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[man] All right. Here we go.
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00:00:18,018 --> 00:00:19,018
Issue 1.
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2020 is almost here.
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00:00:27,318 --> 00:00:31,318
Like, twelve weeks
until our first issue comes out.
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Arno Stark is Iron Man,
and the robots are rebelling.
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[sighs] Where do I start? I mean,
I don't even have to make this stuff up.
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We're living in science fiction.
We are in the future. Future. Future.
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Hmm, okay. Focus. Focus.
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The minute the ball drops, it's 2020.
Arno Stark is officially Iron Man!
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The future is now.
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And... [stammering] what next?
What-- What else?
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Um... [clicks tongue] Ah, come on, Dan.
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You've written comics for almost 30 years.
You can do this.
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-[Twitter alert whistles]
-Ooh! Tweet!
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[man] When Stan Lee
would talk about Marvel,
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he would call it
the world outside your window.
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Fantastic Four
and Peter Parker and The Avengers,
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they didn't live in some city with a
made-up name that you can't find on a map!
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They lived in New York City!
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I have written Silver Surfer,
She-Hulk and a lot of Avengers.
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But most people know me
for my ten years on Spider-Man.
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I aimed for this.
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I wanted this more than anything.
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Doing everything you've ever wanted
is awesome!
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[no audible dialogue]
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-Hey. Oh, man.
-[cashier] Hey, Dan.
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-[Slott] New books out yet?
-Yeah.
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[Slott] Ah, cool.
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Nowadays, my new assignment is
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Iron Man 2020,
the adventures of Arno Stark.
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I get to be the guy who's writing
about Iron Man 2020 in the year 2020,
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and they picked 2020
because it was a strange future year
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we would never ever reach.
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But here we are now,
and that is a little crazy to me.
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[elevator bell dings]
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Hey.
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[mutters]
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Hey!
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Wouldn't it be funny if it broke?
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-It's a beautiful day in the neighborhood.
-I love the new digs!
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So, ultimately this is a big,
crazy action-adventure story
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with a new Iron Man
and a crazy big threat.
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You know, all that goodness.
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-The Mighty Marvel Manner.
-Yes.
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I started reading comics when I was six,
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and now as an executive editor,
I've got my hands in half to a third
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of everything that we're putting out
to some degree.
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You-- We've been planning this for ages.
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We've been seeding this
for a very long time.
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So I know you've got a lot of ideas
and very little actually put together.
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[laughs]
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-And you need more time to get it done.
-I would-- I-- You--
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Because it's not good enough
and you need more time.
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I think I could make it better.
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[Brevoort] We use the term "work" loosely
when it comes to Dan.
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Dan's terrible with his deadlines.
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But no--
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You'll be the famous writer
of Iron Man 2022.
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-God!
-[laughs]
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No pressure at all or anything!
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-No problem!
-Oh, oh!
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[both laugh]
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[Brevoort] I've worked with Dan
for a quarter of a century.
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And fortunately, he's good enough at this
that those strengths help
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to counterbalance the fact
that he is his own worst enemy
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when it comes to being able
to produce things
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on the schedule that they need to be done.
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[laughs]
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[Brevoort]
Absolutely, I want [indistinct] Yeah.
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[Slott] You sound like my parents.
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[both laugh]
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In the 1980s, there was a famous
comic book story called Machine Man,
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which featured the Iron Man of the future.
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With iconic shoulder gears,
he was Iron Man 2020.
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Both Dan and I were aware
that 2020 was coming up.
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We thought about,
"What if from that story 40 years ago,
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we'll introduce a modern-day version
of that character?
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A modern-day version of Iron Man 2020."
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-[typing]
-[Slott] Issue 1: "The Future is Now."
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Starts like this:
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Arno Stark,
Tony's smarter and sociopathic brother,
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does not see himself as a...
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does not see himself as a futurist.
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For most of his life,
he has seen himself as the future,
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and that future is here.
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00:06:53,747 --> 00:06:56,577
And that future was 2020, and it's here.
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Hmm.
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He is the one
who will unite man and machine
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against this extinction event / threat.
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The one who will unite--
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The one who will u--
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[grunts]
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The one who will unite...
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The Marvel style of writing has changed
and evolved over all the decades.
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Everyone gets to add to the tapestry,
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but very much at the foundation,
right at the start,
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you're looking at some of the greatest
comic book creators of all time.
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Stan Lee, Steve Ditko
and Jack "The King" Kirby.
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[man 2] At that time,
in the '50s and '60s,
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the big schism in the industry was between
the DC Method and the Marvel Method.
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Most comics were done full script.
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There was a panel description
and then the dialogue was written out.
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All the artist did was fill in the blanks.
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And that led to storytelling
that was codified
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into this, sort of, plot-heavy structure.
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And Marvel just completely revamped that.
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[Slott] For a long time, Stan was one
of the only writers working in Marvel.
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Everyone talks about how Stan
created the whole Marvel universe.
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The X-Men, the Fantastic Four,
Spider-Man, Hulk.
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One thing after another.
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But the only reason he could do that
is because he had such talented artists
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who could really do the heavy lifting.
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He would write up very brief descriptions
of what he wanted in the comic.
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And then the artist
would lay out the whole page
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and come up with the way
the whole story unfolds.
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And then Stan would get the art back
and add all the dialogue.
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And that all became the Marvel Style
of writing. The Marvel Method.
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Nowadays, Marvel Method
isn't really used at all.
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Everyone goes full scripts.
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[typing]
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I'm one of the dinosaurs.
I'm one of the people,
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one of the last people,
doing Marvel Style.
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I want the creators to have fun.
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I want the creators to jump in
and give you these gifts on the page.
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You're gonna have an idea for a story,
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but it's always gonna play out
a little differently as your co-creator,
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your artist, starts to play with the idea.
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Normally in a comic book, you have
multiple people working on the art.
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You have a penciller,
who lays out the whole book.
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And then you have an inker,
who comes in and embellishes it.
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And then the colorist comes in
and adds all the color.
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But our artist for Iron Man 2020
is Pete Woods.
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And what makes Pete Woods different
is Pete Woods does everything!
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Pete Woods is the penciller and the inker
and the colorist, all in one!
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In his van driving around the country.
[laughs]
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[Brevoort] These days, our writers
and artists live all across the globe.
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People in every time zone
and every place around the world
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are working on Marvel comics
and Marvel stories.
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All the time, I hope.
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That's what they tell me they're doing.
I choose to believe them.
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In the days of Stan in the '60s,
even if you weren't working
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in the mythical Marvel Bullpen
of the office,
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you had to be local to Manhattan
in order to bring your work in,
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but the Bullpen these days is the world.
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Moving into Iron Man 2020,
we had to bring a new artist in.
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So, we tapped Pete Woods.
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[Woods] If there's a character out there
in the comic book universe,
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I've probably drawn him at least once.
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With the technology we have available,
I can draw wherever I need to draw.
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The opportunity presented itself,
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so I decided to just buy an RV
and move around the country.
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I communicate in pencil and ink
and colors.
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It's my favorite part of the process.
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It's great finally seeing
a fully realized page
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that has the emotion and the impact
that I've imagined it would.
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Some artists prefer not to have
the weight of telling the story.
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But I like to have some stake
in the storytelling.
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For the first cover,
I wanted to do something that pops.
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Tom had an idea that he wanted
to do a more character-focused cover.
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So, I'll noodle around
with some character ideas
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while I wait
for a panel-by-panel breakdown from Dan.
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[Slott] One of the things I have to do
is I have to make sure
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that when all these comics
stitch together,
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it tells one big epic story.
Bah, bah, bah.
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[typing]
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Every individual chapter needs
to be great.
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It needs to be edge of your seat.
"What's gonna happen next? Whoo!"
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But when you get to the whole big picture,
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what's the bigger story we're telling?
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And I've got some crazy ideas.
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I need to know
all these different characters
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and what they're doing in their worlds.
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Riri Williams, Iron Heart,
is gonna get her own adventure.
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Machine Man, who is a key character,
he's crucial to the main story.
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Ooh. Dr. Shapiro is too.
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Where does it all start?
Where do we start?
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So, Arno's been around for a while.
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What's he been doing?
Why does he wanna be Iron Man?
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But the real brains
behind the outfit is Mark.
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Wouldn't say Machine Man
is running this whole operation.
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There's also Machinesmith.
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If it blows up and now,
"Oh, no. I can't help Iron Man."
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Not that that's going to happen.
But it could.
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I think we could pull this off.
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[typing]
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But every idea that I've put in the plot
is going to be painstaking labor
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from Pete Woods
as he has to make it all reality.
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Page 1, panel 1:
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We open on Arno Stark's recurring dream.
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He's a small naked figure floating
in space above the Earth,
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the only thing standing in the way
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between our planet
and an unstoppable colossal creature,
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something larger than the Earth itself...
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[Woods] There's this huge
terrifying creature
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that's half organic and half machine.
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This creature is huge.
It's gigantic and it's imposing.
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So I wanna have it
break the borders of the page
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and really give an impression of size.
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I like the Marvel Method
because it's liberating. It's exciting.
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As the writer and the artist,
we work together more in tandem...
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and that gives me a chance
to choreograph things
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and have a little more input
into a story...
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and maybe give my own little twist on it.
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People have expectations
for character creation.
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And I wanted to meet those expectations,
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but I also didn't wanna make it look
like something we'd seen before.
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But sometimes, when I'm behind schedule,
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00:14:54,394 --> 00:14:57,734
a nice tight script
lets me get things done quickly.
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The Marvel Method definitely can be
more work for the artist
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as they're helping write the story.
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[Brevoort] All right.
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00:15:15,623 --> 00:15:18,593
The reason Stan started doing
the Marvel Method, quite frankly,
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00:15:18,668 --> 00:15:21,668
is he didn't really have time
to write those full scripts.
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00:15:23,506 --> 00:15:25,256
This is what I was looking for.
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00:15:25,342 --> 00:15:29,852
And so, he was leaning very heavily
on his artists
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to do a lot of the heavy lifting
of figuring out all of the incident.
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They were as much the writer as Stan was.
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There's a classic story in the 1960s.
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Stan and Jack Kirby met to talk
about their next Fantastic Four story.
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And when Jack sends the first issue in,
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Stan goes through it,
and suddenly there's this page
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00:15:58,291 --> 00:16:01,961
where there's this guy on a surfboard
flying through space.
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00:16:02,379 --> 00:16:05,469
He calls Kirby up and says,
"What's the deal with this guy, Jack?"
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00:16:05,548 --> 00:16:09,178
And Kirby tells him,
"Well, a demigod like Galactus
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00:16:09,260 --> 00:16:13,520
would have a herald to go before him
to scout out planets for him to consume.
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00:16:14,015 --> 00:16:15,305
I put him on a surfboard.
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00:16:15,392 --> 00:16:18,232
Kids are into surfing these days.
It's a contemporary thing."
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And the character took off from there
and became the Silver Surfer.
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It was not something that was
in the original conversation,
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but it was something
that grew out of Kirby's imagination
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00:16:31,991 --> 00:16:34,541
and the Marvel Method process.
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But this is, kind of,
where the larger historical question
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00:16:42,168 --> 00:16:47,588
of who's responsible for what comes in,
and those lines are all very blurred.
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These are Pete's initial sketches
for the first five pages of Iron Man 2020.
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00:16:59,310 --> 00:17:01,350
This was my first time seeing Pete's take
236
00:17:01,438 --> 00:17:05,438
on what the extinction event creature
was gonna look like.
237
00:17:06,359 --> 00:17:09,989
And, oh, my God, it's gorgeous.
Pete Woods nailed it.
238
00:17:10,071 --> 00:17:12,491
That's what's gonna destroy us all,
and I totally buy it.
239
00:17:14,159 --> 00:17:18,289
Half of the fun in comics is,
you're the writer, write.
240
00:17:18,371 --> 00:17:19,831
Let the artist draw.
241
00:17:19,914 --> 00:17:22,134
Let their imagination go to crazy places.
242
00:17:23,585 --> 00:17:28,005
But then, I saw his initial sketches
for the suit designs of Iron Man 2020.
243
00:17:29,549 --> 00:17:32,969
He said, "Here's my first thought
about Arno and his suit.
244
00:17:33,053 --> 00:17:34,643
I hate the gears."
245
00:17:34,721 --> 00:17:36,181
[laughs]
246
00:17:37,807 --> 00:17:41,437
Every visual of Iron Man 2020
in any comic book,
247
00:17:41,519 --> 00:17:43,939
it's his most defining thing.
248
00:17:44,981 --> 00:17:48,741
But Pete's like, "I don't like the gears."
[laughs] Well, it's--
249
00:17:50,820 --> 00:17:52,410
So, I wrote back to him,
250
00:17:52,906 --> 00:17:56,366
"There's no sidestepping the gears.
There's no downplaying the gears.
251
00:17:56,451 --> 00:17:58,241
They're his one signature look.
252
00:17:58,912 --> 00:18:01,662
Doing Iron Man 2020 without the gears
253
00:18:01,748 --> 00:18:04,958
would be like doing a Thor book
without the hammer!"
254
00:18:05,043 --> 00:18:06,803
Or just a tiny hammer.
255
00:18:07,587 --> 00:18:12,717
"We only get one chance
at doing Iron Man 2020 in 2020.
256
00:18:12,801 --> 00:18:14,391
We've already hinted at the foundation..."
257
00:18:14,469 --> 00:18:16,429
[Woods] I was talking to Dan about it,
and he said,
258
00:18:16,513 --> 00:18:19,103
"You gotta have the gears.
The gears are iconic."
259
00:18:20,642 --> 00:18:24,062
Originally, I wanted to do something
a little different, but I said,
260
00:18:24,145 --> 00:18:26,225
"You know what? I'm just gonna go for it."
261
00:18:27,607 --> 00:18:28,777
I made them even bigger.
262
00:18:28,858 --> 00:18:31,358
I have these big,
massive gears on his shoulders.
263
00:18:32,112 --> 00:18:34,362
It's him. It's Iron Man 2020.
264
00:18:34,447 --> 00:18:39,787
He's big, he's bad,
and he's got these massive gears,
265
00:18:39,869 --> 00:18:41,909
and you better not laugh at him. [laughs]
266
00:18:54,217 --> 00:18:57,637
[Brevoort] Every once in a while,
my e-mail box will ping,
267
00:18:57,721 --> 00:19:00,971
and some new piece of art
or some new script will show up.
268
00:19:02,267 --> 00:19:04,847
There's a constant push
and a constant pressure
269
00:19:04,936 --> 00:19:08,106
to produce material
and get it out the door.
270
00:19:08,815 --> 00:19:12,025
And so, I'm not necessarily editing
all of our books.
271
00:19:12,819 --> 00:19:15,779
So I'm overseeing the work
of other junior editors
272
00:19:15,864 --> 00:19:18,164
on all of the various titles
that they work on.
273
00:19:21,286 --> 00:19:24,576
As an editor,
I help with the productions of the books
274
00:19:24,664 --> 00:19:27,794
from their inception to when
we get them out the door to the printer.
275
00:19:29,294 --> 00:19:31,424
When we get a script turned in,
276
00:19:31,504 --> 00:19:34,134
that's never the first time
we're hearing about this story.
277
00:19:34,215 --> 00:19:35,755
It often starts as a conversation.
278
00:19:37,052 --> 00:19:40,142
Someone out there goes,
"Hey, what if we did a story about this?"
279
00:19:40,221 --> 00:19:43,931
And then everyone just starts spitballing,
and the snowball gets bigger and bigger.
280
00:19:45,977 --> 00:19:48,857
I love being an editor
because I love taking a story and saying,
281
00:19:48,938 --> 00:19:50,688
"How can we take it to the next level?"
282
00:19:55,111 --> 00:19:58,071
This is an outline for Iron Man 2020.
283
00:20:00,450 --> 00:20:03,450
It's really crucial to give notes
in the layout stage
284
00:20:03,536 --> 00:20:07,076
because once we move past that
and the pages get a little more finalized,
285
00:20:07,165 --> 00:20:09,415
it's harder to go back and make tweaks.
286
00:20:11,127 --> 00:20:15,337
And so the story is just this dramatic
thing that evolves in each process.
287
00:20:26,142 --> 00:20:29,732
[Slott] Page 5, panel 1:
In the foreground...
288
00:20:32,440 --> 00:20:33,690
In the foreground...
289
00:20:51,126 --> 00:20:53,286
[chuckling] This will never get finished.
290
00:21:00,010 --> 00:21:03,810
[softly] I don't know
what I'm doing. Help me.
291
00:21:07,642 --> 00:21:09,022
When you have writer's block,
292
00:21:09,102 --> 00:21:11,652
a lot of times it's more about
your inner critic going,
293
00:21:11,730 --> 00:21:13,650
"Ooh. I don't think this is good enough."
294
00:21:14,983 --> 00:21:20,323
One of the things that we have now today,
which kinda hurts, is social media.
295
00:21:22,073 --> 00:21:25,833
Back in December of 2012...
296
00:21:26,327 --> 00:21:27,827
I killed Peter Parker.
297
00:21:28,496 --> 00:21:30,496
I was the guy who killed Spider-Man.
298
00:21:34,419 --> 00:21:36,759
When that story came out...
299
00:21:37,547 --> 00:21:39,967
fans lost their minds.
300
00:21:41,634 --> 00:21:44,104
It got scary fast.
301
00:21:46,723 --> 00:21:49,933
Social media went insane.
302
00:21:50,935 --> 00:21:52,645
That's what social media is now.
303
00:21:52,729 --> 00:21:57,729
It's an instantaneous way for you
to be mad about anything.
304
00:22:00,111 --> 00:22:03,321
More often than not,
you're telling the story
305
00:22:03,406 --> 00:22:06,576
that will create some kind
of visceral reaction
306
00:22:06,659 --> 00:22:08,699
because someone is that invested.
307
00:22:08,787 --> 00:22:11,997
And you wanna blow their minds.
You wanna freak them out.
308
00:22:15,085 --> 00:22:19,085
It's easy to say that in theory,
but we're talking about Iron Man here.
309
00:22:20,382 --> 00:22:22,092
Fans could say,
310
00:22:22,175 --> 00:22:27,135
"This is terrible.
Oh, my God. What are you doing?"
311
00:22:29,140 --> 00:22:32,100
I want everything to come out
and be perfect
312
00:22:32,185 --> 00:22:34,765
as it leaves my fingers onto the page.
313
00:22:45,115 --> 00:22:49,695
[Brevoort] Dan is behind where I need him
to be on his various assignments.
314
00:22:50,328 --> 00:22:54,668
I can't really start on issue 2
until issue 1 is solid enough.
315
00:22:55,625 --> 00:22:59,455
I'd needed another writer
to do the dialoguing on the book.
316
00:23:00,130 --> 00:23:03,380
So we made the choice
to bring Christos Gage in.
317
00:23:06,928 --> 00:23:10,428
Chris Gage is half of my brain. [laughs]
318
00:23:12,100 --> 00:23:16,940
I love plotting stories,
but Chris likes scripting.
319
00:23:17,480 --> 00:23:18,610
[Gage] Hello, sir.
320
00:23:18,690 --> 00:23:20,820
-Hey, Chris. How are you, man?
-[Gage] I'm doing all right.
321
00:23:20,900 --> 00:23:24,110
[Slott] If deadlines are crunching,
Chris is gonna get me across.
322
00:23:26,364 --> 00:23:29,494
[Gage] Tom Brevoort approached me
and asked if I could come onboard
323
00:23:29,576 --> 00:23:30,986
and co-write with Dan.
324
00:23:32,704 --> 00:23:34,464
We complement each other well.
325
00:23:36,291 --> 00:23:38,381
The only reason to have co-writers
326
00:23:38,460 --> 00:23:42,130
is when the whole is greater
than the sum of its parts.
327
00:23:43,757 --> 00:23:48,677
But, really, you know,
I'm Dan's deadline helper.
328
00:23:48,762 --> 00:23:50,102
[laughs]
329
00:23:55,852 --> 00:23:57,602
[Slott] Chris, great you're onboard.
330
00:23:57,687 --> 00:24:03,277
Let me send you the overview
for Iron Man 2020.
331
00:24:03,360 --> 00:24:04,360
[typing]
332
00:24:04,444 --> 00:24:09,204
Starts like this.
Issue 1: "The Future is Now."
333
00:24:09,282 --> 00:24:12,622
Arno Stark,
Tony's smarter and sociopathic brother,
334
00:24:12,702 --> 00:24:15,162
does not see himself as a "futurist."
335
00:24:15,246 --> 00:24:18,496
[Gage] "For most of his life
he has seen himself as the future.
336
00:24:18,583 --> 00:24:21,593
And that future was 2020. And it's here."
337
00:24:23,963 --> 00:24:26,473
My job is to come up with dialogue
338
00:24:26,549 --> 00:24:29,549
based on the art that I have here
from Pete Woods.
339
00:24:31,221 --> 00:24:34,431
Pete's great with facial expressions,
body language.
340
00:24:35,767 --> 00:24:37,187
He's a great storyteller.
341
00:24:37,268 --> 00:24:39,148
[printer whirring]
342
00:24:39,229 --> 00:24:41,399
The approach to dialogue really varies.
343
00:24:41,856 --> 00:24:43,976
I always like to immerse myself into
344
00:24:44,067 --> 00:24:46,737
what the characters sound like,
what they've done before.
345
00:24:48,405 --> 00:24:53,655
But with new characters,
like Dr. Shapiro, the genius talking cat,
346
00:24:53,743 --> 00:24:56,543
we agree that he should sound
like a genius talking cat,
347
00:24:56,621 --> 00:24:58,621
but what exactly does that mean?
348
00:24:59,374 --> 00:25:01,294
Is he talking in complete sentences?
349
00:25:01,793 --> 00:25:03,923
Well, he's a genius,
so yeah, probably he is.
350
00:25:05,422 --> 00:25:07,552
But would he be into cat things?
351
00:25:09,592 --> 00:25:12,432
But sometimes I've gone
a little too catlike.
352
00:25:15,432 --> 00:25:19,522
[Slott] Chris loves cats.
Chris and his wife have tons of cats,
353
00:25:19,602 --> 00:25:25,232
and he lives for cats, and he was writing
all these funny cat puns,
354
00:25:25,316 --> 00:25:27,686
and that's not the way
I've been writing Dr. Shapiro.
355
00:25:28,987 --> 00:25:32,657
I had to explain to Chris
how talking cats work in my mind.
356
00:25:34,743 --> 00:25:38,083
They're not making silly puns
or jokes about their fur.
357
00:25:38,955 --> 00:25:42,375
It's selfish. It's self-centered.
It thinks the way a cat thinks.
358
00:25:44,169 --> 00:25:46,919
It's one of the times
that I end up rewriting Chris,
359
00:25:47,005 --> 00:25:50,675
and then Chris looks at what I rewrote
and maybe he'll rewrite it again.
360
00:25:50,759 --> 00:25:53,009
And I'll go,
"Okay, now we're on the right path."
361
00:25:53,636 --> 00:25:59,306
Now we're both thinking like a cat,
instead of thinking about cat things.
362
00:26:00,935 --> 00:26:04,055
[Gage] You're basically creating the voice
for this character,
363
00:26:04,147 --> 00:26:05,897
and you're making it up as you go along.
364
00:26:06,733 --> 00:26:09,903
It's a tightrope to walk, but it's also
the fun part of the challenge.
365
00:26:15,450 --> 00:26:18,950
[Woods] It's great to have Chris
on the creative team.
366
00:26:20,330 --> 00:26:23,920
Chris is sharp.
He communicates a lot with a few words,
367
00:26:24,000 --> 00:26:27,800
and it's always gotta nice little
wry twist to it, that I really enjoy.
368
00:26:29,214 --> 00:26:32,054
So after the inking stage,
we're ready to move on to color.
369
00:26:33,510 --> 00:26:36,180
The coloring process
has evolved over the years.
370
00:26:36,262 --> 00:26:39,022
I like to think of this
as a more final step.
371
00:26:41,518 --> 00:26:45,148
When I'm coloring,
I like things to look realistic.
372
00:26:46,898 --> 00:26:48,398
I want there to be a familiarity.
373
00:26:48,858 --> 00:26:50,528
And with modern tools,
374
00:26:50,610 --> 00:26:54,360
we can create depth and create effects
that we could never have created before.
375
00:26:55,240 --> 00:26:58,030
So we're trying to up our game
whenever we can
376
00:26:58,118 --> 00:27:01,288
and make things look
as realistic or as fun as possible.
377
00:27:06,751 --> 00:27:11,171
As time's gone by, comics have become
less by the seat of your pants.
378
00:27:11,881 --> 00:27:16,641
There's a lot more editorial direction
to stories and character creation.
379
00:27:18,805 --> 00:27:21,805
There's a plan
that covers the whole Marvel Universe.
380
00:27:25,186 --> 00:27:26,806
[Hama] I started out drawing...
381
00:27:28,440 --> 00:27:33,450
and because of the Marvel methodology,
I could barely do a page a day.
382
00:27:34,738 --> 00:27:37,908
It's really difficult
to format the storytelling,
383
00:27:37,991 --> 00:27:40,911
draw out the action, and make it work.
384
00:27:41,494 --> 00:27:44,914
And I said, "What's wrong
with this picture?" [chuckles]
385
00:27:47,083 --> 00:27:50,343
I think the days
of Jack Kirby creating Silver Surfer
386
00:27:50,420 --> 00:27:54,010
out of whole cloth are probably over.
387
00:27:56,593 --> 00:27:58,303
It was done out of necessity,
388
00:27:58,386 --> 00:28:02,636
and that did, to some degree,
create some resentment from the artists.
389
00:28:03,892 --> 00:28:06,772
Today, an editor wouldn't accept
that loose a plot.
390
00:28:06,853 --> 00:28:09,113
They'd say,
"This isn't fair to the artist.
391
00:28:09,189 --> 00:28:13,279
You're asking them to come up
with half the story or more."
392
00:28:16,654 --> 00:28:19,624
Dan is one of the few who still does
393
00:28:19,699 --> 00:28:21,829
what we think of today
as traditional Marvel Method...
394
00:28:23,078 --> 00:28:28,578
because he learned to write comics here
in the early '90s
395
00:28:28,667 --> 00:28:31,917
when that was still
the prevailing process.
396
00:28:33,463 --> 00:28:37,053
As Marvel has become
a multifaceted media company,
397
00:28:37,133 --> 00:28:40,643
everybody in every other area
works full script.
398
00:28:42,263 --> 00:28:46,183
There's a common language that is now
spoken throughout all of these divisions.
399
00:28:48,645 --> 00:28:50,975
But as long as there's still strengths
400
00:28:51,064 --> 00:28:53,484
that are associated
with the Marvel Method,
401
00:28:54,234 --> 00:28:56,994
people will still be interested
in what it can bring
402
00:28:57,070 --> 00:29:00,160
to the creative medium of making comics.
403
00:29:04,536 --> 00:29:07,616
[Gage] Working with Dan in the
Marvel Method has made me a better writer
404
00:29:07,706 --> 00:29:09,536
'cause I'm more apt to say,
"You know what?
405
00:29:09,624 --> 00:29:13,004
Here's an interesting approach
that the artist has taken with this
406
00:29:13,086 --> 00:29:16,086
that maybe I can riff off of
and do something differently."
407
00:29:17,090 --> 00:29:20,180
On the very first page,
where this cosmic being is coming
408
00:29:20,260 --> 00:29:23,470
and Arno Stark is waking up
from this nightmare of it,
409
00:29:24,222 --> 00:29:26,892
for dialogue,
Dan didn't specify what to do.
410
00:29:26,975 --> 00:29:29,015
So I was thinking,
"How should I approach this?"
411
00:29:31,855 --> 00:29:35,815
Initially, I was gonna be a little bit
classic Stan Lee cosmic story line,
412
00:29:35,900 --> 00:29:37,900
with narrative captions.
413
00:29:39,696 --> 00:29:41,196
Dan was like, "That's kinda cool,
414
00:29:41,281 --> 00:29:45,201
but I also want to give a voice to the
monster 'cause it's so cool looking."
415
00:29:46,619 --> 00:29:48,579
And he had a great suggestion, which was,
416
00:29:48,663 --> 00:29:51,793
"What if the monster is speaking,
and its dialogue,
417
00:29:51,875 --> 00:29:56,045
instead of being in a balloon,
is just giant letters across the page."
418
00:29:57,130 --> 00:29:59,760
He didn't tell me what to write,
so I wrote my own thing.
419
00:30:01,176 --> 00:30:05,506
"I come. It is time.
You cannot kill the ultimate life.
420
00:30:06,222 --> 00:30:07,932
Your destiny means nothing.
421
00:30:08,016 --> 00:30:10,226
You and your world
are forfeit, Arno Stark.
422
00:30:10,310 --> 00:30:12,350
Accept your fate."
423
00:30:14,647 --> 00:30:18,647
You think of it as this booming voice
that you feel as much as you hear.
424
00:30:19,027 --> 00:30:23,277
It's supposed to convey the overwhelming
power and omnipotence of this being
425
00:30:23,365 --> 00:30:26,365
and this overwhelming obstacle
that Arno Stark has to face.
426
00:30:28,870 --> 00:30:33,880
With the Marvel Method,
it becomes more of a collaboration.
427
00:30:45,428 --> 00:30:49,598
[Slott] The great unsung hero
of comics is the letterer.
428
00:30:51,059 --> 00:30:55,609
The last person who's gonna have to make
the last changes to the very last second
429
00:30:55,689 --> 00:30:58,859
before the book has to leave house,
is Joe Caramagna.
430
00:30:59,609 --> 00:31:00,939
It rhymes with lasagna.
431
00:31:01,027 --> 00:31:02,567
[chuckles]
432
00:31:02,654 --> 00:31:04,574
You're like, "Oh, no."
433
00:31:05,782 --> 00:31:07,832
The way they lay out
the lettering balloons
434
00:31:07,909 --> 00:31:12,329
forces the eye to flow through the page
the right way.
435
00:31:12,831 --> 00:31:15,751
It should feel very intuitive
whenever you pick up a comic,
436
00:31:15,834 --> 00:31:18,804
if they know what they're doing,
and Joe knows what he's doing.
437
00:31:18,878 --> 00:31:20,258
Joe is fantastic.
438
00:31:22,132 --> 00:31:24,842
[Caramagna] Because Dan works
in the Marvel Method,
439
00:31:24,926 --> 00:31:29,006
I'm usually waiting longer
than I am from everyone else.
440
00:31:29,097 --> 00:31:33,307
If I have no script, I'm just looking
at art and there's nothing I can do.
441
00:31:34,602 --> 00:31:37,732
Oh, yeah. Joe is the person
I feel most guilty about.
442
00:31:37,814 --> 00:31:40,614
By the time I get the script from Dan,
443
00:31:40,692 --> 00:31:44,862
it's usually about two days
before the book has to go to press.
444
00:31:48,283 --> 00:31:52,503
I'm always sending a text or e-mailing,
begging and pleading,
445
00:31:52,579 --> 00:31:54,749
"Someone please send me some script."
[chuckles]
446
00:32:02,922 --> 00:32:05,802
[Slott] Pages 18 and 19, panel 1:
447
00:32:06,551 --> 00:32:10,391
Big panel stretching
across the entire top half of both pages.
448
00:32:11,264 --> 00:32:15,944
This is an establishing shot, a big reveal
in our introduction to the 13th floor.
449
00:32:16,436 --> 00:32:19,266
It's a futuristic landscape,
meeting place,
450
00:32:19,356 --> 00:32:21,936
hangout, and safe harbor for all robots.
451
00:32:23,360 --> 00:32:26,450
[Woods] Humans exist in an organic world.
452
00:32:26,529 --> 00:32:32,699
What if these non-organic beings
built in a way that was more nature-like?
453
00:32:33,370 --> 00:32:36,750
[Gage narrating]
454
00:32:46,800 --> 00:32:48,970
[Slott] Panel 4: Mark One turns around,
455
00:32:49,052 --> 00:32:52,602
and we can see that it's our newest
version of the Mark One Iron Man suit.
456
00:32:52,681 --> 00:32:55,481
He says that he goes by the name
Mark One now.
457
00:32:55,558 --> 00:32:58,308
Mark One's voice sounds like Tony Stark.
458
00:32:58,395 --> 00:32:59,645
Wait. [babbles] Okay, wait.
459
00:32:59,729 --> 00:33:02,939
The problem-- The problem is,
this isn't meant to be read aloud.
460
00:33:03,024 --> 00:33:05,114
It's like IKEA instructions.
461
00:33:05,694 --> 00:33:08,204
It tells you how
to build your Fjordenbach.
462
00:33:13,702 --> 00:33:15,162
Close up on Mark One. We see Stark...
463
00:33:15,245 --> 00:33:17,405
[Gage] Humans might have created us,
but they can't restrain us.
464
00:33:17,497 --> 00:33:19,327
[Woods] It's a source of drama
to me and excitement.
465
00:33:19,416 --> 00:33:22,206
Anything like that
just makes the page more fun to do.
466
00:33:47,485 --> 00:33:49,895
-[lights buzzing]
-[machine rattling]
467
00:33:55,994 --> 00:33:58,874
[man 3] There aren't many print shops
in the United States
468
00:33:58,955 --> 00:34:01,415
that can handle the quantity of work
469
00:34:01,499 --> 00:34:04,709
and the quality of work
that Marvel requires.
470
00:34:06,254 --> 00:34:10,094
Cyan, magenta, black and yellow.
471
00:34:10,175 --> 00:34:13,545
They're all printed on top of each other
to get this imagery.
472
00:34:14,763 --> 00:34:18,813
It's not until Marvel prepares the files
and then sends them to my team,
473
00:34:18,892 --> 00:34:21,392
that we're ready to print the Marvel work.
474
00:34:26,816 --> 00:34:28,986
[Ballesteros] We're in the final stage
of the process.
475
00:34:30,236 --> 00:34:32,486
We go through and we check it
against the script,
476
00:34:32,572 --> 00:34:34,282
making sure that the story makes sense,
477
00:34:34,366 --> 00:34:37,156
and if there's anything
that's lacking clarity, adding it in.
478
00:34:38,703 --> 00:34:40,913
So it's really important
in the lettering stage
479
00:34:40,997 --> 00:34:43,877
to catch these kind of mistakes
for clarity.
480
00:34:46,419 --> 00:34:48,799
Well, I just got the notes back.
481
00:34:48,880 --> 00:34:51,880
So, let's see what needs to be done next.
482
00:34:51,966 --> 00:34:56,006
If my deadline is 6:30 p.m.
to deliver a book to the printer,
483
00:34:56,096 --> 00:35:00,806
I could still be getting notes at 6:15.
Like, that's how close we cut it.
484
00:35:02,727 --> 00:35:06,817
After that's all done, I export a PDF
and send them to the printer.
485
00:35:21,955 --> 00:35:22,955
[Slott] Hey!
486
00:35:41,975 --> 00:35:45,645
-[Slott] Hey, hey, hey, hey.
-[fans cheering]
487
00:35:45,729 --> 00:35:46,899
-How's it going?
-[fan 1] Hello.
488
00:35:46,980 --> 00:35:48,060
[Slott] Hello.
489
00:36:02,245 --> 00:36:04,825
Come on in. Right down that aisle.
490
00:36:06,416 --> 00:36:08,036
That works too.
491
00:36:42,243 --> 00:36:44,503
[fans chattering]
492
00:36:51,378 --> 00:36:52,878
[chuckles]
493
00:36:52,962 --> 00:36:54,962
-[Slott] Thank you very much.
-Thank you so much.
494
00:36:55,048 --> 00:36:56,298
-Thank you.
-[Slott] Thanks. Bye.
495
00:36:56,383 --> 00:36:58,683
-Hi.
-[fan 2] Nice to see you again, Mr. Slott.
496
00:36:58,760 --> 00:37:03,260
The big event today is a signing
of Iron Man 2020 with Dan Slott,
497
00:37:03,348 --> 00:37:06,388
a comic writer that I have long admired
498
00:37:06,476 --> 00:37:10,476
and never had a chance
to actually meet in person until today.
499
00:37:11,147 --> 00:37:13,727
-[fan 1] Can I get a picture with you?
-Yeah, sure.
500
00:37:13,817 --> 00:37:15,687
Yeah, ready? Whoa!
501
00:37:15,777 --> 00:37:18,237
[fan 1] I started reading comics
with Dan Slott.
502
00:37:18,321 --> 00:37:20,281
-[Slott] You got it? All right.
-[fan 1] Awesome.
503
00:37:20,365 --> 00:37:22,365
I'm just gonna be honest.
The comic book community
504
00:37:22,450 --> 00:37:25,080
is one of the most welcoming communities
I've ever been in.
505
00:37:25,161 --> 00:37:27,331
[Slott] ...with other characters
and see if any of them...
506
00:37:27,414 --> 00:37:30,674
[fan 1] These superheroes
are so inspiring to me.
507
00:37:31,292 --> 00:37:33,882
They show us that we can be the very--
508
00:37:33,962 --> 00:37:36,302
Like, the human race can be
the very best we can be.
509
00:37:36,381 --> 00:37:39,051
Mr. Slott, that's all I needed to hear.
Thank you so much.
510
00:37:39,134 --> 00:37:41,014
-Have a wonderful day, my man.
-You too.
511
00:37:41,094 --> 00:37:42,804
-[fan 3] Hi, Mr. Slott.
-Hi, how's it going?
512
00:37:42,887 --> 00:37:48,017
I promised my son to meet him
because he's the author of the Spider-Man,
513
00:37:48,101 --> 00:37:51,061
when he was growing up, that made him
fall in love with Spider-Man.
514
00:37:51,938 --> 00:37:54,688
I just wanted him to have that experience.
515
00:37:56,651 --> 00:37:59,111
[laughs, chattering]
516
00:37:59,195 --> 00:38:01,525
-[fan 3] Thank you for coming, man.
-Aw, thanks.
517
00:38:01,614 --> 00:38:03,324
I hope you like Iron Man 2020.
518
00:38:17,339 --> 00:38:20,969
Part of the fun of working in comics,
is we're all telling our own stories,
519
00:38:21,051 --> 00:38:23,721
and we're all getting to play
with these great toys.
520
00:38:24,763 --> 00:38:27,353
This is like the greatest medium
in the world.
521
00:38:28,641 --> 00:38:32,061
It's pictures and words together
to tell a story.
522
00:38:33,772 --> 00:38:38,362
You get to imagine.
You get to dream for a living every day.
523
00:38:39,527 --> 00:38:43,197
We escaped into this world
and these characters were our friends.
524
00:38:44,407 --> 00:38:46,617
[Ballesteros] When I was introduced
to the world of it,
525
00:38:46,701 --> 00:38:48,831
I just fell in love so quickly.
526
00:38:50,455 --> 00:38:53,785
And it's been amazing seeing people
engaging with what we put out there
527
00:38:53,875 --> 00:38:55,415
'cause that's what it's all about.
528
00:38:56,544 --> 00:38:59,924
[Woods] We just, kind of, gelled.
We, kind of, came together on it.
529
00:39:00,006 --> 00:39:03,586
We ended up with something,
hopefully unique, that readers will like.
530
00:39:04,469 --> 00:39:06,299
[Brevoort] We had the best
of what everybody's doing,
531
00:39:06,388 --> 00:39:09,468
all at once,
onto the page, and into this comic.
532
00:39:10,308 --> 00:39:14,808
A lot of that is an outgrowth of the way
in which this book was done.
533
00:39:16,272 --> 00:39:18,732
[Slott] What came out of it was an energy.
534
00:39:18,817 --> 00:39:22,777
Very few comics are done
using the tried and true Marvel Method.
535
00:39:25,031 --> 00:39:28,121
[Lee] I love working
with these talented artists.
536
00:39:28,910 --> 00:39:32,250
It was a collaboration
that was so exciting,
537
00:39:32,330 --> 00:39:37,130
to discuss a story and, a few days later,
to see it all drawn on boards,
538
00:39:37,210 --> 00:39:39,550
then a month later to see it in a book
539
00:39:39,629 --> 00:39:42,879
and to know that kids are reading these
and enjoying them.
540
00:39:44,342 --> 00:39:47,972
[Hama] Marvel always felt
like a small town and a family...
541
00:39:48,054 --> 00:39:49,974
[cameraman]
This is Jim Boyle on the phone.
542
00:39:50,974 --> 00:39:52,604
-He's off the phone.
-Hi.
543
00:39:52,684 --> 00:39:55,854
[cameraman] As you can see,
this is all the artwork.
544
00:39:55,937 --> 00:40:00,027
[Hama] ...that overlaid
on basic story elements
545
00:40:00,108 --> 00:40:03,108
within the Marvel Universe
and made it all click, you know.
546
00:40:04,112 --> 00:40:06,362
You can't manufacture that,
547
00:40:07,032 --> 00:40:09,082
and it shows in the work.
548
00:40:18,209 --> 00:40:20,169
[Slott] So the first issue's done.
549
00:40:20,253 --> 00:40:22,843
So now we just need to do it
five more times.
550
00:40:22,922 --> 00:40:24,172
[chuckles]
551
00:40:24,257 --> 00:40:26,797
And all of our lead time is done, is gone.
552
00:40:26,885 --> 00:40:29,715
-But that's part of the magic of comics.
-It is.
553
00:40:29,804 --> 00:40:31,814
That, you know,
it takes pressure to make diamonds.
554
00:40:31,890 --> 00:40:32,720
[chuckles]
555
00:40:37,604 --> 00:40:38,864
Come with me.
556
00:40:39,773 --> 00:40:41,613
This is cool. You're gonna like this.
557
00:40:43,109 --> 00:40:45,109
It's a new comic day. [gasps]
558
00:40:47,322 --> 00:40:50,782
Ooh. Peter David Hulk.
Want that. [chuckles]
559
00:40:51,868 --> 00:40:55,248
[gasps] Tini Howard is doing
amazing stuff on Excalibur.
560
00:40:55,330 --> 00:40:56,870
[groans] What else we got?
561
00:41:01,211 --> 00:41:04,421
Aw, look at the cute little
Fantastic Four book. I want that.
562
00:41:04,881 --> 00:41:10,181
Ah! There's something here for everybody,
as long as it's Marvel. [chuckles]