I wanted to go back to Sun. Unfortunately, most of the gear is gone from Sun. The way I take it now, it's almost like a tourist destination. So, it would have been pretty difficult to have brought all the gear into Sun to make it like it was in the '50's.
I'm really trying to stop setting my plays in this one fictional town in Vermont.
Usually, it is not difficult to change from indoors to outdoors.
It interests me to imagine characters shifting from one situation and one location to another for whatever the circumstances may be.
I used to paint landscapes without any people in them but now I paint people who happen to be in a particular place. They might be outside a pub, or on a beach or in a studio. They might have clothes on or they might not.
I feel like 'Gossip Girl' isn't really 'Gossip Girl' anymore when they're away at school because they don't go to NYU; they go to, like, Yale and Brown. New York City is just as much a character as anyone else in the books, and I was really sort of reluctant to show them off in their separate college worlds.
I wanted to change up the tempo and setting of my comics in the sense of giving them some variety, for one thing. So where, for 'Slump,' the art was very America-esque, in the case of 'Dragon Ball,' I made it as Chinese as could be.
Each of my books is different from the last, each with its own characters, its own setting, its own themes. As a writer, I need the variety. I sense my readers do, too.
You have to understand where the camera needs to me. There were times where you were suddenly aware where the cameras were, then you were in a different place and it didn't feel like the same movie.
