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You would be hard-pressed to find an actor as passionate about a role as MATT RYAN is about portraying John Constantine. It’s a shame that hopes for a multi-season CONSTANTINE show were dashed early on but luckily, good news wasn’t far off. Following CONSTANTINE’s cancellation in 2015, Ryan only had months to wait before returning to the character, this time in the CW’s popular ‘ARROWVERSE’ continuity. He appeared in an episode of ARROW  and was later bumped up to series regular on LEGENDS OF TOMORROW, giving him ample room to explore and enjoy the fan-favourite character. His live-action turn as the chain-smoking occult detective eventually took him into the DC Animated Universe (DCAU), where he portrayed Constantine in JUSTICE LEAGUE DARK and now its series-capping sequel, JUSTICE LEAGUE DARK: APOKOLIPS WAR. We chatted with Ryan about the new film, Constantine’s role in it, and how the character evolves after the world goes to shit… 

STARBURST: Tell us a bit about what John Constantine is up to in Apokolips War for our readers who haven’t seen it yet. We’re also interested in how he’s challenged as a character and as the leader of Justice League Dark. 

Matt Ryan: So John is obviously the leader of Justice League Dark and he’s in a relationship with Zatanna, so that’s sort of what pulls him into this situation and he’s there to help out with this world-threatening situation. And what’s interesting is that all of the Justice League and all of the other heroes in the whole canon of the DC world are up against this terrible, terrible power. And ultimately they need John Constantine to help them but John’s not as reliable as most people. So he goes through a little bit of an emotional struggle before he can really, really get involved. 

Constantine is definitely the highlight. He kind of takes over the whole Justice League. He’s kind of the one who leads the charge. 

What I like about it is you look at all the different superpowers and all the heroes in the DC world and it’s little John Constantine who really gets things going. John Constantine was a blue-collar, working-class street magician, and you’ve got all these superpowers, Batman, Superman, Flash, he’s the one they need. And I really like that. 

Do you think he changes or grows during the movie? What kind of evolution does he go through here? 

A huge one. He really does go through a transformation with the world being what it is. The world is in complete disarray and John definitely does best in those circumstances. He turns to the bottle and he needs a real kick in the ass to get him going again. But I really do feel that he goes on a huge journey with loss and love and a struggle to save the world and overcome his own inhibitions to team up and join with these unlikely companions to save the world. 

Something that’s really different about this movie is its emphasis on consequences and how the heroes have to deal with them. And Constantine doesn’t do well with consequences. He tends to drown them. Like you said, boozin’ it up and chain-smoking and stuff like that. Do you think he rises to the occasion and meets these consequences head-on? 

John is not good with consequences at all. But there’s something that I absolutely love about this character. When you take him to the edge, he will stand up. There’s something about him that even when he’s in the depths of hell, sometimes literally, or when the world has literally gone to shit, that I love. There’s that spark of humanity in him that will drive him to save the world. He deflects, he drinks, but eventually he gets there and rises up to the occasion. He’s just this blue-collar guy and we need him to save the world.

There’s a moment in the film where shit’s kinda hitting the fan and there’s a moment where Constantine goes, “Well, it’s too late to turn back now so we might as well see it through.” And that kind of encapsulates what you’re saying. He changes by the end. He’s in it to win it. Or give it his best shot, at the very least. 

Yeah, totally. He does things off the cuff but if he focuses his attention on you and really goes after you, his adversaries better be quivering in their boots. 

Can you expand a bit on what appeals to you so much about playing Constantine? You touched on it earlier but I’m really curious about it and kind of what goes through your head when you play him. 

He’s so three-dimensional and he’s got all these complicated, human, normal kind of things going on, as well as all the demon shit. And that’s something I love digging into and navigating that and playing the character in all these different mediums and scenarios. It’s been great to flesh out the character across the board, really. He’s a normal guy and the closest character to him in the DC world is Batman. They just share something in common there and there’s something that attracts me to his humane kind of quality. Working class, normal guy quality. How he deals with torment and with the world how it is. His courage is questionable at times on the surface but below, the character is full of courage. I love playing John and working through scenes where he struggles with that. 

JUSTICE LEAGUE DARK: APOKOLIPS WAR is available now on digital download, and on DVD and Blu-Ray

With the Arrow Video release of The Woman (packaged with the prequel Offspring) due soon, we caught up with director Lucky Mckee to discuss the film nine years on…

STARBURST: How did you get round to co-writing The Woman with Jack Ketchum?

Lucky Mckee: I was pitching a project with this producer Andrew van den Houten. It was an adaptation of a Jack Ketchum novella called The Passenger. I pitched that hoping that maybe he could help get it financed, and he didn’t think he would get the budget that we thought was necessary to make that film, but he had just finished this his movie Offspring, which he directed from a Jack Ketchum book. He was curious if I was interested in doing a sequel to it and I was like, I don’t know, maybe. But I read the book, and I went up to New York, and I looked at the film that they had made, and I was really impressed with Pollyanna McIntosh did, and I gave Ketchum and Andrew my spin on where I thought the story should go. I was saying ‘you know we could do like what Kubrick and Arthur C. Clarke did with 2001 where we come up with a story together and then you go off and write the book, and I’ll make the movie’. He said why don’t we just write both together so on that night in a restaurant in New York, it was this amazing collaborative relationship started with Ketchum. We ended up writing two, we wrote the script in the book together and then a couple more novels and a bunch of short stories and stuff, and it’s just really special.

Did you have any idea of how different you wanted it to be at the time?

Yeah, I have my specific kind of style, I guess, and a very specific sense of humour. And also I didn’t want it to be Offspring continued. I wanted to do something different with it. Polly was the best thing about that movie. The ferociousness that she brought to that character, and that’s hard to do, without being worried about coming off as silly. She just completely committed to it and it’s a powerful, powerful force. I loved her character so much I was like well I’d like for her to the hero in the second movie. She didn’t know me when she read the script, so there’s no trust there. She was looking at it as if it was going to be made with the same style and tone as the previous film, She was like, ‘I don’t know if I can do this’, so we had a lot of conversations about it, and I told her how I like to handle that kind of material. I’m the kind of person who would like to be able to look myself in the mirror every night before I go to bed. So there are certain lines that I won’t cross with the subject matter. We built a mutual trust with each other early on, and she finally felt comfortable.

Now with Angela [Bettis], it always takes convincing with Angela to do anything. You know she wants to get to the core of why are you doing this – why do you want it? Why do you want to go to these places? Why do you want to go through the dark and this and that?

The young daughter, Lauren [Ashley Carter], who plays Peggy, I met in New York. She’d worked on a previous film with a producer, and I thought she was a really good match for being Angela’s daughter. We just got along instantly, and she really can be dark – she’s done really well for itself.

In terms of the male actors, Sean Bridgers was an old friend of Angela’s. She’d been trying to convince me to work with Sean, ever since we first met when we were making May. And, boy, what a joy to work with that guy. I’m worked mostly with women in my career, director to actor wise. So, this is the first time it has like a full experience with a dude. He’s amazing. That is the hardest part to play, especially if you’re a decent guy really, and he is that kind of person, and it’s fun to jump in those wicked roles and try to figure out how people get to a place where you think you could act like that.

I feel like this movie’s like even more appropriate now – even more on the button than nine years ago or whatever.

How has it been looking back at the film with the upcoming reissue?

Working with the people at Arrow Video has been the best experience I’ve ever had working with a distributor, they completely understand the movie. The artwork is beautiful, the presentation of the Blu-ray is beautiful, and they get it, you know? The trailer that they cut together just blew my mind it was like ‘wow they get it’.

Is it strange for you to have it paired up with Offspring?

Oh yeah, I’m totally fine with it. In the UK, it’s coming out in that double bill with Offspring, but in the States, The Woman is just coming out down alone – possibly because they’re waiting for the rights to turn back around on Offspring for North America. One of the most special things about The Woman being paired with Offspring is that my wife, Vanessa, got to do the cover for both, and it’s just beautiful. I love the colours that she painted for The Woman, and the one for Offspring also is just gorgeous. It’s really special that we get to do this stuff together, it’s pretty neat. I think it’s cool and I hope that when people see those two films that it leads them to Polly’s film Darlin’. It’s a very bizarre trilogy!

What was the most challenging thing about filming The Woman?

The subject matter – honestly – it’s not fun to shoot a rape scene. It’s not fun to shoot people being violent, trying to do that in a way that’s on it, you know, because the fucking terrifying, you know, like, there’s a scene where the parents are fighting in the kitchen. And towards the end of the film, the dad’s hitting the mom and the kid is just sitting right there, and you see this truly monstrous behaviour. That’s hard, man. My way of directing is getting in the mood with the actors and getting down on the ground with them – being as close to them as possible when we’re filming a given scene. I don’t like to just look up at the monitors, you know, I like to be close to them going through it with them.

It was hard to shake what it’s like writing the material. If you’re going to a very dark place psychologically and then acting it out with people, you go to a super dark place. And then you edit it for a year after that, and I had to go on the road and talk about it every day, it really wears on your soul, so the subject matter was hard – also the food. The food was terrible on the movie every day. The food was horrible so that that makes people pretty grumpy. The thing is, about halfway through the shoot, I figured out to get a friend of ours to go pick me up a hamburger every day, and that’s that got me through the rest of the shoot. It was a gritty four weeks in a super low budget movie.

One of the great things is you get to the end, and then it throws in something brand new that you’ve not seen throughout the whole film, just little references of dogs…

Yeah if you go back a second time, you can hear her the whole time, it’s all there, but yeah that was a really fun surprise. We call the character Socket – the girl that played her, Alexa Marcigliano, was really trying to get into the stunt world, and that movie really launched her, and now she is doing stunts on all these big shows and stuff like that, so that’s great.

When the film played at Sundance, you had some adverse publicity due to a member of the audience – did that help or hinder you at the time?

It ultimately helped the film. I mean, to go through it when it happened was not enjoyable! We did all the post-production in a house in Oklahoma in the middle of nowhere, like in the woods. It was three other guys putting the film together and me, so we’re really in a bubble making that movie. You know, I get really nervous before showing a film the first time, so going from that bubble to the Sundance Film Festival with hundreds of people sitting there watching your movie, I could barely stand up I was so nervous! Towards the end of the movie when stuff started getting more intense, this girl got up and started to walk out of the theatre and just completely tapped out and fell into the seats. They took care of her, and I was trying to get them to stop the movie, but they didn’t. Then when the movie was done, a guy walked up and just started railing on me and my team. Someone caught it on tape, and it ultimately gave us some more attention than it probably would have gotten, because it really, really pushed his buttons. I don’t think he knew what kind of movie he was in for! And then people were getting upset at him, yelling at the guy and defending me and filmmakers – it was crazy, man, it was very surreal because I’m already going through the anxiety of showing a film for the first time, and have that happen! But it’s a good memory, you know, funny when it wasn’t at the time.

What do you have next on the horizon?

I’m working on a very special project that I can’t talk about it yet, but it’s something that I’ve been wanting to make for a very, very long time. It’s something deeply personal in the way that May is really personal to me, and even The Woman actually is really personal to me. So, yeah, I’m very lucky that I get to work on this project, I just can’t talk about it.

Arrow Video’s release of The Woman and Offspring is available from Monday, May 25th. You can read our review here and order here.

Main photo credit: Chelsea

With works ranging from SIX-GUN GORILLA to STAR WARS: DOCTOR APHRA, writer SIMON SPURRIER has demonstrated a range that, even amongst his fellow heavy-hitters, is remarkable. Now, he’s winding down from THE DREAMING, a 20-issue, SANDMAN UNIVERSE-set series he worked on with Brazilian artist BILQUIS EVELY. THE DREAMING is as gripping and mystery-filled as it is profound, a richly told, gorgeously drawn story brimming with the weird, the wonderful, and the wildly imaginative. We caught up with the duo to discuss their wildly successful time spent in Neil Gaiman’s sandbox…

STARBURST: How do you feel, now that the final issue of The Dreaming has hit shelves?

Bilquis Evely: It’s hard to tell. It seems a sense of awe. I still can’t believe I’ve been working on this project for two years! So many things happened, I matured a lot as a professional and as a storyteller. All the study, all the images and layouts, seems endless now and somehow a bit far from me. Maybe it feels like a dream? I hope all the readers enjoy our last chapter. I enjoyed every minute of it. And I couldn’t be more thankful.

Something we’ve noticed about The Dreaming is how effectively it conveys the craziness and the confusion of the subconscious. How difficult was it to blend all of this fantastical, otherworldly stuff together in a way that felt seamless and comprehensible?

Simon Spurrier: Certainly not easy, but it comes with its own set of benefits. When your storytelling canvas is as wide and pluripotent as the shared human unconscious – which, after all, is what the Dreaming ultimately is – it pays to see the endless possibilities as a positive rather than a source of anxiety. You want to tell a tale about a self-help group for troubled monsters? Do it. Want to do a bottle-issue about a comatose girl’s mom grieving? Sure. Or an all-out demonic assault on a fairytale kingdom? Get involved. Like any story, at any scale, as long as you define the rules of the game and make a point of focusing on the human drama rather than getting lost in worldbuilding, you won’t go far wrong. It helps – no, that’s an understatement; it’s critical – that I shared this journey with Bilquis, among a few other exceptional artists. It’s one thing for me to mischievously mash genres and go racing off on flights of narrative fancy one simply couldn’t get away with in any other context, but it’s down to Bilquis’s unparalleled capacity to parse and humanise everything I threw at her that the book works so effortlessly well.

Bilquis, what was the most difficult part of putting this world onto the page? How did it challenge your process?

Bilquis Evely: The most difficult part of drawing The Dreaming were the big montages for the double-pages spread, undoubtedly. It was a different experience for me and took me a while to figure out the best process. Throughout the series, it got more comfortable, but it was always a fun challenge, like a puzzle.

It must have been daunting…

Bilquis Evely: I was very aware of my responsibility, but honestly, no, I wasn’t too intimidated, even knowing the enormity of this universe. Mainly because, since the beginning, I knew the project would match with my art style. Also, I had a couple of months to study everything I could and to develop the line art for the series. So I started the series feeling very comfortable. I felt like I was at home. I didn’t change my process, but as any other project, I changed the art style a little bit according to the atmosphere of the story. The lines are looser, dynamic and more organic than on previous projects, I guess.

Which characters are your favourites to draw? Who were you most excited to draw when you sat down to work on a new issue?

Bilquis Evely: I believe it’s Lucien. He’s an amazing and rich character with an emotional role on, therefore it gave me ample space to explore a range of emotions, which is something I love to do. Besides this, his design is perfect for my taste! Pointed ears and a bow tie. I’ll miss him.

How closely did you stick to Simon’s original script? Was his script super specific about what he wanted, or did he give you room and time to experiment and see what worked?

Bilquis Evely: There are specific descriptions of the script for crucial elements of the story, for example. Still, Si gives me a lovely space to create things, especially visual elements, and also to add my percentage on the storytelling as any good relationship between two creators. Simon has a brilliant imagination, and his visual ideas are incredible, always coming up with new great suggestions throughout the series and also pushing me to bring some innovation. The double-page spread was a bit different from the rest of the pages, with a long description mapping and explaining the whole concept. Then I started with the layouts, adding my visual ideas to make it work properly. But the principles were the same for every page, with a lot of addition from both sides. 

What would you say the thematic through-line of The Dreaming is?

Simon Spurrier: I mean, there are a lot of big chewy themes at work here – each different character has their own, frankly – but I guess, if I had to boil down the central trunk of the tree,  it’s a contemplation of the importance of mystery, irrationality and wonder, no matter how ridiculous, frightening or infuriating they may be.

When writing the last issue, what thoughts, feelings, fears, etc. ran through your head? Were you intimidated at all? 

Simon Spurrier: Oh, hugely intimidated. By definition the world in which it takes place has infinite possibilities, so it really would have been very easy to just keep going forever. But… always leave ‘em wanting more, right? I could see a way to close the main arc I’d been telling which felt honest and powerful, and which ended on a real rock’n’roll magical high, so I took it. Actually, I don’t think I was ever most worried about managing to close-out the big long-running mystery, namely: what happened to Lord Dream, and is there any way to get him back? I was far more nervous about the more human-scale stories, especially for Dora and Lucien. I think in the event they both end the series in a profoundly different, and, for me, more emotionally rich place, than they started it, which I’m taking as a win. Dora, in particular, feels like a character whose journey, through trauma and self-hatred, feels like an important and optimistic road to walk. The only other thing which gave me pause during the project was how the Sandman fanbase would react to the more science-fictiony elements I folded-in. In particular the notion of an artificial sentience which, through no fault of its own, comes to rule the Dreaming in the absence of its proper master. I’ve been really touched by how well that thread has been received. It never ceases to delight me how far you can push the boundaries of fantasy and sci-fi into one another without coming unstuck. They are, ultimately, the same thing: creative contexts in which to tell human stories.

Given the scope of the project, did you have to think, organise, or write differently to produce the book?

Simon Spurrier: Not really. As I’ve said, it’s a matter of context. I tend to believe that as long as a story-world feels functional it doesn’t matter whether it’s a small town in the Bible Belt, a mineral-mine inside the eyeball of a gigantic fish, a super-positional matrix, or a fantastical kingdom that exists in the sleeping minds of humanity. As long as it has internal logic, the characters are what truly matter. Oddly enough, in plot and structural terms, my approach to the series was to mentally position it as a Western. Specifically, it’s the story of a frontier town whose sheriff has disappeared. Seen in that light it doesn’t really matter that the sheriff is in fact an omnipotent anthropomorphic personification who’s been deposed, or that the bad guy is a silicon valley billionaire with a pet A.I. in the shape of a giant moth, nor that the scared townsfolk are the hard-working creators of all human dreams. The story, and the way in which it unfolds, are the same either way… just with a few more demonic sexytimes and the occasional foul-mouthed pumpkin thrown in too.

Do either of you plan on returning to the Sandman Universe?

Bilquis Evely: Oh, yes. Absolutely. The Sandman Universe is a great place for an artist to be. There’s vast space for imagination and artistic freedom and The Sandman Universe has a wonderful editorial team.

Simon Spurrier: Abstractly speaking I’m already there. One of the reasons I chose to wrap-up my run on The Dreaming rather than spinning it out further – and risking overstaying my welcome! – was because DC, and Neil, thought me the right fellow for the job of bringing back John Constantine to a mature audience. Hence the new Hellblazer series. We’re calling it a Sandman Universe title only in as much as it utilises a few hanging threads from Neil’s past oeuvre in order to get John back on his feet to where we need him, but old-school Vertigo Hellblazer fans will immediately recognise their guy. It’s been an absolute joy to bring one of my favourite characters back to his roots: as a surly, swindling, foul-mouthed magician who rarely relies on anything as tawdry as magic – preferring to outsmart opponents – who’s tormented by his many mistakes. The Constantine we present in Hellblazer is that most compelling of archetypes: a bastard with a conscience. We’re taking that story into some very dark – and very surprising – places.

Anything you can tell us about that or any of your other future projects?

I’d urge everyone to check out Alienated from Boom! In essence, it’s a story that asks “what if E.T. had been found not by a well-intentioned kid but three angry teenagers?” Oh, and “what if E.T. turned out to be an extremely hungry super-predator?”

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All individual issues of THE DREAMING are available through your favourite digital comics platform, with the final trade paperback collection coming July 14th.

Neville Kidd might not be a name with which you’re familiar, but you certainly know his work. The Edinburgh-born cinematographer and camera operator has served as director of photography on such instant-classic genre fare as Netflix’s Umbrella Academy, the first two seasons of Starz’s Outlander, the Day of the Doctor episode of Doctor Who, and the His Last Vow episode of Sherlock, which won him a Primetime Emmy in 2014.

Kidd’s work is some of the most fascinating, mesmerizing shots in recent genre history, so it was a real treat to speak with him about his career, as well as his latest work, the recent reboot of Amazing Stories for Apple TV+.

STARBURST: Could you, for the benefit of our readers, briefly explain the difference between a director of photography and a cinematographer?

Neville Kidd: Basically the two have married. It used to be that the director of photography was more television and then cinematographers were more for film and cinema. What’s happened, as streaming services popped up in the last five years – where you’re making high-end television at the same quality – the television DPs and your cinematographers are now both working in the streaming industry, so there’s a little bit of a merging of the two.

That makes a lot of sense because series on which you’ve worked recently are definitely more than just your typical drama.

They’re big budget, you know? It’s funny, because when you’re on a Netflix show, you’re not making a television show. You’re basically making a product that people are expecting the same high production value as cinema and I think that’s what people are getting. Game of Thrones started that ball rolling, where you’re getting a kind of binge television drama that’s basically a film that never stops.

It is a very interesting thing to think, but the idea that with streaming, you have television or episodic hour-long programs sitting cheek-by-jowl with Hollywood big-budget movies.

Yep, and the VFX is the same standard, and what’s happening is, again, the crews are crossing over, so when you’re working on series like Altered Carbon the quality of the crew are the guys that shoot the Star Trek movies, Mission: Impossible – all that kind of stuff. To get the standard of that kind of streaming service, you need to bring in the high standard crew, so I think it’s been fantastic to kind of come up through TV ranks. You’re used to working a fast pace, where the big thing about television is you’ve got to complete your date. I know you’ve got to make it on budget, on time.

The majority of your catalog involves so much documentary work before you started to really come to the things I think most of the folks reading this will know like Doctor Who, Outlander, and Sherlock, but it seems that your work in documentaries like would really lend itself especially well to the period piece work that you’ve done. Did you find that that was the case?

I think, living in Scotland, we DPs can cross discipline, you know? Because it’s such a small cottage industry in Scotland, if you were just doing drama, you would starve. We would do drama. We do commercials between documentaries. We would have a foot in each camp to just basically be able to make money, and so I spent a lot of time doing documentaries and always trying to feed the drama side. That’s what I wanted to say in my career, but there just wasn’t enough work in Scotland.

Then, I managed to get on an indie film called Solid Air that was like a show reel for the TV drama directors. After that, I started to get on BBC dramas and that managed to get me into Doctor Who, which then opened the gates to Sherlock.

All of those programs have very distinct visual styles, many of which are very different from one another. Doctor Who is different from Outlander is different from Sherlock is different from the Umbrella Academy. That last one, especially, is almost another thing entirely. How do you like coming into a program that already has a distinct visual style; how do you adapt how you work for these various programs?

Well, I think Doctor Who was quite good because it was almost like an anthology. It was like they were little movies within their own rights so you could put your own style on it, obviously with collaboration with the director and Steven Moffat. It was always going to different times. It was going to different places, different planets, or whatever, so you could go pretty out there with your style and lighting. I think that’s one thing I’ve always tried to do, is try and be different.

The same with Sherlock, which was, at that time, the best looking show in the UK, so really, you’ve been given the prize of British television and you’ve got to keep standards going up. I think that’s always a challenge. And that’s what was fantastic about working on Umbrella Academy. From a DP’s point view, you’re in heaven when your own style is at the beginning of a show and it ties on to the whole season.

The thing that we were most intrigued about with Umbrella Academy is because you’re taking not just storyboards or director’s vision. There is already a pre-existing visual style with Gabriel Ba’s artwork from the graphic novel. What is that like for you?

You’re taking something that’s so weird, and that world where one of the characters is a gorilla with a human head. You have these crazy, fantastic characters and you have to make that believable and that’s the challenge I love. I think we kind of – hopefully – we got it right. The success we had is the second biggest drama show on Netflix, but I think we just managed to get something that people believed could be possible. For the hour that they sat and watched an episode, they bought it and they went inside the world that we created and they stuck with it.

As a DP, you’ve got to try and grab people’s attention and keep it for that hour or however long they binge on the show. They never have to leave your world.

We feel everything you just said is almost equally applicable to Amazing Stories. Were you familiar with the original series when you began working on it and the pedigree that it had?

Because we didn’t have that in the UK, I did my homework and I watched all the older episodes and really enjoyed it, but I think we were kind of slightly reinventing Amazing Stories. We were kind of updating it into the world which exists now. I think that was one of the challenges for each director and DP: to tell a new amazing story in 2020.

Do you find yourself attracted to genre work or is that just how it has happened for you?

I think I’m always attracted to the challenge and I think I’ve probably slipped into that kind of genre of work because I like to kind of do something different. I think if you look back on my work – from Doctor Who to Sherlock to Outlander to Umbrella Academy to Altered Carbon – you know these are wildly different styles.

Very true. We imagine something of the appeal of Outlander is that you’re getting to do essentially a period drama but it has these little sprinklings of ‘other’ in there.

It’s two degrees to the left. Umbrella Academy‘s a world that we’re kind of familiar with, but it’s not quite right, in the same way that Doctor Who was always a world that didn’t exist or on a non-planet. Sherlock was a world where the main character was so clever, the camerawork had to kind of match it. That was the great challenge of Sherlock: you had to make the camera match the genius of Sherlock. I think with Amazing Stories, my job is to give the vision of the director, the writer, and the showrunner and put that into visual form. I always love to be intimate with my storytelling; to make it feel as natural and real in the environment as the story setting.

AMAZING STORIES is available now on Apple+.