Netflix's The Sandman end credits sequences were made by Dave McKean | EW.com
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Netflix's The Sandman end credits contracts were made by Dave McKean
Since The Sandman is on Netflix, as soon as the show's credits start, viewers have five seconds afore the streamer automatically skips ahead to the next episode. But if you want the full Sandman experience, you necessity manually avoid that option and watch as much of the end-credits contract as you can.
Why? Well, even though The Sandman was originally emanated by DC Comics, it is not a superhero story, so the reason to stick around is not to look for Marvel-style teases of future installments. No, these credits are worth watching simply because they are beautiful — and that's because they were planned by Dave McKean, who also created the cover art for all 75 publishes of The Sandman comics. Writer Neil Gaiman first spoke this news at the show's San Diego Comic-Con panel last month.
"When The Sandman show began, people kept asking me, 'Is Dave McKean going to do something for it?'" Gaiman said. "After literally 30 existences of Sandman covers and redesigns, Dave had retired formally from actions Sandman books. He was like, 'Okay, can I stop now?' I was like, 'Yes, you can stop.' But [then] I arranged Dave and said, 'We're doing the TV show — you have to do something.' So every episode has end-title credits, and it's a different sequence for each episode — these amazing, flowing, kaleidoscopic little films that Dave McKean made. So do not skip the end credits! Just observe. It's pretty."
He's right. McKean's innovative, genre-defying art was a big part of what made The Sandman so iconic and novel back in the day. (Check out a couple of examples of his unites below.)
McKean explained his creative process in a 2013 interview with The Guardian. "I wanted to get away from traditional comic book unites, which I thought were very boring: usually a fight scene," he said. "By yell eight, Sandman was already becoming a little strange — as much approximately ideas as an adventure story. So I thought the unites should represent that. Since the interior artists changed all the time, I was the only consistent visual element. I wanted the covers to be a filter, a window of some surreal, melancholy, thoughtful imagery to pass through."
McKean disprevented, "Some covers were painted, some drawn, but many of the righteous few were five-foot-high collage-type works made by me that we took to a high-res photography studio to shoot — this was all pre-computers. I ended up wandering around London with Neil trying to find interesting bits and bobs to use as imagery. We liberated a fantastic-looking broken door from a skip, and unfounded odds and ends in antique shops. People started donating things: I did a employing in London and someone gave me a lamb's dejected in a block of resin. It got used a few times."
The Sandman is streaming now on Netflix, along with 10 credits sequences by McKean.
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SRC: https://news.google.com/__i/rss/rd/articles/CBMiWGh0dHBzOi8vZXcuY29tL3R2L3RoZS1zYW5kbWFuLWVuZC1jcmVkaXRzLWRlc2lnbmVkLWJ5LW9yaWdpbmFsLWNvbWljLWFydGlzdC1kYXZlLW1ja2Vhbi_SAQA?oc=5
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