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Jozef Brandt
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Posted: April 24 2019 at 11:01pm | IP Logged | 1 post reply


Forum search came up empty on this. 

How did working with an Intellectual Property in the 1970s compare to your more recent Star Trek work?  Did the Gerry Anderson/ITC people scrutinize the Space 1999 comics?

Thanks.
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John Byrne
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Posted: April 25 2019 at 1:46am | IP Logged | 2 post reply

It was night and day. The Paramount/CBS folk gave me something very close to a free hand on STAR TREK, while the Anderson people seemed to go over every page of SPACE with a microscope. All the licensed stuff at Charlton was the same—the main reason it took so long for me to do more.
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Jozef Brandt
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Posted: April 25 2019 at 4:15am | IP Logged | 3 post reply


Thanks!  I had wondered because I was reading an interview with someone who worked for a toy company (It may have been Dinky) who said Gerry Anderson was tough to work with because he was so picky. 
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John Byrne
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Posted: April 25 2019 at 5:48am | IP Logged | 4 post reply

The weirdest note I got from the Anderson camp was that I was having the three leads “move their faces too much”.
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Peter Hicks
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Posted: April 25 2019 at 7:27am | IP Logged | 5 post reply

Reportedly, Barbara Bain was getting concerned as Space:1999 started that she was losing her youthful looks, and was disturbed to see footage of the wrinkles on her neck when she turned her head. So she started consciously not turning her head at all, and would instead rotate her entire shoulders around when she wanted her head to change the direction it was facing. Once you rewatch Space:1999 with this in mind, it gets very distracting.
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John Byrne
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Posted: April 25 2019 at 7:33am | IP Logged | 6 post reply

On paper, once we get past the preposterous premise, SPACE: 1999 should have been right up my street. The technology, starcapes and weird aliens were just the sort of thing I was delighted to be drawing. But I was worn down by the endless nitpicking.

Only time I ran up against something worse was on INDIANA JONES, where the constant second-guessing came from Paramount AND Marvel (Shooter). This was part of why working on STAR TREK was such a delight--an editorial department smart enough to leave me alone, and new faces at Paramount happy to let them do so.

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Ted Downum
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Posted: April 25 2019 at 8:30am | IP Logged | 7 post reply

JB: "Only time I ran up against something worse was on INDIANA JONES, where the constant second-guessing came from Paramount AND Marvel (Shooter)."

*****

Hypothetically speaking, JB, if that level of nitpicking hadn't happened on Indiana Jones, do you think you might have stuck with that book for a while?

I wish you had, because that first issue was great fun. I resent those studio hairsplitters for driving you away!
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John Byrne
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Posted: April 25 2019 at 9:03am | IP Logged | 8 post reply

I could have stuck with INDIANA JONES for years, easily.

C’est la vie!

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Eric Ladd
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Posted: April 25 2019 at 9:43am | IP Logged | 9 post reply

JB's "Cold War" had a similar feel to Indy with a rather adventurous protagonist. As I think about it, that is a character I wouldn't want to restrict at all in a capable author's hands. Free reign for JB to write and draw Indy could have created some stories or sequences that might have influenced a movie or two.
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Matt Hawes
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Posted: April 25 2019 at 11:34am | IP Logged | 10 post reply

The nit-pickiness on the Indiana Jones titles cost Paramount and Marvel more than a writer-artist; once JB left, I did too. I'm sure many other JB fans did, too. 
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Brian Miller
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Posted: April 25 2019 at 11:37am | IP Logged | 11 post reply

Damn, I so much want more COLD WAR. I’m in the middle of re-reading all the Fleming Bond novels right now. And I just keep imagining Michael Swann being there somewhere. 
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Shaun Barry
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Posted: April 25 2019 at 12:13pm | IP Logged | 12 post reply


So the TV critics at the time were right:  Barbara Bain literally was stiff!!



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