Forgive my dragging films into this, but if Barney the Bear is relevent, the following sure is.
Case in point on creative divisions of rights: Reportedly, NIGHT OF THE LIVING DEAD screenwriter John Russo and director George Romero agreed each could go their seperate ways with sequels.
George, of course, ultimately graced screens with the groundbreaking DAWN OF THE DEAD and the undernourished but solid DAY OF THE DEAD, which sadly fell far short of Romero's planned conclusion to the trilogy (I've read the script -- it was a real conclusion, and would have been among the best horror films ever made, no doubt about it). George done good, all in all.
Russo's rights led to a pallid novel, RETURN OF THE LIVING DEAD, which in turn led to a lively parody film "adaptation" (no relation to the novel) RETURN OF THE LIVING DEAD. Later this year, Anchor Bay is releasing Russo's "revised" version of NIGHT OF THE LIVING DEAD (done in collaboration with others who'd had a hand in the original film), sporting newly-filmed footage, cuts (to accomodate the new footage, apparently), and a new rock score. Brrrrrrrrrrrrrrrrrrrrrrrrrr, for all the wrong reasons.
Nevertheless, this is indicative of what can come of creative partners abiding by their decisions, and living with the consequences.
Just an observation.
Mr. Barry Buchanan wrote:
"I have got to give props to both of these guys for the shear fact that, if I
date them right, many of the early Blueberry's pre-date S. Leone's grim westerns. An act I think we
can all agree on that changed what westerns where to be like or should be like."
As one of the few here who apparently does love westerns, I had the opportunity to once raise the question about Sergio Leone directly to Jean Giraud (over dinner together in Boston about eight years ago). Jean dismissed Leone completely, stating his preference for the westerns directed by Anthony Mann (including many collaborations with actor James Stewart, and the Gary Cooper classic MAN OF THE WEST, among others). That led to a fairly lively conversation about the Mann westerns -- he's among my favorite American filmmakers -- and Jean emphasizing the impact the Mann westerns had on BLUEBERRY.
(PS: By the way, John Cusack's upcoming video release of THE JACK BULL is worth a look -- best western since UNFORGIVEN, and very reminescent in theme and specifics of the best Mann westerns of the late 1950s.)