In the beginning, we had a great deal of freedom, and Jerry wrote completely out of his imagination - very, very freely. We even had no editorial supervision to speak of, because they were in such a rush to get the thing in before deadline. But later on we were restricted. Joe Shuster begincompletelydeadline share on social
I did all the work at the beginning up until the point where I couldn't handle the increasingly heavy art production burden alone. I needed, and got, assistance. Joe Shuster artassistancebegin Change image and share on social
Clark Kent, I suppose, had a little bit of Harold Lloyd in him. Joe Shuster biteclarkharold Change image and share on social
Jerry reversed the usual formula of the superhero who goes to another planet. He put the superhero in ordinary, familiar surroundings, instead of the other way around, as was done in most science fiction. That was the first time I can recall that it had ever been done. Joe Shuster familiarfictionformula share on social
Not only that, but when I first met Joe, to my intense delight, he showed me that he was a collector. He was collecting some of the early Tarzan pages by Hal Foster, and, later, early Flash Gordons; and I found that we were both absolutely interested in the same type of thing. Joe Shuster absolutelycollectcollector share on social
Jerry picked up the technique of visualizing the story as a movie scenario; and whenever he gave me a script, I would see it as a screenplay. That was the technique that Jerry used, and I just picked it up. Joe Shuster givejerrymovie share on social
And I agreed the feeling of action as he was flying or jumping or leaping - a flowing cape would give it movement. It really helped, and it was very easy to draw. Joe Shuster actionagreecape Change image and share on social
I drew a picture on the back of a calendar in pencil. In those days they used to give out free calendars, I had no art paper, so I took whatever else I could. Joe Shuster artbackcalendar Change image and share on social
