PHILIP PHILLIPSON ON GOD THE DYSLEXIC DOG

[MattBrady]

by George Khoury

After four issues, God the Dyslexic Dog is now available as a new trade paperback and hardcover that collects the entire science fiction series with additional new material. At the helm of the comics is the father-son team of Philip & Brian Phillipson with the vibrant art from master comics icon Alex Nino. It’s a stunningly crafted book that evokes many of the best themes of the science fiction genre with various degrees of humanity. But the book is also a labor of love between father and son as they worked closely together to produce it. Brian’s dad, Philip Phillipson, shared some insight into the project and his career in animation with us.

Newsarama: First off, and taking things back a little, how did you get into animation?

Philip Phillipson: I was washing dishes full time at Holy Cross Hospital after graduation from high school. My elbows were surrounded with dirty pots and pans and I was wondering what am I going to do for a career. Then, one of my buddies came running in yelling that he just got hired at Hanna-Barbera. He was hired as a Xerox operator. I had no clue what that was. The one thing that I did know was that they produced The Flintstones. When I got hired there in the mailroom dept a few weeks later, I found out what a Xerox operator does. It is how you fuse a graphite pencil drawing onto acetate.

What I fantasized about was to be a comic book artist like Carmine Infantino or Joe Kubert. Since I didn’t live in New York, Hollywood was the next best thing. I also discovered that both Alex Toth and Mike Sekowsky worked there. Paul Julian was the painter that would change my career plans. My world would never be the same.

NRAMA: So you got into animation as a traditional animator – have you had to make adjustments in the digital era?

PP: Right. I did assistant animation, but was never a full-fledge animator. I did layouts and painted backgrounds. Job categories are very specific. Just think of a creative assembly line.

Flash forward to the present and yes, many adjustments. I would never dream that Photoshop would now be considered the new “Traditional Painting.” The next steps are wireframe, lighting and texturing or surfacing, not quite my “cup of tea”. Although, if I were 30 years younger, I would be all over it.

NRAMA: What have been some of the projects in which we might have seen your work?

PP: From Banana Splits (my first) to Superfriends, Muppet Babies, to the original Heavy Metal. Then, at Disney starting with Black Cauldron, including Little Mermaid, Aladdin, Lion King, and Pocahontas to Home On The Range.

NRAMA: Your son, Brian, originally came up with God The Dyslexic Dog for something other than comics -- what led to your involvement and decision for the comics format?

PP: Brian was going to San Diego State at the time. He had his eye on being a writer. In one of his journals was this poem he wrote. Disney had just closed down its Feature Animation division and there were about 250 other artists besides myself now out of work. I must give Disney its just due; they did give me a six month severance package, a half year’s pay for working just 3 months shy of 20 years with the company. Getting severance pay is a great thing, make no mistake; but if there is nothing to go to after that time, so in the end, it’s not so great.

I was up in my studio, planning the best way to make this free time work to my advantage. I could either work on my paintings and prepare for a show or do something I’ve always wanted to do for the past 40 years. So, I called Brian and asked him to bring his journal with him when he came over for our usual Sunday barbeque.

I looked at the poem and thought, “That’s it! There is an incredible universe waiting to be revealed.” So, we started. I was going to bring the Carl Barks perspective and Brian was going to come at it like Neil Gaiman (ha-ha-ha). I always wondered what kind of creation would happen if “Barks and Gaiman” ever collaborated…

NRAMA: When did you befriend Alex Nino? Was it difficult to convince him to take the art helm on God?

PP: I had left Disney for a brief nine month period in 1985. This was right after Eisner, Wells and Katzenberg took over from the Ron Miller regime. It was about money. I wanted a raise, they said no, so I left. I went to work locally, for Marvel Animation painting backgrounds and Alex was doing the pencil layouts that I painted from. I was always a fan of Alex. Not only is he a great talent, he is one of the nicest guys you would ever want to meet.

I left Marvel and went back to Disney, yes, I got my raise. It was about five years later when Alex called and wondered what it would be like to work for Disney. I told him to hurry and come over because Disney was going to be in for a treat.

They hired him on the spot, ten years later; we were both out of work. I made him the proposition. My son had a poem and I said let’s have some fun. Alex said yes. No, it wasn’t hard to convince him.

NRAMA: What is the process behind the making of each story? Do you and Brian draw layouts for Alex? Where does it all start?

PP: Brian and I pound out a general plot. We go back and fourth until we’re both happy. Then, I do the ruff layouts, more for timing, page counts and a general idea of how many panels per page. Brian signs off on the breakdowns. I give them to Alex, show him the pages where we must adhere to for story and then, the balance he gets to go as wild as he wants. And that can be mighty wild. So, it’s kind of a blend between D.C. and Marvel style. After Alex finishes the inks, Brian makes dialog pass. It then goes on to Dan for lettering. While with Dan, I will do the color.

NRAMA: Since there aren't too many father and son collaborations in comics --Is it relatively easy to work with your son? Has this project brought you and Brian any closer?

PP: I think the Kuberts are the forerunners. It’s a blast to work with Brian. We both have some far out ideas and we try to cram as many as possible wherever we can. We were a pretty close father-son to begin with and we still get along great. Of course, there are a few moments, we do think alike.

NRAMA: How would you describe God?

PP: The story is about god having a pet dog and their developing relationship. How and why did it start in the first place? What event caused their separation? Individually, what would happen to each as they interact with the rest of the cast? We reveal how a suicidal god (Bacchus) intentionally wants to destroy the world so that his boredom will come to an end. Throw in some crazy Mayans who build a calendar to enable Bacchus to achieve those goals. When god has to leave unexpectedly, the dog reaches out to a young boy for love.

NRAMA: What makes this book different from other comics in the marketplace in your view?

PP: Pet theology is a niche in the marketplace that hasn’t been explored very much. Will pets make the same choices as humans? It’s really about a dog who fantasizes about having his own boy.

NRAMA: What's the latest installment of God, and what was the reception like for the book in San Diego?

PP: The latest installment is issue #5. The origin of dog’s power and how he lost his memory. The reception was great. Everyone loved seeing it in color.

NRAMA: Will there be more comics? Is it you and your son's goal to see God come to life in animation or film?

PP: I’m waiting right now to see how sales are. If they are anywhere I thing they should be, there will be a Vol. 2. Yes, we would like to see it make it to the next level. I think it would be better suited as live action. Especially now with the ability of CGI. But, animated would be great, too. They would each bring something different to the story.

The collections are available for sale at www.godthedyslexicdog.com or ask for it at your local comic shop.

Special Thanks to Dan Nakrosis!

George can be found at www.myspace.com/georgekhoury

[Hobowatcher]

WOOOOOOO!!!

I've been pushing this whenever I got the chance. This book is smart, funny, challenging, and heartwarming. Also, can't forget the AMAZING art by Alex Nino.

That man is a legend, and he still has yet to be out classed. He should've gotten a SOLO over Damion Scott. As well as get more work from DC.

Everyone needs to buy and read this book.

P.S. This would make a fantastic 2D film. It would look stunning.

[Bevbos]

This looks really great. Does this come out today? I missed it the first time around... I may need to pick it up now.

[jonjesper]

I can't wait for Minnesota FallCon in October to meet Mr. Nino!
Look very much forward to it!

[GeorgeKhoury]

This is a photo of Brian, Philip, and master comic artist Alex Nino.

[creatorman]

I've never heard of this comic series before, but that is some amazing artwork. Love the concept as well. I've placed my order for the hardcover today.

[SRBuell]

Seriously, this is the best self-pubbed work to come out in a long long time. Everyone should check this out pronto...