http://www.europe1.fr/antenne/reecoutez ... 007&hr=12#
Jean Giraud alias Moebius was in the radio talkshow of Frederic Taddei "Regarde les hommes changer" two days ago. If you understand the french, you can listen to it online. Click on the link above, and just scroll down.
I'll translate some parts for those of you who don't understand the french.

The first five minutes are thursday's news, followed by the advertisements, and only then there's the talk-show with Moebius's interview. The interview is one hour long. He talks about everything from the pseudonym "Moebius", the westerns movies of his childhood and how it did influence his work, Blueberry, Charlier, Gosciny, the evolution of his work and the difference between his Jean Giraud and Moebius works, his work with Van Hamme on the final album of XIII, etc..

EDIT: If you understand french and want to listen the interview, you can go dirrectly to 05:52 minutes, thats where the interview begins. just move the cursor of the player with the mouse.

Frederic Taddei: "We just learned that you draw.. that you have drawn.. that your drawing the last album of the serie XIII, a very famous series created by Jean Van Hamme and William Vance. The last episode must be published in november, i think, of this year, that must be called "Dernier Round" ("Last Round"), we at last will know everything about this serie, about its origines, about this amnesic character, and we learn that you have drawn a suplementary album
Moebius: yes.
FT: on a script of jean Van Hamme,
Moebius: Exactly
FT: and i wondered if William Vance had his word to say,
M: "ho yes..." (on the tune and with the sense of "of course")
FT: if it is only the publisher with whom we talk in this case..?
M: No-no, Vance was happy, even more because we had a little fight on Blueberry since i did for him a
FT: He draw the Marshall Blueberry
M: .. I did for him a script on a derivative Blueberry serie that was called "Marshall", that was supposed to be done in 3 vol., he did only 2..., happily Michel Rouge did the third in a very dexterous way, but i still was a little bit unhappy because the album... the third episode... stayed almost three years awaiting and at the end he didn't do it and we had to find someone else.. well it was really hard..; and i think that behind that there was maybe too much work with XIII and maybe...huh.. i was under the impresion that there was a disavowal of my script, so i was hurt/upset (lol), when me i though that my script was pretty good (lol)..., well all this doesn't matter anymore.... So: The end of XIII is a little bit different in the mesure that it is a sort of ice on the cake, a little funny editorial game that we offer to ourselve to put an end to a serie. It could have been done certainly with another artist, but the idea was to give to anothe artist, in effect, an album in contre-champ wich explain an essential aspect of the story of the character and which gather in rellying to the present of... say.. the character, but... in the story,.. but explain sommething that is in the past and is at the origine itself of the whole thing, of the amnesie and of Who really is XIII. So for me it have been.... there was no identity problem, like to know to who bellong XIII etc.. the problem wasn't there, even if we had to do with the background of fifteen albums... even more than that, i don't remember how many album there is, its XII but it's still a Work gigantic, and i had to study to..

the rest later.

continuing the translation. still Moebius talking:

"and i had to study, to assimilate, to place, to position myself to that, and it was... but i knew it at the begining... i knew it will be very difficult, because... even so, in spite of everything, i specialised myself in two directions: one that is the western and the other that is the art... let's say a litle bit oniric... not a litle bit (lol): oniric!... of improvisation, of fantasy, of science fiction; but it is true that i have a gap: i have not, i have never realy worked my representation of the contemporary world. with the cars, the roads... the buildings, the elevators... i..i don't know, yet i see some elevators every day... well: often, but at a given moment i have a scene in front of... where the character had to take the elevator, i told to myself: Bon sang! how it is done an elevator? LOL, where are the controls and everything...
FT: You never had draw an elevator?...
M: I never had draw an elevator! that's really unbelievable. so i had to try really to find a documentation about the elevators, then i didn't find and i was sloppy, i made up a simplified elevator that is (with a smile in the voice) well..pffft... Well you see, thats everything like that: when we do contemporary stuff, thats really awfull, and thats like for someone who never did westerns, it's...it's, it's horrible because the least object ask for a reshearch.. huh... and even when we have it in front of our eyes we don't always understand it.
FT: The guns (revolvers) for an exemple..
M: ho la la!!!!
FT:... or the guns (pistolets)
M: That's very difficult. The... the grip of a colt, it's a...it's something that needs years of pratice. LOL
FT: You have moreover several of them in your studio (atelier) on your..
M: Ho yes!
FT:... on your drawing board.
M:.. Ho yes, because even if i draw western for more than 40 years, there're still things that i don't got really assimilate.... But to comme back to, say the.. what... mystery of the relation between an author and his characters, especially in comics (bande dessinée), because in literature very often the characters appear and disapear in the same book, excepted for some authors who have recuring characters, [...], but overall the recuring characters, it's bellongs mainly to the comics, and the question... the question is interesting, what rappport we keep, and thats why i did this serie INSIDE MOEBIUS, because..
FT: Thats an album that just hit the shops.
M: Yeah, the.. the third will hit the shops soon

etc.... maybe some other parts later. Discuss.

Further in the interview:

Moebius answers a question about the evolution of his art and his graphic apogee where he said that for Blueberry it is well know that the two albums "La mine de l'allemand perdu"(The lost dutchman's mine) and "Le spectre aux balles d'or" (The ghost with the gold bullets) are a top, (that was in 1969-70) } + that it was a time of his life where he was in full possession of his means (at his top), and since his activity as Moebius was really marginal at the time, this energy was really at the service of Blueberry. After 1972 he share his time between Moebius and Blueberry, and the second lose a little bit of this energy.
Then advertisement,
then We're back and FT begins to ask a question about movies but Moebius want to finish answering the previous topic:

Moebius: " you asked me a question about [....] . The problem of evolution and change, and of graphic tops (pics graphiques), it's very difficult to definite by yourself, i'll say once again that it is the others who do that perception, and who have that perception, but i realise that even now it happens to me to do things that are... that continue do be improvements: For an exemple when i did 40 JOURS DANS LE DESERT (40 DAYS IN THE DESERT), [...] really i was amazed to have done something like that. It was stronger than [....] stonger than anything else of my work on Moebius.
[here some talk about the conditions in wich it was published and the fact that it didn't benefit of the same commercial facilities than other works. Moebius conclude in saying that it's in a way like an indy best seller.]
Then they talk about "swipes":
FT:[...] I remember there's a panel in The man with the silver star that you take directly from a photo of Gary Cooper in HIGH NOON...
M: No, it is John Wayne. It's a little allusion to John Wayne for...
FT: for RIO BRAVO...
M: Yes, cause i was thinking that the script of Jean-Michel [Charlier] was... there was a little bit of plagiat [he doens't use the word plagiat, but a slang term. actualy it's said on a friendly tune].
[...]
M: That was [just a friendly] a litlle wink.

FT asks him another question about the influence of the movies on his art, and Moebius answesr talking of the role of the Cinematheque for his generation, and of how the people of the New Wave who where not only movie directors, but before that critics and fans who wrote about the american movies, knew how to talk about it etc..."It was our culture, my culture"
Then he tells that he is not as much influenced by the movies today, first because the TV made it less dominant, and secondly because himself is older and follow his own trajectory.
Then some talk about Riddley Scott and Luc Besson.
I didn't translate the beginig of the interview, and i won't translate the end either.

I won't translate the whole interview, but if you want some explanations or complement on a precise topic, just ask. I'll do what i can.

For the rest feel free to discuss the interview.

Merci Stephane..tres interressant!

My pleasure