Spectator

brianmichaelbendis:

Bill Sienkiewiicz 1986: Elektra: Assassin #3
I wanted to paint Elektra: Assassin at all costs. I wanted to do it so badly, that the rate for the coloring was like $40 a page. They didn’t have a painted page rate at the time. So I was doing all that work for essentially nothing because I needed to do it, I wanted to do it. From working with Frank’s scripts to laughing my head off to being inspired and excited and knowing that whatever he was going to throw back at me was going to inspire me further. It really helped to make it about the work… because it all got turned back into the storyline. It was a very creative environment
— Bill Sienkiewicz, interviewed by Comic Book Resourcesbrianmichaelbendis:

Bill Sienkiewiicz 1986: Elektra: Assassin #3
I wanted to paint Elektra: Assassin at all costs. I wanted to do it so badly, that the rate for the coloring was like $40 a page. They didn’t have a painted page rate at the time. So I was doing all that work for essentially nothing because I needed to do it, I wanted to do it. From working with Frank’s scripts to laughing my head off to being inspired and excited and knowing that whatever he was going to throw back at me was going to inspire me further. It really helped to make it about the work… because it all got turned back into the storyline. It was a very creative environment
— Bill Sienkiewicz, interviewed by Comic Book Resourcesbrianmichaelbendis:

Bill Sienkiewiicz 1986: Elektra: Assassin #3
I wanted to paint Elektra: Assassin at all costs. I wanted to do it so badly, that the rate for the coloring was like $40 a page. They didn’t have a painted page rate at the time. So I was doing all that work for essentially nothing because I needed to do it, I wanted to do it. From working with Frank’s scripts to laughing my head off to being inspired and excited and knowing that whatever he was going to throw back at me was going to inspire me further. It really helped to make it about the work… because it all got turned back into the storyline. It was a very creative environment
— Bill Sienkiewicz, interviewed by Comic Book Resourcesbrianmichaelbendis:

Bill Sienkiewiicz 1986: Elektra: Assassin #3
I wanted to paint Elektra: Assassin at all costs. I wanted to do it so badly, that the rate for the coloring was like $40 a page. They didn’t have a painted page rate at the time. So I was doing all that work for essentially nothing because I needed to do it, I wanted to do it. From working with Frank’s scripts to laughing my head off to being inspired and excited and knowing that whatever he was going to throw back at me was going to inspire me further. It really helped to make it about the work… because it all got turned back into the storyline. It was a very creative environment
— Bill Sienkiewicz, interviewed by Comic Book Resourcesbrianmichaelbendis:

Bill Sienkiewiicz 1986: Elektra: Assassin #3
I wanted to paint Elektra: Assassin at all costs. I wanted to do it so badly, that the rate for the coloring was like $40 a page. They didn’t have a painted page rate at the time. So I was doing all that work for essentially nothing because I needed to do it, I wanted to do it. From working with Frank’s scripts to laughing my head off to being inspired and excited and knowing that whatever he was going to throw back at me was going to inspire me further. It really helped to make it about the work… because it all got turned back into the storyline. It was a very creative environment
— Bill Sienkiewicz, interviewed by Comic Book Resourcesbrianmichaelbendis:

Bill Sienkiewiicz 1986: Elektra: Assassin #3
I wanted to paint Elektra: Assassin at all costs. I wanted to do it so badly, that the rate for the coloring was like $40 a page. They didn’t have a painted page rate at the time. So I was doing all that work for essentially nothing because I needed to do it, I wanted to do it. From working with Frank’s scripts to laughing my head off to being inspired and excited and knowing that whatever he was going to throw back at me was going to inspire me further. It really helped to make it about the work… because it all got turned back into the storyline. It was a very creative environment
— Bill Sienkiewicz, interviewed by Comic Book Resourcesbrianmichaelbendis:

Bill Sienkiewiicz 1986: Elektra: Assassin #3
I wanted to paint Elektra: Assassin at all costs. I wanted to do it so badly, that the rate for the coloring was like $40 a page. They didn’t have a painted page rate at the time. So I was doing all that work for essentially nothing because I needed to do it, I wanted to do it. From working with Frank’s scripts to laughing my head off to being inspired and excited and knowing that whatever he was going to throw back at me was going to inspire me further. It really helped to make it about the work… because it all got turned back into the storyline. It was a very creative environment
— Bill Sienkiewicz, interviewed by Comic Book Resources

brianmichaelbendis:

Bill Sienkiewiicz 1986: Elektra: Assassin #3

I wanted to paint Elektra: Assassin at all costs. I wanted to do it so badly, that the rate for the coloring was like $40 a page. They didn’t have a painted page rate at the time. So I was doing all that work for essentially nothing because I needed to do it, I wanted to do it. From working with Frank’s scripts to laughing my head off to being inspired and excited and knowing that whatever he was going to throw back at me was going to inspire me further. It really helped to make it about the work… because it all got turned back into the storyline. It was a very creative environment

Bill Sienkiewicz, interviewed by Comic Book Resources

(Source: comicartistevolution)