Quotes of All Topics . Occasions . Authors
I was an actor in New York, dude.
Comics are primal, down and dirty.
Superman has always been a battle for hope.
I think there's a yin and a yang to everything.
My relationship with Marvel is that I work for them.
All things are possible, especially in the realm of superheroes.
There are no heritage concepts at Marvel or DC that are untouched.
I'm the best there is at what I do but what I do best isn't very nice
Life is the ultimate adventure, and Death, the prize that awaits us all.
X-Men has always been about finding your place in a society that doesn't want you.
My view of Magneto is that he's the terrorist who might someday evolve into a statesman.
All good communal storytelling comes from the sagas and arguments within the writers room.
I'm contractually not allowed to work in comics in the United States other than for Marvel.
When you're spending $100-plus million dollars, you need to give the audience what they want.
Comics deal with fundamental archetypes. We've been called the myth-makers of the modern age.
The interesting thing I realized writing the 'X-Men' is I always had a sense of where I was going.
The success of 'X-Men' paved the way, I have to presume, for Sony to make Sam Raimi's 'Spider-Man.'
I was not creating icons when I wrote the 'The X-Men' and the 'The New Mutants.' I was creating people.
I wish the 'Dark Phoenix' saga had been done more effectively than it was, but that was out of my hands.
I think it would be cool if Hugh Jackman showed up in 'Avengers: Infinity War,' even if just for a tryout.
Isn't it amazing how the X-Men always managed to be ahead of everybody's curve no matter how they look at it?
It's a fascinating world to drop a finished product on the marketplace without the intercession of a publisher.
The nice thing about genetics is, I can see my kids doing what I used to do, which is inhaling books like breathing.
The key thing if you're a writer is to visualize the scene and convey it to the penciller and turn the penciller loose.
I want to talk about what I'm doing now... I'm not interested in what I've done, I'm interested in what I'm about to do.
Even in the face of the greatest adversity, the key is to never lose hope, never lose sense of the dream that drives you.
If at some point Fox decides that the X-Men properties are no longer lucrative I'm sure that they will cut a deal with Disney.
Captain Britain is not about representing an empire, he's about standing up for everyone and fighting for the betterment of all.
I'd rather have Ben Affleck feeling something than twenty minutes of punching CGI Zod. You want moments that resonate with your audience.
It seems that most of the projects I'm doing with relationship to Marvel's 80th anniversary occur during my core run on the X-Men titles.
What use legs if not to take you down the road? What use eyes if not to see what lay beyond the horizon? What use hands if not to open doors?
What I love about Hugh Jackman is he just brings all the elements of my vision of Logan. The pain, the nobility, the duality of his existence.
You have an iconic character in Superman. You want to keep him vital and relevant to the audience as it evolves. So there's a creative dynamic.
I always had a sense of where I was going with 'Dark Phoenix.' Jean had the greatest power imaginable... and, how's she going to deal with that?
No creator in modern times is going to stick around with a concept for 20 years. There are simply too many alternatives that writers want to pursue.
One of the fun things in the old days about writing with Frank Miller was that every issue of 'Daredevil' was a challenge to every issue of 'X-Men.'
Every writer with half a brain knows to surround himself or herself with editors who are smarter, far more articulate, and infinitely better looking.
If you think the X-Men are going to be push-overs, think again! Far better men than you have pledged their destruction ... yet the X-Men are still here.
Like 'Uncanny X-Men,' 'New Excalibur' is the story of people thrown together by fate and wild circumstance who find their way to true and lasting friendship.
We figured the audience would want good stories, great art, wonderful characters, people you could fall in love with that we would immediately put through hell.
The most basic excitement was the opportunity to work with Dave Cockrum. He was an artist I'd admired for years and our imaginations were ridiculously simpatico.
What excites me, what attracts me, what gets me up in the morning is telling the next story and getting it out in front of readers and hoping they'll love it too.
I guess you go back to the old writer's adage that when they do your stuff in Hollywood, you smile sweetly upon your credit - if there is one - and enjoy the show.
I find the idea of the recap page to be something of a waste. It's the page nobody ever reads and it's even worse because it doesn't tell you who anybody really is.
The more stories I told, the more I found I wanted to tell. There was always something left unsaid. I got hooked by my own impulse of 'Well, what's gonna happen next?'
It never would have occurred to me in 'Days of Future Past' to cast Peter Dinklage as Bolivar Trask, and yet as soon as he got onscreen I couldn't think of anyone else.
I find now I'm reading a lot more nonfiction, simply because every time I read fiction, I think I can write it better. But every time I read nonfiction, I learn things.
In L.A., you have to drive; in New York, you can do it on foot. The variety, the potential, of people is in your face. Like any good creator, you want to steal everything.
The best moments in comics come from a primal image that captures the emotion and the conflict. What you add are the pieces that get you to the point and what happens next.
When I was little, I used to have nightmares about Godzilla walking out of the Great South Bay, because we had a fire alarm out where we lived that sounded just like his feet.