Quotes of All Topics . Occasions . Authors
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.
Ideally, anything one writes should have a social conscience: if you can write a story that thrills, and with a good message, that's the perfect type of a story.
America is made of different races and different religions, but we're all co-travelers on the spaceship Earth and must respect and help each other along the way.
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've always felt that the comic strip medium stands equally beside all the other story telling mediums: novels, movies, stage plays, opera, you know, you name it.
I put my comics that are really valuable into regular mylar because I like to look at them. Once they're in those clam shell boxes, they're impossible to open up.
The perfect fascist state needs to operate in conditions of perpetual warfare. Have you ever noticed how the world has been in constant crisis since World War II?
These characters were like twelve-bar blues or other chord progressions. Given the basic parameters of Batman, different creators could play very different music.
Most of the time, I don't like planning out too far ahead. I like to be spontaneous, make decisions, and go, 'Hey! That inspired me! I want to do more with that!'
I will say that Rick will probably die before the end of the book. I'll go ahead and put that in print. Nobody's safe. I've almost killed him three times already.
I think people are interested in anything that's a little bigger than life and that's colorful and - you know, what they like? They like fairy tales for grownups.
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 think every writer doubts themselves, every day. You procrastinate because you're afraid. You're always afraid it's not going to be as good as you want it to be.
The only thing that made me, or any of us, special was that no one in the whole of history would ever see the universe exactly the same way any other of us saw it.
Marvel books also feed into the smaller publishers and the fact that this is happening in the same month we're launching Ultimate Fantastic Four is no coincidence.
However, if I can expand this to Top Cow or Avatar I'm helping the sales, however small, on my Marvel books because I'm almost certain to pick up some new readers.
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.
When folks are in desperate times - say, like being stuck in the middle of a long-running interplanetary war - they grasp onto anything that might keep them afloat.
I hated teenagers in comics because they were always sidekicks. And I always felt if I were a superhero, there's no way I'd pal around with some teenager, you know.
I tried to get into comics initially after I graduated Clemson in 1994. I spent a year trying to get in, and I quit reading books because not getting in made me sad.
I wanted to portray very, very dark subject matter and a deceptively complex story in the brightest colours and simplest lines possible to leave the readers reeling.
I always think it's a mistake when you actually have to set books aside and actually sit down and research something. I always think they've got to come from within.
Being the first to do something like this also registers a lot of attention that the line might not have gotten if all four books had just appeared from one company.
I’m a false icon! The media collaborate in promoting my superficial lifestyle as somehow more valid, more worthy of attention than your real lives! - Gideon Stargrave
To me, the joy you're going to get in a 'Punisher' story is watching him punish incredibly wicked people. Now, if you can add to that an emotional content, wonderful.
When there's a clear vision, and you've got the creative teams working toward that goal, each on their own, it can then come together quite elegantly at the endpoint.
I showed up pretty much at the exact right moment to end up with a lot of work on my plate very quickly, because I was young and foolish, and so I wrote very quickly.
I seem to like playing with form, and the superhero genre has an awful lot of formula to it. It has a lot of formula to it that I don't think it should be limited to.
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?'
And when it's all done, when there's no one left you'll come back for me. And tell me who I am and why I have to do what I do. And explain 'Eternity.' You'll come back
I love liminal characters. I love these characters that are outside and enter and consequently are perpetually outsiders, and who hold themselves to a higher standard.
I've always been a sci-fi/fantasy guy. My book reports in school, whenever you didn't have to do it on Shakespeare, I did it on, like, Piers Anthony and Raymond Feist.
Usually, the biggest hang-up is the script. You could have a script done in six months that you love, or it could be like The Fantastic Four it's been almost 10 years.
Power doesn't corrupt. It's neutral. Someone always wants to corrupt power. It's the way a shotgun is not a deadly weapon until someone chooses to use it irrationally.
I think one of the reasons Stephen King's stories work so well is that he places his stories in spooky old New England, where a lot of American folk legends came from.
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.
John Conyers' office has been very responsive to citizen concerns and the Internet has presented a way to communicate with them in a way that's never before been there.
I thought it would be fun to take the kind of character that nobody would like, none of our readers would like, and shove him down their throats and make them like him.
I don't care how people read their comics, I want them to read comics. I don't care if they read them on an iPad or a phone or in store, I just want them to read comics.
It's hard for me to believe that a shy, bespectacled college graduate like Brad Meltzer who's a novelist and a father is a really setting out to be weirdly misogynistic.
If you're going to write something, that's going to be read by people, a lot of people, you hope it will not only entertain them but maybe do them some good in some way.
'Flashpoint' is a showcase to demonstrate why the Flash is a major character, just like how we've done with Green Lantern. It's important that the Flash can hold his own.
I'm just somebody who tries to write things that entertain people. And if I can do it in a way that makes them prefer to emulate the good guy than the bad guy, I'm happy.
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.
I'm known for being very enthusiastic about using technology. A lot of the attraction is the way that it streamlines the process and takes a lot of the drudgery out of it.
I think the purpose of deconstruction is to take something apart and see how it works. If you're not going to put it back together again and watch it go, what's the point?
For years I've wanted to work with this guy, so to actually write at the top of my scripts "Empress, Script by Mark Millar, Art by Stuart Immonen" is an absolute pleasure.
I couldn't say no when I received that offer [to re-invent the DC characters]... How can any writer say no to the opportunity of redoing every one of DC's top superheroes?
In the history of comics and movies and music too, it's always when things are at their bottomed-out, either creatively or financially, there's more chance-taking going on.