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Tim Bradstreet: Master of the dark
An Interview with Timothy Bradstreet by Jonathan Ellis.

The Master Himself Born the 16th of February 1967 in Cheverly, Maryland Tim Bradstreet grew up to be one of the premier artists in our field. Described as dark and gothic, Tim has become an essential artist in giving a look to the urban underbelly, in bringing life to the night and the shadows, to desire, rock and roll and tattoos, to scars, passion and guns. In 1997 Tim was voted Best Artist by the Horror Writers Guild of America. He's worked on comics, trading cards, Role Playing Games, Book covers and actively pursues his desire for the cinema. Tim displays a unique talent in his art that can make it beautiful and gothic at the same time. In his works you'll see power, intimidation, seduction, slick blacks and smooth lines, beauty, intricate design, gracefulness and more. We were lucky enough to have a few words with Timothy, and here's what he had to say.

Why comics? What lead to the life of a freelancer?

I guess since I was a kid growing up I had a passion for comics. I wanted very badly to be able to work in that field. It started out as a dream and through the years there was something I can't quite describe, driving me on to that goal. Hopefully it won't end there. I also wanted to be a filmmaker when I was growing up and I hope to be involved with that at some time in the near future. Freelancing can be a scary business. As everyone knows, it's full of all the dangerous pitfalls, no insurance, you never know were the next job is coming from, sporadic payment, etc. The one thing that makes it all worth while is you never have to go to the office to work, or deal with that whole employee office demeanor bullshit. You are your own boss. I wouldn't have it any other way.

Not to ramble, but I have a lot of friends who are creatively stuck in jobs working on staff for game companies, computer companies, what have you. Creatively, they are unhappy and yearn to be able to go freelance to work on their own projects but they are stuck in a sense because they have this security. A salary and benefits can be evil.

You've admittedly hung out with numerous bands while developing your art, anyone we know? Did you ever get contracted to do art for album covers?

Mostly friends bands and friends of friends bands. Dave Wyndorf of Monster Magnet and I worked on some concepts in the past. I met them in Chicago, watched them play at Lounge Acts. I hung out with them after the show and talked over the job which was doing cover art for a seven inch for Cage Around the Sun. Now I've been following these guys since the word go and I was totally jazzed about working with them. I continued to talk to Dave over the phone and we worked out what he wanted. I had a ball doing that job. However, for some reason, according to the record company, Dave didn't like it and it was never used. Now that's the kind of shit that rubs me the wrong way. I have no personal animosity toward the band, but the experience of going through all the hoops to do the job and then getting brushed aside was very disappointing. I don't blame anyone. It's a fickle business. I hung out with Tito and Tarantula (They're the band in From Dusk Till Dawn) and Robert Rodriguez last October and watched them play in Austin Texas at a cool joint called Stubbs. Tito Larriva is a wonderful character and we talked about me doing either a CD cover or T-shirts for them in the near future.

I'll take a job designing CD covers when A: I like the music or the people involved. Or B: I'm given carte blanch to come up with a concept that works with the material. I just finished designing a CD for a new Ramones tribute album. I was given only a little art direction and just ran with it. I think it turned out very cool.

You extensively use models, how would one be able to volunteer themselves as a model for you?

Volunteering usually won't get you on a cover very quick. Not because I don't want to use someone who is willing and offers his or her services. It happens all the time. I cast parts based on physical characteristics. If I'm working on a cover for Hellblazer and I need a Hispanic girl with shoulder length straight black hair, then that's the kind of person I have to cast. No matter how much I want to use a certain individual for something, if he or she is not right for the part they simply have to wait until I have something that's right for them. I try to get as close to the physical description of the character as I possibly can. Working with Brian Azzarello on Hellblazer, I sometimes ask, If you were directing a movie of this issue, who would you cast in this part? To which he would reply, (for example) ... Um, Charles Dutton. This process comes in handy when I don't have a script to work with or I must have a quick visualization of what I'll need in the model. So, you know, I go out and find a thickset bald black guy.

Vampire fascination, how did it begin? What defines a vampire for you?

The whole Vampire fascination seems to have been born of the Goth scene happening in the late 80's early 90's. The modern primitive scene was part of it as well. I think that teen angst, and wanting to be a part of something cool and different, fueled it. White Wolf's Vampire the Masquerade hit at the perfect time. They came to me at the perfect time as well. I was just starting to explore with my style and I was ready for the subject matter. While I didn't participate in the Goth scene, I operated very close to it. I very much could identify with it. However, I didn't consciously do those illustrations with Goth in mind. They're more like gypsy white-trash punks. The approach I took with the photo realism and the alternative culture I was dabbling in helped give the work credibility. I was shocked at how Vampire took off. It became a kind of phenomenon.

When did you begin integrating photography with your art? You've said you want to learn more, have you tried anything to that effect yet, say different lighting techniques, gels, or say... shooting a person on a median strip during heavy traffic with an extremely low shutter speed, etc?

I started the process with photos around 1988 and baby, I feel like I've tried it all, though not even close. Yeah, I try to use techniques that fit certain criteria. I've used gels and filters, hard light, soft light, reflected light, different lenses, etc. It's a constant learning experience. What I'm learning is that there is no substitute for a good model, perfect conditions and a solid if not sometimes radical composition in mind before I shoot. I love the photography part of the process. I've had some interest from certain parties lately about publishing a book of my photos. I would dig that most hard.

Would they be straight portraits or computer adapted works as well?

Probably a combination of them both. A lot of the shots are scenes, a lot are portrait type shots and some are close ups. You can see a little bit about what I'm talking about in the photo gallery section of my website. Most of the printing that I've done is not gallery quality stuff so I would be fine tuning them in Photoshop. Also some of the shots would be tweaked in other ways. Adding graphic design elements and so forth. Mostly just the fine tuning, adding a color tint, sharpening, lightening, darkening and maybe a bit of filtering. There wouldn't be a lot of special effects. I would want the photos to stand by themselves as art for the most part.

Your artwork has been described as having 'dark power' and 'terrible beauty. What is 'gothic' to you?

To me, Gothic is both of those things. Bernie Wrightson's style is described as Gothic. Although our two styles have a few similarities in subject matter, they are like 180 degrees from each other. I believe that Gothic can be anything that is dark and full of dramatic lighting and shadows. Where you don't really know if something dangerous is lurking in the blackness or just off camera. I think that an artists ability to bring an extra dimension to the piece, that element that you can't quite put your finger on, can be crucial to taking the illustration to a higher plane. The characters expression, the body language, the composition and how you choose to light the scene can be huge factors in the success of the illustration. It's not just the dark picture, it's the wordless story that's being told that can make it special.

What exactly is RED SKY DIARY? Who is Manfred Gallows and what's he all about?

Red Sky Diary is the story of Kerulan Ullan-Bataar, AKA Manfred Gallows. Gallows is basically the present day incarnation of the Red Storm, one of many names attached to Gallows' clan of Vampyre hunters. Since around the time of Kublai Khan, for 700 years, the first born male of his line has taken over the role of the Vampyre Hunter. There are many legends surrounding these mysterious hunters. Many Vampires believe him to be a Vampyre himself, having existed for so long. Each newborn hunter is trained from birth to take his place as, what I call the Mudir (Demon or Vampyre) Hunter at the appointed time. The diary part of the title concerns the written recordings of their activities by each of the hunters over 700 years. In most instances, these journal-like entries make up the narrative of the story. On the whole, it's epic. I plan to release the first story as a heavily illustrated coffee table sized book. The story will be written by Brian Azzarello and myself. After this book is published I'll be concentrating on taking the project to film.

To get a better Idea of what Gallows is, here's a poem written by my friend Matt Sturm that hits it directly in the vein.

Red Dragon
Among the Hindus I am Skanda - warrior son of Shiva.
In Tibet I Am called Yamantaka - Destroyer of the Lord of Death.
The Algonquin chant my name, Chiabiabos - Great Wolf.
I have been called all of these and more. I am Gallows.
I am Legend.

For seven hundred years I have prowled the shadow's edge,
stalking demons celebrating Caza de la sangre, the blood hunt,
haunting the unwaking realm between nightmare and reason.

The ageless predators dwelling within this despairing wasteland
know no terror greater than their own, yet to them I am fear.

For they understand I am the Watcher, and I am the Judge,
but above all else, I am the One, the Executioner.
And it is whispered among them that it is I
who will visit death down upon their immortal selves.

Within a circle of fire I spin an eternal and beautiful masque of destruction,
raising the holy dust of oblivion to cover the sins of corruption
and banish this plague forever
from the world of men.

On and on for seven hundred years the dance has spun
I am not the first to learn it.
I only pray that I am the last.

Have you thought of working with Del Toro on it, not just because of your recent work with him, but his great and original ideas displayed in CHRONOS, and I'm sure to come in BLADE 2? Or perhaps Ridley Scott?

Goodness yes. I would love to work with either of them on the project. I shudder to think what working with Ridley Scott would be like. He's directed so many of my favorite films. Working with Del toro would be a dream as well. He's one of those awesome talents that has really only scratched the surface of his potential. The honest truth is I would love to work with a director that has a keen visual eye and knows how to tell a story. Darabont, Scott, and Del Toro all fit the bill. They would all three, be at the top of the wish list.

Now you're currently working with Alex Alonso to get your collaboration with Clive Barker, AGE OF DESIRE out there, exactly what's the story and why has it been in limbo for the last ten years?

The story of Age of Desire focuses on a young chap named Jerome who volunteers as a test subject for some university researchers who have developed a new Aphrodisiac Neither Jerome nor the other researchers realize that the head of the project is actually injecting Jerome with an extremely powerful dose that transforms Jerome's reality and turns him into a hard on of biblical proportions. As the drug, so powerful in fact, that it's burning him out like a match, works through his body, he rides a wave of erotic excess that will finally kill him. He actually believes himself to be on fire when the drug hits it's peak through Jerome's activities. It's a beautiful little tragedy.

The story was adapted and originally illustrated (for the most part) by P. Craig Russell. However, The publisher (Eclipse) didn't like the more cartoony style Craig was experimenting with at the time. Clive also didn't think it was appropriate. That's when they came to me. It was my first job in comics as penciller/inker. Just as I was about 2 pages from completing work on AoD, Eclipse went bankrupt. I spent the next 6 months trying to get my artwork returned to no avail. They also owed me about $3,500.00 which I never received. This all happened in 1991. Out of the blue, early last year, the artwork resurfaced and was returned. Since then, Axel and I have been working on getting it published at Vertigo. I think very soon now, we will finally see it published.

Have you found that pseudonym yet to experiment with your digital work? What programs have you been experimenting with?

Heh, no, no pseudonym yet. I don't really think I'll need one. I've met a little resistance in using digital artwork for certain projects but we'll see that stuff start making it's way out when the time is right. Some have said that people will not except me switching gears like that, that my current style is too identifiable with me. I don't agree. I believe I should have the freedom to work in different mediums if it suits the material. And as far as software goes, pretty much just photoshop.

Being such friends with such diverse film talent, have you been approached about collaborating on any pics? Perhaps as creature, costume or character designer. You mentioned recently working with Guillermo Del Toro on Monte Cristo.

That's starting to take off a bit. Unfortunately, Monte Cristo is on the back burner, but I'll begin working with Guillermo on his next film, Blade 2. I'll be doing conceptual artwork and design. I've got a new role playing game property that were looking into developing into a TV show. And then of course there's Red Sky.

You've mentioned you'll be helping design a 'new breed' of vampire, and we know from David's [David S. Goyer] comments that Blade will have to team with those he hates to fight the 'greater evil'. Are the two mentioned one and the same, and what can we expect? Heh. Lemme guess. Long hair, leather, and tribal tattoo's - hope they shoot in T.O. again.

Blade does in fact have to team with the nightwalkers, but not without hesitation and several nasty plot twists. The new breed are a threat to all concerned. They have some very interesting design requirements that are sure to be good for some eyepopping sequences. The regular Vampires are going to be a challenge as well because there are a lot of characters being introduced to this film that require their own "look." I'm not sure (sounding like a politician) if I'm at liberty to discuss this point further than that at the present time. And yes, the plan is to shoot in Toronto again. I'll be up there during filming to get some extra shots. We're very seriously discussing me doing a Blade 2 movie adaptation for Marvel Comics. If that happens I'll want to work pretty heavily alongside the still photographer since I'd be using his shots for the artwork.

Cover art for the hardback edition of Maximum Black: Iconic Images and Cinematic Illustration.

You describe the page as being a sort of therapy for you...ahem...so, what was YOUR childhood like?

What I mean by that is that like everyone, I deal with stress, anger, pain, frustration and so forth. But I have an outlet, the work. I can work out some of these things by focusing on an illustration and releasing those feelings on paper. That's why I sometimes say that I live vicariously through these characters. They are the killers, the villains, the heroes, etc. It leaves me at ease for the most part. And just for the record, My childhood was splendid.

If you were to describe your style, what would you say? Who have been the major influences on your work?

That's kind of a tough question for me. I guess I described it somewhat accurately on the subtitle of my art book, Maximum Black. "Iconic images and cinematic illustration," though that is more describing the subject matter. I guess it's evolving into a more chiaroscuro style. I'm constantly simplifying it as I grow. Gone are all of the feather lines that used to dominate every stroke. It's a hard thing to try and eliminate things that work. I still use feathering on skin and faces to accentuate the softness and the contour and I've almost completely eliminated using it anywhere else. Eventually there will be no feathering at all, just black and white shapes. This doesn't mean there will be a slack off in detail, I'll just be using a different technique to present it.

As far as my influences go, they have evolved much like my style. At first I was influenced by comic artists, guys like Steranko, Paul Gulacy, Tim Truman, P. Craig Russell, Moebius, Bilal, Mike Mignola, Phil Hale, Joe Kubert, Brian Bolland, the list could go on. As I evolved and started using more photo-real techniques my influences became photographers like Bruce Weber, and cinematographers like Haskell Wexler, Vittorio Starraro, Chris Menges, Freddie Young, Russell Metty, Frank Tidy, David Tattersall, Freddie Francis, etc. With the photographers/cinematographers it's not just pretty lighting and lush photography, it's all about the composition of the frame. These guys are in a sense, master painters. The only thing that is different is the canvass and the tools.

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?

Nothing fancy here. I'd like to Red Sky Diary. I'd like to write it along with Brian Azzarello. I'd like to do it as a heavily illustrated 9"X12" hardcover. Colored by Grant Goleash. Grant and I would also provide an oil painting for the cover (already almost done). I'd like for Axel Alonso to edit it and I'd like Vertigo to publish it. I'd also like a mass market release, and carte blanch on the advertising. I'd also like to do an Unknown Soldier 48 page one shot that would be written by Azzarello.

Has a page count been established? What other avenues would you explore to get the book 'out there'? To a wider audience then just the comics fans.

The page count has not been established. We are very much in a pre/proposal state of things. Unfortunately, it's really to early in the ballgame to be more specific about the particulars. The package I'm proposing is definitely an attempt on my part to do this story in a way that I'm most comfortable with. Doing it as illustrated prose or an illustrated book cuts down on the amount of work I do. Instead of breaking my back to do it sequentially, I can take my time and work on each separate piece as a single illustration. I think this kind of package would be a great crossover. It could appeal to comics fans, art fans, and genre book reading fans alike. The natural byproduct of doing it this way would widen the audience. I'm thinking also about adding a cross platform multi media CD in the package as well. It would consist of production drawings, notes and extras that I couldn't put in the book itself. As we get further along with the project, I'll be adding a new section to my website that is devoted to Red Sky Diary. We'll be promoting it heavily there, as well as offering limited edition prints, posters and some unique merchandising available only through the site.

What's your dream project (version 2)? If you could work with any production companies, studios, actors, directors, no restrictions, no rules, complete creative freedom, get whatever and as many talent as you wanted without any complaints, put together whatever creative teams you wanted, and no one would stop you, what would you do?

This one is easy as well. I'd like to make Red Sky Diary into a film. Here are the particulars. I'd like Frank Darabont (Shawshank Redemption, Green Mile) to direct from Azzarello's and my screenplay (or Frank's adaptation). Castle Rock would be the studio. Russell Crowe (Gladiator has nothing to do with this. I've been saying it for years, ever since Romper Stomper) would star. I've got my wish list for the principal actors if you want that too. David Valdes would produce. Chris Menges (or whoever Frank would be comfortable with) would be the cinematographer. I'd also like to be involved in the concept/design phase.

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

I think it's very much part of the whole. The comics industry needs coverage, good or bad, now more than ever. Magazines like Wizard, even though for the most part it's a popularity contest, are good for the industry. It gets people more interested and involved. The Comics Journal, love it or hate it is very much a part of this industry. The Comic Buyers Guide is another one. Online coverage is going to be the wave of the future. And the industry needs it like a starving man needs food.

So how does a day in the life of 'Timothy Bradstreet' work out?

Pretty well. Even though as an artist you kind of work in a vacuum, creatively. If I didn't go to Cons or have a website I'd never know if people liked what I do. But I get up and try to get to work before 1:00 PM. Does that mean I sleep all day and I'm just lazy? Quite the contrary. I try to work 8 hours a day and many times I'll work 15 hour days. I'm just a night owl. With me the work is not just work. It is a part of my life. So even if I've worked all day on something that has to be done, I'll work all night on something that I enjoy for myself. I've got plenty of free time too, and when I do have it, I like to go to movies, go out drinking with friends, go to galleries, see live bands or play in a tidal pool for a few hours, but the table always beckons.

Most under appreciated creator currently in the biz?

4 months ago, I would have said Brian Azzarello. But now he seems to be very appreciated. How about Marcelo Frusin.

Worst fanboy experience?

There are a few to be sure, but I just let 'em run man. If they are becoming a nuisance I just get up and go have a smoke. 98% of the fans are welcome at my table any day.

Proudest body of work?

There are several close competitors. The HELLBLAZER covers, The PUNISHER covers, and about 25 illustrations I did for a game called Armageddon. The company went bankrupt right after the book was released. They shipped it like 4 months late. The UPS strike was a part of that problem. No one ever saw that stuff. I art directed (meaning I picked the artists and art directed them) and designed the look for the game but the book's design guy screwed the pooch and the layout inside ended up looking like shit. I will be reusing the art in a new game I'm developing with Ken Whitman.

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

There are two kinds of writers and artists. There are those who want to write or draw and love the process of what it takes to create, and there are those who want to HAVE CREATED. What I mean by this is that some people just want to reap the rewards but they don't want to do the work to earn it. If you feel like you have a passion for the work then nothing will stop you from attaining your goal.

What has been your favorite book to work on?
HELLBLAZER.

Current titles everyone SHOULD be reading?
HELLBLAZER, THE PUNISHER (Shameless plug) and HELLBOY, every time it comes out. 100 BULLETS, THE LEAGUE OF EXTRAORDINARY GENTLEMEN, TRANSMETROPOLITAN.

Favorite character(s), title(s) to hopefully someday work on?
Hellblazer (I'd love to do some more interiors), Deathlok, The Unknown Soldier, The old Blade: Vampire Hunter, Batman, Human Target, Morbius, Killraven, Dr. Strange.

Most people see the industry as being in a slump right now, any beliefs as to why that is?

There seem to be a lot of reasons contributing to it. The glut from the late 80's early 90's really turned a lot of people off. All those Marvel titles. They were trying to just put out as many books as possible to kill the competition. Valiant and their "variant" covers, "Chromium" covers and zero issues, the collectors market crap. The fire at the big paper mill helping to inflate cover prices. With all the books that were being put out for selfish reasons, the talent pool in the industry was stretched so thin you didn't know where to look for a quality book. People just got tired of it. When most of what an industry produces is crap, then interest dies off real quick. Computers and computer games took a hold and that seems to be what happened to new readers. Computer games have taken that escapism that comics provided and raised the stakes. Why should young people read about fantasy when they can interact with it? I think that there is plenty of room for both. Whenever I hear someone say that comic BOOKS will give way at some point to online comics and the medium will eventually turn digital if it's to survive, I cringe. Change is essential but it doesn't have to mean that we throw away the books.

Comics code, we want to get rid of it, you in?

Most certainly. However, I do think there needs to be some kind of rating system. I don't want to see a 9 year old reading pornography. But if I want to read it that should be OK. It would be cool if I could do an X-rated book for DC and not have to worry about all the things that someone says we can't do. Mature reader books is a good idea but it would be nice to be able to stretch the boundaries once in a while where it's needed and not have to worry about some suit that says, "Not a fucking chance in hell. No penetration! No genitals! No pubic hair! No nipples! And you can't say fuck if you are referring to a sexual act." That applies to the violence factor as well. While I personally like to do the violence off camera, show a reaction and let the reader imagine it (which I think is more effective), there are times when you need to show it. Why censor and water down the creativity? Ultimately the job of protecting kids from seeing things they maybe shouldn't, falls with the parents or the people responsible for selling the material. When I was a kid, my fascination for this kind of material was stronger when I had no access to it. When I was lucky enough to see a naked breast or a gory picture in Fangoria Magazine, I was in heaven. It was cool. But it didn't make me a violent kid or a serial rapist or a wife beater. The fact is kids are going to see this stuff weather we want them to or not. Just like some kids are going to smoke weather we want them to or not. The responsibility lies with the parents. They should take their responsibility more seriously if it's a problem.

Why exactly are you determined to have a skull in each cover of THE PUNISHER [aside from the one on his shirt anyway], was it a personal challenge or just essential for you because it was iconic to the character?

Both, really. It's exactly as you say. First off, yes, it is an iconic element to the character. The skull signifies death. When you tangle with Frank Castle, 9 times out of 10 gonna wind up in a body bag with a tag on your toe. So that seemed like a significant, strong graphic element to include. Why do I insist on including it on every cover? Plain and simply because I was given the freedom to do it. My criteria for each cover was that every one would look like a 1st issue, every issue would feature the Punisher and every issue would have a skull. My challenge was to make them each unique and different from the rest. Since the team of Garth, Steve,and I are signed up to do another 12 issues, I'm trying to decide wheather to proceed with the same idea or do something completely different. I'm leaning towards continuing with the theme. It helps to make these two series unique from anything thats been done before in comics. I try to imagine looking at all 24 covers and have them all look different but with the same basic elements. If I could pull it off for 24 issues, what a special body of work that could be.

What else have you got coming up right now?

Right now I'm continuing my monthly gig as cover artist for HELLBLAZER (a job I covet). I'll continue doing another 12 issues of the PUNISHER. I'm inking at least six issues of Vertigo's CODENAME: KNOCKOUT. I'll be inking BATMAN/DEATHBLOW (with penciller Lee Burmejo), a 3 issue deluxe format mini-seies from DC/Wildstorm. Cover art for ACTION COMICS #775. Design work for Blade 2. I'm also working on a bunch of new illustrations for a role playing game that I'm developing with designer Ken Whitman called "Shatterland." I'll be doing all of the artwork, book design, and art directing for this project. Shatterland is also being developed for a weekly Science Fiction action/drama for television. Plans are in the works for me to illustrate a 96 page hardcover TRANSMETROPOLITAN project with series writer Warren Ellis. I'm also doing concept designs for Tom Gilliland on a new line of 12" action figures. They are along the lines of GI Joe but way more radical. Like Victorian supernatural hunters. It's pretty friggin cool. There is talk that I could be doing an upcoming single issue of HELLBLAZER and also an UNKNOWN SOLDIER 48 page one shot. Things are very busy

Finish these sentences;
Right now, in the industry we need more... good ideas, talent and advertising
and less... shitty, no talent bad idea books.

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?

I hire Spielberg, Katzenburg and Geffen. They put a shitload of money into a film about comics and then produce a TV show dedicated to it. Then they could hire the right people for a distribution plan and bankroll the publishers so they could afford the best talent to produce a good product. I sit back and reap the benefits of my genius, buy a 60 foot sailboat and work on my own stuff.

Now one of my interview 'games';
Of choice; what is your drink of choice: Newcastle Brown Ale

Restaurant of choice: The Field, Gaslamp quarter, downtown San Diego.

Movies: The Duelists, The Mission, Lawrence of Arabia, The Sand Pebbles, Ben Hur, Papillion, Planet of the Apes, Cool Hand Luke, Schindler's List, Unforgiven, Vertigo.

Transmetropolitan 38 Books: Dune, Ben Hur: A Tale of the Christ, Last of the Mohicans, Fatherland, Name of the Rose, Shibumi, In Cold Blood. I know he's not Hemingway but I love all the Robert E. Howard Conan books.

Music: This is what you would find in my CD player right now. Tool, Henry Rollins, Chris Isaak, Johnny Cash, Willie Nelson, Kris Kristopherson, A Perfect Circle, Crosby Stills and Nash, Bob Dylan, The Band, The Spelunkers, and Fu Manchu

Artists: James Bama, Phil Hale, Serpieri, Milo Manara, Richard Corben, Travis Charest, Mike Mignola, Edvin Biukovic, Duncan Fegredo. Keith Parkinson, Jill Thompson, P. Craig Russell, Miguel Angel Prado, Chichoni, Gary Gianni.

Past time: Seeing movies, collecting films, playing Frisbee, collecting art, traveling, drawing, recording film score compilations for friends and then designing covers and graphics for them, drinking, grilling out, etc.

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

Secretly, I yearn to be Bob Schreck's towel boy.

And now...
Plug time! This is where you plug as many things as you want, comics, websites, movies, Charities, prints, Bradstreet brand discount cuisine - "It's not just for Cats and Dogs anymore!", novels, anything old, new, current and upcoming, socks, everyone loves socks, art, and whatever else. Anything that could somehow lead to money in your pocket and worshippers and your feet. Sexy worshippers. Sexy worshippers WEARING money. Yessssss, that works out nicely.

Ah, just plug my website. We're in the process of updating the whole thing and adding a lot of cool new stuff. Here's the link Tim Bradstreet.com.

Thanks Tim. There you have it, make sure to visit Tim's site to see some great online artwork.

Jonathan Ellis is Interviews Editor for PopImage.

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