I got the job, if I recall correctly.
Anyway, Michael and Greg sent over one of the thirteen scripts they hadn't used in the film itself and I began picking it apart for the comic treatment.
There were areas where the movie-to-sequential art overlap was perfect and only a few spots where I had to drop or juggle lines/set-up. The guys were adamant that I do whatever I felt necessary to make the project the best it could be. I was the comic guy. Rare collaborative spirit. And curse, for artists everywhere. I'd later call the brilliant Shi Blank into the ranks to save me from so much free reign. One of my better decisions in life.
Back to the page, the bookend characters were so coolly campy, I pushed for a cartoonish approach regarding them and their surroundings. I amped it up at the beginning, with crisp clean lines, to make the core tale itself the more jarring.
At the end of things, we'll get a slightly more apt visual of a couple of the Drive-In operators.