Neil Gaman is the archetype of the modern storyteller: born as a music journalist, the writer immediately decided explore other formatscombining comics, scripts, children’s books, novels and collections of stories.
In the vast universe that, over time, he has shaped with his words, there are recurring themes and elements: the encounter between the old and the new, the power of stories, the magic of everyday life, but above all, the influence of myththe epic and the legends that permeate most of its creatures.
critically acclaimed and a huge flock of fans, has always followed the current of change, adapting to the transformations of the creative world (he is frequently compared there with the master Stephen King). A path that led Gaiman in the last two decades to turn his lyrics into something else: feature films and series for platforms, of which he is the spoiled child.
style and fans
Whether he’s turning death and sleep into flesh and blood characters, like in his classic comic series, “The Sandman”; or populating the world with figures from ancient mythology in fictional bestsellers like “american gods” Y “Anansi Boys” (produced for TV by Amazon Prime); or conjuring up spooky new fairy tales and ghost stories for children (“Stardust,” “Coraline”), the prose of Gaiman it’s a constant reminder that good stories last.
“Myths and legends are the way we have made sense of the world during the time we have been wandering this planet”, endorses Gaiman61, who helped oversee the long-awaited series of Netflix “Sandman”, which premiered on August 5. “And right now, making sense of the world is something between difficult and impossible, but I try it through dreams,” she adds.
But Gaiman He clarifies that on this path he cares little for the Marxist gaze of the fanatics. “It has become so common that fandom turns into toxicity. Many of those who disapprove of the adaptation of “Sandman” seem to be grumpy Brazilian followers of the current president (Ndr: Jair Bolsonaro), or of the Comicsgate sect. They accuse me of being ‘a communist-inspired tool following the money-based dictates of my Netflix masters,’” laughs the author. “And finally there are the xenophobes. People pointing fingers at me for casting a black actress as Death”, he adds in reference to Kirby Howell-Baptiste, who plays in”Sandman“to the fan-favorite character Death.
The series and the buts
Originally Posted by DC Comics From 1989 to 1996, “The Sandman” followed the hallucinatory and often macabre exploits of Sueño, also known as Morpheus, who rules the world of fantasies and nightmares. “I’m absolutely fascinated by the amount of stuff I did in the ’80s and ’90s with ‘Sandman‘ that now they shout at me for having woken up”, Gaiman celebrated before the premiere of the series in Netflix.
A plot that took three decades to resolve, before the author was ready to adapt the comics to the screen: including dealings in 2016 with New Line, of Warner Bros., for a feature film starring and directed by Joseph Gordon-Levitt. “After three decades of keeping bad adaptations of ‘Sandman‘, David (Goyer) and Allan (Heinberg, the showrunner of “Grey’s Anatomy”) managed to convince me”, acknowledges the author, who in 1996 canceled the Jon Peters version.
“The Sandman”, with its first season of 10 episodes on Netflix, is based on the first two graphic novels about the adventures of Sueño (Tom Sturridge in the series), the best-selling comics in the United States: some 7 million copies with its 75 editions. “What prompted me to do ‘Sandman’ was the experience of ‘Good Omens’ (Starz) and ‘American Gods’ (Amazon). Many arguments happened because this or that thing would cost too much money. But Goyer insisted that nothing be simplified and that the air be kept strange, and not respond to any formula,” says Gaiman.
by RN
Image gallery
