Bob Heske -- Screenwriter and Graphic Novel Artist Extraordinare! INTERVIEW

I recently interviewed successful Screenwriter and Graphic
Novelist -- Bob Heske. Getting to know Bob over the past year, I
found him to be one the hardest working creative vision in Hollywood.
A leader and inspiring to all writers who specialize in the horror
genre.

INTRO --

Bob Heske is the writer/creator of COLD BLOODED CHILLERS, a comic
horror anthology that Dave Baxter @ BrokenFrontier.com calls "perhaps
the very best of the independently published anthologies that I've
read." Bob has also written a vampire series called THE NIGHT
PROJECTIONIST through publisher Studio 407 (www.studio-407.com) with
film rights optioned by Myriad Pictures (Jeepers Creepers 2). Cold
Blooded Chillers (including the new BONE CHILLER "best of" anthology")
are available as web downloads at www.drivethrucomics.com or can be
ordered as print copies from www.coldbloodedchillers.com. Issue One of
THE NIGHT PROJECTIONIST is available at local comic shops nationally.
Call your LCS and ask them to order THE NIGHT PROJECTIONIST (December
Diamond Preview Order # 084241) if it is not in stock.

THE INTERVIEW --

1. Do you often get this question - "can this screenplay be turned
into this graphic novel?" What specifications do you look for when
reading the script?

Actually, no. The biggest question I get is "I have an idea ... can
you write a screenplay about it for me?'

Graphic novels have become a hot commodity in Hollywood in recent
years and have churned out big box office success (think anything
"Marvel" or this year's soon-to-be-blockbuster Watchmen).

But comic purists will tell you that OGNs (original graphic novels)
are their own form of story telling art - the thing is, because these
tales are essentially already "story-boarded" in sequential
panel-by-panel art form, many are readily translatable to film. In
terms of what makes a great graphic novel also a great film - well,
it's the old standbys of premise, plot and character. If you've got
all three and they resonate with mass audiences - which in today's
market means global audiences - then you've got a winner.

When I sit down to write a screenplay or a comic series, I start with
the story premise. Does the story or series summed up in a logline
sound intriguing, unique and marketable? For example, for THE NIGHT
PROJECTIONIST (a vampire series published by Studio 407 with film
rights optioned by Myriad Pictures), the logline was:

The night projectionist at a condemned movie theater takes his
audience hostage on Halloween as a coven of vampires descend upon the
town. As a bloody seige begins, a dark secret unravels and the captive
audience must decide whether the night projectionist is here to
protect them ... or to feast on them!

2. There is a big demand for graphic artists and writers. Where are
some the best places to network on the internet? Would upcoming and
established writers and inkers in this field be interested in reading
feature screenplays and accepting query letters? Is this a trend?

Actually, I think the pool of writers and artists is much bigger than
the demand. Sure, there are lots of people who want to collaborate
with no pay upfront ... but the paying gigs are far and few between.
That's why there are some many indie comics out there and relatively
few "true fans" that follow each.

RE: Networking on the Net - Well, I tried a few places. The first was
emailing local art colleges. I got poo-poohed by haughty professors
telling me their students were too busy with assignments for blue chip
publications. I ended up going to www.comicspace.com where hundreds of
working artists post galleries of their work. I did a key word search
for "horror noir" and then "befriended" the artists on comicspace by
sending them a personal note. Ultimately, I've made almost all of my
key connections this way from one web portal.

I should also note that comic artists are always excited when their
work is transferred to the Big Screen. However, most in the comic book
industry frown upon the practice of writing a screenplay and then
trying to introduce it first as a graphic novel. Plus, the story
structure is so much different from a screenplay than it is for a
graphic novel. For example, a screenplay is paced to have a beginning,
middle and end. Whereas a graphic novel series can be 4-6 single
issues each with their own beginning, middle and cliff-hanger end to
rope in the reader to follow up with future issues. Another thing - a
writer for comics provides a ton of "directorial notes" - e.g., adding
as much visual cue for the artist as possible. If I tried to provide
this much visual direction to a screenplay, I would be scoffed at by
producers and labeled an amateur (after all, the "vision" is the
director's role!).

So, I think what happens is that some really creative writers and
artists develop some very cool, bleeding-edge concepts that they put
out to the world as graphic novels. As these publications get popular,
it catches Hollywood's eye and they option the works they think will
make money.

3. Let's look at the movie THE SPIRITS, why did it fail at the box
office? What lesson is there to be learned from this?

Honestly, I didn't see THE SPIRITS. But it's easy to see why films
like DARK KNIGHT, IRON MAN and the upcoming WATCHMEN inevitably
succeed. Great story. Great character. Great effects. Graphic novels
can have a cult following but once they are churned into movies they
need to retain mass appeal to be considered a financial (not
necessarily critical) success.

4. What are some of your favorite graphic novels and comics?

I enjoy horror noir. And I like the old campy horror like CREEPY and
TALES FROM THE CRYPT. As for graphic novels, I like to peruse the
indie market since that is what I create (so I try to support similar
endeavours). I'd recommend a nice little OGN called HEATHENTOWN by
Gabriel Hardman & Corinna Sara Bechko. I also like the work put out by
Insomnia Publications (CANCER TOWN, CAGES) and Studio 407 who
publishes my THE NIGHT PROJECTIONIST series as well as several other
creepy horror titles (HYBRID, NETHERWORLD, DEMON SQUAD).

5. What are some of your favorite horror movies?

My favorite horror movie of all time is the original HALLOWEEN. Recent
movies I have liked have centered on what I call "suburban horror"
where the monster is man. A great example out of the UK was LAKE EDEN
where a couple on romantic holiday at a secluded lake are terrorized
by a local gang of teen hoodlums.

6. Could you name of some movies that you would like to see converted
into graphic novels?

I'm sure there are lots out there - I don't get to read as many
graphic novels as I want to because they tend to be more expensive
than books and my local "Annie's" used bookstore doesn't carry them. I
spend so much money self publishing and self-promoting my COLD BLOODED
CHILLERS series (available at www.coldbloodedchillers.com) that I
can't rationalize buying new books to my wife and two hungry kids. I
think HEATHENTOWN would be good. Not to mention that two titles from
Studio 407 - HYBRID and THE NIGHT PROJECTIONIST - are both slated to
be turned into films. I am also anxious to see how Hollywood can
dumb-down the complex story of WATCHMEN into a 2-hour movie.

7. What projects are you working on currently?

I am writing a low budget thriller with a UK director and writing a
spec script which I will market on my own. If I can get an uptick in
sales for my COLD BLOODED CHILLERS series, I will also do a 4th issue
this summer. I am hoping to start work on the screenplay for THE NIGHT
PROJECTIONIST some time in the coming months too.

8. Are you a strong believer that all aspiring and upcoming
screenwriters should enter Screenplay Contests? Was your experiences
any good or/and bad?

Screenplay contests are good things and can both inspire and provide
affirmation if you win/place/show. With that said, there is something
to be said for moderation. Entry fees average $40-$60 and if you enter
a lot of contests it can add up. I spent $2K one year. Sure, I felt
good that a large share of the contests recognized my writing - but
nothing sold. In retrospect, I'd put the money I spent on contest fees
into hiring an artist to create my own comic book series or graphic
novel. That's much more rewarding!

9. After you entered a few Short Screenplay Contests and winning, did
some producers contact you afterwards? What are producers looking for
in a short script?

I've had lots of short screenplays optioned, but only one was made
into a bonafide short that had quality actors and an Emmy-winning
production crew - it was called WAITING (based on a short script I
wrote called THE WAITING ROOM). It stars Richard Schiff and Izabella
Miko and was co-written by director Lisa Demaine. Another film credit
was for a co-writing job where I did an edit of the director's script.
However, I still have lots of hope - particularly that my COLD BLOODED
CHILLERS indie horror anthology gets noticed and a few of the stories
get produced as shorts or as a web series. I should give a shout out
to one contest for paying attention to me post-contest - James Fischer
at The Writers Place (TWP) has kept in touch and included my
accomplishments in updates on his website and in periodic mailings to
producers. TWP is a nice little contest, should anyone be interested
in submitting to a feature or short screenplay contest (they also have
poetry contests).

10. Studios which create and publish graphic novels -- are they
looking for writers? Maybe they just look for a writing team (the
inker and the writer).

Just like production companies are always on the lookout for the next
great "Slumdog Millionaire," publishers are also seeking the next
great OGN. So the answer is "yes" ... but the odds are great (meaning
not very good) that you will be "the one" they are looking for. Feel
free to look up publishers and submit a treatment for your idea.
Personally, in the modern digital "DIY" (do-it-yourself")
self-publishing era, I would hook up with an artist that shares your
vision and passion and make a go of it yourself. It takes time, some
money, lots of commitment ... and maybe luck will shine on you.

Interviewed by Benjamin Ray -- Screenwriter. His screenplay "Marcus and Faith" won first prize in the thriller section at www.928inc.com. Competition judges included Daniel Yost, the screenwriter of Drugstore Cowboy, starring Matt Dillon. And one of Benjamin Rays's short scripts "Bring On The Pain" was recently sold to Resolve Films. For more details, please visit www.hollywoodtoronto.com.