message from it's source. From a personal point of view, I found it extraordinary to see scenes that I'd worked on and crafted to maximum effect in the book translated to film with the same degree of care and effect. The "transformation" scene between Natalie Portman and Hugo Weaving is just great. It's a bit like having one of your paintings come to life in front of you. If you happen to be one of those people who admires the original so much that changes to it will automatically turn you off, then you'll dislike the film - but if you enjoyed the original and can accept an adaptation that is different to it's source material but equally as powerful, then you'll be as impressed as I was with it. sm: Writer and co-creator Alan Moore has been really critical regarding the movie (as he generally did for all the movie adaptation of his works). Eventually he asked to get no credits, with his name not appearing in any way. It's said he also refused any money from it. Any comment on this Moore attitude from your part? DL: Alan has his viewpoint, and I have mine. sm: Going back to the V comics era. I think it can easily be said that it marked your career. What are your memories of how you and Moore created the work? What kind of collaboration or cross-fertilization between writer and artist? DL: Well, you'll have to read Alan's article on how V was created in the US V collection ( if it hasn't been translated into Italian, yet ) because it's too long a story to narrate here. Once we got going though, I basically just used to say what I didn't think worked. Alan would write a synopsis of what was roughly going to happen in the story, section by section, which would cover a number of episodes. We'd agree that, then Alan would send in a script for one episode. We'd talk about that, agree any changes and frame breakdowns and then I'd draw it, and send the completed episode in p/copy form to him at the same time it was sent to the magazine. We were doing it for a monthly, one chapter at a time of about 6-8 pages in length, and Alan wouldn't write the script for the next chapter until he got the art for the last one, so it was like a kind of growing thing, step by step. I'd get a great script every month, then he'd get some great (excuse me) art the next month. It was kind of organic... and always subject to little, and sometimes, big changes in form. [continues]