The Sandman is different from the comic from Netflix It's what Neil Gaiman desired

The Sandman is different from the comic from Netflix It's what Neil Gaiman desired ...

The changes that arise when a book or comic is changed to a show or movie are naturally discussed. Did the snipping that comes with it make it better, worse, or different in an unrecognizable way? What does it mean when these changes originate from the creator themselves?

The Sandman, based on Neil Gaiman's beloved comic book, may be on fans' minds, as they watch it (along with David S. Goyer and showrunner Allan Heinberg), who also serves as executive producer. However, that does not mean the program will be without flaws.

Wed go, OK, what is important in each scene? And I would talk with Allan about why a scene had been written, what I meant, and what it was that impacted me, Gaiman tells Polygon. You take a character like Death; what mattered to me was that we cast an actress who could actually express the emotion, and the notion that you'd fall in love with her just a little bit.

Kirby Howell-Baptiste, a Black woman, captured that perfectly in Gaimans mind; she was the type of person who, as Death, could generously say, You know you should look both ways before you cross the street, and youd kind of like her for having said it. It didn't matter that Howell-Baptiste, a woman, fit the character drawn so many decades ago, although Gaiman maintained that that wasn't always the case.

Gwendoline Christie has always been a terrific actress, and in every way, she looks and feels like the Lucifer that Mike Dringenberg and Sam Kieth drew in Sandman #4. That alone, but the fact that she could also embody that Lucifer, Gaiman says, is what we need.

The Sandman's episode centered on Death takes a page from the original comic The Sound of Her Wings and merges it with a short story called Winters Tale that Gaiman wrote. Other changes include sculpting a singular look for the castle of the Dreaming instead of an ever-changing castle.

In a Vanity Fair video discussing some changes to the appearance of the Endless domains, Gaiman said, "We tried reproducing the comics exactly," and we were left to wonder: How would it all work?

The comic books were always the bible, sometimes more the Old Testament. We let things go, but the things that changed tended to change with the times or with the need to adapt something to television.

Many actors claim that they were given free rein to make their voices work for them, working with Gaiman and Heinberg to achieve performances that were genuine to the purpose of the work, the only thing that Gaiman felt was important to maintain.

Because weve seen it on the page, but how does it work in real life? Howell-Baptiste says. For me, I used the source material in the comics because it's gold, basically, for my character.

So my read was pretty instinctual. And from that, they seemed to care deeply for me to move on with what I was bringing. So I just felt a lot of freedom and liberation from Neil and Allan to play and explore.

Jenna Coleman, who plays Johanna Constantine, agrees, although her character has significantly changed since the book iteration. For her Constantine, who is now recognized at the top of her game and in service to the royal family, it was a deliberate decision to embrace the change for the character.

Coleman says her callback audition was with Gaiman, which was like she had never received such a green light in my entire life.

Im sure, you know, that so many adaptations are so different from the original. Whereas [...] The Sandman is Neils' dream, both the 1989 comic for the beginning of it, and now, thanks to Coleman, he has directly taken his work and reimagined it. And so for me, having him around and knowing that we had his seal of approval allowed us to be much more liberated in our work.

Tasha Robinson has provided additional reporting.