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Jason Thibault

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About Jason Thibault

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    Vancouver, BC, Canada

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  1. Yep, box office figures DO include Canadian theatres. Our release dates parallel with yours. I remember back in November 1999 either Variety or The Hollywood Reporter remarked that the newly opened Paramount Cinema in Montreal had pulled the largest box office receipts on the continent due to Sleepy Hollow and Tomorrow Never Dies being out at the same time. There's very few Canadian owned or originated theatre chains left so they all report back to the same corporate masters in the US. -Jay
  2. I'd say they'll get this out as soon as possible. Probably look for a late March / early April release.
  3. Jimmy is a machine. Prolific and talented. I miss the days of Joe Q and him jamming on pages together. Very down to earth. I was pretty blown away last year when he left a comment on one of my MySpace blogs.
  4. Oh Christ where to start? On Friday night my buddy came to pick me up in a red El Camino. We were going to see PWZ with the "right" frame of mind. I had a bottle of Jack D's tucked in my pocket. Ordered a coke at the concession. The movie started. I almost walked out after the opening scene but I was already in for 17 bucks between the ticket and the pop. Hanging upside down from a chandelier? Really? Surely they all saw Boondock Saints. The boys accidentally falling out of the ceiling in tandem and shooting up the room. That was supposed to be over the top balls out insane. It was funny, stylish and cool. In PWZ it was just lame. I echo one of the previous comments. It felt like I was trapped in a 1960's Batman episode with ultra violent head wounds. I will say that the last 8 minutes were pretty cool. When he was sweeping from hallway to hallway. They should have started the movie with that scene and deleted the rest of it. Right down to the bad cable TV lighting. Re-reading those comments from Tom Jane just drives it home even more. Tom made the best possible move period. Here is an actor who has starred in one of the best historical crime movies (Stander) and one the best horror movies(The Mist) of the last decade. The man knows his shit. The international film community is now schooling the US in brutal uncompromising revenge films. From Hong Kong you've got Sha Po Lang (Kill Zone) and Dog Bite Dog. In 2005 A Bittersweet Life (Dalkomhan insaeng) came out of South Korea. You want to see a fucking cool film about a gangster crawling back from death to exact revenge you'd do right to start there. I stick with the small screen lately for my American gritty drama. Watching Sutter do it right with Sons of Anarchy or the skull-punching finale to the Shield. At least Stallone is having some fun piecing together The Expendables for 2010. It'll be fun watching him shoot up South American jungles with Dolph Lungren and Jason Statham.
  5. Conventions are a tricky proposition for us. Not only are we up in Canada, but Rich and I live 3000 miles apart. It's not worth the thousands that it would cost us to do the larger shows unless we had a lot of merch with us. We're working on sorting out all of these issues but as you can imagine post 9-11, the borders are a bitch. We were hoping to use a merchandiser in Cleveland that could simply drop ship packages to wherever in the States. They are a fullfilment service that ships t-shirts all over the country for touring bands to pick up on the road when they run out. But they're expanding right now and still haven't got their shit together yet. For now we're pouring our resources into printing up Danijel's graphic novella, Rex and setting up our online store up here in Vancouver. We will probably still make it to Emerald City Con in Seattle (early May I believe) as it's just below the border and we had an amazing time there last year. We booked a table in artist alley and gave out freebies. And we got to meet and talk to Brian Wood and David Mack. Awesome times.
  6. No bad blood whatsoever. If I make it below the border to San Diego this year, I'll look you up.
  7. I think maybe we should revisit all of this later in February on a new thread in the "Show Your Wares" section. I'd be happy to throw up a new page then and let everyone have at it. I've got a thick skin. Everyone on these boards are obviously into dark genre art and film so this place presents a unique opportunity to have passionate people offer up insight. I think the written word can read a lot more brutally than in-person contact so I try an read with "soft eyes" (that sounds creepy). If we were at a bar, we'd all be drinking and laughing together. At least that's what this Canadian would like to believe. I create art for myself first and foremost, but I'd love to hear what people had to say on a new piece. I always try to keep an open mind. Nobody has come on here and slammed my technique, so I don't feel insulted. I'd like to turn all of this into a positive and stay in contact with ALL of you. Best, Jay
  8. Oh hey, I went to check out Destroy Dystopia, and I could only get one page to display. What the heck am I doing wrong over there?? Njc----------------------- Sorry about that, all of our webcomics have different functions. If you go to HERE, that'll bring you to the first page. All you have to do now is click on the page itself to bring you to the next one. He has quite a few posted. -Jay
  9. I'd start off with Destroy Dystopia which is by one of our German buds Christian. It's in English though. He got some coloring work from IDW (Snaked) based on his online stuff. He has over 50 pages online and it's a cool little apocalyptic cyberpunk tale. There's not a lot of strong dark genre serialized work out there yet, but now that DC, Marvel, Dark Horse and Top Cow all have online initiatives, the rest of the print world is slowly moving online. Whilel I and my generation prefer to read printed matter, there's a whole generation growing up that's completely comfortable reading off a screen. Joe Quesada realizes this and the rest of the industry is waking up as well. Webcomics have gotten our work in front of thousands of people for pennies a day. I can only imagine how hard (and expensive) that would have been self-publishing singles back in the 1980s and 90s.
  10. Well hot damn, at least everyone is being honest around here and not hiding behind aliases and that's what I respect the most. From reading Jim's comments, I'm not sure if he was critiquing individual pages posted or if he actually read the first 24 pages of my webcomic so I'm a little confused there. Our myspace page isn't a portfolio gallery hoping to attract publishers, it's a full blown webcomic portal that compliments our webcomicsnation page. As far as building up an audience we have the largest comics page on myspace. That happened by accident. My comic has gotten 135,000 pageviews and Rich's comic, Memento Mori has received over a quarter million hits on the 80 pages that he has up. These numbers aren't posted to brag as they're a drop in the bucket compared to the most successful webcomics. The top 10 webcomics receive that kind of traffic EVERY DAY. I'm just pointing out that thousands of people have stopped by, wished us well, asked where they could buy the damn thangs, or when more pages would be up. There is already an established and growing fanbase for our works. Our biggest problem right now is creating new pages fast enough to keep our fans happy and coming back for more. I haven't had many dealing with pros in the comic industry. Other than Danijel Zezelj, Tim Bradstreet, Brian Wood, Ho Che Anderson and a few others we are completely on the fringes. We're not trying to "break in" but we're always trying to improve. DC, Marvel and Dark Horse will always be around in one form or another, but the 21st century-web 2.0 way of doing things has me a lot more excited. A webcomic creator can print up 2-5000 copies of a collected book, sell them directly and do better financially than work-for-hire arrangements. It's far from a sure thing as all self-publishing is risky, but from what I can see, there's never been a better time to be creating new comics.
  11. Hi Jim, After the initial shock wore off the other night of reading your message and our further private messages to each other I'm comfortable with your criticisms. Meaning that I agree that there is a lot of room for me to grow both as an artist and a storyteller. Heck we're all still in our 20's and 30's on this board. Hopefully we all have decades of learning and improving ahead of us. We have a moral obligation to our fans and readers to constantly improve. I consider Frank Miller the Miles Davis of comics, having changed is style, for better or worse, several times over the course of career. I think he only tripped up when he went back and revisited DC's superheroes. Miles Davis' pop era in the years leading up to his death were nothing to write home about either. But they both were constantly trying new things. A big part of me wants to tackle illustrated prose and maybe too much of that seeped into the first part of my comic. I had been concentrating too much on technique in my earlier experiments with photorealism. I'll be keeping an eye on Dave Sim's upcoming Glamourpuss as he's probably going to be taking realism in new directions (with hand-lettering to boot). After spending the summer scanning, lettering and formatting Danijel's book, holding those originals in my hands, it set off alarms in my head that there was still a lot of work left to do. Some of my favorite artists include Michael Lark, Ash Wood and Sean Phillips. Ash is unconventional and most of the time it works. Sean is one of the best at what he does and reading the second volume of Criminal drove that home. I agree that we're all putting our work out in front of a mainstream audience. We get a lot more enthusiastic responses from DH and Marvel readers than we do from the alt comics crowd. I'm not and never have sought out paying work from other publishers, but some interaction with an art director would certainly be interesting. We're in the webcomic to self-publishing crowd. I'm putting together a monster reading list for all aspects of comic creation for our website. Understanding comics and its' sequel have been on my shelf for years. I think I'll give each of them another read as it has been a long time. Same goes for the Eisner books.
  12. Wow I'm glad I joined up on this board. Hi Noeland. All I can say is that I've been having a lot of fun on my comic and I hope to pick up the pace tenfold on the productivity front. There hasn't been a lot of dialogue spoken in the comic yet. It's mainly been captions layered over illustrations . Perhaps like narration over a segment in a Scorcese film that brings you up to speed. Or maybe not. It doesn't always work for me but I'm playing around with techniques. I hope you guys like whats coming down the line at the end of the month. Let's see how I do with a conversational scene. I'll be sure to check in with you. And yes this is strictly a black and white comic.
  13. I don't think you have any reason to feel like a dumbshit sir. You simply posted that you dug our stuff in an "Artists We Love" thread and we're extremely flattered. If this conversation was taking place in an "Artists We LOATHE" thread I think I'd be more concerned. We love all of you who take the time to show us appreciation. Especially in a public forum. An artist's fans are the ones that truly matter to him/her. Anything else is just an opinion. At least coming from Jim Daly, it's an informed opinion with merit. Tim has taken his share of BS over the years as well, but we the fans have always stood by him. If you get a reaction or a comment at all about your art you know you're doing something right. -Jay
  14. I finally got to meet Tim Vigil at 2007's Emerald City Con in Seattle. And I grabbed an issue of Faust 13 for my buddy Rich. I leafed through a pile of his originals. The man is a skilled master to be sure. Such elegant ink strokes. My friend was writing her master's thesis on art and censorship a few years ago. I loaned her the first 12 issues of Faust. I'm glad we're still friends.
  15. I was always a huge fan of Nick Manabat. I was an avid reader of comics during Image Year One and was blown away by the amount of detail Nick could cram into a panel. Filipino artists have had a proud history in American comics for decades. -Jay
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