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Cambridge. In theory.

In theory this time tomorrow I should be flying. In practice it is not known. The volcano is Eyjafjallajökul scattering ashes on my space and air so it is said that tomorrow we can fly, although at the time my flight is not canceled. I know you all, all three were waiting for the new post of hateful invective against the tyrannical figure of the writer but you'll have to wait for my return. Someone else (hello Skira !) Is instead of waiting for brand-new doodles. Even for what we have to wait, sorry. If all goes according to my plans will spend the next 10 days here:

Under the bridge. On the contrary, the better. Finally dedicated to activities appropriate to the nature of my sloth and raising my cholesterol. It seems that I will have a laptop (thanks, Susy !) And an internet connection (thanks, Max!) And this will allow me to look at this blog from time to time and so monitor the situation in Italian from having to citalopram ricorerre idea of \u200b\u200breturning home. For the moment, is all. Riguardatevi.

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The nightmare of every writer.

it's official. I finished "Inferno." All 114 tables finely drawn, inked and colored are waiting to be literate by the end of a French man of letters and printed in a prestigious volume. Of course no one can know when that happens. But at this moment I do not care that much. It would be interesting but the answer to the question "What happens now?" or, rather, "What shall I do now?". The answer is "I do not know." Well, of course will attack to draw the fourth (and final) volume of Ravenstock, but this was already budgeted. And I can also create tables Rusty Dogs. But even that was already budgeted. What was not in the budget is that the long period dedicated to the creation of Hell has totally revolutionized my approach to screenwriting. I realized I was not armored bear scripts. Draw scenes that do not "see" as well as extend indefinitely the deadline for completing a job causes me almost physical pain. A dull ache, a tightness that starts at the larynx and reaches the base of the diaphragm. And that lasts for the entire processing time.

not good. No, not good. Not at all.

So what?

So now changing. This change of pace. It changes everything.

I want control of all the visuals. I will not go into the merits of dialogue. Not within the substance of the sequence of events and sequences. I will not go into the merits of the whole part about the script closely. But I want the direction of the sequences. I want the direction of character acting. I want to control the environment and of all the visual part of the job. If I can put my time well. If we can speak of the script sequence to sequence so well. If you can not then no thanks.

I know that all these beautiful claims I certainly facilitate the work and that, under these conditions, most writers prefer to extricate one eye rather than embark on a project with myself, but what can you do? I've never been a designer easy to manage. I know and in some ways I am sorry too. If I could just be the armed wing (pencil, pen, brush, etc..) Writer certainly would live better and earn even more. But I can not, sorry.

Well, mind you, I might even agree to swallow everything and create jobs in which you ask me anything but to do so should pay me, but I say really well. So let's say that this risk in Italy did not run for sure.

Finally, for those who last year sent me scripts or projects asking if I was going to achieve them and I said no because I was busy with Inferno could go there worse. I could answer yes. You would have had to deal with the nightmare of every writer.