The beloved and award-winning author of BLACK HOLE's haunting and visually arresting story of an artist's obsessions, and the value and cost of pushing the boundaries of creativity
As a child, Brian and his friend Jimmy would make sci-fi films in their yards, convincing their friends to star as victims of grisly murders, smearing lipstick on the "bodies" to simulate blood. Now a talented artist and aspiring filmmaker, Brian, along with Jimmy, Jimmy's friend Tina, and Laurie—his reluctant muse—sets off to a remote cabin in the woods with an old 8 millimeter camera to make a true sci-fi horror movie, an homage to Brian's favorite movie: Invasion of the Body Snatchers. But as Brian's affections for Laurie go seemingly unreciprocated, Brian writes and draws himself into a fantasy where she is the girl of his dreams, his damsel in distress, and his savior wrapped into one. Rife with references to classic sci-fi and horror movies and filled with panels of stunning depictions of nature, film and the surreal, Burns blurs the line between Brian's dreams and reality, imagination and perception. A master of the form at his finest, Final Cut is an astonishing look at what it means to truly express oneself through art.
CHARLES BURNS grew up in Seattle in the 1970s. His work rose to prominence in Art Spiegelman's RAW magazine in the mid-1980s, and since then he has worked on a wide range of projects including album covers, ad campaigns, and set design. He has illustrated covers for Time, The New Yorker, andThe New York Times Sunday Magazine, and is cover artist for The Believer. His full-length graphic novel, Black Hole received Eisner, Harvey, and Ignatz awards. He lives in Philadelphia with his wife and daughters.
The beloved and award-winning author of BLACK HOLE's haunting and visually arresting story of an artist's obsessions, and the value and cost of pushing the boundaries of creativity
As a child, Brian and his friend Jimmy would make sci-fi films in their yards, convincing their friends to star as victims of grisly murders, smearing lipstick on the "bodies" to simulate blood. Now a talented artist and aspiring filmmaker, Brian, along with Jimmy, Jimmy's friend Tina, and Laurie—his reluctant muse—sets off to a remote cabin in the woods with an old 8 millimeter camera to make a true sci-fi horror movie, an homage to Brian's favorite movie: Invasion of the Body Snatchers. But as Brian's affections for Laurie go seemingly unreciprocated, Brian writes and draws himself into a fantasy where she is the girl of his dreams, his damsel in distress, and his savior wrapped into one. Rife with references to classic sci-fi and horror movies and filled with panels of stunning depictions of nature, film and the surreal, Burns blurs the line between Brian's dreams and reality, imagination and perception. A master of the form at his finest, Final Cut is an astonishing look at what it means to truly express oneself through art.
CHARLES BURNS grew up in Seattle in the 1970s. His work rose to prominence in Art Spiegelman's RAW magazine in the mid-1980s, and since then he has worked on a wide range of projects including album covers, ad campaigns, and set design. He has illustrated covers for Time, The New Yorker, andThe New York Times Sunday Magazine, and is cover artist for The Believer. His full-length graphic novel, Black Hole received Eisner, Harvey, and Ignatz awards. He lives in Philadelphia with his wife and daughters.
