You get to play with shadow, mood, and tone. And this [Batman All-Stars] is such a moody story.

I feel like I've been training my entire career for this moment in a lot of ways. So many artists just want to draw Batman, and I'm getting the opportunity to do the backups in a brand-new Scott Snyder project that has so many artists.

I personally got to draw a take on a character that I've had in my mind since I was a teenager. That was pretty sweet!

That's the type of thing you need to keep in mind when drawing comics. The storytelling. Consider the action and the space available to you, that's what will make it a great comics page. Once you've figured that out, you can always find/make the reference to support your storytelling decisions. So by all means, study film, but as with any reference, the results are better when they inform the craft and not dictate it.

There's a page in #2 where I did one of the most interesting pages I've ever drawn. I had to think, "This is a big, blockbuster comic book." You're prepared to be more fan service-y or bombastic. Yet I did one of the most challenging pages I've ever drawn, and it was incredibly satisfying to do that on a project like this [All-Star Batman].

You get to play with shadow, mood, and tone. And this [Batman All-Stars] is such a moody story.

You've seen the first issue and what happened in the last page. Some pretty awful stuff. I don't know why I seem to be very good at drawing it!