Quotes of All Topics . Occasions . Authors
Time management is really key for me.
There should be nothing I can't live without.
We've enjoyed laying the foundation for 'The Flash' series.
The first half of my TV career, I didn't do any genre at all.
As always, things happen sooner rather than later on 'Arrow.'
In DC Comics, Blue Devil is a superhero who came out of a movie.
One of things we say on 'Arrow' is, 'The only constant is evolution.'
I always think the audience sometimes wants what you're not giving them.
I'm not much of a salesman. I prefer the soft sell and the honest approach.
That's one of the perks of my job, is getting to see what the Internet does.
One of the things I do well - I think, anyway - is combining different tones.
The goal, first and foremost, is to tell a satisfying - entertaining - story.
Time has a certain current to it, and it wants to flow in a certain direction.
The world's an angry place these days. Let's just not take it out on each other.
I actually feel like comic book movies need to be better than your average movie.
The one thing that's always very safe to say with 'Arrow' is never make assumptions.
I love doing meta-humor, as long as it doesn't become too distracting and it's subtle.
As a fan, I want all of the Marvel TV projects to be successful. I am a comic book fan.
Your subconscious is always working in the background, unlocking things and solving problems.
It's funny: I like being surprised as a reader, so it's difficult for me to spoil my own stuff.
Do what you love and you'll always love what you do. I've found that that's true most of the time.
With 'The Flash' in existence, there's no real compelling reason for us to do superpowers on 'Arrow.'
I happen to like dark, and I like the fact that 'Arrow' is a pretty dark show, particularly for a network show.
In the writers' room, when we talk about each episode, we first talk about the character journey of the episode.
Time away from thinking about something is as valuable - perhaps even more so - than directly thinking about it.
It's always really hard to kill off someone who you just really enjoy working with, writing for, and seeing on the screen.
On 'Arrow,' we have Ray Palmer and Roy Harper, and if you call Roy 'Ray' and Ray 'Roy,' you have to put money into the jar.
I'm a huge fan of 'The Six Million Dollar Man' and I love the episodes where they would cross over with 'The Bionic Woman.'
At some point if you're a professional writer, no matter what, it always comes down to you staring at the blank page by yourself.
Whenever you can manoeuvre your characters into a situation where they both have a good argument to make, you're on the right track.
I remember the dark days when, thanks to 1966's 'Batman' with Adam West, comics were considered the ugly stepchild of popular culture.
You can save the city, but having the city be in jeopardy is one thing and having the people you care about be in jeopardy is another.
Every season, we spend what really should be our hiatus, and what really should be me relaxing on a beach, planning out the whole season.
I think 'Green Lantern' has the potential to be a very highly regarded superhero movie. We're approaching it with such respect and such care.
I think when it comes to television as opposed to film, the producers really are the writers. We work with people who are purely financial producers.
At the end of the day, I think the only way to do the kind of job a writer does is push everything aside and just ultimately sit down and do the work.
'The Sixth Sense' was a very enjoyable, successful movie despite the fact that there were plenty of people, including myself, who saw the ending coming.
I think when you do a season of television you go into it going I'd like the season premiere needs to be amazing. The season finale needs to be amazing.
With comics, there's no budget. There's a budget in terms of you have to pay an artist and a colorist and all that, but you can do anything you want to do.
The nice thing about 'Arrow' is we never say never on the show. Hopefully the show will have a nice long life, and all manner of things can potentially happen.
One of the great things about the 'Arrow' crew is that no one is settling for what they did yesterday. They're always thinking about what they can do tomorrow.
All of the stuff I can't afford to do on a TV budget, I just put into the comic book because you're really only limited in a comic by your artist's imagination.
I'm not like Jonathan Hickman, who's able to sort of plot out three years of a book ahead of time. I'm much more of a guy who plots out an arc or two at a time.
The guy who sits at the keyboard and types is so much smarter than I am. I think I got into writing so that I could spend as much time with that guy as possible.
What I took away from my 'Flashforward' experience is that when you're doing a serialized mythology show, you put your foot on the gas, and you do not take it off.
As always, we start off with asking, 'What's a good episode?' We don't think about timing, and we don't think about logistics. We just think about what would be good.
The term 'Consulting Producer' is extraordinarily nebulous in TV, and it really means something different depending on the show and the specific circumstances negotiated.
I think comic books have come an incredibly far way, and I want to make sure we don't take a step back. I certainly don't want my name on a movie that would take it back.
Imagine if Steve Jobs or Thomas Edison or Albert Einstein were all alive 10, 20, 30 years before we know them to be alive; it would have advanced the world that much sooner.
There's a lot of downtime where you're filling your car up with gas, you're driving to work, you're stuck in traffic - it's Los Angeles, and so much of it is a car lifestyle.