filmmaker who's main occupation is experimenting and exploring the various means of communication in the 21st century. I won't be bored for a while... sm: Why did you decide to make a movie about Alan Moore? When did you get the original idea? Are you a comics reader? DZ: Yes, I am most certainly a comics reader. Comics are what moved me to read "normal literature" and later on to do films in the first place. I grew up with mostly European "strips," bande dessinees or whatever you want to call them. The majority were from France and Belgium. As I was not good enough to draw, except for political cartoons in a newspaper, I decided film was the medium I wanted to tell stories with. Bring people (starting with myself actually) on some crazy journeys you would normally only hear or read about. As for this film, it's a bit of a complex genesis, you could say that it started somewhere in 1989 when Dinesh, a friend and collaborator on the political cartoons (we started Post-Apocalypse Studios to develop ideas and art for comics), brought some copies of Watchmen back to South America. At that time he just started studying in Europe and had more access to magazines, books etc, so he came over with a suitcase full of comics. Where we grew up the economy was in rapid decline, so the import of books had gradually decreased until they were considered luxury goods. I was blown away by the first pages of Watchmen. This was exactly the kind of writing I liked. Tight, exciting, full of action, yet laced throughout with interesting details and leitmotifs, essays, intertextual references and most of all great depth of characters. Later on I read V for Vendetta and Brought to Light. What struck me most about Alan Moore's work, was the complexity, the sense of grand design behind it all. The writer was obviously in full control of the medium and the fictional world he conjured up, yet it never felt pretentious or too contrived. It was almost more cinematic than most films I'd seen. Some years later, when I moved to Europe and had to finish my Master's degree at the University of Amsterdam, I chose Narratology of Comics or to be more precise narrative in "sequential art" (as Will Eisner called it) to write a thesis. Drawing comparisons to film and regular literature, during the research I stumbled into Alan Moore interviews again. I realized that there were a lot of [continues]