SE: RIPD is really interesting comics concept, and it's very unpredictable. Can you describe what it's basically about?
PL: Basically--I don't want to be too specific--it's about God's police force and the officers that patrol the dead beat. Any crime having to do with hell escapes, Faustian deals, stuff like that--is their turf. But getting onto the RIPD is tough--you have to be dead. You see, any officer killed in the line of duty gets a chance to avenge his/her death. But in order to do so, you have to agree to the RIPD rules. One of which is a contract that binds you to a 100-year stint.
SE: Do you think it fits into any defined category, such as horror or action, or is it a little of both?
PL: A little of both I think. With a dash of humor. Actually, I'd categorize it as entertainment. I think if you like comic books, it hits all the buttons.
SE: A few weeks ago I made a call to our pal down at Dark Horse Entertainment, Scott Faye, and he seemed really excited about this project. How is he involved?
PL: Scott is the man. My day-to-day guy over at DHE. He was the person who put Mike (Richardson) and I into a room together. He was the project's champion . . . still is. Scott saw the big picture from day one (read movie, TV series, action figures, etc.). Whenever we talk RIPD, he brings a decade worth of development experience to the table. He's a genre guy. Knows his stuff. He reads my RIPD scripts, reviews the artwork. Gives notes. He's another--and very welcome--set of eyes and ears.
SE: How was it developed? Whose idea was this from the start?
PL: This was my idea, something that has been percolating for eight years. It was only recently that I got around to doing something about it. But like any idea, it was just that, an idea. It only became a living breathing entity once Dark Horse got involved. How that happened is quite simple. I met with Mike (Richardson). And let me tell you, I was a bit intimidated. This was the guy behind some of my favorite comic books. I didn't want to blow my big chance. I pitched him the RIPD idea. He dug it and we spent some time spitballing until the storyline was cemented and we could go to comic.
Okay. Okay. I know this is going to sound like ass-kissing . . . but swear to God it's true: Mike was nothing like I imagined. For some reason, I expected a suit. After all, the man is a publisher, entrepreneur, movie producer. Mike reminded me of the great Stan Lee. When he opened his mouth, you listened--and took notes. I could not imagine writing RIPD without him. Mike's input has been invaluable.
SE: This isn't the way most comic book series are started, as you probably know. Have you worked on any other projects that have been developmentally similar?
PL: No. This is the first.
SE: And I know you do a lot of work for TV. What's your actual day job?
PL: I am Supervising Producer on a TV show called La Femme Nikita. It's based on the Luc Besson film and the subsequent American remake, Point of No Return. I'm simultaneously working on several other projects.
SE: Like what?
PL: Well, I just finished a modern retelling of Dr. Jekyll and Mr. Hyde for Francis Ford Coppola, and I'm currently re-writing something called Weaveworld for Showtime. It's a 6-hour mini series based on the Clive Barker novel. I also wrote an episode of The Hunger for Showtime, and we just got the news that Universal has bought the film rights to RIPD. I'm going to write the script for the same team that produced Mystery Men--Mike Richardson and Larry Gordon.
SE: How did you get started writing action/adventure types of stories?
PL: I've been writing every since I can remember. Growing up, like every boy my age, I loved the James Bond franchise. Planet of the Apes was another fave. So, when I decided writing was going to be my career, I focused on what I loved--action/adventure. And I've been involved with a number of genre movie including Demolition Man, Speed Racer, Species 2, and Universal Soldier 2. And I've done similar projects for television, including The Crow: Stairway to Heaven, The Hunger, Ghost Stories, and Tales from the Crypt. It's fun stuff.
SE: And what's your background in comics?
PL: Other than being a fan, I have none. Well, I did take a few meetings with Stan Lee years ago. And I've been going to the comic con in San Diego ever since I moved to California--does that count? Seriously, I'm just a fan who's always wanted to do this. Call it a dream come true.
SE: How do you perceive writing for comics to be different from the writing you do for television? What sorts of elements do you change when writing for either medium?
PL: Writing for comics has given me the most control I've ever had over a creation. Writing for television comes a close second. Movies dead last. In television, you have actors, directors, locations, costumers, things that happen at the last minute that may alter your writing. In comics, it's just me, the artist and my editor. It's a small team. And as long as you're in sync with your creative partners (which I thankfully am), you're gonna get what you want.
For me, one of the great pleasures has been the creative freedom. And especially the small details--the stuff which would never makes it to the screen. For instance, I can change locations from one panel to the next. Doing that with a TV/Film crew is costly and prohibitive. I also enjoy filling the panel with details. Details which may not necessarily advance the story--a big no-no in the world of movies and television.
SE: And I take it you're a comics fan . . .
PL: I'm a big, big fan. I grew up on the classics--The Hulk, Spiderman, Batman--they still hold up, and I still collect `em. Today I'll read just about anything. I love Spawn. The Watchmen knocked me out. I reread it every year . . . just to remind myself how high the bar is. Frank Miller is also a huge fave of mine. The Dark Knight inspired an early script of mine. He has an incredible voice. And Mark Verheiden's work always gets my attention. The American was a real gem.
SE: What's your general take on the comics industry? As a newcomer to the professional side of it, can you envision the market opening up for new properties like RIPD?
PL: My take on the industry? I'm not sure I have one. Yet. Sure, I'm a comic book fan. I go every Thursday to my local stand and stock up. I've been doing this every since I can remember. So I guess my take is simple: If the product is good, people will keep reading. From where I stand, the industry seems very healthy. If it slows down, it's because everything is cyclical. Nothing more. For me, comic books are the ultimate in escapism and cheaper than a movie.
And, will the market open up? God, I hope so. I'm pretty open to checking out new titles. First appearances are key. A cool title. Artwork. A brand name-- like Dark Horse--I'm familiar with. These all play into my decision. But that's me.
If RIPD was a movie (which it may well be one day), I'd liken it to a summer blockbuster. It has everything going for it. Hey, it's a new title. Exciting. Fresh. It's going to be sharing shelf space with a lot of classics, which to me are essentially sequels. They may be good, but you know the characters and situations all too well.
SE: Wanna work on more comics in the future?
PL: Absolutely. I've been dreaming about writing a comic book every since I was a kid. Actually, I've been working up a few ideas to spring on the Dark Horse folks. Maybe they'll let me tackle another one sometime soon.