Quotes of All Topics . Occasions . Authors
'Heroes' was great, but I was like the sorority sister, the friend. So often, we as black women, we are cast as the best friend; we are rarely the leading lady. So for me, being on 'The Flash,' it's been so important for me to be the leading lady, to be the woman that is desired by the superhero, to be the hero herself.
If you think about it, just the psychology of the superhero is, 'Because I can, I should protect people, and I should put bad guys away, and I should defend society.' But you're forming your own justice. There's no judge and jury here: you are it. That, in and of itself, is a very complicated way of looking at morality.
Peter Parker is probably the most relatable superhero - maybe ever - because he goes through something that basically everyone has to go through. Whether it's puberty or talking to girls or doing homework, he does it in such a human way. That's why he's such a beloved character: because so many people can relate to him.
'Luke Cage' is about a reluctant superhero who lives in the shadows in Harlem. He has to decide if he's going to step up and fight for the heart of the city and defend the people against Cornell 'Cottonmouth' Stokes, my character, who kinda wants to keep everything in order and intact. I'm the criminal element in the story.
Cyborg was the first superhero that I've ever seen whose parent was around but just was not there for him emotionally, mentally. I related to that in a big way because, growing up, it was my mother and grandmother that raised me and my brother and sisters. I'm the second youngest of five; my father was never in the picture.
Becoming a part of the Marvel Universe was my childhood dream. Like most kids growing up, I read a lot of comic books and acted out some of the characters with friends. Since I can remember, I wanted to be a superhero, so it's not just a movie for me - or just another role - it's a fulfillment of my dreams on so many levels.
Ms. Wormwood: Calvin, can you tell us what Lewis and Clark did? Calvin: No, but I can recite the secret superhero origin of each member of Captain Napalm's Thermonuclear League of Liberty. Ms. Wormwood: See me after class, Calvin. Calvin: [retrospectively] I'm not dumb. I just have a command of thoroughly useless information.
The problem is there are so many stories out there where I can pull that superhero out, put any other superhero in, and the story works the same. For me, that's broken. I have to write a story that no one else but Aquaman or Shazam can be in, and as soon as you pull that character out and out someone else in, it doesn't work.
I think - since I was about 7 years old - that was when I was first introduced to the comics called 'Amar Chitra Katha' that are published in India. They're not about a superhero, but they encompass all the stories of India, the folklore, the mythology, everything. But most of these stories are about Indian historical figures.
The thing that I love about The Flash and about superhero shows, in general, is that it's not about having superpowers that makes you a superhero. You don't have to be The Flash and have super speed to do the right thing. You can be a great reporter or you can be a cop, like Joe West, and still fight for the things that matter.
These superhero movies are starting to give more love to not only black characters but also to more female characters, which is necessary because you have boys and girls of all colors who are looking at these superheroes saying, 'I want to be that. I want to look like that. Show me somebody that I can automatically connect with.'
As far as superhero stories, what's appealing is of course that aspect of wish fulfillment. I mean, you start out reading them as a kid, and a couple things jump out at you - there are heroes out there, and you wish you could run into a phone booth and change your life, or be like Peter Parker and put on a mask and become a hero.
The greatest gratification that I get to work with these hands is that when I come out and I go to the waiting room and speak and talk to the families of my patients, I get standing ovations and I get tears and they look at me as superhuman and superhero. No amount of money, no amount of anything can ever compare to that feeling.
'Deadpool' is its own thing, and it's very quirky, breaks out the box, and doesn't follow the rules of normal superhero movies, so it was really important for me to show that kids that look like me, who are chubbier than other kids, that they can be the hero they want - it was a dream of mine to be a superhero, and it's come true.
If you look at what we did with 'Winter Soldier' with the Cap character in terms of bringing him into the modern world, trying to ground the movie tonally into something that was a step toward real-world, at least to the degree you can do that in a superhero movie, that's still the tonal universe that we're playing in 'Civil War.'
I think there need to be more female action heroines out there that are intelligent and not overly masculine and things like that so I'd love to find - and real too. Not necessarily the superhero perfect archetype of what an action hero is represented as a lot of times. I would love to find that kind of action heroine role to play.
Whats great about The Avengers is that its the next step. Its not just superhero fights super-villain and superhero wins. Its about superheroes that come together and interact. Its a clash of the egos. You could do Avengers 1 without a villain, just with all these guys coming together. They could sit down and just have a discussion.
As a child, what I was missing was so much bigger to me than what I had. My mother-mythic, imaginary-was a deity and a superhero and a comfort all at once. If only I'd had her, surely, she would have been the answer to every problem; if only I'd had her , she would have been the cure for everything that ever had gone wrong in my life.
Growing up in wrestling, I would see my uncle put on his mask before he walked into auditoriums. The kids would run up to him and ask for autographs and pictures, and seeing him lacing up his boots in the locker room and putting on his mask before heading to the ring, that was all so real to me. That was the modern day superhero to me.
Twenty years ago my parents wouldn't know who the X-Men were, and now everybody knows that stuff. It means that deconstruction of the superhero is something you can do. All those movies have led to a point where we can finally have 'Watchmen' with a Superman character who doesn't want to save the world and a Batman who has trouble in bed.
Spider-Man is a genuine American myth with a dark, primal power, but it's also got this great superhero, and - hey! - he can fly through the theater at 40 miles an hour. It's got villains, it's got skyscrapers, it's colorful, it's Manhattan. I knew it would be a challenge, but I saw the inherent theatricality in it, and I couldn't resist.
The superhero genre speaks to a vast swath of humanity these days, and studios are in the business of constantly renewing their money-printing licenses. I sense we're nearing a saturation point with some of these icons, where it becomes more about the action figures and Happy Meals than it does the mythological heartbeat of the core ideas.
If a superhero knocks over a building, and there are 5,000 people in the building that we can presume are now dead, does it matter? Because they're not people we know. But if one dog we like gets run over by a car, it's the worst thing we've ever seen. I totally understand where that visceral reaction comes from. I have that same reaction.
For a while, all the studios had their art-house divisions, but that went by the by pretty quickly. Now, they're really focusing on these huge blockbusters, spending a fortune on cartoon pictures and comic-strip movies and superhero movies, and they aren't making pictures like 'How Green Was My Valley,' which was an Oscar winner in its day.
In cricket, my superhero is Sachin Tendulkar. He has always been my hero and will continue to remain so. Apart from him and outside cricket, my mother has remained my inspiration. Whatever difficult time I had faced, she was always there for me. She has given me all the strength. She maintained her composure and supported me in tough times.
I’ve always thought that if comics are a part of pop culture [then] they should reflect pop culture, but a lot of the time comics, superhero comics especially, just feed on themselves. For me, comics should take from every bit of pop culture that they can; they’ve got the same DNA as music and film and TV and fashion and all of these things.
What's great about 'The Avengers' is that it's the next step. It's not just superhero fights super-villain and superhero wins. It's about superheroes that come together and interact. It's a clash of the egos. You could do 'Avengers 1' without a villain, just with all these guys coming together. They could sit down and just have a discussion.
Anyone who reads the comics knows Maxima comes to Earth in search of a mate among the superhero population - specifically Superman. She's denied by him and she becomes very angry and bitter. We'll see how that history plays out in the show - every adaptation is a little bit different, but 'Supergirl' does a great job with the source material.
I'd like to get into the superhero genre. I'd love to do either a DC or a Marvel character. I just love the way they're approaching these characters in these films. I also would love to get back into some romantic films. I love romance films, especially between people of color, because we don't really explore that enough. I would love to do that.
The cliché I tried to avoid was I hated "teenage sidekicks." I always figured if I were a superhero, there's no way on God's earth that I'm gonna pal around with some teenager. So my publisher insisted I have a teenager in the series, because they always felt teenagers won't read the books unless there's a teenager in the story; which is nonsense.
I read "Milk" and immediately I was very emotional after reading it and then I saw the documentary - the one that Rob Epstein did - and I said that's it. I saw it with my daughter and that was it. This thing is a different thing. It's like I've been offered these kind of superhero movies or "Terminator" or whatever those movies are and I just go ahh.
Lysley Tenorio is a writer of sly wit and lively invention—these are stories bursting with wonders (from monster movies and leper colonies, to faith-healers and superheroes)—but most wondrous of all is his intimate sense of character. Each story is a confession of love betrayed, told with a mournful, austere tenderness as heartbreaking as it is breathtaking.
My introduction into Marvel world was Comic-Con 2014 where I really had to take a step back and go, 'What have I walked into? What is this place? It's wild, and there's all these crazy rockstars walking around - who are all older than me, which was really weird. I was like, 'I feel too old to be in a superhero movie,' and they're like 10 years older than me.
I don't have any interest in doing superhero franchise movies. I don't connect to the fantastic and I'm not a comic person, it's just not my thing, so I'm not looking in that direction - but ambitious films on a big scale I'm very interested in looking at. I'm interested in reality, I'm interested in people, so it's just about finding a project I'm interested in.
I started drawing comics, and at first I was very influenced by the whole pop art movement, you know, Batman was on TV and all that pop art stuff? But then my next influence was in 1966, or maybe it was '65, I don't know. Somebody showed me a copy of the "East Village Other", which was an underground newspaper. And... it had comics in it! And they weren't superhero comics.
I was the first person to tweet from space, but now every astronaut tweets from space and does Instagram and Snapchat and Face - they have Facebook going. I think it's more of a personal relationship they have with space now. They see it as more obtainable than me watching my superhero Neil Armstrong and Buzz Aldrin walking on the moon. It's like, there's no way I can do that.
There's this one photograph of guy I know named Simon. The way he's standing, the background, the way his tie's flipping in the wind-it looks good in the small version, but in the big version, he looks like some kind of Italian fashion superhero or something. Like if the fashion police couldn't handle it, they'd call Simon, wearing a big S on his chest for some kind of fashion superhero.
No one is banging my door down to be a superhero. I don't know how good I would be. I have low bone density, so I don't know if anyone really wants to put me in a cape and chuck me out a window. But a lot of my friends, who are great actors and who come from film, are doing TV because that's where the opportunities are. For us, it does feel like it's similar to making the movies that we used to make.
Miles and I had been looking to do a martial arts show for some time. Our first two movies that we wrote were "Lethal Weapon 4" and "Shanghai Noon" with Jackie Chan. Then we sort of got pulled into the superhero world, but then you look around at what's not on television and there wasn't really a martial arts shows. There are shows that do martial arts to a degree, but there's not a martial arts show.
Knowing Chris Bennett's Writing as I do, I expected Only Superhuman to have an imaginative plot and a compelling superheroine in Emry Blair. What I hadn't expected was for the backstory to make so much sense. Usually science is the first causality of superhero stories, tossed aside with the breezy rationalization: 'Hey, it's comics!' Only Superhuman is, to my knowledge, the first hard science superhero story. And the Story is the better for it.
I saw the comics in the East Village Other, and they weren't superhero comics, they were all about hippies and all about things hippies were interested in. And there was one page in particular, a full page strip called "Gentle's Trip Out" signed "Panzika", and it was totally, totally psychedelic, and really, I don't know if it made any sense at all but it looked so great, and I thought, "This is what I want to do, this is my big influence," and it was.
Comics are not illustration, any more than fiction is copywriting. Illustration is essentially the application of artistic technique or style to suit a commercial or ancillary purpose; not that cartooning can't be this (see any restaurant giveaway comic book or superhero media property as an example), but comics written and produced by a cartoonist sitting alone by him- or herself are not illustrations. They don't illustrate anything at all, they literally tell a story.