. You “spec” material, meaning you write it and hope someone buys it, the risk is all the writer’s (That’s what we did with COMMANDO). There are open assignments (Like where the studio owns the property, like Batman) and you go and pitch how you would handle it (I do that all the time, SEVEN LITTLE MONSTERS happened that way). But if they don’t want to see you or they have someone else in mind, you can’t change that. Then, there is where the writer ‘pitches’ his story (like I did on BLAST!) And the studio decides to hire or not.

Having so many projects at once, how do you manage your time?

Not very well. Ask my wife!

Favourite characters? Heroes? Villains? Midgets in white suits with mullet haircuts?

Superman and Batman are pretty much the tops. I’ve said elsewhere I’d write THE FANTASTIC FOUR for a dollar if they’d let me. Luthor, Dr.Doom are the first that come to mind. And the midgets? I can’t really pick just one, since they are all so great.

Most influential Author?

Tough question. I’m certainly a 20th century American Lit kind of guy. Fitzgerald, Failkner, Hemingway. Not all that original of me, is it?

Favourite old school artist? writer?

Stan and Jack. Anything by Neal Adams. Steranko. Y’know, the best. I have a great affection for Steve Engleharts work (BATMAN, CAPTAIN AMERICA).

Best Kirby creation?

There are so many. But, the one that brings the biggest smile to my face is Blastarr the Living Bomb Burst from FANTASTIC FOUR # 62. See what a goofball I am?

Most under appreciated creator currently in the biz?

Probably Erik Larsen. SAVAGE DRAGON is consistently the best book of its kind and it needs to have more, many more, readers.

Worst fanboy experience?

None. I am one.

Proudest body of work?

Hard to say. I really like what I’m working on now. But SUPERMAN FOR ALL SEASONS is definitely a high water mark.

Advice to those trying to make it in the Biz today?

Keep trying. Stay at it. Write or draw at a page a day. Make friends with editors over the net or writing letters or going to cons. Don’t be hostile, even if you don’t like what is happening on a book, try and find what you do like. Get your work out there, even if it’s small publishers. Work is work. If you have talent, you’ll get there. Don’t give up!

What has been your favourite book to work on?

They’ve all pretty much been terrific. I think that’s because I didn’t come from comics and I don’t need to work in comics to pay the rent. I do it out of love for the artform and the friends I’ve made. If I didn’t, I’d go home tomorrow.

Current titles everyone SHOULD be reading?

SUPERMAN and DARK VICTORY, of course! What? You meant what I’m not writing? Oh. Hmmm… kidding. I’m going to bore you with the same list everyone has. SAVAGE DRAGON, ASTRO CITY, SIN CITY, BATTLE CHASERS when it comes out, I really like what Joe Kelley is doing on ACTION COMICS; there is a small press book called “HEROBEAR AND THE KID" that is brilliant. DAREDEVIL since Quesada came on board, I even like his writing on IRON MAN. I but nearly everything, but don’t read it all like I used to. I flip now, looking for cool stuff. I tend to follow talent, not comics. Rucka on DETECTIVE is pretty darn swell.

Favourite character(s), title(s) to hopefully some day work on?

One answer: THE FANTASTIC FOUR.

Finish these sentences;
Right now, in the industry we need more...

Fun. People take this so seriously.

and less...

What I call “Instant Criticism”. When a new writer or artist starts on a book, because of the net, they can crash and burn that book before it gets off the launch pad. It often takes about six issues to get where a team really melds. Patience!

Another one of those oh so fun interview games; Here's how it works, I say the name of a certain creator and you say whatever comes to mind. Here goes;
Garth Ennis - Great dry wit. Loving PUNISHER.
Grant Morrison - Great talent. Don’t really know him. Hear he’s quit the biz.
Erik Larsen - A pal. Makes me laugh. Love the Dragon.
John Romita Sr. - So great. Great women. His MJ and Gwen still amaze me.
Steve Ditko - So inventive. A real style that no one has ever captured again.
Matt Wagner - Great guy. Great visualist. Very opinionated and I like that.
Mark Waid - Love talking with him, knows more about comic history then a person should. Really like passing ideas by him, he’d be a terrific editor again.
Kurt Busiek - Terrific writer. ASTRO CITY is charming.
Neil Gaiman - The heart of VERTIGO.
Dave Sim - Don’t know him. CEREBUS makes me smile.
Warren Ellis - I like his brashness. And if he can kick start the second tier of the X-books, bless ‘im.
Peter Milligan - Met him once in the X-MEN days. Made me laugh.
Frank Miller - Wow. Wish he’d do some superhero stuff. His work is always interesting and I say that about so few folks.
Scott McCloud - Read his books. Somebody’s gotta do it, huh?
Teddy Kristiansen - TEDDDDDY. Amazing talent and a great guy. Don’t get to see him as much as I’d like.
Jim Lee - Very smart. Another guy who has a style no one really can match. I can’t wait until he draws for DC, the icons.
Jeff Matsuda - So much fun. Great ideas, such energy. We had a ball on KABOOM. Deserves a bigger name for his body of work.
Sam Liu - Jeff’s pal. He’s got talent.
Alan Moore - A league of his own. Really enjoy how he reinvents the genre time and again.
Steve Skroce - Funny, energenic. I’ve known Steve a long time and I like that’s he’s getting the juice right now. Looking forward to WOLVERINE.
Casey Jones - Like his stuff. Don’t know him.

What's your dream project? If you could work with any companies, characters, writers, artists, no restrictions, no rules, complete creative freedom, crossover as many characters from as many different companies as and if you wanted without any complaints, put together whatever creative teams you wanted, and no one would stop you, what would you do?

Again, this concept that the big companies don’t let you do what you want hasn’t really been a problem for me since I left the X-MEN office and even there. It wasn’t as bad as I hear it is now. I’m having a great time. The two years Rob Liefeld and I ran AWESOME I’d go back and do in a heartbeat, no one knows how much fun, how many giggles we had. The end of that was a heartbreaker. But, it will happen again. I’m sure of that in some form or another.

Comics journalism, in any form, how important is it?

Sure, it’s important. Anything that brings attention to comics is a good thing.

So how does a day in the life of 'Jeph Loeb' work out?

I write as much as I can every day (7 days) and any down time I try and spend with my kids. I don’t have the balance yet, and that makes it very hard. But, I’m trying the best I can.

You've just been given a chance to rework the industry, starting with the major publishers and distribution companies, what do you do, what DO you do?

Argh. We’d be here all day. The biggest things would be pair down the number of books and spend the money on the biggest names on the biggest icons. If Joe Mad were doing SPIDERMAN or SUPERMAN; JIM LEE on BATMAN or SUPERMAN; MIKE TURNER on WONDER WOMAN; 4 really high quality X-MEN books not 14; stuff like that and we’d see a much healthier industry. Put money into new talent. Without the Image studios grooming new talent, it’s hard to break new talent anymore, particularly there isn’t the money to lure the guys and gals who now go into video games and commercial artwork. It would take a total reshifting of the business (And I’m not so sure what we have now isn’t going to work it’s way out). Distribution, I’ve discussed already.

Now one of my interview games;
Of choice; drink of choice: Root beer.
Restaurant of choice: MCDONALDS. Sorry.
Movies: GODFATHER 1 & 2
Books: Mostly Biographies. Currently reading one on Ali.
Music: Sinatra. Swinging Martini music.
Artists: Real old school. MICHAELANGELO. DA VINCI. RAPHAEL. Italians all the way.
Past time: The kids.

A lot of people are going out on their own, forming their own groups doing their own projects. Have you ever thought of doing so yourself? Been approached by any of these groups?

You mean, aside from AWESOME?! We ran the best company in the business, bar none. Wasn’t our fault that the investor was a… well, let’s just leave it at that. I get approached, but nothing has brought me in just now. Like I’ve said, it’s about the talent, then the material. Adam Kubert calls tomorrow and wants to do a creator owned book, I’m there.

Before we go, tell us something no one else knows. Something you've never told anyone...

Oh, sure.

PopImage and I would like to thank Jeph for participating in this interview and recommend you check out SUPERMAN and BATMAN: DARK VICTORY, and if you haven’t already you can still pick up the collected editions of SUPERMAN FOR ALL SEASONS and BATMAN THE LONG HALLOWEEN

All characters, titles, images mentioned or shown are copyright and trademark their respective creators.

Jonathan Ellis is Interviews Editor for PopImage.

Back

Attitude | ProFile | Industrial
Interviews | Reviews | Pi Comics
Talkback | Archives | Gallery