The spoilers below are for the Sandman, so be careful if you haven’t looked yet!
“The Sandman” quickly rose to the top 10 of Netflix ratings after its long-awaited release, and the streaming adaptation finally brought Neil Gaiman’s seminal DC comics series to life after many unsuccessful attempts. The deserved attention is largely due to the fact that Gaiman participated in the development of the series together with other executive producers David S. Goyer and showrunner Allan Heinberg, paying every possible attention to preserving as much source material as possible when switching from page to screen. And for the award-winning comic book author and novelist, one episode in particular stood out as the biggest win in finally bringing the Sandman into live action.
Neil Gaiman and Allan Heinberg spoke with CinemaBlend and other members of the press ahead of the debut of “The Sandman” for Netflix subscribers, and they both had something to say about the fact that the streaming series is an idealized iteration that probably could not have been realized in past years, given the scale. all of this. As you can see above, when I asked Gaiman what was the biggest return for him from the very beginning of the process and before he saw it in its final form, he did not hesitate to explain why the sixth episode “The Noise of her Wings” had such an emotional impact. According to him:
I think I need to point out the whole 6th episode because it made me cry. Because it made me cry not once, but twice — once during the death scene when we meet Harry, and once at the very end of “People of Fortune” when Death and Hob gather in a pub. And it surprised me every time. I sit and think: “I wrote these words. I planned it in 1988.” Since then, these stories have become a part of my life. I read and reread them every time we reprinted them, or I checked the color or something like that. I know them like the back of my hand. And yet, watching what we shot, I skip all the thinking parts of my brain and dive right into the emotions, and I can’t believe this is happening.
As comic book readers know, Episode 6 is a surprisingly accurate combination of comic book issues #8 and #13, and it’s something that absolutely touches to the core, though not so much heartbreaking as heartbreaking. inspiring. It’s not necessarily what one would expect from a piece half-filled with the Death-oozing empathy of Kirby Howell-Baptist’s “Infinity,” delivering the final moments for a line of one-off characters.
Meanwhile, the other half of the episode focused on the centuries-old friendship between Tom Sturridge’s Dream and Ferdinand Kingsley’s Hob Gadling, whose eternal survival was generated by the fact that he simply categorically refused to succumb to death. (Or, so to speak, Death.) None of these cases is an exact recipe for how to create an unforgettable piece of entertainment, but such as it is in any Neil Gaiman project.
Neil Gaiman praised the attention to detail given to the “Men of Fortune” side of the episode, which balanced the real world of Death’s journey with an ever-changing setting spanning hundreds of years. Here ‘s how he continued:
There was so much pride in what Allan and the cast did in every part of it. I mean, you look at the pub every 100 years and look at the production designers, costume designers and costumers – everyone came to give us what at the end of the day is about half an hour of television. We shouldn’t have been able to do that, and we did.
It would be one thing if the production process of “Sandman” included tons of CGI work for its settings, but almost every place that viewers see on the screen is completely authentic and created for the show, and digital effects are minimized. But as impressive as any of the settings, if not more, is the wildly calming performance of the always excellent Kirby Howell-Baptist.
On that note, Neil Gaiman continued with high praise for Howell-Baptiste’s portrayal of Death in the series, especially for her calming portrayal in episode 6. Here ‘s how the co – author of the comic described his work:
That Kirby Howell Baptist brings death by just making you say, “Oh, yeah, when I die, I hope you’ll be there.” You will make things better. Everything will be fine. This thing — you know, I don’t care that it took us 1,000 auditions to get into Kirby, because we got Kirby at the end, and it’s like, “Okay, this is what we wanted.” It’s a feeling to tell the truth. It is the feeling that in the end you are the person you love and care about, the person you would like to imagine was next to your child, your parent, brother or sister, a loved one in the end.
Rarely have I agreed with something as much as I share Neil Gaiman’s opinion that the death of Kirby Howell Baptist is something that should be at the end of a metaphorical path for everyone.