NRAMA: [...] You started out assisting Will Eisner on The Spirit, which often had a very cinematic quality. But later-era Will Eisner is more in the style of a play on a stage, where the panels don’t have borders, the characters always appear at a similar depth and same angle. Your strips have a similar "on stage" visual quality. Do you know how did you arrived at this visual style?
JF: Eisner was both theatrical and cinematic, and those Spirit stories that I worked on, some of which I wrote, open, quite a few times, with the character stepping forward and addressing the reader, and telling the story in the first person. Then we'd blend into the cinema part of it where the story was illustrated. So it doesn't at all surprise me, although I can't be sure it's true, that the monologue notion I developed came directly out of my working with Eisner. He was doing that before I worked with him, and I used that device a number of times when I started writing The Spirit.