The writer of Daredevil/Captain America: Dead on Arrival talks about the project and its release in North America. Thanks to Francesco for all his help with translation.
Kuljit Mithra: Before we begin, I'd just like to say thank you for
agreeing to the interview. Several Italian fans of yours were very happy
tell me of this Daredevil/Captain America project with artist Claudio
Villa. North American comics fans may recognize your name from "Il segreto
vetro", the Spider Man story you did with Giorgio Cavazzano for Panini in
Italy, but for those you don't know about your work, could you briefly
give a bio on yourself that would best describe your influences and work?
Tito Faraci: I started writing comics professionally in 1995, for Walt Disney. It's maybe a little known fact, but most of Disney comics published in the world are written and drawn in Italy. It is a glorious tradition. Besides that, I've worked for Sergio Bonelli Editore, writing Dylan Dog, Magico Vento, Nick Raider and, today, Tex. I've also created the miniseries Brad Barron for Bonelli. Then, I've also scripted Diabolik stories... and a graphic novel titled "The Last Battle" (art by Daniel Brereton), unpublished in America as of yet (but already out in Italy, Germany and Brazil). My influences? Carl Barks, Stan Lee, Frank Miller, Alan Moore, Romano Scarpa, Gianluigi Bonelli... too many to list!
Mithra: How did this project come about for Panini? Was this something you pitched, or was asked by Panini?
Faraci: It came about from the friendship with Panini's staff. Particularly, with its editorial director, Marco M. Lupoi, who gave me the idea. We had already done "Il Segreto del Vetro", and we were feeling like raising the stakes. This story with Captain America and Daredevil has been developed with thanks to the collaboration of Ralph Macchio, who supervised, and to editor Enrico Fornaroli. I also want to mention the wonderful Fabio D'Auria, who did the colors for the story. But more than anything, it has been thanks to the solid friendship between me and Claudio Villa!
Mithra: For those of us not familiar with the set up, is Panini in Europe part of Marvel, or is it its own company that licenses Marvel and other characters?
Faraci: It is its own company, publishing a large number of comics from all around the world, among which there are Marvel comics.
Mithra: Had you always been a fan of Daredevil? What are your favourite stories or favourite creators who have worked on the comic?
Faraci: Daredevil was the FIRST comic I've ever read, when I was seven years old. Without DD, my life would've been different. Worse, I think. So, this story is also an act of love, of thankfulness. My favourite creators? Two authors in particular, among the rest: Stan Lee and Frank Miller. Obviously.
Mithra: You've brought back Death-Stalker... what was it about this character that intrigued you enough to bring him back?
Faraci: It was Marco M. Lupoi's idea. A great idea, in fact. He was quite a character, insane and dramatic. I enjoyed bringing him back to life... and to death. And, at my side, I've had one of the great maestros in Italy, in Europe, in the world... Claudio Villa, a genius!
Mithra: Where in Daredevil continuity does this story take place?
Faraci: It is linked to "A Grave Mistake", the first story drawn by Frank Miller, in which Death-Stalker dies, but also to the less known story written by Harlan Ellison and drawn by David Mazzucchelli ("The Deadliest Night of my Life"), in which Sterling's mother tries to avenge her son, luring Daredevil in a mansion full of traps.
Mithra: Is continuity important to you when you write stories for the major companies?
Faraci: It is important, but without being obsessed by it. Not a religion, but more like a good card to play. It gives depth to the story.
Mithra: How do you usually write your comic stories? Do you write it like a screenplay and suggest layout, or do you give your artist a basic idea and then revise as needed?
Faraci: I write very detailed scripts, frame by frame, with technical language. In Italy, scripts are usually written in a very traditional way.
Mithra: With the comic now translated into English, I was wondering if you were involved with this and what did you think of the adaptation by Larry Hama?
Faraci: I was honoured that the adaptation has been given to such a professional. Honestly, I'm clearly more attached to my version, my dialogues (slightly more offhanded and brief), but I understand the necessities of the publishing house. It's like when, in Italy, an American movie gets dubbed. Something has to be changed. Be as it may, scripting for me means also (especially, perhaps), deciding the various shots, setting up the pages layout, spell the rhythm of the panels. And all of this was left the way I wrote it, 100%.
Mithra: And final question... are you working on any Marvel comics currently or any other titles?
Faraci: No. For now. But I'm willing to.
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